ChoralNet - ChoralNet Daily New postings in ChoralNet DailyConference Morsel: The Yawn Space Scott Dorsey, %13 %b %2014 %21:%Mar:%th 21MarGMT+0000
(An excerpt from the interest session “From Birth to Death:  Vocal Pedagogy for a Lifetime of Singing,” presented by Deborah Mello during the 2014 ACDA Eastern Division Conference)
       Let’s talk about being able to access the singing space with very young singers.  Without using technical terms we can lead our youngest singers to learn how to sing with a naturally lifted soft palate by employing kinesthetic exercises, imagery and visual aids.  I encourage my choristers to yawn as a constant reminder of the “singer’s space”.  Yawning is contagious and is something we can do together in a vocal warm-up sequence.  The choristers are encouraged to yawn with their mouths closed as they focus on the way the back of their throats feel.  Ask your students to describe what they feel when they yawn with their mouths closed.  Some responses from the children are:  “like a huge cave”, “cathedral space”, “like a reverse megaphone” and “laughing through my eyes” among others.  Allowing the choristers an opportunity to feel the space allows them to access it when singing.  Also naming the action helps them to remember.  With my community children’s choir, we call it the yawn space.
       Connecting movement to the yawn space is also very helpful.  Ask your choristers to pretend to be a Ferris wheel, where they take one arm and swing it in a circle over their head, allowing their voice to “follow their arm.  With a partner, sitting or standing, move in a seesaw fashion while singing a song.
       Visual aids are also invaluable for use with young singers.  Some of my favorites are:  a Hoberman Ball (an expanding ball), tennis balls cut in half and decorated as a boy and a girl, and a Sing-A-Ma-Jig (Mattel baby toy) that shows beautiful vowel shapes.
Artistic Director for Bisbee Community Chorus Sherry Hayes, %18 %b %2014 %00:%Apr:%th 0AprGMT+0000
The Bisbee Community Chorus, located in Bisbee, Arizona, is hiring an Artistic Director for the 2014-2015 season. The chorus, founded in 1988, is a non-auditioned mixed chorus of approximately 40 voices. The Artistic Director will be hired for a minimum of one August through May performance season, with four concerts during the season. Contact for a copy of the job description. Salary, commensurate with experience, and specific duties will be executed in a contract for services. The Artistic Director is a contracted position, and not an employee within the context of federal law.
Interviews will be conducted by the board of the chorus, with the interview to include a mock conducting session with chorus members. Interviews for qualified candidates will be scheduled as soon as practicable. It should be noted that there is also a position open in Bisbee for a Music/Choir Teacher. For more information see
Interested parties should send resumes and a minimum of three references to:
Bisbee Community Chorus
PO Box 5317
Bisbee, Arizona  85603
Or to:
Contact Sherry Hayes at 520-226-0227 if you have any questions or need more information.
Tenor Section Leaders for High Holy Day Choir Marla Aviva Bentley, %17 %b %2014 %21:%Apr:%th 21AprGMT+0000 additional professional tenors needed for High Holy Day Choir.  Please submit resume (including any/all experience in Jewish Music) and recordings to  Previous Temple/Synagogue experience helpful, but not required.  Looking for strong sight-readers, excellent technique, and a great attitude.  ]]>Director of Music Barbara Prince, %17 %b %2014 %21:%Apr:%th 21AprGMT+0000 Community Church in the vibrant Uptown area of Minneapolis is seeking a Director of Music.  Responsibilities include coordinating and leading music for Sunday morning worship services and other worship gatherings. This includes accompanying hymns and other service music on piano, organ, and/or other instruments, as able.  The Director of Music also prepares and conducts the Chancel Choir. Details of the position can be found on the church's website.  ]]>American Voices Nao Tsurumaki, %17 %b %2014 %21:%Apr:%th 21AprGMT+0000
AMERICAN VOICES, featuring American Classics and Broadway favorites
   Children’s Chorus of Washington - All ensembles
Saturday, May 10, 2014 at 4pm
National City Christian Church, 5 Thomas Circle NW,
Washington, DC 20005
Tickets & Information:
$25/adult ($30 at the door)
$10/children under age 12 ($12 at the door)
$15 CCW alumni ($17 at the door)
WAMU as Official Radio sponsor

American Voices is a concert that the whole family will enjoy! The program will include works by some of our country’s leading composers such as Leonard Bernstein and Aaron Copland, together with traditional American songs and favorites from Broadway. The concert will feature all five of Children's Chorus of Washington’s award-winning choral ensembles, who will perform separately and together for medleys from "The Sound of Music," "Les Misérables" and "The Lion King." Playwright and director, Mary Hall Surface, a Helen Hayes award winner for outstanding director of a musical, will give the performance a magical spin! ]]>
Three Centuries of the '60s Eileen Lettick, %17 %b %2014 %21:%Apr:%th 21AprGMT+0000 the direction of Christopher Härtel, Wallingford Chorus will present its spring concert, Three Centuries of the ‘60s on May 17, 2014 at 7pm at St. Paul’s Episcopal Church, 65 N. Main Street, Wallingford, Connecticut.  The concert visits the 60s decades of the 1700s, 1800s, and 1900s.  The performance features Mozart’s Missa Brevis in G Major and the work of Brahms, Billings, Sullivan, Bruckner, and The Beatles.  O’Brien Strings will accompany the chorus.  General Admission is $15, Seniors $10, Students $5, and under 12 is FREE.   A reception will follow.  For more information visit or call 203 269-6218. ]]>Empire City Men's Chorus: A More Perfect Union - May 16, 17 and 18 Edward Angelo Enrique, %17 %b %2014 %20:%Apr:%th 20AprGMT+0000

Building on our artistic vision of fostering social and community dialogue, the Empire City Men's Chorus is excited to present its May 2014 concert series A MORE PERFECT UNION, celebrating the quest for freedom, peace and equality. Join us for a night of timeless political and social writings, speeches, and addresses woven into compelling music arrangements for men's ensemble.  Many of the featured texts come from historical luminaries like Thomas Jefferson, Abraham Lincoln, and Susan B. Anthony.  You will also hear Melissa Dunphy's award winning What do you think I fought for at Omaha Beach, a setting of Philip Spooner's compelling testimony on marriage equality given in 2009 and the world premiere of John Conahan's One Song text by 13th-century Persian mystic and philosopher Rumi.  These works represent centuries of struggle for social equality, a struggle that continues to mold and shape a unique and great American nation.  But with all that greatness, there is still work to be done...

These works represent centuries of struggle for social equality, a struggle that continues to mold and shape a unique and great American nation. 

But with all that greatness, there is still work to be done...


Friday, May 16th @ 8pm

St. Paul's Episcopal Church

199 Carroll Street (b/t Court and Clinton Streets), Brooklyn

Saturday, May 17th @ 8pm

Church of the Holy Apostles

296 9th Avenue (near 28th Street), Manhattan

Sunday, May 18th @ 5pm

Church of the Holy Trinity

316 East 88th Street (b/t 1st and 2nd Avenues), Manhattan


Wine and non-alcoholic beverages will be served.  VIP Admission areas distinguished by tables or front-row seating and will include select wine and catered hors d'oeuvres.  All venues ADA compliant.


Purchase tickets by end-of-day on Friday, May 2nd, for an early bird discount of 15% (applies to General and Student/Senior Admission only).


Can't attend any of the concert dates?  Please consider making a tax-deductible donation of any amount by clicking here.  ECMC is a 501c3 non-profit, and your donation directly supports our ability to make new and interesting contributions to the choral arts.

New FREE SATB Mixolydian Hymn Mason Shefa, %17 %b %2014 %19:%Apr:%th 19AprGMT+0000
Dear all,
I have just completed a new 4-part hymn in the Mixolydian mode! Writing the music in this mode gives it an unexpected flavor that feels fresh and exciting. The music is very easy and is suitable for a choir of any size or experience. The text is perfect for any season, because it mentions elements of each! (The Incarnation, the Crucifixion, the Resurrection, the Transfiguration, Lent).
Here is the text:
How can God's Son come down,
And yet remain on High?
Put on He flesh indeed
His nature to belie.
Only through Love Divine
Can He to us draw nigh;
The Lord defeated death
To raise us to the Sky.
What Bounty found is This,
That sinful Man repairs;
That up did Laz'rus raise,
And our salvation bears?
Only through Love Divine
Can He to us draw nigh;
The Lord defeated death
To raise us to the Sky.
If you are a choirmaster and are interested in using this piece at your service, please contact me (click my email address below) for a full PDF. It is FREE OF CHARGE!
Mason Shefa
Thou Wilt Keep Him in Perfect Peace-Wesley Jura Litchfield, %17 %b %2014 %19:%Apr:%th 19AprGMT+0000 copies in good, but used condition.   SAATB    Excellent choral piece for school or church  $10 for the set plus shipping.  Please respond with your email address.    ]]>Artistic Director - Gay Men's Chorus of Washington Chase Maggiano, %17 %b %2014 %18:%Apr:%th 18AprGMT+0000
The Gay Men’s Chorus of Washington, DC (GMCW) seeks applications for the position of Artistic Director to provide artistic leadership and vision for the organization. GMCW seeks a targeted start date no later than September 2, 2014. Application will be reviewed on a rolling basis until May 31, 2014. Interested applicants should submit a letter of interest and Curriculum Vitae to searchcommittee @ gmcw . org.
About GMCW
The Gay Men’s Chorus of Washington, DC is one of the premier all-male choruses in the country. Entering its 34th season, GMCW has performed in venues all over the Washington region and across the nation. Our home in the nation’s capital provides GMCW regular opportunities to perform in events of historical and political significance. With 250+ volunteer voices and an annual budget of $1.1 million, GMCW presents a wide range of musical styles during its five-concert season. Additionally, as a part of GMCW’s mission to sing as a voice of equality to connect multiple communities, members of the chorus participate in 60 community and school events each year. GMCW is also home to two select ensembles; the 34-person Rock Creek Singers, and the 13-person Potomac Fever. 
About the Position
The successful candidate will have thorough knowledge of choral music across multiple styles, and proven experience conducting and teaching a large volunteer choir. He/she will have the ability to take GMCW to a unique, innovative, and consistently high level of artistry. It is expected he/she will work in a collaborative environment with GMCW staff, the Board of Directors, and will be a part of the greater Washington, DC and national arts and LGBT communities. The Artistic Director will make GMCW his/her principal professional commitment, though it is understood that GMCW may not be the sole professional activity.
The successful candidate will also have the ability to effectively engage with donors, connect with the audience in unique ways from the stage, and share a commitment to fostering equality across communities through music. He/she will be able to navigate the changing identity and acceptance of the LGBT community, and how that relates to our musical offerings and audience.  The successful candidate will have the ability to implement effective partnerships with other arts organizations, including choruses in the Washington, DC region.  
For a full description and list of duties, please visit our website at
Spoken Lyrics in Choral Music Eric Brown, %17 %b %2014 %19:%Apr:%th 19AprGMT+0000 anyone have any good tips for addressing spoken segments in choral music so it still sounds musical?  An example is "Merry Old Land of Oz" (from Wizard of Oz) where there is singing then spoken "with a ha ha ha and ho ho ho"...
My chorus SINGS beautifully, but have not mastered the art of the spoken lyric! 
Eric Brown
UMD Chamber Singers Crowdfunding Campaign Edward Maclary, %17 %b %2014 %15:%Apr:%th 15AprGMT+0000
Help send the UMD Chamber Singers to Seoul, South Korea!
The University of Maryland’s premier choral ensemble, the UMD Chamber Singers, has launched a crowdfunding campaign to support their trip to Seoul, South Korea, where they will perform as one of the featured ensembles at the 10th World Symposium on Choral Music (WSCM 10). The ensemble, led by Edward Maclary, seeks to raise money to help pay transportation costs and to ensure that financial need does not keep any of their student members from participating in this incredible opportunity for musical exchange.
Full information about the crowdfunding campaign as well as a donation link can be found at their fundraising website hosted through UMD Launch at
For continued updates on the campaign, follow the UMD Chamber Singers on Facebook and Twitter:
Jazz and Beyond -May 20 - PEBCC Justin Montigne, %17 %b %2014 %17:%Apr:%th 17AprGMT+0000

PEBCC Jazz and BeyondJazz and Beyond – Not your Ordinary Choir

Presenting an epic Daft Punk medley and Rihanna reimagined, Ecco and Ancora, the top performing choirs of the award winning Piedmont East Bay Children’s Choir, will present its highly regarded Jazz and Beyond concert May 20 at 8:00pm at the Marsh Arts Center in Berkeley.

Cutting edge choral music, a cappella jams, and nightclub solos set the mood of the evening, as sung by Ecco’s 40 voice mixed choir under the direction of popular conductor Clifton Massey.

The women’s ensemble, Ancora, captures the sounds and rhythms of Mexico City in A lo Chilango, composed by rising star composer Diana Syrse. Under the direction of  conductor Sue Bohlin, Ancora will also perform the lush Vocal Fantasy by local composer Anne Hege, and will channel songwriting wunderkind Lorde in a cover of Royals.

Rounding out the evening will be classic jazz and top 40 solos presented by talented teen stars of tomorrow from both choirs. The songs will be familiar but new arrangements will surely surprise and delight.

Tuesday, May 20, 2014 • 8:00pm
The Marsh Arts Center
2120 Allston Way, Berkeley, CA

Tickets $12/$18/$30 advance, $15/$20 door

Get tickets here.

S.F. Bay Area Concert Bruce Lengacher, %17 %b %2014 %17:%Apr:%th 17AprGMT+0000 join the choirs of Acalanes High School for the 2014 Spring Concerts: "Voices of Change" on May 22 and 23, 2014 at 7pm at Acalanes High School Performing Arts Center, 1200 Pleasant Hill Rd. Lafayette, CA 94549. We will have Special Guests, The Devil Mountain Chorus  joining us on the 23rd. Suggested Donations are: $5 for Adults, $3 for Seniors 60 and older and Students are Free. 
Non, Nobis Domine                                                                         William Byrd (1540-1623)
Agnus Dei                                                                                                              Kinley Lange
Sansa Kroma                                                 Akan Playground Song arr. by Felicia A.B. Sandler
WOMEN’S OCTET              (WO)
Thinkin’ Bout You                                                                                                Frank Ocean
She Keeps Me Warm/ Same Love                                 Mary Lambert/Macklemore & Ryan Lewis                                                                                              
Imagine                                                                               John Lennon arr. by The Innuendos       
Sicut Cervus                                                                Giovanni Pierluigi Palestrina (1525-1594)
This We Know                                                                                             Ron Jeffers (b.1943)
Guide My Feet                                                               Traditional Spiritual arr. Tawn B. Thomas


Clarity                                                                       as performed by Zedd arr. Jonathan Sparks
Dona Nobis Pacem                                                                               Ko Matsushita )b.1962)
The Eyes Of All Wait Upon Thee                                                Robert Edward Smith (b.1946)
Song Gatherings:                  I. The Call, II. Interlude, III. Consummation            Eric Tuan (b.1990)                                              Soloist: Natalie Clendending and Liza Tremsina          
The Parting Glass                                                               Traditional arr. By The Wailin’Jennys



Clarity                                                                       as performed by Zedd arr. Jonathan Sparks
Non, Nobis Domine                                                                          William Byrd (1540-1623)
Agnus Dei                                                                                                              Kinley Lange
Sansa Kroma                                                 Akan Playground Song arr. by Felicia A.B. Sandler
WOMEN’S OCTET              (WO)
Thinkin’ Bout You                                                                                                Frank Ocean
She Keeps Me Warm/ Same Love                                 Mary Lambert/Macklemore & Ryan Lewis      
Imagine                                                                               John Lennon arr. by The Innuendos       


The Little Horses                                                           Adapted by Aaron Copland (1900-1990)
Sam was a man                                                                         Vincent Persichetti (1915-1987)
I know where I’m Going               Sharon Yao, Violin                             Trad. Arr. William Hall
Like a Tree                                        Soloists TBA        Margaret P. Douroux arr. by Lon Beery



The Moment I Saw  Your Eyes                                                                                    Joe Liles

Jeepers Creepers                                                Johnny Mercer, Harry Warren, arr. by Fred King
I'm Gonna Live Till I Die                 Al Hoffman, Walter Kent, & Mann Curtis; arr.t by Greg Volk
Sospirava                                                                                     Carlos Gesualdo (1516-1613)
The Coolin’    from: Reincarnations                                                     Samuel Barber (1910-1981)
Lullaby    From Garden of Paradise                                                              Shawn Crouch (b.1977)
Bluegrass and Gray: Sounds of the Americana with Dailey & Vincent Andrea Macy, %17 %b %2014 %16:%Apr:%th 16AprGMT+0000
DATESunday, June 8, 2014                           TIME2:00 PM
LOCATION:Stern Auditorium/Perelman Stage, Carnegie Hall
881 Seventh Avenue, New York, NY 10019
Grammy-Award Nominated Bluegrass band Dailey & Vincent join forces with DCINY to celebrate the American tradition of country-style Bluegrass music with an electrifying blend of gospel and folk in Carol Barnett’s, “World Beloved: A Bluegrass Mass.” John Purifoy’s “Chronicles of Blue and Gray” spans the Civil War in three thrilling movements of choral delight. The concert will be performed by Distinguished Concerts Singers International, a choir of 200 voices and the Distinguished Concerts Orchestra. Tickets on Sale Now. $20-$100. Call CarnegieCharge at 212.247.7800 or visit
Jefferson Johnson, Conductor
Barnett: The World Beloved: A Bluegrass Mass
Carol Barnett, Composer-in-Residence
With Special Guest: Dailey & Vincent
Michael Adelson, Guest Conductor
Purifoy: The Chronicles of Blue and Gray (New York Premiere)
John Purifoy, Composer-in-Residence
Jonathan Griffith, Chorus Master, DCINY Artistic Director and Principal Conductor
Save 30% with discount code DCD18709
Four 6-foot Malmark Bell Tables Patricia Guth, %17 %b %2014 %18:%Apr:%th 18AprGMT+0000 are replacing our bell tables and have four used tables we'd like to sell. Two are in very good condition while the other two have some minor issues with the center legs. They could probably be easily fixed by someone who has the know how to do so. These tables sell new for $190 each. We are asking $50 per table. Would prefer to sell all 4 together but will split them up if necessary. The tables are located at a church in Bucks Co., Pennsylvania, north of Philadelphia and south of Princeton, NJ. Would prefer selling to someone who could pick them up but would consider shipping. Cost of shipping would be charged to buyer. ]]>RTB - Vivaldi "Gloria" - Roger Dean edition Kevin Bailey, %17 %b %2014 %16:%Apr:%th 16AprGMT+0000 piano/vocal scores
Composer/Arranger/Edition: Vivaldi "Gloria" - Roger Dean edition
Starting: May 1
For: two months
Copies: 25
Willing to rent: Yes
My choir is participating in a joint choral festival, for which we're singing Vivaldi's "Gloria." We've been asked to use the Roger Dean edition, to aid in consistency among the singers, etc., but we sang from a different edition two years ago, and purchased those. To keep costs low for the singers and for my church, I'm wondering if anyone owns this edition, and if I could borrow 25 of them for this spring. We can return them by end of June. Thank you!
Vanguard Voices: Spring Choral Concert with Premiere of "Requiem Brevis" Nancy Scott, %17 %b %2014 %15:%Apr:%th 15AprGMT+0000
Vanguard Voices, directed by G. Kevin Dewey, will present a concert of polychoral, a cappella music on Sunday, April 27, 4 p.m. at First Presbyterian Church, 600 N. Brady, Dearborn, Michigan.  General admission tickets are $13 in advance (call 313-943-2354) and $15 at the door.

The concert will feature the world premiere of Requiem Brevis, an eight-choir work by Michigan composer Stuart Scott which was written specifically for performance in the Sanctuary at First Presbyterian Church.

Additional polychoral works include two for double choir: Hodie Christus Natus Est (G. P. da Palestrina) and We Beheld Once Again the Stars (Z. Randall Stroope) and one for triple choir: Misericordiae Tuae (Ascanio Trombetti).

The 70-voice mixed chorus will also perform Alexander Borodin’s Polovtsian Dances, featuring pianist Gerrie T. Ball, and works by Dan Forrest and Jack Halloran.

Vanguard Voices, established in 1992, is sponsored by the Dearborn Recreation & Parks Department, and is choir-in-residence at Henry Ford Community College. The members of the 70-voice mixed chorus enjoy singing a cappella, with Vanguard Brass Ensemble, and with area symphony orchestras.
The Cecilia Chorus of New York - Master Class in Choral Conducting Laura Hogan, %17 %b %2014 %15:%Apr:%th 15AprGMT+0000, June 23, 2014 - 7:30 pm, Church of the Holy Trinity, 316 East 88th Street, New York, NY 10128

In this unique mix of master class and summer sing (a choral music reading session), The Cecilia Chorus of New York Music Director Mark Shapiro, a noted teacher of conducting, will work with emerging conductors as they lead an audience-chorus in a performance of Mozart’s Requiem. In the first half of the program, Maestro Shapiro will provide on-the-podium feedback; in the second half of the program, he will lead a full-read through of the work. Maestro Shapiro will meet separately with participating conductors before the event.

Interested conductors should apply by May 23 by sending applications to In the application, please provide a resume, repertoire list, and three current recommendations from teachers or colleagues who can comment on your conducting ability and musicianship.

The fee for the master class is $100.

For more information, please visit

Fugue Independence Zachary McEwen, %17 %b %2014 %14:%Apr:%th 14AprGMT+0000 am a student currently studying at the University of Southern Maine. I am taking a Chorale Conducting class and I am currently working on the piece Dixit Maria. What are some ways to promote a student's musical independance whilst being thrown into the chaotic puzzle that fugue's can be?
While working on this moderatly chalenging piece, my number one method so far has been count singing (1 + 2 + T + 4 + ). This method has worked very well to break apart the lines for the rest of the students, so they can hear the contrapuntal lines interweave. While rehearsing the piece"on text", the energy starts to dwindle and forte's are reduced to soft piano's. Thoughts?
Thank you for your time!
High School Choir Needs Men Audrey Carman, %17 %b %2014 %12:%Apr:%th 12AprGMT+0000 middle/elemtary school, singing in a choir was a fun thing for men to do. But now in high school, I'm finding the enrollment of guys in my choir dropping! Is there a way to get the men back on board? Thanks. ]]>experienced ALLENTOWN, PA CHURCH ORGANIST, PIANIST, KEYBOARDIST, ACCOMPANIST, CHOIRS DIRECTOR, HANDBELLS & HANDCHIMES DIRECTOR SEEKS WORK MICHAEL HUFFMAN, %17 %b %2014 %10:%Apr:%th 10AprGMT+0000 ALLENTOWN, PA CHURCH ORGANIST, PIANIST, KEYBOARDIST, ACCOMPANIST, CHOIRS DIRECTOR, HANDBELL& HANDCHIMES DIRECTOR SEEKS A CAREER POSITION, TEMPORARY WORK, SUBSTITUTE WORK.
ALLENTOWN, PA 18103-3143
Warrenton Chorale John Maerhofer, %17 %b %2014 %14:%Apr:%th 14AprGMT+0000 80 + voices of the Warrenton Chorale under the direction of John W. Maerhofer will present a concert of Choral Artistry at the Warrenton Methodist Church on Saturday and Sunday April 26 & 27 at 3pm. ]]>There Is A Green Hill (arrangement) Cheryl Camm, %17 %b %2014 %11:%Apr:%th 11AprGMT+0000 was asked earlier this year to produce an arrangement of There Is A Green Hill using Horsley's melody for a youth theatre group to perform as part of a mystery play in the run up to Easter.
The arrangement is versatile with up to three harmony parts including a descant, as well as drones and bells in the accompaniment. It was given its first performances last week. I realise it may be a bit late for this year's Easter singing, but while we're all in the Easter mood, here it is...maybe for next year!
You can see part of the score here (click on the tiny score to the left of the page, and it pops out!):
Here's a full recording of the arrangement:
Conference Morsel: More Males, Please Scott Dorsey, %26 %b %2014 %19:%Mar:%th 19MarGMT+0000
(An excerpt from the interest session “Level the Playing Field: Using Barbershop Harmony to get More Males into Your Choral Program,” presented by Adam Scott during the 2014 ACDA North Central Division Conference)
Wouldn't it be great if the guys recruited each other?
Getting guys to join choir is about scratching their itch.  If the ratio of guys to girls enrolled in band class are almost equal why does it seem so hard to recruit guys?  This session discusses the right types of songs to introduce, when to hold men's choir, rehearsal strategies, tag singing, and getting guys so fired up about music that they do the recruiting for you.  Harmony in the hallways will become the norm and you'll find guys in choir you'd never have expected.
Learning from Eric Ericson IV - Conducting Technique I Richard Sparks, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000
These notes are from several sessions (hence I've abbreviated in some places) that Eric Ericson did on basic conducting technique. This took place at the Haystack Workshop in Astoria, Oregon. I was singing in the 16-voice chamber choir that did a concert as well as providing the workshop choir. These are exercises to practice, or which are useful in teaching conducting (I've used them regularly). I'll spread this over two posts, corresponding to the two days Eric did this. (Sorry for any formatting "oddities" -- I had to scan and old typed version to pdf and then convert to MS Word, which made for some challenges)
1) Posture - find a balanced posture - now rotate your body side to side—relax your arms and let them follow your body - note that the arms follow in a circular way - "you need to find a natural way for your body to conduct"
2) Put your thumb and forefinger together and press intensely, so intensely that your fingertips become white - but localize the tension so that it's only in your fingers, not your arm - move your arms freely, tension only in the fingers - "too much muscle can kill the music"
3) Now bring your hand up to a 'normal' position - feel attachments that lift your arm
  • lift , then relax - just let your arm drop - now close your eyes, lift and relax - now move your arm out to the side, lift and relax
  • have a partner lift your arm with no tension then let go - it should fall naturally
  • now feel as if your arm is being lifted only by an attachment at the finger - then from the wrist , elbow, shoulder
4) Now clasp your hands together and press them together hard - feel the intensity, but no tension in your shoulder
  • shake hands with your partner, very firmly - check with the other hand to see that there is no tension in the shoulder of your partner
5) To find the position of the hand while conducting, simply lift up from by your side - find a natural position - avoid the elbow out or in, just ''natural”
6) what the conductor does must help vocal production (E. doesn't want baton for this reason)
7) the focus of the beat is the entire hand (not the fingers—too tense/ not the wrist—too floppy)
  • the hand is where the choir reads the main information - the whole body gives 'resonance' (supports, is in agreement with) with the hand
8) conduct in 1 (Eric plays the piano) - "feel the magnetic pull towards the rebound spot" (ictus)
  • now try with both hands ("don't go too high - work in the center of the body")
  • feel contact with the breath and the level of the hands
9) bounce the beat off of the left hand, held at belly level
  • now bounce it off the left hand at the top, the hand at the top of the beat
  • now move the hand with no destination (like painting a wall)
(Eric plays a waltz - "you want a clear one that provokes what follows"}
10) now conduct with the whole arm - now focus in the elbow - see how awkward and inefficient
11) now conduct in a four pattern - E. watches and says: "don't let your elbow go out for beat 2" "don't put beat 1 in front of the body - it makes for an unnatural position"
  • "don't think beat as in "beating” (schlag), use the positive aspect of heartbeat"
12) (continue conducting in 4) - feel the hand leading the beat , the arm follows
(comments to class while conducting) "relax your shoulder" "concentrate the beat in the hand" "walk around a little bit" "smaller beat , very small"
13) E. has class alternate bars conducting 4 while counting 2 and vice-versa
  • then beat 3, count 1 (E. says onnne, going immediately to the 'n') beat 1 , count "1-2-3
  • then beat 6, count 2
  • beat 2, count 6
  • (exercises of the "least common denominator")
14} "The size of the beat is related to the tempo, not the dynamic
  • he does an exercise to help feel this: change tempo with the beats the same size - doesn't work
  • (he also notes that generally he doesn't want beat going above the eye level)
  • now he alternates randomly, playing the piano and calling out the changes one bar ahead
  • then improvises freely - conductors now keep that pattern against his rhythms
15) Independence of hands: r.h./1.h.
  • r.h. conducts four, l.h. goes up and down while you sing a scale:
  • then, do the opposite (the 1.h. goes the opposite direction of the scale)
16) Articulation: alternate:
  • make sure the articulation of the hand coincides with what the voice does
  • marcato calls for a faster rebound , contraction of muscle (E: "In America I generally feel there is too fast a rebound. This loses the possibility of sonority between beats .")
  • Eric uses 12/8 for developing a legato beat - plays the opening of the St. Matthew Passion while conductors conduct ("feel the pull of the beat" )
17) now conduct 12/8, but sing only the first 8th note of every beat on the syllable “pom”
  • Now on the 2nd eighth note
  • now on the 3rd eighth note
  • (you must think all the of the eighths and show the consequences of each beat
  • the class keeps up this pattern while E improvises jazz
ACDA National Office Closed for Holiday Scott Dorsey, %26 %b %2013 %20:%Nov:%th 20NovGMT+0000
The National Office of the American Choral Directors Association has closed for the 2014 Easter weekend. The office will re-open at 8:00 a.m., Monday, April 21.
Auditions for the Cleveland Orchestra Youth Chorus Lisa Wong, %16 %b %2014 %23:%Apr:%th 23AprGMT+0000
The Cleveland Orchestra Youth Chorus is in the planning stages for its 2014-15 season and I would like to invite your high school choral students to audition for our ensemble. All singers entering grades 9 - 12 are eligible; please note that we also accept middle school boys with changed voices.  The Youth Chorus provides a wonderful enrichment opportunity for your strongest students, wherein they rehearse and perform challenging repertoire alongside other like-minded young musicians.  

The Youth Chorus just concluded its season with an exciting collaborative performance of Mendelssohn’s Drei geistliche Lieder und Fuge and John Corigliano’s Fern Hill with the Cleveland Orchestra Youth Orchestra at Severance Hall.  They also had the unique opportunity to perform this year in a sold-out performance of John Williams’ film score, Home Alone, with The Cleveland Orchestra.  Mark Satola of the Cleveland Plain Dealer has said of the Youth Chorus, “…It was such a pleasure to hear the ethereal beauty of these youthful voices, trained to perfection of pitch and diction.” Next year’s performances should prove equally thrilling, including opportunities to sing in the summer Blossom Music Festival, to sing with the Joffrey Ballet in our holiday performances of Tchaikovsky’s Nutcracker, and to once again share the Severance Hall stage with The Cleveland Orchestra.
Our weekly rehearsals take place on Sunday afternoons from 1:45 – 4:30 p.m., and we make every attempt to avoid scheduling conflicts with school ensembles.  In the event there is an unavoidable conflict, students are always excused from our rehearsals to attend their school event.  We view participation in the Cleveland Orchestra Youth Chorus as an enrichment opportunity, and we want to work together with you to enhance the development of our students.     
Auditions are currently being scheduled for the following dates:
Saturday, May 3:  Rocky River Presbyterian Church
Sunday, May 11:  First Baptist Church (Fairmount Boulevard)
Sunday, June 7:  University Circle United Methodist Church
Students who are interested in auditioning should contact Michelle Holy at 216-231-7374 or to schedule an audition.  Students are asked to prepare a piece from the OMEA Solo and Ensemble list or a classical solo piece (no Broadway or “pop” tunes, please). Students will also be assessed on sight-reading abilities, and may be asked to vocalize to demonstrate their range. The solo does not need to be memorized and an accompanist is provided for the audition.
The Cecilia Chorus of New York Summer Sing/Master Class - Mozart Requiem Laura Hogan, %16 %b %2014 %23:%Apr:%th 23AprGMT+0000, June 23, 2014 - 7:30 pm, Church of the Holy Trinity, 316 East 88th Street, New York, NY 10128
In this unique mix of summer sing and master class, you are both audience member and choral singer for Mozart’s Requiem. In the first half of the program, The Cecilia Chorus of New York Music Director Mark Shapiro, a noted teacher of conducting, will work with emerging conductors as they lead the audience-chorus, unraveling the technical and interpretive elements of this essential but elusive masterpiece. In the second half of the program, Maestro Shapiro will lead a full-read through of the work – one of Mozart’s most beloved.
Admission is $15 and includes score rental.
For more information, please visit
The Cecilia Chorus of New York Summer Sing - Bach and Handel Laura Hogan, %16 %b %2014 %23:%Apr:%th 23AprGMT+0000
Monday, June 16, 2014 - 7:30 pm, Church of the Holy Trinity, 316 East 88th Street, New York, NY 10128
Want to experience the joy of singing some of the great choral masterworks by Bach and Handel? Here’s your chance! The Cecilia Chorus of New York Music Director Mark Shapiro leads participants through an exhilarating sequence of choruses drawn from familiar and lesser-known cantatas and anthems by two of the most beloved composers of the Baroque era. Bach works will include excerpts from Christ lag in Todesbanden and the Magnificat; Handel works will include excerpts from the Foundling Hospital Anthem and the "Utrecht" Jubilate. The evening concludes with "Hallelujah" from Handel’s Messiah.
Admission is $15 and includes copies of the required scores.
For more information, please visit
Hofstra Chorale and Chamber Choir, Friday April 25 David Fryling, %16 %b %2014 %21:%Apr:%th 21AprGMT+0000
The Hofstra Chorale and Chamber Choir present “Longings, Journeys & Obsessions in Poetry & Song.” An all-unaccompanied program comprising an eclectic selection of unaccompanied ensemble music for choir, it spans the gamut from Renaissance motet to Aboriginal overtone singing, from English part song to traditional Iroquois chant, and from traditional folk song to the most innovative 21st century re-imaginings of what choral music can be. Please join us!
Friday, April 25, 2014 @7:30 p.m.
Cathedral of the Incarnation
50 Cathedral Avenue
Garden City, NY 11530
Tickets available at the door:
$10 General Admission
$8 Senior Citizen or non-Hofstra Student with ID.

                       -------------- Program --------------                                   
    Yanaway Heyona        arr. Brian. Tate    
    Sicut Cervus              Giovanni da Palestrina    
    The Road Home        Stephen Paulus        
    Shenandoah              arr. James Erb        
    Danny Boy                  arr. Fred Prentice        
    Hotaru Koi                   Ro Ogura            
    Past Life Melodies        Sarah Hopkins        
    Mata del anima sola      Antonio Estevez         
    Jenny Kissed Me           Eric William Barnum    
    I love my love               Gustav Holst 
    L'invitation au Voyage    Scott Perkins        
    Leonardo Dreams          Eric Whitacre             
    Betelehemu                  arr. Wendell Whalum    
    Son de Camaguey         Stephen Hatfield        
    My flight for heaven      Blake Henson        
Join us on Facebook!
SF Bay Area's Cantare Con Vivo: "Musical Journey through Latin America" Janice Lee, %16 %b %2014 %19:%Apr:%th 19AprGMT+0000 May 3, Cantare Chamber Ensemble (with Quijerema) presents...
"Musical Journey through Latin America"
Saturday, May 3, 2014 @ 7:30pm
Merritt College (12500 Campus Dr, Oakland, CA 94619)
Back by popular demand, and on the Cinco de Mayo weekend, the Chamber Ensemble will join with the Latin Jazz Fusion group Quijerema in presenting selections from numerous Latin American countries. The mixture of harmonies and rhythms from Africa and Europe blended with various indigenous cultures from Central and South America, Mexcio, and the Caribbean Islands offer a deeper understanding and appreciation of our evolving world. The exuberance and pathos fundamental to these pieces is unmatched. Merritt College sits high in the Oakland Hills with a stunning view of the entire Bay Area, from San Jose to Marin County. It is easily accesible and parking is plentiful.
Tickets: $20 general, $10 student
For tickets, please order at
Cantare Con Vivo * 1611 Telegraph Ave Suite 801, Oakland, CA 94612 * 510-836-0789
Children's choir wanted for recording Elizabeth Christopher, %16 %b %2014 %18:%Apr:%th 18AprGMT+0000 am looking for an experienced Children's Choir Director who is currently conducting an established choir to record some of my original songs.
Size of the choir does not matter. Most songs are either unison or 2-part harmony - nothing too complex. 

The project includes recording nine Scripture songs.

You will be responsible for teaching and rehearsing your choir in prep for the recording. You will also be the one leading them during the recording.

Rehearsal schedule depends on your availability.

Looking for a Spring-Summer 2014 release date.

Your pay will be determined by your experience.
NOTE: this ad was posted previously but it was confusing to people, so I am reposting so it is clear that you know up front that there is no choir - you provide the choir. 
Request to BORROW: Johnson "Where dwells..." (TTBB, 60 copies) Sean Vogt, %16 %b %2014 %17:%Apr:%th 17AprGMT+0000 "Where dwells the soul of my love"
Composer/Arranger/Edition: Victor Johnson
Starting: ASAP
For: 2 weeks (will return on Mon, April 28)
Copies: 60 (TTBB)
Willing to rent: Yes
My men's choir is participating in a festival and would like to borrow this piece for just a couple of weeks. We need 60 copies of the TTBB arrangement. You can reach me by email at:
Many thanks,
Sean Vogt
Concert: I Love Paris (selections from the French choral repertoire) presented by the Sussex County Oratorio Society Curtis Wilson, %16 %b %2014 %18:%Apr:%th 18AprGMT+0000

The Sussex County Oratorio Society’s annual spring concert will be held 3:30 PM, Sunday, May 4 at the First United Methodist Church, 111 Ryerson Ave., Newton, NJ. Titled “April in Paris” the concert features a variety of pieces in both French and English including the spritely Ce joys de may by Clement Janequin; two of Claude Debussey’s “Trois Chansons,” Dieu! qu’il la fait bon regarder and  Quant j’ai out le tabourin; Cesar Franck’s majestic Psalm 150; and the hilarious Neighbors’ Chorus by Jacques Offenbach. The concert will conclude with Cole Porter’s familiar I Love Paris. The selections will feature solo and small group singing along with flute accompaniment by two of our very talented members. Funding is made available in part by the NJ State Council of the Arts through the Sussex County Arts & Heritage Council.


The Oratorio Society’s more than 50 singers are drawn from Sussex County and nearby towns in New Jersey and Pennsylvania. Directed by Al Kopacka. the group’s fine performances have led to invitations to sing with the Baroque Orchestra of New Jersey and at selected venues around the county.


Tickets are $15 for adults and $10 for seniors and students and can be purchased at the door or from any Oratorio member. A post-concert reception will follow in the church hall. The First United Methodist Church is a wheelchair-accessible facility.



Ce moys de May            C. Janequin

Ah! I Would Never Have Believed        G. Costeley

Restore to Me (Psalm 51)            J. Lully

La Nuit            J. Rameau

On These Meadows        C. Gluck

Ce moys de May        C. Janequin

Veni, Jesu         L. Cherubini 

Neighbors' Chorus        J. Offenbach

Restore to Me (Psalm 51)        J. Lully

Dieu! qu'il la fait bon regarder!        C. Debussy

Psalm 150            C. Franck
Quant j'ai ouy le tabourin            C. Debussy

The Doe                P. Hindemith
Since all is Passing            P. Hindemith

Notre Pére         M. Duraflé

Dirait-on        M. Lauridsen    

April in Paris     V. Duke / arr. T. Chinn

I Love Paris        C. Porter / arr. W. Stickles

Artistic Advisor Jayne Schuitema, %16 %b %2014 %16:%Apr:%th 16AprGMT+0000
The Vocal Music Workshop is seeking an Artistic Advisor.
(A part-time position)
The artistic advisor will be responsible to the executive director and will over see all the choral/vocal programs of the VMW.  They will be the immediate supervisor of all choral music staff.
The artistic advisor will, in collaboration with the executive director, set yearly concert themes; establish jobs descriptions and duties for contract music staff.  They will: work with music staff in repertoire selection; recruit and hire contract music staff – including accompanists; evaluate music staff; participate in recruitment of singers; securing venues for performances; work with outside instrumentalists; is responsible for overseeing all concert dress rehearsals.
The artistic advisor will also conduct 1 or 2 of the choral ensembles.
Skills & Qualifications:
  • Must have some Choir Director experience.
  • Knowledge of a wide variety of musical styles and the ability to teach these varying styles to the choir, including demonstrated ability to teach good vocal technique.
  • Possess effective interpersonal communication skills.
  • Possess good organizational skills.
  • Possess a positive attitude.
  • Must have as a core value diversity and inclusion.
The successful candidate will demonstrate creativity and initiative, strong organizational skills and a passion to grow the organization.
Salary: commensurate with qualifications and number of ensembles the candidate conducts. (Ranging from $6,000 - $16,000 annually).
Please send resume and a sample of work to:
Jayne Schuitema
Vocal Music Workshop
PO Box 68608
Grand Rapids, MI 49516
Or email to
Deadline for submitting resumes is April 30, 2014
An absolutely haunting piece - Kyrie Fahad Siadat, %16 %b %2014 %16:%Apr:%th 16AprGMT+0000
A haunting minimalist meditation on the Kyrie. Not technically demanding, but a mental challenge for any group. Can be sung entirely acapella or with an electronic looper for the soprano solo.
Hear the piece and see the score:
♪ Singing in Austria with Karen Kennedy - June 2015 Michael Clohesy, %16 %b %2014 %16:%Apr:%th 16AprGMT+0000
The invitation to
Austria Sings
JUNE 2015
KIconcerts: Singing in Austria with Karen Kennedy - June 2015
Every singer should have an invitation
to sing at least once in Vienna and Salzburg.

Perform in the land of
Mozart, Haydn, Mahler and other great masters.
Austria, the crucible of so much of our music.

Festival Gala concert, individual concerts
Immersion in this extraordinary culture
Touring, exploring and singing!

RSVP KIconcerts

Festival details | KIchoirs on Facebook | Contact KIconcerts
Divisional Convention Concert Recordings - EAST, NWEST Charles Peery, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000've successfully found recordings available from convention concerts for all divisions except Eastern and Northwestern.  I've scoured the Eastern program book, and looked online for Northwestern (I don't have a program book for that one.)   Does anyone know if these concerts were recorded and to whom one must go to obtain them?  Thanks in advance.
Chuck in St. Louis
H+H Singers Conductor, Handel and Haydn Society William Pappazisis, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000
Vocal Arts Program
The Handel and Haydn Society announces an opening for a Conductor of the H+H Singers from August 2014–June 2015.  Based on mutual agreement, the contract is renewable on an annual basis.
Founded in 1815, the Handel and Haydn Society (H+H) is America’s oldest continuously performing arts organization and will celebrate its Bicentennial in 2015.  Under Artistic Director Harry Christophers’ leadership, H+H’s mission is to perform Baroque and Classical music at the highest levels of artistic excellence and to share that music with as large and diverse an audience as possible.
The Vocal Arts Program (VAP) provides choral training and music classes to students in grades 3-12 on Saturdays throughout the school year at Boston Latin School.  VAP currently serves 150+ students from various ethnic and economic backgrounds in 52 communities throughout the New England region.  In addition to YMC, instruction in the Vocal Arts Program includes four other choral ensembles (Youth Chorus, Young Men’s Chorus, Young Women’s Chorus, Young Women’s Chamber Choir), musicianship classes, and a selective High School Soloists scholarship program for private instruction.  Families in VAP are given the opportunity to attend H+H concerts at Symphony Hall three times a year free of charge.
Founded in 1999, H+H Singers is currently comprised of approximately 30 children representing grades 3–5.  The mission of H+H Singers is to instill a long-lasting love for singing.  It is in this ensemble where students learn fundamental singing and aural skills, with a focus on the development of the head voice, and singing with a natural, free, and open tone.  The ensemble’s performance repertoire encompasses folk songs, children’s songs, spirituals, multicultural music, and arrangements of Baroque, Classical, and other vocal art music in unison, and two, and sometimes, three parts.  H+H Singers performs at the two major VAP youth choral concerts, as well as concerts at the Boston Children’s Museum, and the Handel and Haydn’s annual Society Ball.  The students also attend a forty-minute musicianship class, where they develop aural, listening, and music literacy skills.
Handel and Haydn Society seeks a highly qualified choral conductor to coach, lead and teach the H+H Singers, a choir of approximately 30 children’s voices representing grades 3–5.  Members are selected by audition, and demonstrate musical aptitude and potential.  Singers performs a wide variety of sacred and secular repertoire drawing from folk music, spirituals, and arrangements of developmentally appropriate classical music, primarily in two parts.
This position reports to the Assistant Director, Education and is part of a team of 18 education faculty members, which includes conductors, musicianship teachers, collaborative pianists, and a vocal quartet.
Duties include:
  1. Teaching and conducting weekly a one-hour rehearsal (additional rehearsals as needed) on Saturdays, 9:30-10:30, September – May.  The program is housed at the Boston Latin School
  2. Plans and selects repertoire for 4-5 concerts annually; should have an entrepreneurial drive to seek out new run-out performances and other performance opportunities.
  3. Prepares the chorus for occasional special community events upon request, when the season’s schedule permits.
  4. Helps recruit and auditions new students throughout the year.
  5. Writes annual student evaluation forms.
  6. Keeps track of student attendance at each rehearsal and concert; contacts absent students and parents by e-mail or telephone. 
  7. Supervises a collaborative pianist.
  8. Meets with board members, donors, and funders to participate and/or speak at board meetings, educational or social events generating interest and goodwill.
  9. Addresses parents in the annual orientations to explain expectations and procedures.
  10. Attends periodic faculty meetings throughout the course of the season held at the H+H main offices.
Candidates should have:
  • Minimum of five years of music teaching experience at the elementary level and excellent command of vocal/choral performance methods and techniques, including those that specifically the development of young children’s voices.
  • Should be detail oriented, with excellent rehearsal time-management skills, as well as strong verbal communication, organizational and logistical planning skills.
  • Ability to inspire elementary-age singers through singing and the choral art.
  • Choral conducting experience is required.  Candidates should have extensive knowledge of the children’s choral repertoire suitable for students who are in grades 3–5.
  • Master’s degree with extensive training in choral conducting and choral methods preferred.
  • Keyboard skills are helpful, but not required (a pianist is provided.) 
This is a ten-month position during the school year (classes begin September 2014.)  Compensation will be commensurate with experience and paid in ten monthly installments.  The Conductor's engagement will be as an independent contractor for tax and employment law purposes; accordingly, so-called fringe or employee benefits, including workmen’s compensation, will not be provided. The Handel and Haydn Society is committed to diversity in its Vocal Arts Program by maintaining a faculty that represents the traditions and voices of contemporary Boston. Interviews will not be scheduled until we have a diverse pool of candidates from which to select. The conductor will receive complimentary tickets to H&H concerts at Symphony Hall, or other events.
  • Candidates must submit a cover letter, a current resume, and three references online at
  • Candidates who do not complete an initial online application will not be considered.
  • Supplementary materials, such as recent choral concert programs conducted by the candidate; a DVD/CD of a performance are optional.
  • Credentials and supplementary materials will not be returned to candidates.
  • The filing deadline is Wednesday, May 7; interviews will be held May 9 – May 21.  Finalists will be notified by May 24.  Auditions for final candidates will be held on May 31, 2014, and will include rehearsal and/or classroom site visits in the candidate’s current position.  Finalists will be required to demonstrate their musical proficiency on their major instrument or voice.
All applicants must complete an initial online application at:
Supplementary materials only should be mailed or delivered to:
            William T. Pappazisis, Assistant Director, Education
            Handel and Haydn Society
            300 Massachusetts Avenue
            Boston, MA 02115
            617 262 1815 x126
Youth Chorus Conductor, Handel and Haydn Society William Pappazisis, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000
Vocal Arts Program
The Handel and Haydn Society announces an opening for a Conductor of the H+H Youth Chorus from August 2014-June 2015.  Based on mutual agreement, the contract is renewable on an annual basis.
Founded in 1815, the Handel and Haydn Society (H+H) is America’s oldest continuously performing arts organization and will celebrate its Bicentennial in 2015.  Under Artistic Director Harry Christophers’ leadership, H+H’s mission is to perform Baroque and Classical music at the highest levels of artistic excellence and to share that music with as large and diverse an audience as possible.
The Vocal Arts Program (VAP) provides choral training and music classes to students in grades 3-12 on Saturdays throughout the school year at Boston Latin School.  VAP currently serves 150+ students from various ethnic and economic backgrounds in 52 communities throughout the New England region.   In addition to Youth Chorus, instruction in the Vocal Arts Program includes four other choral ensembles (Singers, Young Men’s Chorus, Young Women’s Chorus, Young Women’s Chamber Choir), musicianship classes, and a selective High School Soloists scholarship program for private instruction.  Families in VAP are given the opportunity to attend H+H concerts at Symphony Hall three times a year free of charge.
Founded in 1994, the Handel and Haydn Society Youth Chorus was the first Vocal Arts Program ensemble. Today, the ensemble’s 50 members come from nearly 30 communities and sing repertoire that ranges from classical music to spirituals, folksongs, and world music.  Inspiring adolescent singers, and to challenge them to achieve their musical best, the Youth Chorus is an ensemble for boys and girls in grades 6–8.  It features approximately 50 members from the eastern half of Massachusetts.  The ensemble performs a broad range of repertoire from the Baroque and Classical periods, along with folk songs, spirituals, and contemporary music.  Youth Chorus made its Symphony Hall debut in 1999, joining the Handel and Haydn Society ensemble for the world premiere of Dan Welcher’s oratorio, JFK: The Voice of Peace. Youth Chorus performed at the dedication of the Leonard P. Zakim Bunker Hill Memorial Bridge on national television with Bruce Springsteen in 2003, at the Democratic National Convention in 2004, at the American Choral Directors Association (ACDA) division conference in New York City in 2006, and in Vox Lumiere’s rock opera The Hunchback of Notre Dame at the Cutler Majestic Theatre in 2009. Youth Chorus has also been featured in performances ofCarmina Burana by Boston College ensembles, the Brookline Chorus, and Heritage Chorale.  The Youth Chorus performed in the Boston Lyric Opera’s production of Jack Beeson’s Lizzie Borden during it’s 2013–2014 season.  The ensemble performs regularly at ACDA children’s chorus festivals and at Handel and Haydn’s annual Society Ball.
Handel and Haydn Society seeks a highly qualified choral conductor to coach, lead and teach the Youth Chorus, a choir of approximately 50 middle school singers.  Participating students are from grades 6–8; members are selected by audition, and demonstrate musical aptitude and potential.  Youth Chorus frequently with other choirs in the program at various performances.
This position reports to the Assistant Director, Education and is part of a team of 18 education faculty members, which includes conductors, musicianship teachers, collaborative pianists, and a vocal quartet.
Duties include:
  1. Teaching and conducting weekly a two-hour rehearsal (additional rehearsals as needed) on Saturdays, 9:00-11:30, September – May.  The program is housed at the Boston Latin School
  2. Plans and selects repertoire for 4-6 concerts annually; should have an entrepreneurial drive to seek out new run-out performance and possible tour opportunities.
  3. Prepares the chorus for occasional special community events upon request, when the season’s schedule permits.
  4. Helps recruit and auditions new students throughout the year.
  5. Writes annual student evaluation forms.
  6. Keeps track of student attendance at each rehearsal and concert; contacts absent students and parents by e-mail or telephone. 
  7. Supervises a collaborative pianist.
  8. Meets with board members, donors, and funders to participate and/or speak at board meetings, educational or social events generating interest and goodwill.
  9. Addresses parents in the annual orientations to explain expectations and procedures.
  10. Attends periodic faculty meetings throughout the course of the season held at the H+H main offices.
Candidates should have:
  • Minimum of five years of music teaching experience at the music school level and excellent command of vocal/choral performance methods and techniques, including those that specifically address the adolescent singer and the changing voice.
  • Should be detail oriented, with excellent rehearsal time-management skills, as well as strong verbal communication, organizational and logistical planning skills.
  • Demonstrate outstanding personal musicianship.
  • Ability to inspire middle school-age singers through singing and the choral art.
  • Choral conducting experience is required.  Candidates should have extensive knowledge of choral repertoire in classical music ranging from early music, baroque and classical eras, as well as experience in world music, folk, and contemporary music, all suited for middle school singers.
  • Master’s degree with extensive training in choral conducting and choral methods preferred.
  • Keyboard skills are helpful, but not required (a pianist is provided.) 
This is a ten-month position during the school year (classes begin September 2014.)  Compensation will be commensurate with experience and paid in ten monthly installments.  The Conductor's engagement will be as an independent contractor for tax and employment law purposes; accordingly, so-called fringe or employee benefits, including workmen’s compensation, will not be provided. The Handel and Haydn Society is committed to diversity in its Vocal Arts Program by maintaining a faculty that represents the traditions and voices of contemporary Boston. Interviews will not be scheduled until we have a diverse pool of candidates from which to select. The conductor will receive complimentary tickets to H&H concerts at Symphony Hall, or other events.
  • Candidates must submit a cover letter, a current resume, and three references online at
  • Candidates who do not complete an initial online application will not be considered.
  • Supplementary materials, such as recent choral concert programs conducted by the candidate; a DVD/CD of a performance are optional.
  • Credentials and supplementary materials will not be returned to candidates.
  • The filing deadline is Wednesday, May 7; interviews will be held May 9 – May 21.  Finalists will be notified by May 24.  Auditions for final candidates will be held on May 31, 2014, and will include rehearsal and/or classroom site visits in the candidate’s current position.  Finalists will be required to demonstrate their musical proficiency on their major instrument or voice.
All applicants must complete an initial online application at:
Supplementary materials only should be mailed or delivered to:
            William T. Pappazisis, Assistant Director, Education
            Handel and Haydn Society
            300 Massachusetts Avenue
            Boston, MA 02115
            617 262 1815 x126
Young Men's Chorus Conductor, Handel and Haydn Socety William Pappazisis, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000
Vocal Arts Program
The Handel and Haydn Society announces an opening for a Conductor of the Young Men’s Chorus, from August 2014–June 2015.  Based on mutual agreement, the contract is renewable on an annual basis.
Founded in 1815, the Handel and Haydn Society (H+H) is America’s oldest continuously performing arts organization and will celebrate its Bicentennial in 2015.  Under Artistic Director Harry Christophers’ leadership, H+H’s mission is to perform Baroque and Classical music at the highest levels of artistic excellence and to share that music with as large and diverse an audience as possible.
The Vocal Arts Program (VAP) provides choral training and music classes to students in grades 3-12 on Saturdays throughout the school year at Boston Latin School.  VAP currently serves 150+ students from various ethnic and economic backgrounds in 52 communities throughout the New England region.   In addition to YMC, instruction in the Vocal Arts Program includes four other choral ensembles (Singers, Youth Chorus, Young Women’s Chorus, Young Women’s Chamber Choir), musicianship classes, and a selective High School Soloists scholarship program for private instruction.  Families in VAP are given the opportunity to attend H+H concerts at Symphony Hall three times a year free of charge.
Founded in 2006, the Handel and Haydn Society’s Young Men’s Chorus provides a vigorous and musically challenging experience for young males with changing and changed voices (grades 8-12).   Inspiring young men to sing and to challenge them to achieve their musical best, the Young Men’s Chorus is an ensemble for changed male voices (grades 8–12) features approximately 30 members from the eastern half of Massachusetts.  It performs a broad range of repertoire from the Baroque and Classical periods, along with folk songs, jazz, spirituals, and contemporary a cappella music.  The Young Men’s Chorus’ mission is to allow these singers to study and perform repertoire from a wide variety of styles, time periods, and languages. Musical selections range from early and late classical music, to world, folk, and contemporary a cappella music. The Young Men’s Chorus has performed at Symphony Hall, Tufts University, the National Heritage Museum, Worcester Polytechnic Institute (WPI), and the Cutler Majestic Theatre, as well as at Handel and Haydn’s Society Ball, the 2011 MMEA All-State Conference, the Lowell Mason House, and the Massachusetts Superintendents’ Roundtable.  The Young Men’s Chorus and Young Women’s Chorus performed with New England Conservatory’s Youth Chorale and Youth Philharmonic Orchestra in the world premiere of Amato’s Illuminessence, an interfaith oratorio.  Both the Young Men’s and Young Women’s Choruses have appeared on Symphony Hall stage in the Handel and Haydn Society’s performances of Bach’s St. Matthew Passion in 2013 at Symphony Hall.  The 2013­–2014 season featured the ensembles in Symphony Hall performances of Vivaldi’s Gloria¸ and Handel’s Foundling Hospital Anthem.
Handel and Haydn Society seeks a highly qualified choral conductor to coach, lead and teach the Young Men’s Chorus, a choir of approximately 30 changing and changed male voices.  Participating students are from grades 8-12; members are selected by audition, and demonstrate musical aptitude and potential.  YMC frequently with the Young Women’s Chorus to perform music for SATB voices from the Baroque and Classical periods.
This position reports to the Assistant Director, Education and is part of a team of 18 education faculty members, which includes conductors, musicianship teachers, collaborative pianists, and a vocal quartet.
Duties include:
  1. Teaching and conducting weekly a 2 ½-hour rehearsal (additional rehearsals as needed) on Saturdays, 9:00-11:30, September – May.  The program is housed at the Boston Latin School
  2. Plans and selects repertoire for 4-6 concerts annually; should have an entrepreneurial drive to seek out new run-out performance and possible tour opportunities.
  3. Prepares the chorus for occasional special community events upon request, when the season’s schedule permits.
  4. Helps recruit and auditions new students throughout the year.
  5. Writes annual student evaluation forms.
  6. Keeps track of student attendance at each rehearsal and concert; contacts absent students and parents by e-mail or telephone. 
  7. Supervises a collaborative pianist and 1-2 student assistants.
  8. Meets with board members, donors, and funders to participate and/or speak at board meetings, educational or social events generating interest and goodwill.
  9. Addresses parents in the annual orientations to explain expectations and procedures.
  10. Attends periodic faculty meetings throughout the course of the season held at the H+H main offices.
Candidates should have:
  • Minimum of five years of music teaching experience at the high school level and excellent command of vocal/choral performance methods and techniques, including those that specifically address the development of the adolescent and high school male voice.
  • Should be detail oriented, with excellent rehearsal time-management skills, as well as strong verbal communication, organizational and logistical planning skills.
  • Ability to inspire high school-age singers through singing and the choral art.
  • Choral conducting experience is required.  Candidates should have extensive knowledge of choral repertoire in classical music ranging from early music, baroque and classical eras into contemporary classical works, as well as some experience in world music, folk, jazz or contemporary a cappella music, all suited for adolescent and teen male singers.
  • Master’s degree with extensive training in choral conducting and choral methods preferred.
  • An affiliation with a college or university is a plus. 
  • Keyboard skills are helpful, but not required (a pianist is provided.) 
This is a ten-month position during the school year (classes begin September 2014.)  Compensation will be commensurate with experience and paid in ten monthly installments.  The Conductor's engagement will be as an independent contractor for tax and employment law purposes; accordingly, so-called fringe or employee benefits, including workmen’s compensation, will not be provided. The Handel and Haydn Society is committed to diversity in its Vocal Arts Program by maintaining a faculty that represents the traditions and voices of contemporary Boston. Interviews will not be scheduled until we have a diverse pool of candidates from which to select. The conductor will receive complimentary tickets to H&H concerts at Symphony Hall, or other events.
  • Candidates must submit a cover letter, a current resume, and three references online at
  • Candidates who do not complete an initial online application will not be considered.
  • Supplementary materials, such as recent choral concert programs conducted by the candidate; a DVD/CD of a performance are optional.
  • Credentials and supplementary materials will not be returned to candidates.
  • The filing deadline is Wednesday, May 7; interviews will be held May 9 – May 21.  Finalists will be notified by May 24.  Auditions for final candidates will be held on May 31, 2014, and will include rehearsal and/or classroom site visits in the candidate’s current position.  Finalists will be required to demonstrate their musical proficiency on their major instrument or voice.
All applicants must complete an initial online application at:
Supplementary materials only should be mailed or delivered to:
William T. Pappazisis, Assistant Director, Education
Handel and Haydn Society
300 Massachusetts Avenue
Boston, MA 02115
            617 262 1815 x126
Northern Virginia Musican Seeks Employment Ryan Pick, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000 name is Ryan Pick and I graduated with a Bachelor's Degree in Music Education in 2003 from Shenandoah Conservatory of Music located in Winchester, VA. I was a voice major piano minor. I am currently a professional singer, flute player, composer, conductor, and private music instructor (voice, flute, piano, composition) living in Woodbridge, VA. I am a licensed Music Teacher in the state of Virginia. I have experience teaching band, choir, orchestra, general music, and hand bells/chimes. Currently, I am a General Music Teacher for Fairfax County Public Schools. I am also an Assistant Choral Director of a non-profit community chorus located in Prince William County, VA as well as the Choir Director of a Lutheran Church also located in Prince William County, VA. To date, I have performed with, written for, and directed over 25 musical ensembles ranging from Choral to Instrumental.
I am currently seeking a part-time music position, either with a Church or a Community ensemble.
2014 MS/JH National Conference for Choral Music Brian Murray, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000 
Online registration for the 2014 MS/JH National Conference for Choral Music is open. This conference takes place at the campus of the University of North Texas (Denton, TX). Costs are incredibly low for this one day event--$40.00 (plus lunch) for current teachers. Click below to register for this wonderful professional development opportunity that focuses on middle school / junior high choral music.
2014 MS Conference Flyer
Schola Cantorum on Hudson: Beyond Words Darlene Wyzga, %16 %b %2014 %15:%Apr:%th 15AprGMT+0000 Performances in Manhattan and Montclair
Beyond Words Choral Concert
— to include media illustrations —
Saturday, May 17, 2014 (New York, NY)
Sunday, May 18, 2014 (Montclair, NJ)
Half a century after Leonard Bernstein’s groundbreaking series of Young People’s Concerts, Schola Cantorum on Hudson asks the same fundamental question of a new century’s young people: “What is music?” Including the beloved Chichester Psalms and other Bernstein favorites, the concerts contain choral settings of several well-known instrumental selections, and one concluding selection that will invite audience participation. Following the popular success of the media element in Schola’s March concerts, audience members, will be able to access a parallel media production created for the event on their electronic devices.

Children under the age of 12 who bring an adult are admitted free of charge, and all are urged to bring an eDevice (tablet, smartphone, etc) for access to media illustrations (made available through log-in instructions at the concerts) that parallel the familiar stories being presented. The concerts focus on the evocative power of music in our lives.

Tickets for the concerts can be purchased in advance on the Schola web site for $20 or at the door for $25. All of Schola’s concerts are produced both in Manhattan (Church of St. Paul the Apostle, just south of Lincoln Center) and in Montclair, NJ (Church of the Immaculate Conception). Be sure to subscribe to our mailing list to ensure timely notice of SCH news:
Chichester Psalms performed by Evergreen Chorale and JSO Christine Gaudreau, %16 %b %2014 %14:%Apr:%th 14AprGMT+0000 Evergreen Chorale, Christine Gaudreau Musical and Artistic Director, in conjunction with Jefferson Symphony, Dr. William Morse will perform a concert featuring Bernstein's Chichester Psalms on April 25, 7:30 pm at Bethany Lutheran Church, Denver, (Cherr and on April 27, 4:30 pm  at Rockland Community Church, Golden.  In honor of Holocaust Remembrance Day (4/27), both groups are performing also John William's Three Pieces from Schindler's List, Whitacre's 5 Hebrew Love Songs, two pieces with texts from Solomon:  Set Me as a Seal by Clausen and Arise Beloved by Powell, as well as Ola Gjeilo's Across the Vast, Eternal Sky.  In addition the program contains the premiere of Franz Roehmann's In Times Like These for chamber choir and strings - a piece set to the visionary 1935 poem by German poet Peter Gan.  Acclaimed violinist Gregory Walker is featured as soloist for the John Williams and Eric Whitacre selections and the concert will be conducted by Christine Gaudreau.  For more information and ticket see ]]>Music for High School Choir and Band James Mauk, %16 %b %2014 %12:%Apr:%th 12AprGMT+0000 school is toying with the idea of doing a joint concert with the choir and band programs. We're looking for a good piece for choir and band to perform together as a finale for the concert. The band is good, and the choir regularly does advanced repertoire. We're looking for something that makes for a good finale and would not be extremely vocally taxing. Any suggestions would be great!
Jake Mauk
Alto Section Leader Neeeded! Andrew Kilkenny, %16 %b %2014 %11:%Apr:%th 11AprGMT+0000
Alto section leader needed for Easter Vigil, and Easter Sunday. 6:30 Call time for 7:30pm Easter Vigil Service on 4/19, and 9:30am Call time for 10:30am service on Easter Sunday. Have all music available in PDF format, If interested please contact me at
When Emailing me, please provide a repertoire list and/or Resume.
Look forward to hearing from you. $60 per call for a total of $120
Thank you,
Andrew Kilkenny
Bass Section LEader Needed Andrew Kilkenny, %16 %b %2014 %11:%Apr:%th 11AprGMT+0000
BASS section leader needed for Easter Vigil, and Easter Sunday. 6:30 Call time for 7:30pm Easter Vigil Service on 4/19, and 9:30am Call time for 10:30am service on Easter Sunday. Have all music available in PDF format, If interested please contact me at
When Emailing me, please provide a repertoire list and/or Resume.
Look forward to hearing from you. $60 per call for a total of $120
Thank you,
Andrew Kilkenny
Ave Maria (SSATB choir) Cheryl Camm, %16 %b %2014 %12:%Apr:%th 12AprGMT+0000 newest piece commissioned earlier this year by the Rock Festival Choir in Northumberland and premiered by them in their Spring Concert in March is a cheery setting of "Ave Maria".
It is rhythmically vital and has an obbligato tambourine part.
You can see a score sample, purchase copies, and hear the world premiere performance (towards the bottom of the page) here:
It proved very popular indeed with the choir and the audience, so I hope some of you will also enjoy performing it!
Cheryl Camm
The Age Old Reason for Joy Robin Mayhew, %16 %b %2014 %11:%Apr:%th 11AprGMT+0000 new and free Christmas Carol for everyone.  Everything needed for learning and performance is available as free downloads from the dedicated page on my website - the SATB score, a 2 part score for schools, the words and accompaniment plus other aids.  You can also see and hear a performance via a link to YouTube on the same page. ]]>Calling all California Choirs - the Mission Day Festival is here! Brian Dehn, %16 %b %2014 %11:%Apr:%th 11AprGMT+0000
A special statewide observance will be held to commemorate the 300th birthday of Fr. Junípero Serra and the history surrounding the establishment of the twenty-one missions of our 31st state. The event will reflect upon the contributions of California Indians during the Spanish Mission era, including presentations by Native American youth and Andrew Galvan, Mission Indian, reflecting on this period of widespread adversity and rapid change.
Treble and mixed-voice choirs, singers grades 4-12, will lead in these simultaneous commemorative programs, singing at two of California's most representative missions - Old Mission Santa Barbara and San Francisco’s Mission Dolores. Singers will present accessible and representative songs sung during the missions’ history. Music will be supplied at no cost to all choirs.
This is phenomenal educational and musical experience. It is a wonderful chance to explore new and exciting music, learn so much about our State's history, and of course, see firsthand the beauty of two of our California Missions. Both festivals will happen simultaneously - a true sign of solidarity and a desire to share our history.
Saturday, May 10, 2014 • 1:30 pm

All California Student Choirs are invited to participate in this historic event.
Information can be found at:
You can also contact the Pueri Cantores office at (714) 633-7554 or
Tips on how to look for repertoire? Sharon Henderson, %15 %b %2014 %23:%Apr:%th 23AprGMT+0000'm currently a music education student in college.  I have some questions about how to get started picking out chorale repetoir.  Any tips from picking elementary school repertoire all the way up to high school repertoire would be helpful. So, here are my questions:
-Where are some good places to look for repertoire?
-What are some things to look for or avoid when picking repertoire? 
-What is some repertoire that you have found student really connect to and enjoy? 
Calling all DON NEUEN students (past and present) Rebecca Lord, %16 %b %2014 %09:%Apr:%th 9AprGMT+0000 Don Neuen has been your conductor, teacher, mentor, or an inspiration in your life, we want to invite you to join us in celebrating and thanking him! After 60 years of conducting and 50 years of collegiate teaching, he is retiring from UCLA and preparing to launch into a more active phase of guest conducting, clinician work, and private teaching. His music ministry with the Hour of Power will also continue with gusto! I am sure if you were to see him conduct/teach, you would swear he’s never changed, except he’s better!
Don is still filled with the energy of a 45-year-old and his UCLA student evaluations are overwhelmingly positive. In fact, Don was just selected by the UCLA student body for a prestigious award, the My Last Lecture Award. This is the only student-selected award available for a faculty member and an enormous honor. Don was also recently awarded the highest honor available to a University of California faculty member, the rank of Distinguished Professor.
We are preparing a celebration to honor Don in conjunction with his final UCLA performance June 7th at 8 p.m. in Royce Hall at UCLA. We are reaching out to Don’s former students around the world to share their voices, memories, gratitude, and love with our teacher and mentor, who is near and dear to us all.
We would like to invite you to submit (via e-mail to ) the following:
  • Your contact information so Don can reach you and include you in updates and news
  • A brief note of gratitude and any fun memories you may have. Also include your major accomplishments since his time with you, and how his teaching impacted your life.
  • Any relevant photographs you may have
These will be used to create a book, “Don Neuen’s Life in Song” which we will present to Don for his retirement.
If you are available to attend Don’s June 7th concert in Los Angeles, it would mean the world to him! Please RSVP to Rebecca Lord so we can make arrangements for tickets and include you in post-concert festivities. The concert will include Beethoven’s C Major Mass, Choral Fantasy, and Hallelujah from “The Mount of Olives.”
I hope to hear from you soon!
Rebecca Lord, Associate Director of Choral Activities, UCLA
JANAČEK´S PRAGUE 2014 - competition of young vocal singers and vocal groups Michal Švarc, %16 %b %2014 %08:%Apr:%th 8AprGMT+0000 agency CTA in cooperation with Prague Conservatory announced competition of young vocal singers and vocal groups in the frame of Year if Czech music.
The year 2014 is a remarkable year for Czech music, with over sixty prominent Czech composers, performers, and musical organizations celebrating anniversaries incl. Leoš Janáček.
Categories: SOLOISTS

A/ Younger children´s group (9 - 11)
B/ Older children´s group (12 - 14)

C/ Youth group I. (15 - 17)

D/ Youth group II. (18 – 20)

E/ Conservatory students (15 - 20)


A/ Children´s (till 15 years)
B/ Youth (16 – 20 years)
C/ Adult (over 20 years)

1/ Classical vocal ensembles (á capellá)
2/ Ensembles with folk and country music repertoire
3/ Ensembles with pop-music and jazz repertoire (only for groups B/ and C/)

Registration deadline is 8th September 2014.

For more info & to register, please visit:


Church Music Search Larry Schultz, %16 %b %2014 %04:%Apr:%th 4AprGMT+0000
an annual and international contest for composers and authors
RALEIGH, NC, April 15, 2014– The Music Ministry of Pullen Memorial Baptist Church, Raleigh, North Carolina, USA, is pleased to announce its first Church Music Search, a contest for composers and authors. This annual and international search calls for the creation of congregational hymns, choral anthems and orchestral music that engage and exclaim liberal Christian theology and associated themes.  Each year a different musical category and theological theme will be selected to resource Pullen and other theologically-liberal congregations with artistic and meaningful church music.
The 2015 search is for an SATB choral anthem suitable for adult choirs with keyboard accompaniment (organ or piano). Other optional instrumental parts may be included. The text of the anthem should express the meaning and celebration of Easter from a theologically-liberal viewpoint. 
An award of $1500 will be given to the creator of the winning selection (or divided equally between author and composer).  Though the Pullen Music Ministry will retain the right to print and use the winning selection in perpetuity, copyright will remain with the creator(s) and a publisher will be sought for the winning composition. 
Entries are submitted electronically and will be accepted through February 1, 2015. Find submission guidelines and enter at:
For additional information contact Larry E. Schultz at
2014 UMass Summer Conducting Institute Tony Thornton, %16 %b %2014 %03:%Apr:%th 3AprGMT+0000
2014 UMass Conducting Institute: Wednesday, July 23 - Saturday, July 26
For four days this summer, join conductors Tony Thornton, Wayne Abercrombie, and Stephen Paparo for daily conducting master classes, seminars, and discussions to hone your conducting skills with both choral and instrumental ensembles. Public and private school music educators, church and community choir conductors, and graduate-student conductors are invited to apply for one of the 8 Institute Conducting Fellow positions. Undergraduate students who have completed two semesters of conducting study may apply. Those wishing to attend the Institute as an auditor/observer may do so for a reduced fee. 
•    Generous podium time in front of the Institute Chorus (approximately 90 minutes!) 
•    Conducting fellows will receive 2 private conducting lessons
•    Work with our resident string quartet
•    Improve and build your gestural vocabulary 
•    Learn to apply musical analysis (historical, structural, and vocal) directly to your conducting technique
•    Explore effective rehearsal techniques and warm-ups
•    Learn group vocal techniques to develop a beautiful and stylistically appropriate ensemble sound
•    Feldenkrais for Conductors with Dr. Stephen Paparo
•    Network with colleagues 
Music educators in Massachusetts will receive Professional Development Points (PDPs) for their participation. Graduate credit is available ($145 for one credit; $245 for two credits) through UMass Continuing Education.
Email Tony Thornton at for more information or visit the website:
Early registration is recommended.
Registration deadlines:  May 31, 2014 (early registration)
                                June 15, 2014 (late registration) 
AN EVENING WITH JOSEPH FLUMMERFELT & THE MCE Lexi Scholes, %16 %b %2014 %03:%Apr:%th 3AprGMT+0000


Saturday, May 10, 2014, at 8:00pm


St. Jean Baptiste Church

East 76th Streetand Lexington Avenue

New York City 10020


RACHMANINOFF Bogoroditse Devo

STRAVINSKY Pater noster, Ave Maria, Credo

MENDELSSOHN Verleih uns FriedenRichte mich, Gott

BRAHMS Neue Liebeslieder Waltzes, Op. 65, No. 1, 2, 7, 13, 14, 15






The Manhattan Choral Ensemble welcomes Joseph Flummerfelt to the podium in an evening of favorites from the Maestro’s 30-year conducting career. Chorus Master to the New York Philharmonic, former Artistic Director of Westminster Choir College, and Musical America’s 2004 Conductor of the Year, Dr. Flummerfelt has selected a program of works by Mendelssohn, Brahms, Rachmaninoff, and Stravinsky, with a closing set of his own arrangements of beloved folk songs.


Tickets: $30 Premium Reserved, $20 General, $15 Senior/Student

Scholarly Abstraction: Diction Texts Scott Dorsey, %24 %b %2014 %21:%Jan:%th 21JanGMT+0000
(The abstract to the article “The Many Facets of Madeleine Marshall: A Historical and Cultural
Perspective of Madeleine “Graham Jones” Marshall Simon (1899-1993), Author of The Singer’s Manual of English Diction,” by Sheri Cook-Cunningham, published in the International Journal of Research in Choral Singing)
Madeleine Marshall Simon (1899-1993), a pianist turned vocal coach, enjoyed wide acclaim as an expert in English diction through her teaching career at The Juilliard School (1935-1986) and particularly after publication of her book, The Singer's Manual of English Diction (first published in 1953). By means of primary source materials, including an early version of her textbook containing her handwritten notes, personal correspondence from her time at Juilliard, and a handwritten phonetic transcription for Lily Pons, this historical investigation explores Marshall's life and career with specific attention to the cultural and professional contexts that informed her work. The argument advanced is that The Singer’s Manual of English Diction endured due to Marshall’s social and professional connections coupled with her comprehensive knowledge of the subject of diction.
(“Scholarly Abstractions” is a feature highlighting brief abstracts from recent graduate projects in choral music and research published in the IJRCS.  To share your thesis abstract, contact Scott Dorsey at
Conference Morsel: Singing the Great Composers Scott Dorsey, %08 %b %2014 %20:%Mar:%th 20MarGMT+0000
(An excerpt from the interest session “Masters in Miniature: Singing the Great Composers with a Small Choir,” presented by David Rayl and Zebulon M. Highben during the 2014 ACDA Central Division Conference)
       The vast treasure trove of Renaissance music provides a wonderful resource for choirs of all types. Consider a piece like Dowland's lute song "Come again, sweet love doth now invite."  It can be performed unaccompanied, like an English madrigal, but it also works well with the accompaniment of classical guitar. See the following edition:    Alternatively, but less desirable, one could use the harpsichord stop on an electronic keyboard. Treble choirs (for example a 7th or 8th grade female ensemble) can sing just the soprano line with guitar accompaniment. Because these lute songs are strophic, another performance option is the alternation of verses between those sung by an SATB ensemble and those sung by just sopranos. These lute songs have another advantage over the 'typical' madrigal by Morley and his contemporaries--the poetry is much stronger.
       There are other works from the Renaissance that have the same flexibility in terms of performing forces. For example chansons such as Sermisy's "Tant que vivray" can be approached in any of the ways described above.
       The authors strongly urge conductors of choirs of ALL types to explore the possibilities inherent in this vast and still largely untapped repertoire.
Director of Music/Organist Joel Bevington, %16 %b %2014 %02:%Apr:%th 2AprGMT+0000
  • Rayne Memorial United Methodist Church

Position Title:  Director of Music/Organist

Responsible to:  Senior Pastor, Staff-Parish Relations Committee


Position Summary

Our music ministry is an essential part of the traditional worship services, offering meaningful sacred music in support of and enriching the experience of congregational worship. We seek a Director of Music/Organist to continue this long tradition of providing high-quality music for our worship services, including choral, instrumental, and vocal solo. A master’s degree in music or equivalent experience is required. The director of music will be responsible for preparing and leading the Chancel Choir, developing the children’s choirs, and providing music for weddings and funerals. Because sacred music is not only a performance, but an act of worship, it is desirable that the choir director/organist be not only a gifted and qualified musician, but also a person of faith.



  • Mastery of organ and key board
  • Experience and training in choral conducting
  • Versatility with diverse styles of worship music
  • Administrative and planning skills
  • Experience working with children and young adults is desirable 


Key Responsibilities

  • Assist the pastor in planning worship and choosing music consistent with the scripture lessons, liturgical seasons, and worship themes
  • Direct, rehearse, and accompany the Chancel Choir for the 11 am weekly worship services
  • Direct, rehearse, and accompany soloist(s) for the 8:45 am Sunday worship service
  • Promote and develop a graduated choral program that includes children through adults
  • Plan and provide special music for services during Lent, Easter, Pentecost, Advent, and Christmas 
  • Be available to the Pastor for consultation as needed with regard to music for worship, weddings, and funerals
  • Consult with brides/grooms regarding wedding music
  • Provide help in finding replacements when absent
  • Responsible for care and maintenance of all musical instruments in the church, including the organ, all pianos, handbells, etc.
  • Seek opportunities for outreach to the community through music
  • Provide spiritual leadership and encouragement to those within area of responsibility
  • Provide visionary leadership in the growth of the church and its music program



Salary and benefits will be commensurate with the candidate’s qualifications and experience.  


Please send your resume to:

Interim Church Music Director Steve Edwards, %16 %b %2014 %01:%Apr:%th 1AprGMT+0000 Interim Church Music Director, Falmouth MA. 
The First Congregational Church of Falmouth, MA is seeking an Interim Music Director to provide direction and support for our Sunday morning worship service. The Interim Music Director will be responsible for selecting, rehearsing and performing two anthems by the Senior Choir of twenty voices for regular Sunday morning church services, and revitalizing a Children’s Choir. Ability to continue an existing Bell Choir would be a plus. The church has its own organist for this interim period. Those interested should contact Ed Celette, Chairman of the Music Committee by email:  ]]>
Estonian pronunciation guide Leonard Enns, %16 %b %2014 %01:%Apr:%th 1AprGMT+0000 anyone aware of a good resource for Estonian pronunication?
Leonard Enns
Renaissance motet--how to stay together on four different parts Allie Macisso, %15 %b %2014 %22:%Apr:%th 22AprGMT+0000! 
I am currently a sophomore music education major, and for my choral conducting class I am conducting Hassler's "Dixit Maria" to a high school choir.  This piece is a Renaissance motet, and the parts are very independent from each other.  How do I lead a rehearsal with the whole ensemble without everyone getting lost and falling apart? 
Thank you! 
Associate Director of Music (full-time) Peter DuBois, %15 %b %2014 %21:%Apr:%th 21AprGMT+0000
Associate Director of Music (full-time):  Large, metropolitan, socially active Presbyterian church, with a long-standing commitment to an active, visible ministry of music, seeks a full-time Associate Director of Music.  This is an integral part of our total worship and Christian education program.  Responsibilities include directing a graded choir program for children, directing and overseeing multiple handbell choirs, and working with the Director of Music/Organist in a comprehensive music and arts ministry.
Experience working with children is essential.  Bachelor’s degree in music is required, with three to five years’ experience working in a church music program.  Salary is commensurate with skills and experience.  Send letter of interest with a resumé including three professional references to:
Chair, Associate Director of Music Search Committee
c/o Third Presbyterian Church
4 Meigs Street
Rochester, New York  14607
Position to begin Summer, 2014.  Application deadline is May 15, 2014.
For full position description, and more information about the church and its programs, visit - or email for a position description
Youth Choir Tour Needing help Tom Council, %15 %b %2014 %21:%Apr:%th 21AprGMT+0000
Dear Colleagues:
It happens to us each year.  Pittsburgh is looking to be a bit of a challenge to find a church to host us.  So, we are having to move the route a little and we are now looking in the Erie, Pennsylvania area for Thursday June 26.
We also need to find a host church in the Memphis, Tn area for Saturday June the 28th.   One of our early commitments as backed out.  
This choir is performing the musical Godspell as a worship service.  If interested or need more information, please contact me direct and I will send more info.
Once again thanks for your help. 
Tom Council
Suggestions for popular pop songs good for beginning choir Chase Samuels, %15 %b %2014 %21:%Apr:%th 21AprGMT+0000, my kids in my afterschool choir LOVE popular modern music. They are a beginning choir, does anyone have any suggestions?
Also, does anyone have any suggestions on RECRUITING new members? Thanks!
UW-Eau Claire Choral Adjunct Position Alan Rieck, %15 %b %2014 %20:%Apr:%th 20AprGMT+0000
Choral Conductor-Music Educator. Instructional academic staff position (80%) in the Department of Music and Theatre Arts at the rank of Associate Lecturer beginning August 18, 2014.  
Masters degree from a regionally accredited institution in music education or choral conducting required, doctoral degree preferred.  Demonstrated success as a choral conductor required, experience at the collegiate level is desired. At least three years of demonstrated success as a middle or high school choral music teacher are required.  Commitment to equity and inclusiveness and /or ability to bring diverse perspectives and experiences to desired. 
Conduct Women’s Concert Chorale, Women’s Chorus, and Symphonic Choir (an SATB ensemble performing choral masterworks with orchestra).  Observe choral music education student teachers.  Other courses and responsibilities may be possible according to candidate interest and departmental need. Participate in recruiting and choral department events.
The Department of Music and Theatre Arts serves approximately 320 music majors and minors supported by 27 full-time and 9 part-time faculty.  The department and its musical programs are highly regarded in the state and region and enrich the Eau Claire community while providing outstanding academic opportunities.  Our faculty are well known for the quality of their performances and for their innovative teaching.  Academic programs include the BM degree in performance, theory and composition; the BME degree in instrumental, choral and general music education; the BA and BS degrees in music and music history.  All degree programs are fully accredited by NASM.  The department also serves 95 majors and minors supported by 6 full-time faculty and two staff in undergraduate programs in theatre arts and dance and offers BA degrees in theatre and theatre education, as well as a minor in dance.  Applicants are encouraged to peruse the department’s website at
UW-Eau Claire, an institution of approximately 11,500 students and 1400 faculty and staff, is consistently recognized as a top comprehensive university in the Midwest and is widely known as a leader in faculty-undergraduate research and study abroad.  We strive for excellence in liberal education and select graduate and professional programs through commitment to teaching and learning and dedication to our core values of diversity, sustainability, leadership, and innovation.  
The City of Eau Claire, situated at the confluence of the Chippewa and Eau Claire rivers, is at the center of a metropolitan area of approximately 100,000 people located 90 miles east of Minneapolis/St. Paul.  The area features beautiful parks and trails, strong public schools, a vibrant arts scene and local food culture, and abundant recreational opportunities.
Applications are submitted electronically.  Please follow instructions found on the following UW-Eau Claire Web site:  Once you are registered and logged in, please upload the following items:
  • Letter of application addressing position qualifications
  • Curriculum vita
  • Audio recording of 3 recently conducted choral  selections
  • Unofficial graduate school transcript(s)
  • Three current letters of recommendations
Please direct requests for additional information to:
                Nichole Akright, Academic Department Associate;
To ensure consideration, completed applications must be received by April 27, 2014.  However, screening may continue until position is filled.  The university reserves the right to contact additional references with notice given to the candidates at an appropriate time in the process.  Criminal background checks are required prior to employment.
UW-Eau Claire is an AA/EEO employer dedicated to enhancing diversity, equity, and inclusivity.
Solo Literature Thomas Sabatino, %15 %b %2014 %18:%Apr:%th 18AprGMT+0000 students often asked me to recommend a solo piece (art song, show tune, etc.) to learn and perform for an audition. Does anyone have a "Top 5" list of solo songs titles that would help a student "stand out" at an audition? I'm looking for top choices in every voice category. Thanks for any help! ]]>Director of Music – Salaried, part-time First United Methodist McDonough, GA Bryce Pringle, %15 %b %2014 %18:%Apr:%th 18AprGMT+0000
McDonough First United Methodist Church was founded in the mid-19th century. The church has grown into a healthy and vibrant congregation. It is a vital part of the community with its focus on missions, Christian education and service.
Director of Music – Salaried, part-time
Develops and leads the worship music ministry for McDonough First United Methodist Church in consultation with Senior Pastor and other staff/team members. Recruits, equips, motivates, supervises and shepherds volunteers, musicians and the laity in supporting all the music ministry needs of the church.

Job Duties and Responsibilities:
  • Collaborate with the Senior Pastor and staff in planning music for Sundays and all special services.
  • Recruit, equip, motivate, supervise and shepherd volunteers, musicians and the laity in support of music programming.
  • Develop musical teams and ensembles for services.
  • Communicate faithfully with the Senior Pastor and staff.
  • Participate in the life and ministry of the church.
  • Direct and/or manage all choirs during all services and rehearsals.
  • Additional duties as required by Senior Pastor and/or SPRC Chairman.
  • Personal relationship with Jesus Christ as Savior and Lord.
  • Strong interpersonal communication skills – highly developed ability to build relationships.
  • Skill in wide range of musical styles including Christian classics and contemporary.
  • Experience with technical aspects of services i.e., sound systems and lighting.
  • Ability to organize, coordinate and motivate musicians and technical team.
  • Bachelor’s degree in Music or related field, preferred
  • 5+ years’ experience in church related setting, preferred
Please send resumes to:
McDonough First United Methodist Church
Attn: Ms. Janis Price
151 Macon Street
McDonough, GA 30253
Deadline for submitting resumes May 16, 2014
Good Friday Worship with the Music of Purcell and Tavener John Cook, %15 %b %2014 %18:%Apr:%th 18AprGMT+0000 us on Good Friday, April 19th at 7pm at Westminster Presbyterian Church in Des Moines, IA for a service of Reflection and Rememberence on the Sacrifice of Jesus of Nazareth. The passion according to Luke's Gospel will be our guide as we honor Christ with selections from Funeral Music for Queen Mary by Henry Purcell and two anthems from renowned British composer John Tavener: The Lamb and Song for Athene.
Music is offered by the 35 member Westminster Chorale, Westminster Brass, Organist Mark Babcock and Minister of Music and Fine Arts, John Cook. This presentation is made possible by the Westminster Fine Arts Series.
For more information please visit and click on the [Fiine Arts Series] tab.
Announcing The Harold Rosenbaum Choral Conducting Institute Workshop – August 2014 in Buffalo, New York Jeffrey James, %15 %b %2014 %17:%Apr:%th 17AprGMT+0000
The 2014 Harold Rosenbaum Choral Conducting Institute Workshop will be held at the State University of New York at Buffalo from Sunday, Aug. 17 to Friday, Aug. 22, 2014.

This six-day event is open to choral conductors from around the world who wish to enhance their careers, expand their contacts and have an intensive experience with 2014 Ditson Conductor’s Award winner Dr. Harold Rosenbaum, one of the world’s leading choral conductors.

The HRCCI includes rehearsal and performance conducting opportunities, one-on-one instruction and individual guidance.

Rosenbaum has conducted over 1,600 concerts during his 40+ year career. He has conducted and taught at the Juilliard School, Queens College and Adelphi University, and is currently Associate Professor and Director of Choirs at the University at Buffalo.

The Institute is limiting enrollment to 12 conductors so each participant will receive close attention and hands-on guidance. Each attendee will receive a private lesson, plus opportunities to rehearse the choir comprised of the participants and others, with constructive feedback by Rosenbaum.

For complete details, including workshop brochure and application form, please visit Questions can be directed to Jeffrey James Arts Consulting at
Space still available for Oregon Bach Festival's Choral Teachers Workshop Elin England, %15 %b %2014 %17:%Apr:%th 17AprGMT+0000 is still time to sign up for the 2014 OBF Choral Teachers Workshop! Not only will you have the opportunity to see Anton Armstrong of St. Olaf College work with the 84 voice Stangeland Family Youth Choral Academy, you will also participate in Dr. Therees Hibbard's daily BodySinging classes and see how the SFYCA participants experience the engagement of the whole body when singing, and how that effects tone, phrasing, rhythmic integrity and musicality.  In addition, you will sharpen your conducting skills and rehearsal techniques in seminars led by Dr. Sharon Paul of the University of Oregon and Anton Armstrong, hear from the new Program Director of Master Class in Conducting, Edward Maclary, and observe a rehearsal of the Master Class led by Helmuth Rilling.
Workshop dates are July 3 – July 7.  Registrants are welcome to arrive earlier and stay later to observe additional SFYCA rehearsals. The registration fee is $300 and includes all workshop materials and select concert tickets.  One graduate credit is available from the University of Oregon.  Registration deadline is May 31.
For more information about the program and to sign up, see the Choral Teachers Workshop page on the OBF website: 
The Capital Hearings Composer Competition Ehren Dohler, %15 %b %2014 %17:%Apr:%th 17AprGMT+0000 Capital Hearings, a 14-member mixed vocal ensemble, are proud to announce the 2014 (Inaugural) Young Composers Competition!  We encourage composers age 40 or below to submit mixed a cappella works of two-to-five minutes in duration that align with our 2014 artistic theme, Seasons.  A cash prize of $500 will be awarded.  For full information, please visit
From formal concerts and embassy soirees to holiday caroling and flashmobs, the group's wide-ranging repertoire of classical choral favorites, vocal jazz, and contemporary arrangements has established it as Washington D.C.'s most versatile vocal ensemble.
If you have any questions, please direct them to
"Voyage au coeur de l'impressionnisme" (The Heart of Impressionism) Guillaume St-Gelais, %15 %b %2014 %16:%Apr:%th 16AprGMT+0000 Segno Vocal Ensemble is proud to present, for the first time in Quebec City, swiss born Frank Martin's Mass for double chorus (a cappella) on May 10th 2014, 8 pm. While being a grandiose but yet very intimate work, it was written in the heart of the impressionistic period best represented by Claude Debussy. Martin would actually compare his musical style with the one of the French master. The concert will also present a very interesting work by Lili Boulanger, first woman composer to win the prestigious "Prix de Rome" in 1913. Works by Marcel Dupré (also recipient of the "Prix de Rome" in 1914), Claude Debussy and Maurice Ravel will also be featured in the program. Ensemble vocal Dal Segno - Québec, Canada will also present an unedited work by Quebec composer Denis Bédard.
"Psaume XXIV" (Lili Boulanger)
"Adoramus te", from Deux Motets (Denis Bédard)
Messe pour double choeur a cappella (Frank Martin)
4 Motets, op. 9 (Marcel Dupré)
Trois chansons de Charles D'Orléans (Claude Debussy)
Trois chansons (Maurice Ravel)

Chapelle du Musée de l'Amérique francophone
2, côte de la Fabrique, Québec (Québec) G1R 3V6

20 $CAD (presale)
25 $CAD (door)
Free for everyone under 18
For complete information:
Guillaume St-Gelais, artistic director and conductor
I Want to Buy Your Used Choir Shell Adam Christie, %15 %b %2014 %14:%Apr:%th 14AprGMT+0000,
Does anyone have an old or used choir shell they would be willing to sell?
Adam Christie
Barnett: A Bluegrass Mass, feat. Monroe Crossing at Carnegie Hall Christine Papania, %15 %b %2014 %14:%Apr:%th 14AprGMT+0000 Concert Productions presents Barnett’s The World Beloved: A Bluegrass Mass, featuring bluegrass quintet Monroe Crossing, with the Masterworks Festival Chorus, led by esteemed Guest Conductor Philip Brunelle at legendary Carnegie Hall.


Monroe Crossing

David Robinson – Banjo, Resophonic Guitar

Derek Johnson – Guitar

Lisa Fuglie – Fiddle, Mandolin

Mark Anderson – Bass

Matt Thompson – Mandolin, Fiddle

Click here to watch a view to learn more about Monroe Crossing.


Within the 12 movements of Carol Barnett’s The World Beloved: A Bluegrass Mass, she blends the classical mass, modern choral sophistication, touching poetry and traditional bluegrass instrumentation into an exhilarating musical experience. As reviewed by the Minneapolis Star Tribune during its World Premiere in 2007 – “The contrasts between the sophisticated classical choral sound and the jubilant bluegrass harmonies were effectively used to make the text come alive…the triumphant Gloria…was an exuberant success. Likewise, the Credo…became a powerful Gospel number. This mass was a compelling statement of faith that ended on a note of sublime grace and peace.”

Guest Conductor Philip Brunelle is Founder and Artistic Director of VocalEssence, comprised of the 130-voice VocalEssence Chorus and the 32-voice professional Ensemble Singers.

Don’t miss this unforgettable evening of music with esteemed Guest Conductor Philip Brunelle! Click here to learn more about this concert and to book your tickets.


Tickets: $20-$110

CarnegieCharge (212) 247-7800

Box office at 57th & 7th Ave.

Music to avoid at festival, land mines Barry Martindale, %15 %b %2014 %13:%Apr:%th 13AprGMT+0000 any of you have experiences with music to avoid at festival.  Music with "land mines."  I try to avoid music with clapping simply because you never know if a student is going to zone out and clap at the wrong time. 
A title that comes to my mind is "In Flanders Fields."  too many fermatas.
Any thoughts?
New Christmas carol by Peter J. Durow from Colla Voce Music, LLC Chris Matthews, %15 %b %2014 %13:%Apr:%th 13AprGMT+0000
It's snowing here in Indianapolis, a perfect time to announce the release of a new Christmas carol. This new setting of the final stanza from Jean de Brébeuf's "Huron Carol" by Peter J. Durow evokes images of a simpler time, of pine bows and twinkling candlelight. The straight-forward part writing and homophonic texture throughout make this title suitable for church choirs of varying abilities, but doesn't lessen the beauty of the music. The addition of an oboe will make for a memorable performance. Be sure to check out our other Christmas titles by using the "Christmas" tag at
View and listen to the score by clicking on the cover image.
The Choristers - Bruckner Mass in E Minor - NW Suburbs of Philadelphia David M. Spitko, %15 %b %2014 %12:%Apr:%th 12AprGMT+0000 ]]>Chicago Choral Artists Concert Wayland Rogers, %15 %b %2014 %05:%Apr:%th 5AprGMT+0000 
With one foot in the past and one foot in the present, guest conductor Wayland Rogers' rich and varied program provides a comprehensive look not only at the sacred music borne of the early decades of the nation, but also the work of contemporary composers drawing on the same traditions for inspiration. Featuring music selected from The Sacred HarpThe Southern Harmony, and even oral tradition with the assistance of our conductor, with more current selections from Bobby McFerrin, Stephen Paulus, and Rosephanye Powell, join us as we make our way through American history by way of shape-note hymns, African-American spirituals, and Shaker songs — and as we explore these echoes of the past in modern sacred writing. Concerts on May 3, 4 and 11. For venues and times visit.
The Best Thirty Minutes of a Career Scott Dorsey, %09 %b %2014 %15:%Apr:%th 15AprGMT+0000
       If you have attended even a single ACDA Conference, you’ve seen it.  It’s the look on the face of every conductor as they turn to acknowledge the applause of peers at the conclusion of their appearance on the main stage of the Conference.  One calls it “The Grin.”
       But it’s the NEXT look to cross their faces that is the most profound and to our way of thinking vastly more important.  It is the look of unrestrained pride in the accomplishment of the singers under their care – a feat that often bring tears to their eyes. 
       It’s a fair bet that most singers in the choirs we hear at Conferences don’t grasp the magnitude of performing for a room full of choral directors.  But the conductor certainly does.  One colleague summed it up rather nicely. As he stepped off stage following his performance at a recent divisional conference, he said to us, “That was the best thirty minutes of my career.”  He wore the biggest grin one has ever seen.  And a well-deserved grin it was, too.
       Sound interesting?
       Then you – yes, YOU! – should audition to perform at the 2015 ACDA National Conference, scheduled for February 25-28 in Salt Lake City. Read the Audition Guidelines for Performance, then complete the On-line Application.  The deadline for application is April 30.
       You have nothing to lose and everything to gain.  The best 30 minutes of your career awaits!
Conference Morsel: Sharing Resources Scott Dorsey, %17 %b %2014 %14:%Mar:%th 14MarGMT+0000
(An excerpt from the interest session “Extencec New Works: Sharing Resources and Successes,” presented by David Hodgkins with Alan Harler and Deborah Simpkin King during the 2014 ACDA Eastern Division Conference)
       I am a self-proclaimed Troglodyte. To me an app is something you order before dinner and a tweet is a birdcall. But even I can see the possibilities that are inherent in the internet to share large swaths of concrete, useful information – full scores and recordings – of unpublished extended new works, especially that publishers often find too risky to publish.
       In my 20 plus years with Coro Allegro I have premiered quite a number of wonderful new works that have been embraced by both audiences and performers, only to have the score sit on a shelf because there is no way to share that information in a format that is easily distributed, user friendly, and above all can be displayed in a format that is protected from piracy.
       Until now.
       The session I gave with Alan Harler and Deborah Simpkin King in Baltimore had a new wrinkle: In addition to the typical bibliography about each work, we were able to present the full score with a sound file embedded in the score, so that each work can be simultaneously listened to and viewed on a computer, all with the click of a button, thanks to new technology and the wizardry of John Delorey and his talented minions at WPI. This could revolutionize the way in which conductors research and share resources and successes. In a short time our session will be posted on the ACDA Eastern Division website. I invite you to check it out.
Conference Flyer for Junionr High / Middle School Conference Scott Dorsey, %05 %b %2014 %15:%Feb:%th 15FebGMT+0000 more information HERE.
Hallelujah Chorus James Filosa, %15 %b %2014 %02:%Apr:%th 2AprGMT+0000 the Hallelujah Chorus of Handel's Messiah, according to both the Watkins Shaw and the Schirmer editions, the dynamic marking at the beginning is forte for the Hallelujahs, yet a few conductors seem to want to have every second Hallelujah sung piano or even pianimisio.  Has any one out there have an explanation for this?
Many thanks
One World Singers "Musicals That Changed The World" Nick Frazer, %15 %b %2014 %01:%Apr:%th 1AprGMT+0000

The One World Singers community chorus gives its regards to Broadway with "Musicals That Changed The World", featuring theatre classics with full-chorus, solo and small group performances.  Songs that pushed the boundaries of what was socially appropriate and opened the hearts of people around the world. 

2:00 p.m. and 7:00 p.m. performances take place Saturday, May 10th at Saint Thomas Episcopal Church, 2201 Dexter Street. 

The event will include a silent auction benefitting One World Singers.

Tickets are $15. Children 12 and under are free. Tickets available by phone @ 303-355-7472 and 303-250-7202.Tickets also available at the door for each performance. 

For more One World Singers information, go to .


Brass Parts needed James Fowler, %15 %b %2014 %00:%Apr:%th 0AprGMT+0000 Glad Resurrection
Composer/Arranger/Edition: David Lantz III
Starting: ASAP
For: One week
Copies: 1 each of Trumpet I & II; Trombone I & II
Willing to rent: Yes
It will be a first for our Church choir of 15-20 to have brass on Easter morning.  We have the brass players lined up.  Just need their parts.  Hope you can help!
Jim Fowler
getting female belters to blend in SATB choir Alicia Phelps, %14 %b %2014 %23:%Apr:%th 23AprGMT+0000 am the choral director of an non-auditioned adolescent SATB choir in southern Maine. Recently I have noticed that as the group has been solidifying parts and starting to blend with eachother that a few female voices stick out more and more. These girls belt higher notes in the vain of musical theater unlike the rest of the choir, who sing in more of a head voice. I have tried a number of different methods to get these girls to blend in such as moving above their belt down into the middle range and working at softer dynamics, but nothing has been particularly successful. Does anyone have any advice for how to get these girls to blend with the rest of their sections? 
Tenor I Section leader/soloist at Westminster Presbyterian-Minneapolis Barbara Prince, %14 %b %2014 %21:%Apr:%th 21AprGMT+0000 Presbyterian Church
Tenor I Section Leader/Soloist
Beginning in September 2014
Wednesday Rehearsal:   6:30-8:30
Sunday Rehearsal and Service:   9:15-noon
Additional special services as called
Send resume and 2 letters of recommendation to:
Dr. Melanie Ohnstad, Minister of Music and the Arts
Westminster Presbyterian Church
1200 Marquette Avenue
Minneapolis, MN  55403-2419 or
For more information contact Barbara Prince:
Thank you!
Bach ST. JOHN PASSION Walter Wells, %14 %b %2014 %21:%Apr:%th 21AprGMT+0000 State College PA Choral Society, under the direction of Russell Shelley, presents the PASSION ACCORDING TO ST. JOHN by Johann Sebastian Bach, on Saturday, May 10, at 7 PM in the Pasquerilla Spiritual Center on the University Park Campus of Penn State. For more details and ticket ordering, please visit our website at ]]>Soprano/Director seeking substitute jobs for soloist, pianist, conductor, or Section Leader Doris Williams, %14 %b %2014 %20:%Apr:%th 20AprGMT+0000 am Doris Williams, soprano that can fill in for soloist, accompanist on piano, conductor.  I can play organ as well minus he pedals.  Visit  I specialize in EArly Music, celtic, American.
Church Organist/Pianist Jean Bartholomay, %14 %b %2014 %19:%Apr:%th 19AprGMT+0000
Part Time Music Minister Position open at Peace Lutheran Church in Menomonie, WI.  Duties include playing for worship on piano and organ, accompanying the Adult Choir, and overall administration of our Music Ministry. For a complete Position Description go to:
The Spotsylvanians Spring Concert - The Joyful Sounds Of Spring Michelle Gibson, %14 %b %2014 %19:%Apr:%th 19AprGMT+0000 exciting, awardwinning Spotsylvanians presents their annual Spring Concert, featuring music from broadway to spirituals and more! The concert will also feature soloists from within the chorus, and the select ensemble The Spotlighters.
Saturday, May 17 at 7:30 pm and Sunday, May 18 at 3:00 pm
Location: Spotsylvania Middle School, 8801 Courthouse Road, Spotsylvania
Tickets: $8 seniors (60+) and students
            $10 adults
            children under 12 are FREE
For mroe information, visit
Paid section leaders for Ridgefield, CT church Darren Motise, %14 %b %2014 %17:%Apr:%th 17AprGMT+0000 are being held for soprano, alto, tenor and bass section leaders for the choir of Saint Mary Catholic Church in beautiful Ridgefield, CT. These are regular paid positions. Please call Darren at (845) 242-7276 or email: Thanks! Ridgefield is approximately an hour drive from NYC. It is adjacent to Danbury, CT and South Salem, NY.  ]]>Atlanta Schola Cantorum Jeffrey McIntyre, %14 %b %2014 %15:%Apr:%th 15AprGMT+0000 Parody - The DNA of Renaissance Polypyhony. Featuring masterworks based on previously existing musical themes; Motets and Mass movements of Palestrina, Victoria, Gabrieli, Schutz, Monteverdi, Walther, Praetorius, Taverner, L'Heritier, and Gombert, under the direction of John Whitt.
Friday, May 9, 2014, 8:00 PM
Covenant Presbyterian Church
2461 Peachtree Road, NE
Atlanta, GA 30305
$20 in advance; $25 at the door.
An Evening With Frederick Moyer Carol Donovan, %14 %b %2014 %14:%Apr:%th 14AprGMT+0000 Moyer with the Lebanon Symphony Orchestra ]]>Instrumentalists teaching choir JoAnn Nelson, %14 %b %2014 %16:%Apr:%th 16AprGMT+0000 an instrumentalist I don't have too much experience working with a choir. The only experiences I have are thourhg assignments in college. I personally have very little vocal/choral experoence as well. What would be some suggestions to help a non-singer in their first year of teaching to direct a choir? ]]>How to balance repitoire Rosemarie Lawrence, %14 %b %2014 %15:%Apr:%th 15AprGMT+0000 now I am studying to be a Music Educator at the University of Southern Maine.  Currently I am taking a few courses having to do with choral music and teaching choral music. 
My question is what is a good balance or a good way to balance repitoire in a high school setting.  With pop music being so prevelent these days I am concerned about how to get students to thoroughly enjoy a wide variety of repitoire.  How to mix in classical, world music, and current music is a mystery to me.  What is too much/too little of one thing.  And how to get students to enjoy new music, not just put up with it.
Thanks so much!
Community Chorus Director Judith H Belock, %14 %b %2014 %16:%Apr:%th 16AprGMT+0000 community chorus needs choral director.  Four part harmony.  Prepare and produce two concerts per year.  Daytime weekly practice for 10 months. Resume to Silver Ridge Park West Chorus, P.O. Box 3178, Toms River, NJ 08756-3178.  Questions? Call Judy Belock at 732-228-8742. ]]>East Central MN Chorale Artistic Director/Conductor Jean Knight, %14 %b %2014 %14:%Apr:%th 14AprGMT+0000
The East Central Minnesota Chorale is seeking an applicant for the position of Artistic Director and conductor.
Applicants should possess the following qualifications:
Bachelor’s degree in a related field
5+ years of experience with vocal instruction and conducting
Good communication skills
Good organizational skills
Keyboard competency
Familiarity with grant writing and administration desirable, but not required
Responsibilities for this position start May 12th with auditions. Regular rehearsals occur in Cambridge, MN on Monday evenings from 6:30-8:30 beginning in September. There are approximately 32 weeks of rehearsal season requiring   3-4 hours per week of rehearsal and prep time. The ensemble performs in 3 concert series per school year. The artistic director is expected to attend board meetings once a month prior to rehearsal. A complete job description can be found on our website at
Compensation is dependent on qualifications. (Range $6000-7000)
Email resume to: Application deadline is April 30, 2014
Questions may be directed to Jean Knight at 612.390.1759
Auditions for Nova Vocal Ensemble Jonathan Bautista, %14 %b %2014 %13:%Apr:%th 13AprGMT+0000 Vocal Ensemble, a chamber choir dedicated to performing works by living composers, seeks singers with excellent musicianship who have a strong commitment to ensemble singing.

We look for the following in our singers:
-The ability to quickly learn challenging choral music
-A versatile vocal mechanism with the ability to sing with and without vibrato
-A positive attitude and a commitment to engaging, high-energy performances

Interested applicants are invited to reply with the following:

-Which audition time you prefer (10 minute slot on 4/27/2014 between 12 and 2 pm)
-Your voice part
-Your vocal resume

Applicants should be prepared with the following for the audition:

-Sight-reading excerpt from a current Nova piece
-Vocal exercises with the Artistic Director to evaluate your range and timbre.
-Sing in a quartet with current Nova singers.

Commitment is four rehearsals, dress rehearsal, and concert. Usually three or four concerts a year. Paid gigs arise on a case by case basis. Rehearsals are in Glendale.

We look forward to meeting you
Two New Traditional Publications, plus a new piece in MS Paul Carey, %14 %b %2014 %15:%Apr:%th 15AprGMT+0000 am happy to announce two new releases in my new relationship with Henry Leck's highly respected Creating Artistry series. "Clap Your Hands" is a fun, energetic American folk tune set for SA (with a touch of SSA) and piano. Suitable for quality children's choirs through high school, this would make a great, energetic ending number (Hal Leonard Cat # 00123567). "I Got a Robe" (Hal Leonard Cat # 123566) is a medium difficulty SATB a cappella arrangment of the well-known spiritual. It was commissioned by Lorraine Milovac and the Upper St. Clair H.S. Choirs in Pittsburgh. This is also an uptempo number. I have a few perusal copues available for those intrested. Contact me at for info.
Clap Your Hands at Hal leonard website:;
I Got a Robe at Hal Leonard website:;
Also, a just premiered commission for the Heritage Chorale is now available for perusal by interested choirs. "Peace flows into me" is a setting of a beautiful Sarah Teasdale poem for SATB/piano. This piece is medium difficulty and features some gorgeous harmonies and soaring vocal lines. There is also a twinge of sadness that appears here and there, reflecting Teasdale's tendency toward, shall we say, mystical melancholy. I can send interested folks a pdf file of the piece if they like.
Thanks all for supporting not-yet-dead composers,
Paul Carey
CARMINA SLOVENICA Na juriš in the mood! sabina sneider, %14 %b %2014 %13:%Apr:%th 13AprGMT+0000

From marching songs to swing

Author of the project and conductor: Karmina Šilec

Carmina Slovenica
Instrumentalist: Janez Dovč

Na juriš in the mood! with music from the time of the fight against fascism.
From music of pre-war Paris, Jewish, French and Italian partisan songs, American swing to Slovenian partisan songs.
From Boogie Woogie Bugle Boy, Kiss me Good Night, Sergeant Major, Lili Marleen, Remember Pearl Harbor, Je suis swing, to Hej brigade and Na juriš.

Artistic Director, Tucson Masterworks Chorale L T Kayden, %14 %b %2014 %06:%Apr:%th 6AprGMT+0000
Tucson Masterworks Chorale is southern Arizona's 100-member high-level community chorus, now in its 65th season.

We strive to make the great masterworks of choral literature, from pre-Baroque to contemporary, accessible to singers and audience members from all walks of life, to grow musically, and to encourage cultural participation in our community.

We are a NonProfit 501(c)(3) organization, governed by a volunteer Board of Directors.
Season:  August–May (10-month renewable contract beginning August 2014)
Rehearsals: Weekly, Mondays 7–9:15 pm, Grace St. Paul's Episcopal Church
Concerts: 2-3 per year
Deadline: April 28, 2014
Applications will be reviewed by the end of April; interviews will then be scheduled.
Choral and Orchestral conducting experience required. Email for full description.

Send cover letter, resume, and two references to:
Learn more about us at
Top Canadian Choir Visits Ireland Ali Doole, %14 %b %2014 %11:%Apr:%th 11AprGMT+0000

Top Canadian Choir Visits Ireland-  Christ Church Cathedral, Monday April 28th, 8pm
Canada's award-winning chamber choir SPIRITUS teams up with Ireland's internationally acclaimed New Dublin Voices for what promises to be a wonderful one-off concert in Dublin's Christ Church Cathedral on Monday, April 28th at 8pm.
The Canadians are visiting Dublin as part of an Irish tour which culminates in the 2014 Cork International Choral Festival. Conducted by Timothy Shantz, this outstanding choir will perform a wide-ranging selection of choral music including beautiful Canadian folk songs in contemporary arrangements.
Joining SPIRITUS is New Dublin Voices in a programme of striking contrasts between great masterpieces of the Renaissance and the exciting and provocative music of our own times.
Since its founding in 1995, SPIRITUS Chamber Choir has enriched Canadian choral scene with performances of high-quality choral repertoire. Known for its diverse programming, SPIRITUS has championed music both old and new from around the world, and integrated a variety of performing and visual arts within its performances. At the 2013 National Competition for Canadian Amateur Choirs, SPIRITUS took First Prizes in both the mixed-voice adult choir and contemporary music categories.
New Dublin Voices, founded by its conductor Bernie Sherlock in 2005, is a leading Irish chamber choir famous for concert programmes that are fresh and innovative and span a very wide range of style and period. NDV takes special pleasure in exploring the music of living composers, and is a regular prizewinner on the European circuit of elite choral competitions.
Tickets available online at, at the door or can be reserved by email:

For more information about this event please contact
or tel Edith Pritchard, General Manager +1 403 922 7021

SPIRITUS programme will include:
Ola Gjeilo Phoenix: Agnus Dei
Schütz   Die mit Tranen saen
Daunais  La Carpe
MacMillan Alpha & Omega
Pärt  Nunc dimittis
Wadsworth Spring is Here
MacDonald Tabula Rasa
Sled   Sparrow’s Jig
Girvan  V’la l’bon vent
Dalglish  Paradise
arr Smail  The Maple Leaf Forever

Gala Spring Concert Allan Needle, %14 %b %2014 %09:%Apr:%th 9AprGMT+0000's oldest unaffiliated mens chorus founded in 1866: The Mendelssohn Glee Club will present a varied program featuring songs from the popular repetoire, as well as a sixteenth century madrigal, a Schubert lied, national  and international folk music, a selection from Gilbert and Sullivan's "The Pirates of Penzance", and much more. Featured guest artist: mezzo-soprano Anna Cley will present a brief program of her own and will join the men of the club in their rendition of Franz Liszt's arrangement of the Schubert lied "Die Allmacht" ("The Omnipotence")
When: Tuesday, May 13, 2014 at 7:30 PM
Where:The Stephen Wise Free Synagogue in Manhattan: 30 West 68th Street between Central Park West and Columbus
The concert is free by invitation available through any club member or by calling condiuctor Gene Wisoff (212)362-8550 
More information on the web at
Help me choose rep for our Vienna/Salzburg/Munich tour! Kayla Werlin, %14 %b %2014 %12:%Apr:%th 12AprGMT+0000 colleagues,
Next spring I'll travel to Vienna, Salzburg and Munich with my SATB high school choir. I'd love to hear your ideas for tour repertoire.
- a cappella
- sacred or church appropriate
- some selections suited to service participation
- mixture of American and Austrian/German repertoire
- connected to the cities we're visiting
- suited to advanced high school singers
I'm eager to hear what you have to suggest! Thanks in advance.
Monday Motivation: Lemonade of Life Scott Dorsey, %14 %b %2014 %15:%Mar:%th 15MarGMT+0000 ]]>Speaking of Voice: “Inspired Connections” by Mary Lynn Doherty Scott Dorsey, %09 %b %2014 %19:%Apr:%th 19AprGMT+0000
       When was the last time you were truly moved by a musical experience?  This past week, I had the distinct honor of hosting Nick Page for a three day residency with my college students and children’s choir.   Nick is one of those rare individuals who are extremely talented but totally accessible at the same time.  He uses music and humor to cultivate joy and harmony in people.  The culminating event of the residency was a Community Sing where, for an hour and a half, people of different ages, backgrounds and experience levels sang together.  Everyone was asked to make a real connection to each other, through music.   The ensemble feeling that was created made the experience mean so much.
       As I reflect on the residency, I am thinking about my most meaningful choral experiences and they have all involved conductors who cultivated close relationships within the ensemble.   In terms of singing, these ensembles were also the most satisfying.  When our singers feel most comfortable, they probably sing more naturally and freely. There are so many phenomenal musical experiences to be had, but it cannot just be about the repertoire.  While I would like to think my singers remain my priority at all times, I know that sometimes the music takes over.  We never have one without the other, but fostering connections with and among my singers at every rehearsal should be the first priority.
       I read the following last year and it has stuck with me – this was written by a student at Macalaster College:
Music reminds us that in the end, our pursuits to be active, helpful members of society are about people. In our classrooms, we discover wonderful strategies for improving the world, but they will get us nowhere without compassion.   ~Andrea Wilhelmi
Kearsarge Chorale presents “Music of the Spirit” a concert of music that expresses human aspiration. Richard Haines, %14 %b %2014 %02:%Apr:%th 2AprGMT+0000
First Baptist Church, New London, on Sunday May 11, 2014, at 3:00 p.m.
From Franz Schubert’s youthful Mass in G, composed in 1815, through works of Mendelssohn and Fauré, to a brand new composition by David L. Almond, “Music of the Spirit” seeks to examine the universal striving for peace and reconciliation.  Each piece on the program takes the listener on a journey that ends in a vision of unity and serenity.  This is music shining with hope.
Schubert’s Mass in G was composed when the composer was but eighteen years old.  The original score was not printed until 1845, some years after Schubert's death.  Famous as a composer of German song – Lieder – Schubert shows his talent for text-painting in this youthful work with his remarkably effective use of harmony. 
Famous for the lovely soprano solo, “O for the wings of a Dove”, Felix Mendelssohn’s Hymne, “Hear My Prayer” was composed almost 30 years after Schubert’s Mass in G.  The work is a mini-cantata.  It opens with a prayer for aid in adversity.  The soloist’s adversaries are represented by the chorus in the dramatic middle section.  The work ends with a quiet sense of assurance.
Gabriel Fauré, like Schubert, was a young man when he composed Cantique de Jean Racine in 1864-5.  The piece won Fauré the first prize when he graduated from the École Niedermeyer in  Paris.  This lovely work will be accompanied by the strings.
The concert will conclude with the first performance of a new work for narrator, chorus, and chamber ensemble.   Reflections – A Tribute to Dietrich Bonhoeffer by David L. Almond was composed to honor the life of this great 20th century pastor and theologian.  Imprisoned by the Gestapo in 1943, Bonhoeffer was hanged in 1945 not long before the end of World War Two.  Like the protagonist in Mendelssohn’s “Hear My Prayer”, Bonhoeffer battled the forces of evil with prayer.  The work makes use of two hymns Bonhoeffer knew and loved.

The Chorale, led by Artistic Director, David L. Almond, will feature soloists Joanne Weatherson, soprano, and William Wieting, baritone.  A chamber ensemble featuring the Take Two String Quartet will accompany the chorale.  The quartet will also perform works by Mendelssohn and Johann Sebastian Bach.
Kearsarge Chorale is an all-volunteer organization now entering into its 6th year of performing fine choral music. We draw our singers from many towns in the Kearsarge, Lake Sunapee region.  David Almond has been director of music at First Baptist Church, New London, for 8 years. This concert is supported by contributions and by a grant from the Choral Arts Foundation of the Upper Valley.
Admission is free; a free-will offering will be received. Call 603.526.4559 for further information.
Losing Middle School Choir Steve Novotny, %14 %b %2014 %01:%Apr:%th 1AprGMT+0000 All, 
Currently I teach in a small school district (350 K-12).  My position has gone from teaching K-6 general/vocal to 3-12general/vocal.  
3-6: two sections for each grade 23min everyday
7-8: every day for 43min
HS: everyday for 55min
There is another teacher teaching 5-12 band and a part-time teaching K-2
I have told administration that the schedule above is too much and am asking them to find a solution that will lighten my load.  Their solution is to give MS choir to the band director.  We as a music department object to this proposal for many reasons.
The continuity of building the choral program will be diminished going back and forth between two directors from 6th to MS to HS.
The load put on one person to teach all MS music:  Fewer students will be able to participate in festival events(solos & ensembles) because one person must prepare ALL kids.  This year for MS festival our department had 2 bands, 3 choirs, 6 ensembles and 31 soloists.
Concern regarding retention and recruitment transitioning from MS to HS.  
My administration has asked for research about the pros and cons of the above proposal.  I would appreciate any experience you have that might be relevant to the success of a small school music program.   
Tenor Available for Afternoon Good Friday Services John Lapetina, %14 %b %2014 %01:%Apr:%th 1AprGMT+0000 anyone is in need of an extra Tenor or a substitue for an afternoon or morning service on Good Friday, I am available.
I am an experienced Tenor Section leader, holding that position for the last three years at St. George Episcopal in Ardmore, and I am free during the morning / afternoon of Good Friday. I live in southern New Jersey, so any place in the Philadelphia region is a possibility for me.
If interested, please contact me at
SAB acapella for Freshman/Soph non-auditioned choir? Deanne Casperson, %14 %b %2014 %00:%Apr:%th 0AprGMT+0000 for SAB a capella 9th/10th non-auditioned choir - sacred, secular, anything? ]]>Looking for singing job in Florida Patricia Alberson, %13 %b %2014 %23:%Apr:%th 23AprGMT+0000 name is Patricia Alberson and I live in Jacksonville Fl. I am a trained Alto and have sung with The Lost Colony Choir and also as a soloist. 1985-1987.
I also have sung with the Jacksonville Masterworks Chorale 1995-1999. I also was a paid church cantor/soloist at Assumption Catholic Church 1982-1995.
I am interested in choral or church jobs.
Patricia A. Alberson
Reedaptations, with the Atlantic Reed Consort Liz Everson, %13 %b %2014 %22:%Apr:%th 22AprGMT+0000
Chamber music with a modern edge.
Featuring vocal works of Mozart, Handel, and Schubert, all set to unique accompaniment composed by the Atlantic Reed Quintet specifically for this concert. 
May 10, 2014, 8:00 p.m.
Convergence, 1801 N. Quaker Lane, Alexandria, VA
Tickets available online through Alexandria Choral Society
Adults $25.00
Seniors/Military $15.00
Students $10.00
Youth (13 and under) No Charge
Masterworks Choir of Enterprise Roy Hoobler, %13 %b %2014 %21:%Apr:%th 21AprGMT+0000 2014
May 5th at 7pm, Heritage UMC
May 11th at 4pm, Open Door Baptist 
Panis Angelicus - Frank / arr. Rutter,
Lord Make Me an Instrument - Willcocks,
Go Not Far from Me - Zingarelli
Praise the Lord with Joyful Song - Hopson
Seek Ye the Lord - J. Carter
The Lord's Prayer - Malotte
Ave Maria - Bach / Gounod
How Great the Love - M.K. Beal
May 18th at 4pm, First UMC of Enterprise
Same program as above and 
selections from Faure's Requiem
I.  Introit Kyrie
III. Sanctus
IV. Pie Jesu
VI. Libera Me
(Sung in a mix of English and Latin)
A piece to introduce a church choir to Classical Music Kelsey Millerschin, %13 %b %2014 %20:%Apr:%th 20AprGMT+0000!  I'm a director of a very small (10 people on a good day) church choir and I'm trying to find a piece we can use as a "goal" to work towards.  (I have to make a presentation on a measurable goal that I've set for the choir to the church board).  I'd like to do something within the Classical realm since the group is mostly used to singing just Protestant hymn arrangments.  
I'm preferrably looking for something in English, maybe Latin, with organ or piano.  I was thinking an old work of English polyphony, like Tallis or Byrd, or possibly Handel?
The choir is all pretty good readers, but we have a stronger men's section than women's.
Any and all suggestions are appreciated!  
St. Andrew UMC invites Denver-area choirs David Kates, %13 %b %2014 %20:%Apr:%th 20AprGMT+0000
St. Andrew United Methodist Church in Highlands Ranch, Colorado  is embarking on a large choral project and we would like to have your choir participate.  On Sunday, June 29th at 3:00 pm we will present a new work called The American Spirit which explores the Constitution Of The United States.  This epic work features choir, narration and full orchestra.  It was composed a couple of years ago by Mark Hayes and premiered by Mr. Hayes at Lincoln Center in New York City.  The St. Andrew choir was one of several that had the honor to participate in the premiere.
Mark Hayes is coming to Denver to perform The American Spirit.  We would like you to invite your singers to join us.  Enclosed you will find a rehearsal schedule.  We ask that singers attend at least 2 of the rehearsals during the month of June and then attend all of the functions on Friday and Saturday (June 27th and 28th) of the actual weekend of the performance.
For rehearsal schedule and more information please use this link   This will take you to the flier posted on the St. Andrew Web-site.

Mark Zwilling
Director Of Music and The Arts
St. Andrew United Methodist Church
9203 South University Blvd
Highlands Ranch, CO    80126
Phone 303-794-2683 Ext 112
St John Passion Allen H Simon, %13 %b %2014 %19:%Apr:%th 19AprGMT+0000 John Passion advertisementFirst Lutheran Church of Palo Alto, CA, presents Bach's St John Passion in the original 1724 version today, Palm Sunday, April 13, 2014, 4:00pm.
First Lutheran Church choir 
Katherine McKee, director
Colby Roberts, Evangelist
Frederick Matthews, Christ
Claire Kelm, Jacque Wilson, Thomas Hart, soloists
with an orchestra of period instruments
Jin Kyung Lim, organist
$12 admission (or 4 for $40); $5 12 and under
First Lutheran Church
600 Homer Ave.
Palo Alto, CA, 94301
Blueprint Ensemble Arts presents: Vermilion Melodies, Sapphire Harmonies Crystal Holmes, %13 %b %2014 %19:%Apr:%th 19AprGMT+0000
Blueprint Ensemble Arts presents: Vermilion Melodies, Sapphire Harmonies
Saturday, May 3, 2014 • 7:07pm
Holladay Park Church
2120 NE Tillamook Street
Portland, Oregon 97212
*Free of charge!
* * * * * * *
Blueprints's Finale season consists of concert programs decided upon by the singers themselves! Whether the pieces find their origins in the singers' pasts, their favorite artists, their own catalogues, or simply something they've been dying to sing, anything goes!
Join Kaliave, Lumiatra, and The Super Cuts as they present a mélange of pieces from a wide variety of genres, and an even wider range of places, and finish your evening at Holladay Park Church with a rousing finale!
A reception will follow the performance where you can meet the singers, hear our latest news, and enjoy some light desserts. Everyone is welcome!
* * * * * * *
> As a primary goal of the organization is to provide all people with opportunities to experience choral music, with support from KARMA, this Blueprint organization-sponsored show is free to the public.

The Knowing And Redefining Music Accessibility (KARMA) program strives to provide open access to music and the arts to all people, regardless of age, gender, gender identity, race, ethnicity, culture, national origin, religion, sexual orientation, disability, language, socioeconomic status, or any other facet.
For more information visit
Choral Workshop with David Hill Andrew Lidestri, %13 %b %2014 %16:%Apr:%th 16AprGMT+0000 Ogontz Arts Foundation presents the
Choral Workshop at Ogontz
25th Anniversary Year

Directed by David Hill
July 26 to August 1, 2014
Now in its 25th anniversary season, the Ogontz Choral Workshop offers extraordinary opportunities for singers, church musicians, and choral conductors to work on repertoire and choral interpretation with some of the world's leading choral directors.  Registration is open to anyone and no auditions are required (registration and tuition payment is required).  Past Ogontz participants have come from across North America and have included singers and musicians of all backgrounds.  At Ogontz, these participants (with the featured guest artists), learn together, rehearse, relax, and sing for a glorious week in an intimate rustic retreat in the White Mountains of New Hampshire.
**NEW**    Choral Masterworks Series    **NEW**
Beginning in its 25th anniversary season, the choral workshop will showcase a new program called the Choral Masterworks Series.  There are so many deeply moving pieces of music worth studying and performing in the vast repertoire of composers through the ages but what makes certain pieces survive and be renowned as masterpieces of their creators?  Each season we will choose a masterwork to build our whole week’s experience around.  All participants will learn what makes these pieces the famed opuses we have come to love and respect through a deeper look at the history and composition of the works. 
**NEW**    Choral Conductor’s Seminar    **NEW**
Also new for the anniversary season, this new seminar will offer a few additional sessions to explore what it’s like on the podium.  This will be an opportunity to try and discover, during the week, what conducting is about. It is probably the most mercurial of all the arts. There is no sound, no visible picture and, yet, in the right hands, there is an incredible result which is difficult to analyze. What must conductors be able to do and manage? Over the course of a few sessions, and with the help of willing candidates, we can discover together what is emerging, along with willing singers!  This class will have a separate sign-up in addition to the main workshop offerings.
For More information, or to register, visit

About the 2014 Session

Music of France
Choral Workshop with David Hill
Saturday, July 26 to Friday, August 1

Other Faculty 
George Kent, Artistic Director of The Ogontz Arts Foundation
Paula Rockwell, voice faculty, Acadia University
The 2014 session will be Saturday, July 26 to Friday, August 1st and will be led by David Hill (director of the Bach Choir, London, BBC Singers, Yale University, and other posts). The session also includes opportunities to work with a specialized voice faculty member (Paula Rockwell, Acadia University).
To coincide with our chosen masterwork, the entire week will be French themed.  Delve into carefully selected works of acclaimed French composers, enjoy a variety of French culinary delights, and expect a few French themed surprises throughout the week as we celebrate this phenomenal culture.

Individuals may choose to one of the following forms to attend as:
  • RESIDENT participant - staying at Ogontz - tuition, meals, special events, lodging included
  • NON-RESIDENT participant - not staying overnight at Ogontz - tuition, meals, special events included
  • RESIDENT NON-PARTICIPANTS "Camp Followers" - family members or friends who want to stay at camp but not participate in the sessions can also attend. 
Works to be studied include:
Gabriel Fauré – Requiem - a masterwork of extraordinary quality, Fauré’s Requiem sets new standards for all others to follow. We shall try to discover what makes it particularly special and, in spite of its familiarity, work through the many technical challenges it sets for all voices. It is a work of profound intensity, sounds relatively straightforward, yet it demands so much of all involved. You'll understand it differently by the time you leave!
Other Repertoire:
Francis Poulenc - A selection of motets - Salve Regina, Exsultate Deo, O Magnum Mysterium
Gabriel Fauré - Cantique de Jean Racine
Pierre Villette -  Hymne a la Vierge                                           
Olivier Messiaen - O Sacrum Convivium

Participation Types & Rates

I.RESIDENT PARTICIPANT - $705  Register Here
Includes accommodations at Ogontz, meals at Ogontz, recreation, tuition/singing sessions, special events, and NH State Rooms & Meals taxes.  Score expenses are not included.  
Includes your meals at Ogontz, recreation, tuition/singing sessions, special events, and NH State Rooms & Meals taxes. Score expenses are not included.  
III.NON PARTICIPANT - $500  Register Here
Non-participants do not/cannot participate in singing sessions including rehearsals, master classes, and warm-ups.  This is the category for spouses, family, and friends coming with you who are not going to sing.
IV.STUDENT PARTICIPANT - $400  Student Registrations must be arranged via phone at 603-838-2462 or email at Click Here for more info
Reserved exclusively for persons enrolled in a college program.  Includes accommodations at Ogontz, meals at Ogontz, recreation, tuition/singing sessions, special events, and NH State Rooms & Meals taxes.  Score expenses are not included.  
Please note: For score purchase information, please contact the Ogontz Arts Foundation Offices at 603-838-2462 or
Refund and Cancellation Policy
Prior to 4/1/14 – 100% of fees are refundable minus a $25 cancellation service charge
Prior to 5/1/14 – 75% of fees are refundable minus a $25 cancellation service charge
Prior to 5/15/14 – 50% of fees are refundable minus a $25 cancellation service charge
After 5/15/14, refunds for fees paid are no longer possible for new or existing registrants.

About the Artists

David Hill                                                       
Renowned for his fine musicianship, David Hill is widely respected as both a choral and orchestral conductor. His talent has been recognized by his appointments as Chief Conductor of The BBC Singers, Musical Director of The Bach Choir, Music Director of Southern Sinfonia, Music Director of Leeds Philharmonic Society and Associate Guest conductor of The Bournemouth Symphony Orchestra. He was awarded an honorary Doctorate by the University of Southampton in 2002 in recognition of his Services to Music.  
Born in Carlisle in 1957 and educated at Chetham’s School of Music, where he is now a Govenor, he was made a Fellow of the Royal College of Organists at the tender age of 17. He took an organ scholarship to St John’s College, Cambridge under the direction of Dr George Guest and returned to the college as Director of Music from 2003-2007. David Hill’s previous posts have included Master of the Music at Winchester Cathedral (1987-2002), Music Director of The Waynflete Singers (1987-2002) Master of the Music at Westminster Cathedral, Musical Director of the Alexandra Choir (1980-87) and Associate Conductor and then Artistic Director of the Philharmonia Chorus (1986-1997).  He is in great demand for choral training workshops worldwide and his handbook on the subject Giving Voice was published in 1995. He is a choral advisor to music publishers Novello, for whom he has edited a number of publications. As an organist, David Hill has given recitals in most of the major venues in the UK and has toured extensively abroad.  
David Hill’s broad-ranging discography of over 70 recordings, including many award-winners, can be found on the for Decca/Argo, Hyperion, Naxos and Virgin Classics labels. The discs span repertoire from the renaissance to the present day. With The Bach Choir David Hill has contributed to the film sound tracks of Kingdom of Heaven, The Chronicles of Narnia and Shrek the Third. He is engaged in a series of recordings of major English choral composers with The Bach Choir and the Bournemouth Symphony Orchestra for Naxos.  David Hill has appeared as guest conductor with the London Philharmonic, Royal Liverpool Philharmonic, the Sydney Symphony Orchestra, Zagreb Philharmonic, Ulster Orchestra, City of London Sinfonia, English Chamber Orchestra, The BBC National Orchestra of Wales, Sinfonia 21, the Northern Sinfonia, BBC Symphony Orchestra, RTE National Symphony Orchestra, The Minnesota Orchestra and the Orchestre Philharmonqiue de Strasbourg as well as the Netherlands Radio Choir and RIAS Kammerchor, Berlin.
Paula Rockwell                                                
Since returning to Nova Scotia, after completing her graduate studies at University of Toronto, Paula Rockwell has been steeped in musical projects, performances and music festivals in her home province, Canada and the US. She teaches Voice, Diction for Singers, Scene Studies and the Singing Actor at her alma mater Acadia University and creates productions for Acadia’s Singing Theatre Ensemble where she is the artistic director. She has been featured on several recordings and co-produced her debut CD entitled Fleeting Melodies, a collection of 20th century art songs and arias.
Paula has taken on several operatic roles since graduating from University of Toronto working with the Canadian Opera Company, Toronto’s Opera in Concert, Vancouver Opera, Tidal Opera,  Orchestre Baroque de Montreal, Opera Nova Scotia and Maritime Concert Opera. Her recent performances include the role of Baba the Turk in Stravinsky’s The Rake’s Progress with Opera Nova Scotia. She sang the role of Dulcinea in ONS’s Informoperal in Massenet’s Don Quichotte as well as Donna Elvira with Maritime Concert Opera’s production of Mozart’s Don Giovanni and Second Lady in Die Zauferflöte. She has performed with Symphony Nova Scotia, Chorus of Westery, RI, North York Philharmonic, ON, Symphony New Brunswick, Peterborough Singers, The Music Room Chamber Series in Halifax as well as for many fundraisers, including Music for Haiti, Women Only at Pier 21 and ONS’s Opera Valentine. Paula is heard every summer giving masterclasses, vocal warm-up morning sessions and a recital in Lyman, New Hampshire at The Ogontz Choral Symposium. This will be her 20th year!  
Recent projects include directing Menotti’s Amahl and the Night Visitors, Scenes from Street Scenes by Kurt Weill and an opera excerpt show entitled The B Boys of Opera for Acadia’s Singing Theatre Ensemble, soloist with Acadia University’s Choral production of Mozart’s Coronation Mass and Beethoven’s Choral Fantasy, ONS’s Opera Valentine Fundraiser. She also was the vocal coach for Halifax Summer Opera Workshop productions of Bizet’s Carmen and Mozart’s Le Nozze di Figaro. She will be performing Beethoven’s Symphony #9 with Symphony New Brunswick in May 2014.
George Kent                                                    
George Kent has consistently devoted his life to raising the artistic standards not only of his home community Westerly but also of Rhode Island (and New England) as a whole. The Chorus of Westerly, which he founded in 1959, is now widely known as a Rhode Island performing organization of reliable artistic excellence. George Kent has always believed in the ability of young children to learn the great choral scores of music literature and since 1959 he has been teaching to youngsters age eight and over such works as the Bach B minor Mass, Handel’s Messiah, Benjamin Britten’s Spring Symphony, and Brahms’ incomparable Requiem. Generations of children have, with George Kent’s training, developed a lasting love of music.
During his tenure with the Chorus he directed over 2,500 singers spanning the ages of eight to eighty-eight, toured with the Chorus twice in Britain (1981 and 1995) and once in Italy (1987) and has performed in Providence and in Westerly. Mr. Kent has taught music at Rhode Island colleges and universities for over forty years. He served as Assistant Music Director and, in 1986, as Acting Music Director of the Rhode Island Philharmonic and during that tenure performed the orchestra’s Young Person’s Concerts as well as the regular scheduled classical and Pops concerts. In September, 1988, he was awarded one of Rhode Island’s coveted Governor’s Arts Awards. In 1995 the Chorus of Westerly earned the A&BC’s Jabez Gorham Award for excellence in the arts. He has also received the Award for Excellence in Music from the South County Center for the Arts (1998), the Lifetime Achievement Award from Choral Arts, New England (1999) and the History Maker’s Salute Award from the R.I. Historical Society (2001). Mr. Kent received the Arts & Business Council of Rhode Island’s Award for Individual Achievement (2004) and was named a distinguished alumni by New England Conservatory (2003). In May 2006, Mr. Kent received the prestigious Pell Award. The Pell Awards honor Senator Claiborne Pell and recognize artistic excellence both in Rhode Island and nationally.
With the Chorus of Westerly George Kent has presented ten first United States performances of major 20th Century British works for chorus and orchestra. On three occasions the Chorus brought the composers of those works (in 1984, William Mathias, Lux Aeterna, and in 1990 Paul Patterson, Mass of the Sea and again in 2001, his Millennium Mass) to lecture on their music both in Westerly and at Brown University and the University of Rhode Island.
George Kent has also brought Britain’s most famous choral conductor, Sir David Willcocks, to the states and collaborated with him from 1990-2010 on the annual Choral Symposium held each summer at his music camp facility, Camp Ogontz, in Lyman, New Hampshire.  This summer program has also included other sessions with Richard Marlow, Herbert Bock, James Litton, and, currently, David Hill.
George Kent has been Organist/Choirmaster at Christ Church, Westerly, since 1956 and, in May 1996, was awarded an honorary doctorate from New York’s General Theological Seminary for his outstanding contribution to church music in America.

More About Ogontz

A Typical Choral Workshop Day at Ogontz
8 am - Breakfast
9:15 am - Morning Warm-ups
10:30 am - Morning Sing
12:30 pm - Lunch
2 pm - Afternon Master Class
3:15 pm - Afternoon Sing
4:30 pm - Free time
6:30 pm - Dinner
8 pm - Evening Sing or Night Activity (Recitals, etc)

Schedule varies on a given day.  All activities are optional.
Camp Ogontz is a magnificent 300-acre facility in the White Mountains of New Hampshire. The camp overlooks Lake Ogontz, a small, semi-private lake with a spectacular view of the mountains beyond.  Ogontz is owned and operated by Lynn and George Kent (Professor of Music, University or RI), and is home to a variety of short, week-long, arts related summer camps and workshops throughout the summer.  There are over a hundred buildings on the premises including a large rehearsal hall, a boathouse, and a fabulous dining hall.  Visit this link for info on Ogontz facilities.

Living space at Ogontz varies from several medium sized indoor log cabins (with indoor plumbing and enclosed bedrooms), to about 45 Adirondack style cabins (with three open sides, roll down heavy flaps, tables, personal cubbies, beds, chairs, electricity) that are all close to shower rooms and toilet facilities.  These Adirondack cabins are a little bit more rustic, but recent renovations have drastically improved their quality and comfort.  All cabins are shared by one to four people depending on your preferences (during the Choral Workshops, these cabins rarely have more than two people and solo cabins are possible).  If you choose to be a "resident" camper, you will be given a housing preference sheet prior to your attendance.  Visit this link for info on accommodations at Ogontz.
David Hill participants are treated to full and delicious meals three times a day. The food at Ogontz is prepared daily in the camp's large kitchen and the Ogontz chefs are legendary.  Ogontz strives to provide the freshest ingredients from local sources, some foods even grown and raised on the property.  The Dining Hall can seat about 150 people at a time and has a warm rustic charm to it with wooden floors and large windows looking out over the facility from three different sides. warm afternoons and evenings where an outdoor meal is planned, there is a large wrap around deck connected to the Dining Hall that can accommodate the entire camp. Also outside the deck is a special grill and smoker. On occasion during the sessions, meals may be held at other camp locations such as on a hill or next to one of camp's beautiful waterfalls.

The Ogontz onsite bakery prepares bread, desserts, and other tasty items daily, ranging from the famed Ogontz Chocolate Chip Cookies to daily loaves of house made bread.

Menus are set by the Ogontz team.  A main dish is always featured and a vegetarian option is always available.  At this time, Ogontz is not able to accommodate special dietary concerns, but the kitchen staff is always willing to talk with participants about ingredients in that particular days meals.  There is a large refrigerator in the dining room that guest can place their own food items and beverages in.
The Ogontz General Store has snacks and goodies available for purchase. A Shaw's Grocery Store and Walmart are also located about fifteen minutes away in Littleton.

Both Resident and Non-Resident Participants (and Non-Participants) have all meals provided as part of their costs/tuition.
During your time at the Hill week, outside of singing, you have a lot of optional time to rest, relax, have fun, or explore. 
Ogontz Recreational Features:
  • Over 350 acres of New England Forests, Pastures, and Wildlife
  • Private Lake
  • Acres of mountain trails to explore
  • Private Swim area with dock and floating raft
  • Four Tennis Courts
  • Volleyball Court
  • Boathouse containing Canoes, Sailboats, Row Boats, & Kayaks
  •  “Green Chairs” relaxing social area
  • Arts & Crafts House
  • Costume  House
Ogontz is secluded in the woods but a short drive to Littleton where guests are able to find:
  • A fully equipped gym (affordable daily and weekly rates)
  • Historic town with many interesting shops
  • Nationally acclaimed Littleton Bookstore
  • Franconia Notch State Park
  • Pharmacies
Superstores such as Walmart, Home Depot, Lowe’s, Shaw’s
LEVEL 3 jazz vocal S.A.T.B. with BIG BAND CHARTS Darcea Hiltz, %13 %b %2014 %14:%Apr:%th 14AprGMT+0000 LEVEL 3 vocal jazz S.A.T.B. with BIG BAND CHART - MOON GLOW, etc.
Composer/Arranger/Edition: Mike Carubia or other
Starting: July/Aug
For: 2 mo-9 mo.
Copies: 19 + S.A.T.B. parts
Willing to rent: Yes
Looking to lease if necessary - kindly respond to this email or
Need a copy of "The Parade of the Teddy Bears" TTBB Casey Hayes, %13 %b %2014 %13:%Apr:%th 13AprGMT+0000 "The Parade of the Teddy Bears" for TTBB
Composer/Arranger/Edition: Sammy Cahn, JW Bratton arr. Claire Stafford
Starting: ASAP
For: one week
Copies: 1
Willing to rent: Yes
Hello!  I am looking for a copy of the OOP The parade of the teddy bears; four part male voices, T.T.B.B., words by Sammy Cahn and Saul Chaplin, music by John W. Bratton, arr. by Claire Stafford   Looking to perform it with the Cincinnati Men's Chorus and will take care of all rights to perform and copy.  Hit me up at  Thank you!  -Casey
3rd Florence International Choir Festival 23-25 July 2014 Leonardo Sagliocca, %13 %b %2014 %08:%Apr:%th 8AprGMT+0000

The second edition of the Festival ended with the wonderful notes and voices of choirs from 4 continents and 17 countries! A really good result for this ambitious Festival!

We are happy to communicate that the deadline for the subscriptions at the Festival has been delayed until 10th May 2014 considering the increasing number of "last minute" requests. Feel free to contact us for any kind of questions and problems, we will be happy to solve your doubts and encounter your wishes. You can apply online at this link:

The Festival takes place in the wonderful city of Florence, Italy, famous throughout the World for its magnificent cultural and artistic heritage, its warm welcome, accomodation capacity and outstanding quality of food and wine.

FICF is organized by the "Ensemble San Felice", an internationally renowned vocal and instrumental group that has been performing all over Europe for almost 20 years, its concert activity ranging from the medieval to contemporary repertoire.

The 3rd edition of FICF will take place from 23rd to 25th july 2014 in some of the most prestigious places in the historical center of the city, such as the Salone dei Cinquecento, the Auditorium of Santo Stefano al Ponte Vecchio and the magnificent Basilicas of Santa Croce, San Lorenzo and Santa Trinita.

This Festival will be a great chance to spend wonderful days to celebrate Friendship, Music and different Cultures.

The organization will be happy to arrange longer stay to give the chance to visit the beautiful areas and cities near Florence, like Fiesole, Siena, San Gimignano, Chianti, Pisa, Arezzo.

For more information, please visit our website ( and write to:

Loyola Marymount U Choruses Present Memorial Concert for Paul Salamunovich Mary Breden, %13 %b %2014 %06:%Apr:%th 6AprGMT+0000
The Loyola Marymount University Choruses will present the 49th Annual Spring Chorale on Friday May 2nd at 8:00 p.m. in Sacred Heart Chapel on the Westchester campus.  Appearing in the concert will be the Concert Choir, Consort Singers, and Women’s Chorus, all conducted by Dr. Mary C. Breden, Director of Choral Activities.  Featured on the program will be the Requiem of Maurice Duruflé and Morten Lauridsen’s Lux Aeterna.  The performance will be dedicated to Paul Salamunovich, late Music Director Emeritus of the Los Angeles Chorale, LMU Music Professor Emeritus and former Director of the LMU Choruses, who passed away on April 3.
Tickets for the May 2nd concert are $15 and $12 and are now on sale through the LMU Central Ticket Agency.  Discount for senior citizens, faculty and students are available.  For further information concerning the Spring Chorale, call the LMU Choral Office at 310-338-5154 or the LMU Central Ticket Agency at 310-338-5466. 
Loyola Marymount University is located at One LMU Drive in the Westchester area of Los Angeles.  Entrance to the campus is off of Lincoln Blvd. between Jefferson Blvd. and Manchester Blvd.
Sunday Inspiration: Crown Him with Many Crowns (Courtney) Scott Dorsey, %13 %b %2014 %20:%Mar:%th 20MarGMT+0000
Mozart Coronation Mass Wind Set (Carus Verlag) Robert Stoskopf, %13 %b %2014 %00:%Apr:%th 0AprGMT+0000 have a new set of wind parts for Mozart Missa in C (Coronation Mass), KV 317 for sale. Set includes:
  • Oboe I
  • Oboe II
  • Corno I in C
  • Corno II in C
  • Clarino I
  • Clarino II
  • Trombone I (alto)
  • Trombone II (tenore)
  • Trombone III (basso)
  • Timpani C-G
Asking price: $30.00 + shipping.
Lions Gate Chorus a capella Concert Sheryl Beach, %12 %b %2014 %04:%Apr:%th 4AprGMT+0000 60 Years of Amazing
Saturday,  Nov 22, 2014
Mark your calendars , you don't want to miss it!!  We will be announcing the headliners shortly.
Check all details at
See you there!!
A Night at the Theatre Beverly Lennon, %12 %b %2014 %19:%Apr:%th 19AprGMT+0000 Middletown Concert Chorale will  present their spring concert "A Night at the Theatre", featuring selections from the genres of opera, musical theater, and movies. Composers include Verdi, Offenbach, BersteinGershwin, Schwartz, Hamlisch, Larson and others.
The concerts will be as follows:
Saturday, May 10, 7 PM, North Congregational Church, 96 Beason St., Middletown, NY 10940
Saturday, May 17, 7 PM, St. John's Lutheran Church, 391 Mount Hope Rd., Middletown, NY 10940
Sunday, May 18, 3 PM,  St. Andrew's Episcopal Church, 15 Walnut Street, Walden, NY 12586
Tickets: $8.00  Seniors/Students $5.00
Light refreshments after each concert.
Italian Renaissance Music: Southern Connecticut Camerata Jean Reed, %12 %b %2014 %18:%Apr:%th 18AprGMT+0000"New Leaves, New Loves"  -
Location:  St. Matthews/Wilton Presbyterian Church Parish Hall, 36 New Canaan Road, Wilton, CT.
Date:  Sunday April 27, 2014 at 5PM.
Madrigals by Monteverdi, di'India, Marenzio and others, based on texts from the
1590 pastoral tragicomedy Il Pastor Fido by poet Giovanni Guarini.
The program also includes hapsichord and flute selections attributed to Vivaldi.
Concert guests are invited to sit at large cloth-covered tables to enjoy the concert; hors d''oeuvres will be served.
      Tickets: $20 per person; $140 for party of 8 at one table.
Tickets available through email Purchase ahead of time is recommended.
Reservations for party of 8 per table are available through this same email address.
   For details about the Camerata, visit
Summer Performing Arts Instructors Needed DeLashea Strawder, %12 %b %2014 %19:%Apr:%th 19AprGMT+0000 Youth Theatre of Detroit has several openings for its Youth Performing Arts summer day camps.  These positions will run from July 14th through August 1st, 2014. The positions require a high level of flexibility and the ability to prioritize and manage multiple tasks simultaneously. The ideal candidates are comfortable working in a team environment. Must be willing to work occasional evenings as required. Responsible for the artistic training or coordination of Young Artists in Summer Camp, and the artistic direction of specific elements of the final Summer Camp showcases performed for family and friends. 

Job Description
Summer Performing Arts Instructors are contracted to plan and facilitate artistic training of young artists and direct final program showcases for family and friends.  The primary staff contact for the Summer Teaching Artist is Mosaic’s Associate Artistic Director.  
Primary Responsibilities:
• Directs artistic elements in the final showcase including selection of repertoire with approval from Artistic Leadership team.
• Supports the physical and emotional well-being of the young artists. Ensuring that young artists are supervised at all times and maintain a safe and enjoyable environment. 
• Participates in Young Artist recruitment efforts for Mosaic programs. Including but not limited to presentation-demonstrations to Young Artists and parents, flyer and postcard distribution and one-on-one follow up with individual Young Artists.
• Participates in auditions for Mosaic Summer programs (where appropriate) and makes scholarship and acceptance recommendations.
• Assists with facilitation of parent, Young Artist and summer programs meetings.
The ideal candidate for the Summer Teaching Artists will have excellent time management, organizational, problem-solving, and communication skills. He/she will have experience teaching theater, vocal music or dance to young people. In addition, the candidate should have:
• Minimum of Bachelor’s Degree in Theater, music or Dance and/or equivalent experience
• Minimum of 1 yr. teaching experience.
• Experience working with youth ages 7-10
• Passion for Mosaic’s mission of empowering young people through excellence in theatre and music
To Apply:
Email cover letter, resume and three references to with the subject: Performing Arts Instructors. Applications will be reviewed immediately and interviews will be conducted on a rolling basis until the position is filled. No phone calls please.
Mosaic is an equal opportunity employer.
New FREE Passiontide Anthem Mason Shefa, %12 %b %2014 %18:%Apr:%th 18AprGMT+0000
Dear all,
I have just completed a new 5-part (SSATB) unaccompanied anthem that I am giving away for free to all who want it for Tenebrae/Passion week/Passiontide. Difficulty level: Expert. The text comes from the Vulgate translation of Lamentations 1:2 (Part) "She (Jerusalem) weepeth sore in the night, and her tears are on her cheeks." In the piece, I have symbolized the tears of the woman as she begins to cry: the tears begin to fall, sparse at first, and then flowing freely. The setting of the word "lacrimae" in the tenor on "la" begins a falling chromatic motion that resembles the sound of a wail. The waxing of the tempo towards the middle signifies the increased panic and desperation felt within her as she aimlessly wanders through the night crying, and the waning of the tempo at the end marks her moment of complete resignation and despair.
Here is the text, in Latin:
Plorans ploravit in nocte et lacrimae ejus in maxillis ejus.
If you are a choirmaster and are interested in using this piece at your service, please contact me (click my email address below) for a full PDF. It is FREE OF CHARGE!
Mason Shefa
A peculiar situation...easiest, least expensive path to teaching credential--HELP!! Will Fox, %12 %b %2014 %18:%Apr:%th 18AprGMT+0000,
After a 20+ year career in music ministry, I now teach direct choirs at a private high school part-time and have had overwhelming and successful results in my few years there, having led my choir to the state championship each year. While I love my setting and have no urge to leave, I am finding it difficult to maintain a living and the schedule of teaching music privately and teaching at the school. I'd like the opportunity to get a job teaching full-time at a high school. Of course, I hope that the school I currently work at will find its way to a full-time position, but I don't sense it happening soon. I have people calling me about this because of my success, but I can't apply because I don't have the teaching credential. I have fallen in love with this new career, love the age group, and have this uncanny way of making amazing music with my students!
Here is the problem: while I am highly educated, I do not have a teaching credential, nor do I have a B.A. in Music or Music Ed. In order to get certified and to compete for a public high school job, I'd need to finish a B.A. or a Master's Degree in Music Ed. At 50 years old, I can't afford a degree in terms of time or money. I'm not trying to short cut the system. I simply am wondering if anyone is aware of highly practical, efficient, fast-track, and less expensive ways of completing an online degree program that would gain me certification. Any help is welcome.
MacMillan St. Luke Passion (U.S. premiere at Duke) Rodney Wynkoop, %12 %b %2014 %17:%Apr:%th 17AprGMT+0000,
James MacMillan's brand-new St. Luke Passion will receive its U.S. premiere at Duke Chapel on Palm Sunday, April 13, at 4 pm, with Mr. MacMillan present.  The Duke Chapel Choir performs with the Durham Children's Choir (Scott Hill, director), the Riverside HS Sirens (Jill Boliek, director), and the Orchestra Pro Cantores. the 70' work presents the words of Christ in English through the children's choir, often in 3-part harmony, while the rest of the story is told by the adult choir.
The composer has written this about the piece:
Luke's gospel is concerned with the idea of the Kingdom of God which points forward to the same author’s Acts of the Apostles. This started me thinking about a more spiritual, inward, and pared-back approach to create a focused work about an hour long. I decided to frame the Passion narrative with a Prelude exploring the Annunciation to set the scene, and a Postlude taking us beyond the Crucifixion to the Resurrection and Ascension. These incorporate Gospel texts where Luke explains the Kingdom of God. Any Passion that casts Christ as a soloist immediately makes him take human form as an adult male, whereas I wanted to examine his otherness, sanctity and mystery. Employing a children’s choir grants a measure of innocence to Christ as the sacrificial lamb, while the vocal line is either in unison or in three parts reflecting the oneness or Trinitarian implications of God. I tried to make the choral writing as varied as possible, sometimes homophonic, sometimes with upper or lower voices, at other times just a unison line. The crowd sections move into polyphony to show the chaotic, angry or fearful world of the street. 
The concert is presented in conjunction with the Duke Divinity School and the Duke Initiatives for Theology and the Arts (DITA), who helped commission this work. Tickets are available at the Duke University Box Office:  919-684-4444,
Haydn "The Creation" Schirmer English Translation Hugh McDevitt, %12 %b %2014 %17:%Apr:%th 17AprGMT+0000,
I'm doing a little background research on Hadyn's "Creation," and I'm curious where the English translation used in the Schirmer edition of the piece comes from.   I've read a few books written specifically about this work and haven't come across this answer yet, although I may be missing it somewhere.
Thanks for any pointers you can provide!
Hugh McDevitt
San Jose, California
Need to borrow Jazz Songs of Innocence Lunette Arledge, %12 %b %2014 %17:%Apr:%th 17AprGMT+0000 Jazz Songs of Innocence
Composer/Arranger/Edition: Bob Chilcott
Starting: Immediately
For: two months
Copies: 18
Willing to rent: Yes
I'd like to do one piece, The Echoing Green, with my church choir women on a program we're doing in June. The piece isn't published separately. We'll take excellent care of the scores and will be happy to pay a rental fee.
Soprano & Tenor section leaders needed - Easter April 20 Grace Choi, %12 %b %2014 %16:%Apr:%th 16AprGMT+0000 Soprano and Tenor section leaders for April 20 (Easter), identical services at 9 & 11 AM, (Congregational/UCC affiliated). Please contact for pay rates, choir call time, etc. Thank you! ]]>Manger, Voce Chamber Singers Jane Waldrop, %12 %b %2014 %16:%Apr:%th 16AprGMT+0000
Voce Chorus Manager Job Description
Voce is a non-profit arts organization based in Reston, VA. Founded in 1989, this acclaimed chamber chorus consists of 20-24 volunteer voices presenting three concerts per season.
Voce seeks a Chorus Manager to work with the Artistic Director and the Board of Directors in the general management of the concert season. Duties include:
  • Maintain schedule of tasks for the season
  • Assist with maintaining accurate records
of performances and outreach
  • Check the Voce phone number, P.O. Box and email account regularly, and respond or forward in a timely manner

  • Coordinate bulk mailings: sort and print labels, print bulk mail documents for PO, coordinate labeling and drop-off
  • Respond to requests for paid performances
  • Assist with singer recruitment via placing online ads and press releases, coordinate details of auditions with artistic director and applicants
  • Maintain up-to-date roster of singers, dues payment status and contact information
  • Report to the Board of Directors monthly
on tasks and needs
  • Other duties as assigned
  • Manage social media, including Facebook and Twitter, and engage our social audience within frequent posts on appropriate topics.
  • Coordinate the writing, editing and distribution of event press releases

  • Assist in creation and distribution of emails and newsletters
  • Maintain list of arts calendars and update regularly
  • Send bulk emails to email list – Voce Scoop newsletter, donation appeals
  • Create program ads to exchange with other arts groups
  • Work with web design firm to update website with concert details, ticket information and singer bios as needed
  • Manage brochure, postcard and poster design, printing and distribution
  • Coordinate the creation, editing and printing of concert programs and any other print collateral needed during the season
  • Coordinate with location staff to book rehearsal and concert sites
  • Process ticket orders (phone and online)
  • Manage will call list and onsite ticket sales
  • Manage set up and tear down of performances, including ushers and box office table items (brochures, email sign up sheets, etc.)
  • Schedule and coordinate recording services for concerts
  • Draft and mail annual appeal letters and thank you letters to donors
  • Coordinate program ad sales
The ideal candidate will have excellent written and oral communication skills, the ability to work independently on a variety of tasks with staff and board members, a strategic thinker with an enthusiastic attitude and a flexible schedule. Candidate should be organized, attentive to detail, able to plan tasks from start to finish, meet deadlines, able to anticipate needs and come up with appropriate solutions to issues that may arise.
  • Experience as choral musician ideal, but not essential
  • A leadership role in arts administration, non-profit fundraising, marketing or development is a huge plus

  • Must be legally able to work in the United States
  • Full time resident of Northern Virginia (Fairfax County)
  • Voce does not have a physical office, so work would be done from your own home. Consistent access to computer/internet/home office equipment is essential.
This is a part-time position. Compensation is paid as an independent contractor (a 1099 is provided at the end of the year). Benefits are not provided for this position. Anticipated start date: August 15, 2014
Interested and qualified candidates should send a résumé and cover letter, as a PDF or in the body of an email to:
Applications will be accepted until the position is filled. We will confirm receipt. No phone calls please.
Voices of London Festival 2014 Hilary Campbell, %12 %b %2014 %14:%Apr:%th 14AprGMT+0000 Voices of London Festival is a brand new festival for London, celebrating the extraordinary range of choral diversity on offer in the capital and beyond. The festival will showcase ensembles of all shapes and sizes, from community choruses and youth choirs to professional chamber choirs and operatic ensembles.
We are delighted to be hosted by St James' Sussex Gardens, parish church of Paddington, in the heart of London. Fast becoming one of the most popular concert and recording venues in London, St James' boasts a highly flexible performance space and wonderful choral acoustic.
The festival, which will involve well over 400 performers, is being run by a team of experienced choral conductors, all of whom trained at the Royal Academy of Music. 
Further Details
Twitter @VoicesofLonFest
Phone 07740 354817
Festival Venue St James’ Paddington, Sussex Gardens, London, W2 3UD
Friday 27 June Workplace Choirs Day
Early evening performance involving:
P&O Choir (Winners of BBC2’s Sing While You Work Series 2)
Hearst Choir
4Tunes (Channel 4)
Irwin Mitchell Choir
Standard Chartered Choir
Saturday 28 June Community Come and Sing Day
Led by Ralph Allwood
Sunday 29 June Youth Choirs Day
Collaborative afternoon performance involving:
The London Youth Choirs
Highbury Young Singers
Malcolm Arnold Academy
Tuesday 1 July Chamber Choirs Day
Collaborative evening performance involving:
De Merc Chamber Choir
The Choir of St Mary Merton
Blackheath Chamber Choir
Wednesday 2 July Early Music Day
Evening concert: Knightley Voices
Friday 4 July Contemporary Music Day
Early evening performance: Take Note Choir
Evening composition competition and concert: Music Makers of London
Adjudicators: Judith Weir and Stephen Jackson
Saturday 5 July British Music Day
Evening concert: Blossom Street
Sunday 6 July Festival Finale
Evensong with the choir of St James
Followed immediately by:
Harvey Passion and Resurrection
bass and tenor needed for Easter Ronald Baltimore, %12 %b %2014 %14:%Apr:%th 14AprGMT+0000 the choir. You can contact me at 908-644-3044 or e-mail me at
Pay is negotiable.
Ronald Baltimore, Organist/Choir Director
Trinity and St. Philip's Cathedral (Episcopal)
Newark NJ]]>
Help! My student doesn't know how to sit still.... Erin Morrison, %12 %b %2014 %13:%Apr:%th 13AprGMT+0000 I am a music education student and I need help with classroom management. I run a choir of middle school girls whom are mostly well behavd, but I have one student who I have had to stop rehersal over 15 times in an hour to disipline. She has ADHD, but her parents don't like giving her medication every day of the week, so Sundays (our rehersal days) are her day off. She bounces off the walls, can't keep to herself, and is extremely frustrating. Her parents even give her sugar before rehersal some weeks which makes it worse. I have tried seating charts, a discipline plan where she can sit out to calm down, talking to her parents about ways they handle when she gets too over active, but nothing has seemed to work. Because of this, I've had to cut my spring concert program in almost half so we can actually learn the music in time due to not getting through music well with her in rehersal with having to discipline her so often. 
So please, anyone have any advice? I am at a loss here.
Audition for The Boston Cecilia Nicholas White, %12 %b %2014 %10:%Apr:%th 10AprGMT+0000 Boston Cecilia's March 21, 2014 performance of Bach's Mass in B Minor at Jordan Hall (New England Conservatory)
The Boston Cecilia
Audition Information
We have immediate openings for all voice parts for The Boston Cecilia 2014-2015 concert season.
Please call the office at 617-232-4540, or email the General Manager at
The Boston Cecilia is Boston’s longest-existing amateur chorus, famed in recent years for period instrument performances of Handel and Bach as well as revelatory readings of recent masterpieces. Last season, under the exciting leadership of Nicholas White, featured critically acclaimed performances of the Duruflé Requiem, Bach’s Mass in B Minor and sublime choral works by Howells, Mathias and others. The chorus is comprised of about 60 volunteer singers. Founded in 1876, Cecilia's reputation for stylish performances, winning highest praise from audiences and critics alike, continues with the 2014-2015 Season.
Audition Information
Auditions are 10 minutes in length and include vocalizing, sight-reading (on one’s own voice part) and singing a prepared piece (welcome, but not required.) Pre-summer audition dates are set for the following times:
Monday, May 19, 6:00-7:30pm
Monday, June 2, 6:00-7:30pm
Monday, June 9, 6:00-7:30pm
There will also be three “look-ahead” rehearsals with the chorus, following these auditions from 7:30-10:00pm. Potential new singers are welcome and encouraged to attend in order to become familiar with The Boston Cecilia. All auditions and rehearsals will take place at All Saints Parish, 1773 Beacon St, Brookline, MA 02445.
2014-2015 Season Information
The 2014-2015 season performances will include Dvorak’s Mass in D, Bernstein’s Chichester Psalms, Christmas music by John Tavener and Richard Rodney Bennett, Bach’s Singet dem Herrn and works by Brahms, Mendelssohn and Schumann.
Concert Dates
Sunday, October 19th, 2014 at 3:00pm (All Saints Parish, Brookline)
Friday, December 5th, 2014 at 8:00pm (Church of the Advent, Boston)
Sunday, December 7th, 2014 at 3:00pm (All Saints Parish, Brookline)
Saturday, April 11th, 2015 at 8:00pm (All Saints Parish, Brookline)
Rehearsal Information
Monday evenings, 7:30pm to 10:00pm at All Saints Parish, Brookline.
(Rehearsals begin Monday, September 8th at 7:30pm.)
Occasional Saturday morning rehearsals - once or twice a year.
Free parking and T-accessible.
Green C-line: Dean Road
Green D-line: Beaconsfield
What's on Great Sacred Music, Sunday, April 13, 2014 Robert Kennedy, %12 %b %2014 %13:%Apr:%th 13AprGMT+0000
Great Sacred Music airs every Sunday morning from 8 until 11 a.m. eastern on The Classical Station.
Most of the music on this week's playlist can also be found on Spotify at this link: GSM - April 13, 2014
Also on Sunday evenings you can hear more choral music both sacred and secular on Wavelengths and
Peaceful Reflections beginning at 9 p.m. eastern.
J.S. Bach: Fantasia super: Valet will ich dir geben, BWV 735
Hans Fagius, organ
1728 Cahamn organ at Leufsta Bruk, Sweden
Michael Teschner: All glory, laud and honor
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
Orlando Gibbons: Hosanna to the Son of David
Oxford Camerata, Jeremy Summerly
H. Walford Davies: Psalm 130, "Out of the deep"
Choir of King's College, Cambridge, Philip Ledger
Francis Grier, organ
Our Palm Sunday program opens with Bach's chorale prelude
on "All glory, laud and honor" followed by the Teschner tune on
which Bach's work is based. The Gibbons' setting of "Hosanna to
the Son of David" continues the triumphal mood of Christ's entry
into Jerusalem, while Psalm 130 looks ahead to the sad events of Good Friday.
Franz Schubert: Six Antiphonies for Palm Sunday, D. 696
Capella Bavariae, Wolfgang Sawallisch
John Ireland: My song is love unknown
Choir of St. John's, Elora, Noel Edison
Paul Halley, organ
Schubert composed his Palm Sunday Antiphons in 1820. Samuel Crossman
wrote the poetry for "My song is love unknown" in 1664. Paul Halley adorns
John Ireland's gorgeous hymn-tune with subtle reharmonizations and a stunning
Sir Edward Bairstow: The Lamentations of Jeremiah
Choir of St. John's, Elora, Noel Edison
Michale Bloss, organ
William Horsley: There is a green hill far away
Choir of Wells Cathedral, Malcolm Archer
Rupert Gough, organ
Rene Clausen: O vos omnes
Kansas City Chorale, Charles Bruffy
The late 19th century English cathedral organist Edward Bairstow infuses
his setting of "The Lamentations of Jeremiah" with gut-wrenching pathos.
Listen to the contrast in moods between Horsley's treatment of the crucifixion
drama with contemporary American Rene Clausen's setting of "All you who pass by".
Thomas Weelkes: Hosanna to the Son of David
Choir of Christ Church Cathedral, Oxford, Stephen Darlington
J.S. Bach: Valet will ich dir geben: choralis in pedale, BWV 736
Hans Fagius, organ
1728 Cahamn organ at Leufsta Bruk, Sweden
We conclude our first hour of this week's program with music which underscores the
triumphal entry into Jerusalem.
J.S. Bach: Cantata 82a, "Ich habe genug"
Europa Galante, Fabio Biondi
Ian Bostridge, tenor
This cantata's text muses about our desire to leave the miseries of this life and be united
with Jesus in heaven.
Felix Mendelssohn: O Haupt voll Blut und Wunden
Chamber Choir of Europe; Wurttemberg Philharmonic, Nicol Matt
Raimund Spogis, baritone
Mendelssohn greatly admired Bach's music. You will hear nods to the baroque master
both in structure and style in this passiontide anthem.
J.S. Bach: Es ist vollbracht ~ St. John Passion, BWV 245
Paris Orchestral Ensemble, John Nelson
Stephanie Blythe, contralto; Jerome Hantai, viola da gamba
So many times Bach's music foreshadows the musical periods and composers who followed
him. "Es ist vollbracht" is a good example of Bach writing in an emotion-charged romantic style.
Frank Martin: Passacaille
James Lancelot, organ
Harrison and Harrison organ in Durham Cathedral, England
The Swiss-born composer Frank Martin (1890-1974) wrote just two pieces for the organ:
this Pasacaille and an Agnus Dei.
Ernest Bloch: Sacred Service
London Philharmonic Choir and Orchestra, Ernest Bloch
Marko Rothmuller, bass-baritone; Dorothy Bond, soprano; Doris Cowan, contralto
Passover and Holy Week run concurrently this year. We mark Pesach with a performance
from 1950 of Ernest Bloch's moving "Sacred Service" conducted by the composer.
J.S. Bach: Prelude and Fugue in C minor, BWV 546
Daniel Bishop, organ
Willis organ in Liverpool Cathedral
When I was active as an organist in the Episcopal Church from 1969-1997 I played this
monumental Prelude and Fugue in C minor at the conclusion of Palm Sunday services.
It captures the mood of the triumphal entry into Jersualem as well as the pathos of Good Friday.
Free Workshop with David Hill in New Haven, CT Lars Gjerde, %12 %b %2014 %13:%Apr:%th 13AprGMT+0000
The New Haven Chapter of the American Guild of Organists invites church musicians, choral directors, choral singers, and music teachers of all backgrounds and levels of experience to an inspiring morning with English master choral director David Hill, conductor of the Yale Schola Cantorum. We will meet at First and Summerfield United Methodist Church, 425 College Street, New Haven, on Saturday, April 26, from 9am-1pm. There is no fee to attend, but there is optional lunch for purchase, with signup required by April 20 (see below). Professor Hill will lecture and give practical demonstrations about choral leadership techniques, and members of the AGO will play and conduct in a masterclass, with all attendees functioning at the choir. Optional catered lunch is available for $10. Contact Bill Speed to sign up (with or without lunch):
David Hill has a long and distinguished career as one of the leading conductors in Europe. His talent has been recognized by appointments as chief conductor of The BBC Singers, musical director of the Bach Choir, chief conductor of the Southern Sinfonia, music director of Leeds Philharmonic Society and associate guest conductor of the Bournemouth Symphony Orchestra. In 2002, he was awarded an honorary doctorate by the University of Southampton in recognition of his services to music. In 2007 he was named an honorary member of the Royal School of Church Music and in 2010 an honorary fellow of the Royal Academy of Music. With over seventy recordings to his credit, Hill has performed virtually every style and period in the choral repertoire from Gregorian chant to Renaissance polyphony, from baroque oratorios to modern masterpieces for chorus and orchestra. He has commissioned dozens of works from leading composers of today, including Judith Bingham, Francis Pott, Patrick Gowers, Sir John Taverner, and Philip Wilby. Previously, Hill was Master of the Music at Winchester and Westminster Cathedrals, Music Director of the Waynflete Singers, Artistic Director of the Philharmonia Chorus, and Director of Music at St. John’s College, Cambridge.  M.A., University of Cambridge.
Blue Heron sings Spanish Masters John Yannis, %12 %b %2014 %12:%Apr:%th 12AprGMT+0000 Heron Spanish Masters, April 26 at 8 pm

Blue Heron will conclude its 15th subscription season with a wonderfully varied program of Spanish sacred and secular music from the late 16th and early 17th centuries.


Alonso Lobo (c.1555-1617) used a motet by Francisco Guerrero (c.1528-1599) as the basis and inspiration for a complete Mass. The text of the motet, Simile est regnum caelorum, is drawn from the biblical parable of the workers in the vineyard (found at the beginning of Matthew 20). Other works, both sacred and secular, from this period will be offered as well, some accompanied by instruments such as dulcian, guitar and vihuela.


Born in Osuna, Spain, Alonso Lobo was a choirboy in the Seville's Cathedral chapter, where he presumably studied under the great Francisco Guerrero. In 1591, he was installed there as assistant to Guerrero. Two months after he arrived, he was asked to direct the choir in his master's (Guerrero's) absence. Lobo was appointed maestro di capilla of the Cathedral of Toledo in 1593, where he remained until his return to a similar post in Seville in 1604. He spent the remaining decade of his life in Seville.


Although modern audiences are largely unfamiliar with Lobo, many contemporaries considered Lobo to be Victoria's equal (including Victoria himself). Musicians throughout the Baroque period also maintained a very high regard for Lobo's work. Come hear Spanish Masters on April 26!


Blue Heron

Scott Metcalfe, director
Martin Near, Jason McStoots, Reginald Mobley, Mark Sprinkle, Paul Guttry, voices

Marilyn Boenau, dulcian

Charles Weaver, guitar & vihuela


FREE pre-concert talk at 7:15 PM by Christopher Martin (Boston University)

Pre-concert talks are sponsored in part by The Cambridge Society for Early Music.


FREE parking is available (with validation in the church lobby), 

at University Place Garage, 214 Mt. Auburn Street (behind the Charles Hotel).


As always, you can order tickets on line at or get more information by calling

617-960-7956, or sending an email to

Deborah Lewis Appointed Executive Director of LA Children’s Chorus Susan Gordon, %12 %b %2014 %05:%Apr:%th 5AprGMT+0000
Deborah Lewis, an exceptional and highly regarded arts administrator with three decades of experience, has been appointed Executive Director of the renowned Los Angeles Children’s Chorus (LACC) following a nationwide search, it was announced by LACC Board Chair Jennifer Terry.  Lewis previously served as Executive Director of Angels Gate Cultural Center, the acclaimed visual and performing arts organization located San Pedro heralded for its broad reach throughout Southern California and beyond.  Prior to that she was the executive director of the Ethel Louise Armstrong Foundation, for which she administered its national grant and scholarship programs and also provided arts organizations with key technical assistance in compliance with the American with Disabilities Act (ADA). 
“We are very excited to welcome Deborah to the Los Angeles Children’s Chorus,” says Terry.  “She has an outstanding track record of more than 30 years in arts administration as an engaging team builder with wide-ranging community ties who brings people together, a proven fundraiser with an enviable record, and an extremely effective management style praised by artists, donors, community partners and staff alike.  Her strong skills and deep passion for music will help propel the Los Angeles Children’s to a new level of growth and esteem as it heads into its third decade.”
“It is an honor to serve in this vital leadership capacity with the Los Angeles Children’s Chorus,” states Lewis.  “A musical jewel, the chorus has a superlative reputation for its exceptional artistry, highly developed training program for young singers and successful community partnerships.  I look forward to working with all of LACC’s constituents to ensure that the chorus reaches new heights artistically and administratively.”
During Lewis’s tenure at Angels Gate Cultural Center, she oversaw 50 studio artists who participate in multi-year on-site studio residencies, four art galleries that present exhibitions by local and international artists, as well as an extensive array of community arts classes and in-depth visual and performing arts classroom residency programs throughout the harbor region.  She was also responsible for the planning and implementation of the center’s short-term programs and long-term planning while successfully leading expanded fundraising efforts. 
In her previous post with the Ethel Louise Armstrong Foundation (ELA), Lewis provided ADA consultancies to the Santa Barbara Zoo, Santa Barbara Art Museum, Pasadena Playhouse, Rubicon Theatre and LA Stage Alliance, among other organizations.  Additionally, she has provided audio description training and consultation to the Los Angeles Radio Reading Service for the Rose Parade, the Center Theatre Group, the Yale Repertory Theatre and the Leadership Exchange in Arts and Disabilities conference through the John F. Kennedy Center for the Performing Arts.  She is a founding member of the Audio Description Coalition and the California Audio Describers Alliance.  Lewis joined the ELA Foundation after 15 years of work at Special Audiences in Atlanta, Georgia, where she brought the arts to over 100,000 disabled and disadvantaged people annually.  As senior writer with Audio Description Solutions, she has also provided audio description for the Visitors Centers of such National Parks as Mesa Verde, Mammoth Cave, James Garfield, Keneewaw, New River Gorge and Pinnacles as well as the Santa Monica Mountains National Recreation Area. 
Lewis earned a BA from Otterbein University in Ohio and has completed the Nonprofit Leadership Institute at Long Beach Nonprofit Partnership and the Annenberg Foundation’s “Alchemy” leadership programs.  Lewis, who lives in Altadena, California with her husband, Boyd, has been a singer since the age of 10 and currently sings in Canterbury Choir at All Saints Episcopal Church in Pasadena.
LOS ANGELES CHILDREN’S CHORUS – lauded as “one of the world's foremost children's choirs” (Pasadena Star News), and described by critics as “hauntingly beautiful” (Los Angeles Times), “astonishingly polished” (Performances Magazine), “extraordinary in its abilities” (Culture Spot LA), and “one heck of a talented group of kids” (LA Weekly) – is recognized throughout the country for its exceptional artistic quality and technical ability.  Founded in 1986 and led by Artistic Director Anne Tomlinson since 1995, LACC’s roster includes more than 400 children ages 6 to 18 from more than 50 communities across Los Angeles in six choirs and First Experiences in Singing program.  LACC has toured North and South America, Africa, China, Australia and Europe.  It appears on the Los Angeles Master Chorale’s critically acclaimed Decca recording A Good Understanding, and Plácido Domingo’s Deutsche Grammophon recording Amore Infinito ("Infinite Love"). The subject of a trilogy of documentaries by Academy Award-winning filmmaker Freida Mock, LACC is featured in the Academy Award-nominated Sing!, about a year in the life of the choir; Sing Opera!, documenting the production of LACC’s commissioned family opera Keepers of the Night; and Sing China!, chronicling its groundbreaking tour to China just prior to the Beijing Olympics.  LACC has performed with John Mayer on NBC's “The Tonight Show” and was featured on Public Radio International's nationally syndicated show “From the Top,” among other credits.
For more information on Los Angeles Children’s Chorus, please call (626) 793-4231 or visit
Echoes of Peace, Visions of Hope - Four World Premieres Jennifer Flory, %12 %b %2014 %04:%Apr:%th 4AprGMT+0000 choral students Brianna Riley and Mitchell Moore speak with Creekside Elementary student Isaaiah Wilson about his writing. Georgia College’s choral ensembles, including University Chorus, Women’s Ensemble and Max Noah Singers, will perform April 12 at 7:30 p.m. at First Baptist Church in Milledgeville to present “Echoes of Peace, Visions of Hope.”
The theme of peace will be reiterated throughout the concert and is a subject very close to choral director Dr. Jennifer Flory’s heart. “When the Sandy Hook Elementary shootings took place in December 2012, I felt very connected to the community of Newtown, Conn.; my aunt and uncle live there and my cousins went to school in the same district,” Flory said. “The theme of peace has been on my list of future concert ideas since I came to Georgia College; this event prompted me to bring it to fruition.”
Flory has been working with several composers for more than a year to compile and create the perfect repertoire for this concert. Four of the works being performed were written specifically for this concert and for the Georgia College choirs. These pieces have never been performed before.
Dr. David Johnson, assistant professor of music theory and composition at Georgia College, wrote “Sing Me at Dawn” for the Women’s Ensemble, and John Hennecken, Georgia College alumnus and adjunct professor, wrote “Motet”, which will premier with a performance by Max Noah Singers.
Georgia College creative writing major Bri Neves wrote text that was used in New Zealand composer David Hamilton’s piece, “Dona Nobis Pacem.” Hamilton also used text from poems written by Milledgeville’s Creekside Elementary School students to accompany his composition.
“I jumped at the chance at getting involved,” said Cindy English, 4th and 5th grade teacher at Creekside Elementary School. “My students love to do anything for the community, and they are very creative writers.”
Fifth grader Isaaiah Wilson, who is also a member of the Creekside Elementary chorus, is one student who contributed through writing a poem. Wilson said it made him “feel special” to be able to contribute to the writing of a song, and he even shared his views on what peace means to him.
“It just means working together, not fighting and everyone getting along,” Wilson said.
At the end of the concert, the Creekside Elementary Chorus and the Georgia College choral ensembles will perform Hamilton’s premiere together.
Admission is free and donations are encouraged to benefit music scholarships.
For more information about the performance, email or call 478-445-4839 or visit
ABOUT GEORGIA COLLEGE: Georgia College, the state’s designated Public Liberal Arts University, combines the educational experience expected at esteemed private liberal arts colleges with the affordability of public higher education. Its four colleges – arts and sciences, business, education and health sciences – provide 6,600 undergraduate and graduate students with an exceptional learning environment that extends beyond the classroom, with hands-on involvement with faculty research, community service, study abroad and myriad internships.
Founded in 1889, Georgia College boasts one of the most beautiful campuses in the nation with Corinthian columns fronting red brick buildings and wide open green spaces. Georgia College also offers graduate education at the historic Jefferson building in downtown Macon, at Robins Air Force Base and online.
Access News & Events page
For more information, contact University Communications at (478) 445-4477.
Region 26 A capella chorus competition Sheryl Beach, %12 %b %2014 %04:%Apr:%th 4AprGMT+0000 Capella is HOT, hot , prepare to be thoroughly entertained as  700 of the best singers will be “strutting their stuff” in the Sweet Adeline Region 26 competition on May 1 – 4, 2014
We are proud to say that Region 26 is the only ALL CANADIAN region, which encompasses BC, Alberta , Saskatchewan and the Territories.  Sweet Adelines International Inc is a not –for -profit worldwide organization.  There are  27,000 members in 11 countries all committed to  advancing the musical art  form of a capella harmony (barbershop style) through education and performance.
To give you a preview of the fine art of a capella,  there will be a free performance at  12:30 pm – 1:00 pm  on  Friday May 2 at the   Centre Court, Guildford Town Centre .
The Competition will be held at the Chandos Pattison Auditorium- 10238 - 168th St.,  Surrey,  BC  V4N 1Z4
Schedule:               - Quartet Competition May 2, Friday – 6 pm
                 -Chorus Competition  May 3, Saturday – starting Noon
                 -Show of Champions  May 3, Saturday  - 7 pm  
Tickets can be purchased at the door - For more information contact  Yvonne Meyer
Please also  visit our website to find a  chorus rehearsing near you!!!  
Saturday Respite: Coffee in April in Paris Scott Dorsey, %13 %b %2014 %20:%Mar:%th 20MarGMT+0000
April in Paris? Coffee in Paris? How about ANYTHING in Paris! (The company one keeps whilst one is in Paris probably has something to do with enjoying the experience)
Take the Latest ACDA Poll: "How much is your rehearsal pianist paid? " Scott Dorsey, %11 %b %2014 %19:%Apr:%th 19AprGMT+0000's time to vist the ACDA website to take the poll of the week!  This week's question pertains to the salary paid to your rehearsal pianiost.  TAKE THE POLL. ]]>Contemporary Classics Claudia Fallert, %12 %b %2014 %01:%Apr:%th 1AprGMT+0000 Charles County Youth Choir Concert
Sunday, May 18, 2014
Lindenwood Cumtural Center
400 N. Kingshighway
St. Charles, MO.  63301
Southwestern Oklahoma State University Mozart Requiem Daniel Farris, %11 %b %2014 %22:%Apr:%th 22AprGMT+0000 22 and 24 April 2014, Southwestern's vocal/choral division will perform an evening of Classical music to include Mozart’s Requiem, K. 626 and selections of chamber music of Leopold Mozart and Franz Josef Haydn (Mozart’s two “Pappas”). This production is a collaboration of the choirs of Southwestern, conducted by Dr. Daniel Farris, the Symphony Orchestra, conducted by Dr. Robert Chambers, the keyboard faculty of Southwestern, and featured DFW-based soloists. The soloists are bass-baritone Dr. David Grogan of the University of Texas in Arlington, Orpheus Ensemble and Dallas Bach soloists mezzo-soprano Katrina Kledas and soprano Heidi Klein, and tenor Nic Garza. Dr. Grogan, Katrina Kledas, and Heidi Klein will be teaching a master class featuring Southwestern students, an open-question forum on professional singing, and teaching voice lessons to selected students of Southwestern’s vocal/choral program. All are encouraged to come to the master class and forum if interested.

The concert performances, master class, and open-question forum are free to the public. Contact Daniel Farris at or 580.774.3208 for more details about the artists-in-residence or the Mozart program.


Chamber Choir:

Ein kleines Haus by F. J. Haydn (1801)


Two Lieder by Leopold Mozart (1761), arr. for woodwinds by Daniel Farris (2014)

1.  Die Zufriedenheit im niedrigen Stande

2.  Geheime Liebe


Du bist’s, dem Ruhm und Ehre gebühret by F. J. Haydn (c.1796)


Southwestern Singers, Community Chorus, and Southwestern Symphony Orchestra

Requiem, K. 626 (1791, completed by F. X. Süssmayer and J. Eybler, ed. L. Nowak)

Haydn's "Seven Last Words of Our Savior on the Cross" at Shadyside Pres. Church on Good Friday, April 18 (Pittsburgh) Mark Anderson, %11 %b %2014 %21:%Apr:%th 21AprGMT+0000
Evening of Music and Readings at Shadyside Presbyterian Church features Haydn’s Seven Last Words of Our Savior on the Cross
Shadyside Presbyterian Church presents an Evening of Music and Readings on Good Friday, April 18, at 7:00 p.m. The service features portions of composer Franz Joseph Haydn’s setting of The Seven Last Words of Our Savior on the Cross, presented by the church’s Chancel Choir and string quintet, under the direction of conductor Mark A. Anderson, Director of Music Ministry.
Shadyside Presbyterian Church welcomes the community to hear selections of Haydn’s oratorio. On Good Friday evening at Shadyside, choral movements will be interspersed with readings, homilies, and periods of silence to allow for individual contemplation.
Worship is free and open to the public; no tickets are necessary to attend. Free on-street parking is available surrounding the church. Additional information about Holy Week at Shadyside Presbyterian Church may be found by visiting For information about the church’s Music in a Great Space concert series, call 412.682.4300, or visit

Shadyside Presbyterian Church is centrally located in the heart of Pittsburgh’s university district, just a few blocks away from the campuses of the University of Pittsburgh and Carnegie Mellon University. The church is situated on the corner of Amberson Avenue and Westminster Place, only one block off Fifth Avenue.
Tour Hosts in Ohio, Pennsylvania, Maryland and/or Delaware Aaron Carpenter, %11 %b %2014 %21:%Apr:%th 21AprGMT+0000 Land of Lakes Choirboys of Minnesota is in search of two or three venues in North/Easter Ohio, Pennsylvania, Maryland, and Delaware.
We will be on a 16-day concert tour and already have 13 performances booked but have openings on June 18, 19, 20 and 21.
We travel with 31 choristers who would need housing and a few meals.  We generally arrive at a venue around 4:30 p.m. and depart the following day by 8:00 a.m.
There is no cost to host the choir.  We do take a free will offering and would be interested in partnering with you for a cause (organ fund, Music Ministry Fund, etc.).
Please contact Aaron Carpenter, Artistic Director, at
Thank you for your consideration.
Four Composers Recognized by PROJECT : ENCORE™ Darlene Wyzga, %11 %b %2014 %20:%Apr:%th 20AprGMT+0000
PROJECT : ENCORE™ of Schola Cantorum on Hudson, a bridge between conductors and new, post-premiere choral compositions and their composers, is proud to announce this quarter’s acceptance of--
“The Birds” by David Basden
“Televised Address to the Nation on Civil Rights” by Aaron Gervais
“Psalm 109” by Paul Reale
“I Shall Not Care” by Brandon Michael Stewart
into its keyword searchable database of new post-premiere choral compositions vetted by an international panel of prominent conductors.  Congratulations, all!
CONDUCTORS are urged to sign up to receive the quarterly publication, Sing It Again!, for regular updates on new repertoire!
COMPOSERS are urged to submit compositions that have been premiered, but have not been extensively performed beyond the premiere--as frequently as one per quarter--for review and possible upload into the prestigious PROJECT : ENCORE™ database.
South Salem High School Choir Teacher Mary Lou Boderman, %11 %b %2014 %18:%Apr:%th 18AprGMT+0000
Outstanding full time high school choral position in the Salem Keizer (Oregon) School District, which is known as having one of the most outstanding music programs in the country. The South Salem High School Choral Program has long been known for their tradition of excellence in both concert and jazz choir. The district is seeking candidates that are experienced with evidence supporting outstanding achievement in the area of vocal music education.
Music at South Salem High School is strongly supported by the school administration and active parent booster organization. This position offers an excellent salary and benefits.
Please contact:
Mary Lou Boderman
Supervisor of Music
Need string parts-Rossini Stabat Mater-#8 Inflammatus Marina Alexander, %11 %b %2014 %17:%Apr:%th 17AprGMT+0000 String parts only - Rossini Stabat Mater - #8 Inflammatus
Composer/Arranger/Edition: G. Rossini
Starting: ASAP
For: N/A
Copies: 1 each (vi 1, vi2, vla, vcl, DBs)
Willing to rent: No
For a program in May, I need the just  the string parts from Rossini's Stabat Mater, for JUST movement #8 - Inflammatus et accensus.
If you have them and can send them by either fax or PDF, I would be most grateful.
Please contact me directly -
All thanks,
Marina Alexander
2014 Music Sales Choral Binders Allison Weissman, %11 %b %2014 %17:%Apr:%th 17AprGMT+0000 recent choral music online with the new 2014 Music Sales Choral Binders!  These binders offer a glimpse at the diversity of recent titles within the Music Sales Group choral catalogues (particularly Chester Music and Novello) and include Sacred, Secular, Christmas and Pops genres.
The 2013 Binders were also recently put online and you can find everything here:
For more information, visit
GLOBAL PERSPECTIVE: Multicultural and Fusion Music Reading Session and Workshop - Featuring Dr. Janet Galván Jennifer Sengin, %11 %b %2014 %16:%Apr:%th 16AprGMT+0000
Presented by Dr. Janet Galván
Saturday, June 7, 2014
Westminster Choir College
Princeton, New Jersey
$75 – ACDA Members
$35 – ACDA Student Members
$90 – Non-ACDA Members
Register Here
Register by May 1st to ensure a reading packet.
Questions? Email Jennifer Sengin
Explore! Experience! Engage! Embody! Empower!
Dr. Galván will present compositions from various cultures (from many places in the world and different styles from the United States) and fusion music composed with influence from various cultures. She will present ideas to help conductors approach music from an historical and cultural context resulting in confident, informed, performances that honor the authentic practitioners. She will demonstrate how process can instill passion, respect, and lead to building bridges of understanding.
This workshop will provide participants with a reading packet of 40+ titles in a variety of voicings and difficulty levels – something for everyone! Participants will receive information about performance practice, rehearsal techniques, and vocal techniques as it relates to multicultural music as well as general strategies for teaching music from different cultures.
Dr. Galván is a highly sought-after guest conductor and clinician and a leader in the area of Multicultural music. She excels in finding new and exciting repertoire as well as engaging singers throughout the learning process. Dr. Galván will select pieces to explore in-depth while reading others.
Sponsored by NJ-ACDA
The New York Voices in Concert (Cincinnati Region) Kurt Sander, %11 %b %2014 %13:%Apr:%th 13AprGMT+0000 Department of Music at Northern Kentucky University welcomes
The Grammy Award-winning vocal ensemble
in Concert
NKU Jazz Festival welcomes Grammy award-winning jazz vocal ensemble New York Voices! They are known for their close-knit voicings, inspired arrangements and unparalleled vocal blend.
Friday, May 3, 2014
Greaves Concert Hall
Northern Kentucky University
Highland Heights, KY  (Greater Cincinnati Region)
Tickets $15  General Admission
call 859-572-5464 for tickets and info.
2014 Pan-Orthodox Liturgical Music Symposium Kurt Sander, %11 %b %2014 %12:%Apr:%th 12AprGMT+0000 the 2014 Pan-Orthodox Liturgical Music Symposium
"Orthodox Liturgical Music Composition:  Fostering a Living Creative Tradition in the English-Speaking World"
June 12-15, 2014
Northern Kentucky University
Highland Heights, KY (Greater Cincinnati Region)
The 2014 Pan-Orthodox Liturgical Music Symposium is a four-day event specifically dedicated to singers, conductors, and composers of all Orthodox traditions.  The symposium will encourage and explore the current state of Orthodox choral composition in the English-speaking world today.  The event will include opportunities for participants to sing new Orthodox choral music, to participate in discussions, to hear presentations, and to attend a very special concert featuring newly-composed Orthodox choral works performed by the East/West Festival Choir under the direction of Peter Jermihov.
At this symposium, you will be able to:
• Sing new or recently-composed works by Glagolev, Zes, Resanovic, Lucs, Sander, Monk Martin, Hrebenko, Ryabchenko, Toensing, Karam, Zakkak, Gan, and many others.
• Hear presentations by some of today's most active composers and scholars in the field of Orthodox music.
• Attend a concert of new Orthodox music by the East/West Festival Choir under the direction of Peter Jermihov.
• Meet new friends and enjoy great conversation.
• Sing in the choir at the newly-constructed church of St. George in the Divine services featuring chant and choral music composed in the past 20 years and specifically written for the in the English language .
Special guest speakers, conductors, singers include:
Fr. Sergei Glagolev (composer)
Tikey Zes (composer)
Irene Riazanova (conductor)
Peter Jermihov (conductor)
Vladimir Morosan (musicologist, conductor)
John Michael Boyer (chanter)
Nicolas Schidlovsky (musicologist)
Richard Barrett (chanter)
Kurt Sander (composer) 
Register today by visiting our website at:
Sibelius 3 available? Craig Hawkins, %11 %b %2014 %13:%Apr:%th 13AprGMT+0000 am interested in upgrading my Sibelius 2 just up a step or two, but all I find online is Sib 7. I have no interest or need for all the bells and whistles of the most recent (and final) version. I'd like ot have a seperate version for my second computer without having to continually transfer saving and printing back and forth. I'm aware Sib 3 can save in earlier versions, so that is where I'm looking to go with for my second set up. Thank you for any leads you may share.
organist/accompanist & handbell director Bryan Greer, %11 %b %2014 %12:%Apr:%th 12AprGMT+0000
Come Grow With Us!  Shady Grove United Methodist Church in Mechanicsville, Virginia, seeks a part-time organist/accompanist and handbell director to be part of our exciting music ministry.  The ideal candidate will provide organ music for all traditional worship services, accompany choral ensembles in rehearsal and worship, and direct the handbell choir.  Additional opportunities include preparing small ensembles and soloists, weddings, and funerals.  Extensive experience in choral accompanying and leading congregational singing is expected; experience in directing handbell choirs is preferred.  Salary commensurate with experience and AGO guidelines.  If you would like to be considered for this vital role in our thriving church, please submit a resume with cover letter to Search Committee Chair, Shady Grove UMC, P.O. Box 817, Mechanicsville, VA 23111; or by email to .
"The Armed Man" and Beethoven 6 in Ashland, Wisconsin Russell Thorngate, %11 %b %2014 %07:%Apr:%th 7AprGMT+0000 Northland Festival Choir will join the Chequamagon Symphony Orchestra to present Karl Jenkins's "The Armed Man: A Mass for Peace" as part of "A Concert for Peace," on Saturday, April 12 at Our Lady of the Lake Catholic Church in Ashland, Wisconsin. The choir, the combined choral forces from Northland College, will be directed by Dr. Russell Thorngate, Director of Choral Activities at Northland College. The second half of the concert will be Beethoven's Sixth Symphony, directed by Joel Glickman.  ]]>Conference Morsel: Selecting Choral Literature Scott Dorsey, %13 %b %2014 %20:%Mar:%th 20MarGMT+0000
(An excerpt from the interest session “The Quest for Quality Choral Literature,” presented by Christopher Kiver during the 2014 ACDA Eastern Division Conference)
       What was the first piece of music you encountered that made you want to pursue music? For me, it was as a fourteen year-old violist playing Shostakovich’s Tenth Symphony. I probably only played 30% of the notes accurately, and knew little about music, but I knew immediately this was something special - haunting melodies, driving rhythms, beautiful orchestral colors, incredible dynamic contrasts, each rehearsal further piquing my interest and excitement as more and more of the score was revealed.
       So much music is available to us through live performance, reading sessions, publisher mailings, and the internet. Repertoire lists abound in choral newsletters, journals, and state adjudication lists, though rarely with objective evaluation of a composition’s quality. The following prompts are intended as a starting point for thinking more objectively when selecting repertoire.
       Is the text rich in meaning, nuance and color? Are the melodies interesting or memorable (not necessarily on first hearing)? Does each section of the choir have melodically interesting lines? Does the composer include enough harmonic variety to surprise the ear? Is there rhythmic variety? Is the accompaniment compelling? Does the piece stand up to detailed analysis? Will the composition engage singers intellectually, musically and emotionally? If performing this work, what other great music are the singers missing out on?
       Quality repertoire exists in all genres and historical periods. If the only first-hand experience of music for our singers is through participation in choirs, don’t all singers deserve to sing the very best music?
National Conference Choirs Needed Scott Dorsey, %09 %b %2014 %16:%Apr:%th 16AprGMT+0000 American Choral Directors Association is currently seeking choral performance applications for the 2015 ACDA National Conference, scheduled for February 25-28 in Salt Lake City.
Read the Audition Guidelines for Performance, then complete the On-line Application.
The deadline for application is April 30.
What are You Listening To? Jeff Tillinghast, %11 %b %2014 %04:%Apr:%th 4AprGMT+0000 the early days of listening to music on the Internet, the only available offerings were those "commercially viable" genres that could attract enough attention to warrant the high set-up and operation costs. Now that streaming music online has become standard and widespread, there are wonderful sources for choral music and other classical/art musics available online. For conductors and singers alike, this is a huge opportunity-- for us as conductors, it's an easy way for us to discover new compositions or ensembles. For singers, especially young singers who may not have exemplars of "the choral sound" in their ears, an opportunity to experience what choral music can sound like at its highest levels can be highly valuable. With that in mind, here is a quick run-down of some options which may help you and your musicians fill your ears.
Spotify is both an app and a web service which allows you to select particular albums, artists or songs to listen to (as long as they are in Spotify's licensed library). There is a free version with ads, and a paid subscription model without ads. A relatively recent development is that the mobile apps for Spotify are now free (they previously were part of the paid subscription), although you do have to be online to listen. Spotify has built up a comparatively sizeable choral library, and is continuing to add to their resources. 
A benefit of Spotify for conductors and teachers is that other users can follow you, similar to Twitter or the like, and see what you're listening to. You could use this to curate a weekly listening list or just recommended examples. You can also create individual playlists and share them. 
iTunes Radio
iTunes Radio has been around since early iTunes days, but it recently got a significant facelift. iTunes obviously has an enormous volume of licensed material through the iTunes store, but it is limited to curated radio stations that have failrly broad categories (e.g. "Classical," "Gospel"). Also, the selections tend to be fairly conservative-- the chances of an expert ear stumbling upon something new and interesting under the heading of "Classical" are fairly low. Regardless, it is an easy and accessible option for younger musicians looking for an entry point into art musics.
SoundCloud is becoming an interesting mix of performers recording music that is in the public domain and recordings from new composers and works seeking publication. While, like Spotify, you can search for individual tracks, you can't easily connect one to another (i.g. "If you like this, then..."). SoundCloud has no major licensing agreements, although curiously some recordings from Sony Classical appear in their library. All in all, this is not likely to be useful for passive exploration, although a browse for new works and compositions from time to time yields some interesting fruit.
Perhaps the first major player in the current audio streaming landscape, Pandora has always seemed to be less interested in licensing choral and classical works than expanding the commercial genres. Offering no individual song choice selection, Pandora asks you for a place to start and then selects songs that it thinks you will like (according to Pandora's own "Music Genome Project"). The thumbs-up/thumbs-down device helps prune the radio selection. Unfortunately, once you get specific in a genre of limited selection through Pandora's library, that means you're likely to get a lot of your original track repeated as it tries to figure out what else to offer you. It is, however, a great way to easily fill entrance music before a concert.
Finally, we get to Grooveshark. This is a bit of an oddity in that, like the early days of YouTube, it offers forward whatever content users upload regardless of ownership. This means that there can be much more varied selections available contributed by aficionados of particular artists, genres or eras. It also means that, in the most part, those recordings are in flagrant copyright violation. The RIAA is obviously pretty vocal in opposition to Grooveshark's existence, but Grooveshark has been able to so far fend off legal shutdown based on its compliance with specific takedown requests. The controversy around it causes other third-parties to keep their distance, so it's a website only (no apps available). 
If that all sounds a bit contrived for you, here are the basics: Grooveshark advertises themselves as the largest library of streaming audio on the Internet. That may be true, but it's mostly illegal (certainly in the spirit of the law if not the letter). Be warned when a singer comes to you wanting to share a Grooveshark playlist with the class that the product itself is most likely not legal--- but that can be a great entry point into a conversation about copyright and digital citizenship as artists with your ensemble!
In summation
I'm a big fan of what Spotify offers as an educator and listener. Pandora and iTunes Radio have advantages if you're looking to create background music for something, but aren't great tools for targeted research or sharing specific examples with your group. Grooveshark is very popular, but should come with a large red flag for you if it comes up in your ensemble.
I need 5 Knowledable Choir Enthusiasts!! Andrea Myburgh, %10 %b %2014 %23:%Apr:%th 23AprGMT+0000 Opera is growing at a tremendous pace. We are now ready to add Choirs to our Only Opera website. I am not that knowledgeable on Choir Singing, more Opera for me. I started a few months back and already we are a success!! Now I am looking for 5 people to join me and to guide me in how to develope a section for Choirs Only :)
I will ask you to join Only Opera, create a profile and to upload, Choir Music, Choir Youtube, Choir Videos not on Youtube and write blogs about Choirs and the passion which drives it! Please read my Blog at . It will give you an understanding of what I am trying to achieve.
Madrigalia presents: Singer's Choice Daniel McInerney, %11 %b %2014 %01:%Apr:%th 1AprGMT+0000
Date:                         April 7, 2014
Contact:             Dan McInerney: 230-2894;
                        Business and Concert Manager
For Immediate Release:
Madrigalia presents:  Singer’s Choice
May 17, 2014
7:30 PM
Fairport United Congregational Church of Christ
26 E. Church St., Fairport
May 18, 2014
4:00 PM
Baptist Temple
1101 Clover St., Rochester
Tickets: $15; $5 students
Tickets are available on the web at, or at the door.
Singers of Madrigalia Take to the Podium
ROCHESTER, NY – The members of Madrigalia come from all professions. Whether they are doctors, lawyers, teachers, real estate agents, or marketing professionals, they are united by their common passion for singing.
For Madrigalia’s closing concert of the 2013-2014 season, the singers will focus that passion not only on singing, but also on planning and producing the entire program.
“Many choruses periodically plan concerts with repertoire chosen by their members,” said Dan McInerney, Business Administrator for the ensemble and long-time tenor. “But Madrigalia took that idea one step further and decided to also have members conduct the rehearsals and performances. With several music teachers and conductors in the group, it seemed like a natural progression of the idea.”
May’s concert program, entitled “Singer’s Choice,” is organized into four sections: “Songs of Singing,” “Songs of Wind, Earth, and Light,” “Songs of Heritage,” and “Songs of Spirit.” The light program predominately features music of American composers, including Eric Whitacre, Craig Hella Johnson, Frank Ticheli, Morten Lauridsen, and Z. Randall Stroope.
Initially a group that performed only Renaissance madrigals, Madrigalia concerts now draw from a much wider repertoire of music spanning several centuries. Programs often include premieres of new works and works of American composers.
The concerts will take place across the area: May 17 at the United Congregational Church of Christ in Fairport and then on May 18 at Baptist Temple in Rochester.
KUBLA KHAN by Samuel Taylor Coleridge SATB 6:40 James Johnson, %10 %b %2014 %23:%Apr:%th 23AprGMT+0000 famous poem is among the most exotic in all of English literature. Coleridge (1772-1834) became
addicted to opium, and the fantastic visions he experienced are depicted in Kubla Khan. I have tried to
reflect these many moods in their abrupt changes and clashing emotions. Animato, difficult - 6:40.
All my compositions are written in Sibelius, so fully profesional scores and mp3 demo files are available.
Please look at a list of some of my other choral works on my ChoralNet page.
Thank you, James Johnson
Williams BA '64, Yale DMA '78, organist in Adolphus Busch Hall at Harvard 1971-1991,
ASCAP, AGO, Mensa, Who's Who in America,
Your Experience with RVW's Sea Symphony Susan McCreary Duprey, %10 %b %2014 %23:%Apr:%th 23AprGMT+0000!
I'm interested in hearing from colleagues who have rehearsed and performed Ralph Vaughan Williams' SEA SYMPHONY.  What was your experience?  Was it worth it?  How was it received?
Susan McCreary Duprey
Kona Music Society/Windward Choral Society
Artistic Director
Singing Holiday - RelaxSing Tuscany - 10 to 17 September 2014 Jill Wood, %10 %b %2014 %22:%Apr:%th 22AprGMT+0000
RelaxSing is an Events company, which brings people together for short breaks or holidays to relax and sing in spectacular locations.
Our Events are always exciting and different as a choir is formed from whoever comes to the Event, so the make up is quite different each time.
No experience is needed, just a love of song and a sense of fun.

To find out more about this all inclusive singing holiday, please click on the flyer below ;

RelaxSing Tuscany 2014
Artistic Director - Dutch Fork Choral Society Tracey Hagerty, %10 %b %2014 %22:%Apr:%th 22AprGMT+0000
Established in 2001, the Dutch Fork Choral Society is a 35 – 50 member, SATB community choir whose mission is to share, preserve, and advance the art of choral singing, by helping people experience the transforming power of choral music.  Performing a varied and challenging repertoire, we aim to delight our audiences while encouraging and developing the talents of our members.  We serve the northwest communities of the Columbia, South Carolina area.
Season:  August – May
Rehearsals: Weekly, Tuesdays 7 – 9 pm, Chapin United Methodist Church
Programs:  3 per year (1-2 performances each)
Deadline:   April 27, 2014
Send cover letter, résumé, and three references to:
Tracey Hagerty, Board President
PAM Summer Conferences on Worship & Music William McConnell, %10 %b %2014 %20:%Apr:%th 20AprGMT+0000 1970, the Presbyterian Association of Musicians has sponsored summer conferences on worship & music. These are opportunities for rest, rejuvenation, and recharge for church musicians, pastors, church music participants of all ages, and members of congregations (any denomination - not just Presbyterian). This summer, conferences are offered at:
Montreat Conference Center
Montreat, NC
Week I - June 15-20/Week Two - June 22-27
Leadership includes: Jon Walton, Susan Palo Cherwien, Paul Westermeyer, Chris Aspaas, Kenney Potter, Shannon Jeffreys, Heather Potter, Ed Rollins, Deb Carr, Sue Mitchell-Wallace, and Andrew Henderson
Presbyterian Mo-Ranch Conference Center
Hunt, TX
June 15-19
Leadership includes: John Bell, Reggie Weaver, Pearl Shangkuan, Tony Alonso, David Harris, Mary Ibis, and Stewart Wayne Foster.
Registration rates rise on April 15
For more information, go to
William McConnell
Concordia Camerata and Fesitval Choir perform Elijah Jason Thoms, %10 %b %2014 %19:%Apr:%th 19AprGMT+0000 Concordia Camerata and Festival Choirs will present a concert on April 13th at 4:00pm featuring Schubert's Mass in G and Mendelssohn's Elijah (with cuts).  The concert is directed by Dr. Jason Thoms, Director of Choral Activities at Concordia College-New York.
Featured soloists are:
Michael O'Hearn - Elijah
David Kellett - Obadiah and Ahab
Anne McKenna - Soprano
Sarah Marvel Bleasdale - Alto
Izaak Thoms - Child
Concert will be in the Sommer Center for Worship and the Performing Arts on the campus of Concordia College-New York in Bronxville, New York.
Tickets are just $10 at the door.
"Madrigals for a Merry Month" May 2nd at Pequot Library Carol Bogard, %10 %b %2014 %19:%Apr:%th 19AprGMT+0000 on the Hill will present a concert of madrigals from across the centuries featuring members of the Chamber Chorus conducted by David H. Connell, Music on the Hill artistic director.  The concert will include chansons from the medieval troubadours, merry madrigals from the English and Italian Renaissance, and part-songs from more recent periods in America and the United Kingdom.  In the spirit of springtime revelry, the concert selections present the timeless celebration of flowers, love, and spring!
The concert takes place on Friday, May 2, at 8:00 p.m. at the Pequot Library, 720 Pequot Avenue in Southport, CT.  Tickets:  $20 at the door or reserve in advance at  For information, e-mail or visit our website:
Help me finish a set for Spring Concert!! Jacob Notch, %10 %b %2014 %20:%Apr:%th 20AprGMT+0000, I am directing a smaller select Treble Choir who can sing medium-difficult two-part, simple 3-part, and unisons beautifully.
I need help finding an appropriate closer for their set in my Spring Concert. I've scoured everywhere and nothing. Desperate for new ideas!
Song 1 - "When I am Silent" - SA with piano acc. - beautiful song inspired by Auchwitz and the youth that died there.
Song 2 - "Bist du bei mir" - Unison with piano acc. - sung in German, theme: peaceful rest, nearness of loved ones at the end of our lives.
Song 3 - WHAT???? I want to end hopeful, but not cheesy. Beautiful but not slow. Prefer English
Any ideas for song three?
Calling all TENORS! Audition for Oakland Jazz Choir- APRIL 23 Heather Fong, %10 %b %2014 %19:%Apr:%th 19AprGMT+0000
THE OAKLAND JAZZ CHOIR is looking for a couple of bouncy tenors  with a penchant for Jazz.
If you love jazz AND want to join a community choir, give us a try.  
We're different and we love it!
Express your passion for jazz within our warm and welcoming community.
Our confirmed 2014 gigs include:
Sunday, July 6-  Fillmore St. Jazz Festival  S.F. 10-11:15 am 
Sunday, September 14- Old First Concerts - Old First Church S.F.- 4 pm  
Saturday, November 1 - Musically Minded Academy, Oakland 8 pm
Come sing with us!

We're looking for:
Ability to sing on pitch
Strong feel for syncopation
Solid ability to hold harmony against other parts
Ability to blend vocally with others (singing and listening at the same time)
Team-focused attitude and a love for jazz
Ability to commit to weekly rehearsals (7:00 - 10:00 pm) on Wednesday night, private practice on your own, occasional sectional or special rehearsals, and ability to make time for gigs.
Vocal ensemble experience preferred
Sight reading/music reading is helpful, but not required
Solo or lead singing abilities are helpful, but not required
Contact us NOW if interested!
Auditions will take place at:
The First Unitarian Church of Oakland - 7:30pm
685 14th St
Oakland, CA 94612
DIRECTOR OF MUSIC / KEYBOARDIST - First Congregational UCC of Santa Rosa, CA Leann Conley-Holcom, %10 %b %2014 %19:%Apr:%th 19AprGMT+0000
– For Immediate Release –
The First Congregational United Church of Christ of Santa Rosa is a progressive, open and affirming church, welcoming everyone regardless of age, race, education, economic status, marital status, sexual orientation or special needs.  A varied music program is an integral part of our weekly worship service.  If you want to learn more about our church, please visit our website:
The ideal candidate for our Director of Music/Keyboardist will have a foundation in traditional choral music and its role in worship, yet be ready and willing to blend in a wide range of musical styles.  The ideal candidate will also possess strong keyboard skills in order to lead weekly evening choir practices and Sunday morning rehearsals as well as provide service music during Sunday services.
Job Summary/Responsibilites
The Director of Music shall:
  • work with the Minister, staff and Worship Team to enrich the ministry of our church;
  • provide musical leadership to the choir and the congregation;
  • expand upon our church's musical heritage so that it evolves with vision, energy and diversity;
  • incorporate choral, global and contemporary music into worship services;
  • direct weekly choir rehearsals and Sunday morning pre-service rehearsals.
  • play keyboard for congregational hymns, prelude, offertory and postlude in Sunday services;
  • provide music for special annual services such as Christmas and Lent;
  • take one Sunday a month as Sabbath, having coordinated music for that Sunday ahead of time.
The salary for this contracted professional part time position is commensurate with training and experience.
To apply or for more information about this opportunity
  1. Please email a current resume, along with the names and contact information (phone and email) of 3 references.  Indicate your connection to each reference.  Send your information ATTN: Chair, Director of Music Search Committee,
  2. Email a statement (no more than 100 words) in answer to this question:  What is your background with and feeling about using different musical styles in worship?
Purpose of the Position
To provide music leadership to the choir and congregation and expand upon our church's musical heritage so that it evolves with vision, energy and diversity.
Desired Education and Experience
  • B.A. in Music
  • Strong keyboard skills
  • At least 2 years experience in choral conducting
  • Ideally, have experience in church music ministry
  1. Develop and coordinate the music program for Sunday services (see #4).  Direct weekly evening rehearsals, pre-service rehearsals, and play keyboard for congregational hymns, prelude, offertory and postlude during Sunday services.
  2. Work collaboratively with the Minister, accompanist and Worship Team in planning and coordinating music for Sunday worship.
  3. Select appropriate anthems and music for weekly services and notify the church office Administrative Assistant in a timely manner of title and composer of anthem for inclusion in the weekly bulletin.
  4. Once a month, the Director of Music shall take one Sunday off, but is responsible for arranging music and musicians for those Sundays.
  5. Arrange for performance of instrumentalists or vocalists as needed within budgetary constraints.
  6. Maintain a music library and acquire new music as necessary and within budgetary constraints.
  7. Arrange for purchase and maintenance of music supplies and equipment.
  8. Oversee the two line items in the church budget that apply to music.
  1. The Minister will serve as the supervisor of the Director of Music/Keyboardist.  In addition, the Director of Music/Keyboardist is expected to work closely with the Worship Team to coordinate seasonal selections and set the general tone of worship services.
  2. Annual performance reviews for the Director of Music will be conducted by the Minister with input from the Worship Team and the Choir.  The Minister will report to Council.
Terms of the Position
  1. This is a contracted professional part-time position.
  2. Please refer to the church's Personnel Policy for other terms of employment and for a description of “at will” employment.
  3. The position requires availability for weekly evening rehearsals, Sunday morning rehearsals, Sunday worship, as well as annual Christmas Eve services and Holy Week special services.
Music Available Lee Stein, %10 %b %2014 %11:%Apr:%th 11AprGMT+0000 Charlotte Chorale has 83 copies of Credo by Mark Hayes available for purchase at $1 each (plus or shipping or postage cost).  For more information or to purchase, contact The Charlotte Chorale at 941-204-0033 or ]]>Sing in Norway - 24th to 29th August 2014! Sara Martin, %10 %b %2014 %18:%Apr:%th 18AprGMT+0000 Trondheim - International Choir Festival 
Registration deadline: 30th April 2014!
Register before 30th April!
Borrow Treble Toyland Carla Strandberg, %10 %b %2014 %18:%Apr:%th 18AprGMT+0000 Toyland, SSA
Composer/Arranger/Edition: Victor Herbert
Starting: By May 15
For: Three weeks
Copies: One Want to request copying privileges
Willing to rent: No
Invito all'Opera - Open International Concert - 26 April 2014 - Geneve (CH) Marco Raimondi, %10 %b %2014 %16:%Apr:%th 16AprGMT+0000 concert will be held on April 26, 2014 at 20 at the Victoria Hall in Geneve and will be performed by the Amadeus Choir and Symphony Orchestra (Milan - Italy) with soprano Barbara Post conducted by Maestro Marco Raimondi
The event aims to bring together singers and musicians from all over the world and all those who have in their repertoire the following program are invited to participate with the choir and the orchestra Amadeus which already gathers members from 15 countries.
The tests will be held at the Victoria Hall from 17 hours.
Anyone wishing to take part in the event (participation is free) can write to
See you there!
Sinfonia - Il barbiere di Siviglia G.Rossini (1792-1868)
Una voce poco fa  - Il barbiere di Siviglia G.Rossini (1792-1868)
Preludio - Traviata G.Verdi (1813-1901)
Noi siam le zingarelle - Traviata G.Verdi (1813-1901)
Di Madride siam mattadori - Traviata G.Verdi (1813-1901)
O madre dal cielo  - I Lombardi G.Verdi (1813-1901)
O Signore dal tetto natìo - I Lombardi G.Verdi (1813-1901)
Ouverture - L'Italiana in Algeri G.Rossini (1792-1868)
Vedi le fosche - Trovatore G.Verdi (1813-1901)
Ave Maria - Otello G.Verdi (1813-1901)
Sinfonia - Nabucco G.Verdi (1813-1901)
Va pensiero - Nabucco G.Verdi (1813-1901)
Casta Diva - Norma V.Bellini (1801-1835)
New York City Master Chorale: An A Cappella Renaissance Esther Lee, %10 %b %2014 %16:%Apr:%th 16AprGMT+0000
Featuring a cappella works by 16th and 17th century composers, including Palestrina, Monteverdi, Gesualdo, Allegri, Gibbons and Lotti.  Thea Kano, conductor.
Friday, April 25, 2014
8:00 p.m.
Holy Trinity Catholic Church
213 West 82nd Street
New York, NY 10024
$25 (students)/$35 general
Cuba's premiere men's choir Sine Nomine returns to the US in 2015! Available for booking Feb 20 - Mar 10, 2015 Laura Smith, %10 %b %2014 %14:%Apr:%th 14AprGMT+0000
Cuba's premiere men's choir Sine Nomine returns to the US in 2015! Available for booking Feb 20 - Mar 10, 2015
After a successful West Coast Tour earlier in 2014, Sine Nomine will be returning for an exclusive participation in the ACDA 2015 National Conference and Classical Movements is booking their concerts and arranging their U.S. 2015 tour.
Camerata Vocale Sine Nomine, an award-winning a capella men's chamber chorus from Havana, Cuba performs a wide range of musical genres including traditional historical works, spirituals, and contemporary Cuban music. Founded in 2003 by its first director, Enrique Filiú O’Reilly, Camerata Vocale Sine Nomine has established itself as a premiere group in Cuba’s rich choral environment. Unique to this ensemble is the use of male voices for the soprano, alto, and countertenor parts as well as the standard tenor and bass lines.  The focus of Camerata Vocale Sine Nomine is to embrace the Cuban public with choral repertoire that represents centuries of artistic choral performance. The current director, Leonor Suárez Dulzaides, has led the ensemble since 2008.
Sine Nomine will offer brilliant and exciting performances, and will bring musical excellence to your audiences.
If you are interest in presenting this exceptional Cuban ensemble, please contact Alessandra D’Ovidio to discuss dates and fees, at
Classical Movements, Inc. is pleased to announce its United States Touring Division for Professional Ensembles. The division specializes in arranging all concert and tour logistics in the United States for professional and nonprofessional ensembles of a high artistic level. For a complete artist roster, please click here
UW- Madison Concert Choir presents St. John Passion Anna Volodarskaya, %10 %b %2014 %12:%Apr:%th 12AprGMT+0000, April 12, The University of Wisconsin-Madison Concert Choir and the University of Wisconsin Chamber Orchestra will be performing the Bach's St. John Passion.

Soloists include Daniel O'Dea, Paul Rowe, Ben Schultz, and more! Make sure you come see this wonderful event in Mills Hall in the Humanities building.

This event is $15 for the general public, and $8 for Students and Seniors. Purchase your tickets through the Union Theater Box Office (608) 262-2201. Remaining tickets will be sold at the door.
American University -- Chamber Singers Daniel Abraham, %10 %b %2014 %06:%Apr:%th 6AprGMT+0000 UNIVERSITY CHAMBER SINGERS
Daniel Abraham, conductor & director of choral activities
Joseph Gascho, organ
Henk Klop Continuo Organ Dedication
Saturday, April 12 at 8:00 PM & Sunday, April 13 at 3:00 PM
Abramson Recital Hall, Katzen Arts Center
American University • Washington, DC
Dietrich Buxtehude (1637-1707): Praeludium in G Minor, BuxWV 150            
Johann Sebastian Bach (1685-1750): Gottes Zeit ist die aller beste Zeit (Actus Tragicus), BWV 106 
Gustav Mahler (1860-1911): Ich bin der Welt abhanden gekommen
If I Got A Ticket arr. Roy Belfield, Jr.
J. S. Bach: Sonata in A Minor after Reinken, BWV 965
J. S. Bach: Komm, Jesu, komm, BWV 229                                                                              
Wade in the Water arr. Moses Hogan
M.L.K. - words and music by U2, arr. Bob Chilcott
High School Choir Director Nick Burdick, %10 %b %2014 %12:%Apr:%th 12AprGMT+0000 of Choirs, Seymour High School
Starting in 2014-2015 school year
For more information, contact Talmadge Reasoner: 812-522-4384
Need to borrow/rent/purchase Dennis Houser, %10 %b %2014 %12:%Apr:%th 12AprGMT+0000 Dona Nobis Pacem
Composer/Arranger/Edition: R. Vaughn-Williams
Starting: July 2014
For: 5 months
Copies: 75
Willing to rent: Yes
Graduate Assistantship available at Bowling Green State University Mark Munson, %10 %b %2014 %10:%Apr:%th 10AprGMT+0000 choral graduate assistantship has unexpectedly become available for the 2014-15 academic year at Bowling Green State University.  Choral graduate assistants pursue masters degrees in either choral conducting or choral music education, assist the three fulltime choral faculty members with an array of choral ensembles, and conduct their own chamber choruses.  GAs receive both a tuition waiver and a stipend.  Those interested should contact Dr. Mark Munson at as soon as possible. ]]>Pure-tone Soprano Available for Holy Week Services in Las Vegas Jean Cole, %10 %b %2014 %06:%Apr:%th 6AprGMT+0000! I am an experienced "high church" (for lack of a better term) soprano from San Francisco who has unexpectedly relocated to the Las Vegas area on family business. My voice is on the lighter side but is warm and carries. I use vibrato only rarely, as ornamentation or when the style calls for it. I can sing either first or second. My pitch and facility with languages are excellent, my reading is very good (including square-note chant), and I am a quick study when it comes to unusually difficult pieces. I have significant experience with traditional Lutheran, Anglican, and Roman Catholic repertoire, and in particular, early music. Please feel free to contact me at if you are interested. Thanks for reading my ad! ]]>The Holy City/Adams Mary Jane Phelan, %10 %b %2014 %10:%Apr:%th 10AprGMT+0000 someone please telll me what ediition/arr. of "The Holy City" the Mormon Tab. Choir is singing on youtube and if it's still in print. Many thanks.  MJP ]]>Lawrence High School Choir Performs in ACDA Museum Scott Dorsey, %09 %b %2014 %15:%Apr:%th 15AprGMT+0000
The choir from Lawrence (Kansas) High School (Dwayne Dunn, condictor) paid a visit to the McMahon International Choral Music Museum on March 19 as a part of their 2014 performance tour.  The choir's 115 singers filled the Museum to overflowing with sound.
This performance was the latest in the ACDA Visiting Choir Series.  Other recent choral performers have included the Nordic Choir from Luther College (Iowa), the Schola Cantorum from Houston Baptist University, the Baylor University A Cappella Choir, the Concert Choir from William Jewel College, and the Young Choirs of Central Oklahoma.
If your choir would like to sing in the McMahon Museum as a part of the Visiting Choir Series, contact Scott Dorsey at
Conference Morsel: Great Music on CPDL Scott Dorsey, %03 %b %2014 %15:%Apr:%rd 15AprGMT+0000
(An excerpt from the interest session “It’s Not Just Old Music: Discovering Quality and Engaging Music on CPDL,” presented by Ryan Kelly during the 2014 ACDA Southwestern Division Conference)
It is easy to disregard certain pieces on CPDL because their scorings do not exactly match what one’s choirs typically perform. Think creatively, however, and remember that centuries of performance practices often remind us how composers, conductors, and choirs of the past have often adapted works for their singers’ needs. Here are some performance ideas to consider when browsing through CPDL’s vast holdings of public domain scores:
1)      Do you have a younger choir that performs two- or three-part music? Don’t just look at “official” choral music; consider also the great composers’ duets and trios for your choir.
2)      There is no shame in performing two- or three-part music with large and accomplished ensembles. If it is a beautiful two-part piece, composed by a first-rate composer, why not perform it exquisitely with your advanced ensemble? This can be a great palate-cleanser in the middle of a heavy choral program.
3)      Are you apprehensive about programming a six-part madrigal or motet with your choir? From the Renaissance, all the way through the Classical era, it was common for instruments to double voice parts (colla parte, literally, “with the part”). It was also common in early music for an instrument to play a voice part without any singer performing that part. Therefore, do not shy away from the six- to eight-part madrigals or motets. Invite some instrumentalists to double parts or to play parts singers are not singing—this is very historically authentic and can add beautiful timbres to a choral concert.
Learning from Eric Ericson III - Robert Sund Richard Sparks, %01 %b %2014 %03:%Apr:%st 3AprGMT+0000
As you read the thoughts of various musicians who worked with Eric, you’ll discover commonalities—which is only natural—but each from a slightly different perspective.
For me, one of the best things about doing this series is giving me the excuse to get in touch with my Swedish friends. This week it’s Robert Sund. I met Robert in 1989, on my first trip to Sweden. But I really got to know Robert when we were judges that same year at the first Marktoberdorf competition. Since the judges’ deliberations were all done in German he helped me find the right word as we discussed the performances. I’ve had many meetings with Robert over the years, but I learned still more during this conversation.
Robert has a background that is out of the ordinary compared to Swedish choral conductors. He took piano lessons for 6 years (until he was 14) but his real love was jazz. He played piano, trumpet, trombone, and other instruments, listening to a lot of music (Swedish Radio had a big band in those days), formed his own band and did arrangements for them. When he went to Uppsala in 1963 to attend the famous university there (the oldest in Sweden, founded in 1477), he went to study English and his intention all along was to be an English teacher and for music to be an avocation. He hadn’t even sung at that point.
He auditioned for the orchestra at Uppsala on trombone, but was told that they rarely used trombones and he ought to sing. He quickly met a group of singers who heard him play jazz and they formed the Olsson Quintet, an all-male group singing jazz and other light music. He auditioned for the great men’s chorus, Orphei Drängar, conducted by Eric, in 1964, but didn’t get in that year, so sang in Allmänna Sången (one of the oldest choirs in Uppsala—formed in 1830, but had just become a mixed choir in 1963) and took voice lessons. The next year he was accepted into OD—Eric had already heard of the Olsson Quintet—and began his long association with Ericson. He says he’d never even heard of Eric when he arrived at Uppsala!
Robert and the Quintet became involved in the famed “Caprice” concerts which were held every December and were programs with fun, funny, and surprising elements (and usually a special, surprise guest—if you want to hear more—you can order CDs containing music from different Caprice years: here or here). Because of Robert’s skills as an arranger (again, self-taught) he was on the program committee and very involved with OD early on.
You should know that Eric loved jazz, so this was something he and Robert very much shared. And if you were around Eric very much or heard him sitting and improvising at the piano, you’d inevitably hear some jazz.
As time went on, Robert did his master’s degree in psychology (as well as musicology) at Uppsala and later worked briefly as a psychologist. However he gradually realized that music needed to be more than an avocation, so he began studies at the College of Music in 1971. He was Eric’s assistant with OD from 1968 (taking rehearsals when Eric couldn’t be there) and became conductor of Allmänna Sången in 1970. His conducting debut with OD was in 1969 when Eric was ill and he also took the choir on tour.
During the time he was at the College of Music (1972-75), he sang in the school’s chamber choir (which he said was fantastic in those days with many fine singers and conductors who’d later become well-known) and also in Eric’s Chamber Choir from 1973-77. From 1985 to 1991 he and Eric were co-conductors of OD and he took over totally in 1991, retiring in 2008.
So now, to let Robert speak about his experiences with Eric:
I was always very close with Eric – always with him, making programs, discussing OD. He was interested in my family and children, even up until the very end. The Olsson Quintet had dinner with him and Monica every first of May, which also lasted until very near the end.
In terms of programming he was always very careful, wanted other opinions, and delayed making decisions – the program committee for OD had to push him a bit. He always wanted to hear what other people were thinking. In this sense he was very open to questions from choir, patient (perhaps even when he might not have been) and his manner was gentle. This way of working with people (as opposed to conductors who get angry) was one of the things I admired and learned from him.
His workload was amazing, especially in those days. [Sparks: during this time he rehearsed OD one night, the Chamber Choir on another, had the choir at St. Jacobs in Stockholm (with whom he did all the major works with orchestra) on another, the Radio Choir three days a week, the Chamber Choir at the College of Music, and teaching at the College of Music—and remember all of these groups toured at different times of the year as well]. He loved to rehearse and could easily and happily spend 10 minutes balancing one chord and getting it in tune. If there were two minutes left at the end of rehearsal he wouldn’t end early, but start another piece. OD were often astonished if a guest conductor came in and stopped rehearsal early. As an example, OD was on tour one year and they had a dinner together at a restaurant. Eric asked everyone to bring their music to the restaurant and then rehearsed (in the restaurant) until shortly before the concert.
He used the piano frequently in rehearsal (although lots of a cappella singing as well, of course) and relied on it to show what he wanted. He was a marvelous pianist and would either demonstrate how he conceived the music or use it to help with tuning, difficult harmonies, or other aspects of the music. I also use the piano as a tool in my rehearsals.
Very early on Eric began recording not only concerts but rehearsals. You’d always see him with his headphones on, humming along as he listened to the last rehearsal. This was very much part of his routine. I’d imagine this began at the Radio where he had access to recording equipment. He loved technology and as soon as portable recorders were available he brought them to all his rehearsals and concerts. This allowed him to hear what the choir was doing from a different perspective.
Uppsala was a place where he totally relaxed and where many of his close friends were. With OD he was one of the guys. When I went to Stockholm to study I was surprised to see the awe with which he was regarded. People would say, “Do you know him already?”
You asked about his sound: if you’ve heard the recording of Swedish songs he did with the Real Group it shows that Eric loved a light, clear sound with fantastic intonation. He always spent time with phrasing. In some ways he was reluctant for the choir to go to the extremes of forte, because he could lose that lightness, balance and intonation. In the same way, he emphasized vowels for their effect on tuning and color and de-emphasized consonants. He rarely went for drama, but beauty of sound and wonderful intonation.
He had a great sense of humor and used it to relax the choir. The worse things went, the more funny he’d become.
Eric has been my only teacher. Not only during my studies at the College of Music, but also during 20 years of close cooperation in different choirs I have learnt almost everything I know by watching him work. Of course I have studied other famous conductors and picked up details here and there, but I am most lucky to have had the opportunity to have been so close to the greatest master of them all.
Voice Teacher Maureen Fromme, %10 %b %2014 %04:%Apr:%th 4AprGMT+0000 voice teacher and choral director recently moved to Bay Area.  I have directed public and private school choirs in USA and internationally; also church choirs.  Voice teaching experience for students age 13- adult.  Proponent of healthy voice technique- singing for life.  Learning to use the voice intelligently and artistically.   Also tutor for beginning music theory and piano. 
MM in vocal performance- Manhattan School of Music
Experience as recitalist and oratorio soloist
Tenor needed for Bach cantata Scott Toperzer, %10 %b %2014 %01:%Apr:%th 1AprGMT+0000 a tenor ringer for a performance of Bach's Cantata BWV 4 Christ lag in todesbanden.  Rehearsal Wednesday April 23 7-9 PM, Dress Rehearsal Saturday April 26 9-11AM, performance April 27 2:30 call time 4:00 concert.  Pay $250. Concert is in Ridgefield, CT.  Contact Scott Toperzer at ]]>Chief Editor of Publications, National Collegiate Choral Organization Mitos Andaya, %09 %b %2014 %22:%Apr:%th 22AprGMT+0000
JOB TITLE: Chief Editor of Publications, National Collegiate Choral Organization
RANK: Member of the NCCO Executive Board (along with the President, President-Elect, Vice-President, Secretary, and Treasurer)
START DATE AND LENGTH: 2 year-term, beginning July 1, 2014 and ending June 30, 2016 (with possibility of renewal)
DESCRIPTION: The National Collegiate Choral Organization (NCCO) seeks a Chief Editor of Publications to fulfill two primary responsibilities. 
Firstly, the Chief Editor would serve as the principal editorial manager for our scholarly journal, The Choral Scholar ( The Chief Editor would be responsible for all editorial content and would work with a team of Managing Editors to publish biannual volumes of the journal, in October and April of each year, respectively. The Chief Editor retains the right to appoint as many Managing Editors as he/she deems appropriate. The Chief Editor would also be responsible for maintaining the Editorial Board of TCS, which consists of reputable published scholars with interests and expertise in all manners of choral music performance, scholarship, and pedagogy. The Chief Editor would be a non-voting member of the NCCO Executive Board, and would also report to the President as necessary. The Chief Editor would be occasionally asked to participate in Executive Board meetings. 
Secondly, the Chief Editor would also oversee the management and artistic content of the NCCO Choral Music Series ( These duties would include the curation and selection of new works every two years (or once per term) to coincide with the annual conference every odd-numbered Fall (2015, 2017, 2019, etc.). The Chief Editor would be responsible for soliciting new scores from composers, as well as appointing a committee from within and outside the membership of NCCO to select three to five new works for inclusion in the Choral Music Series. The Chief Editor would work with the Managing Editors to help bring these scores to print and prepare them for online publication and dissemination.
Individuals may nominate colleagues they think may be appropriate for the position. Individuals are also welcome to self-nominate. Nominations are due by May 15, 2014, and the NCCO Executive Board will have a selection made by June 15, 2014. Please send nominations to  
 Those nominated will be asked to submit the following information:
-- Contact information (Name, email, phone)
-- Curriculum Vita
-- 2 examples of scholarly output
-- List of three references that can speak to your organizational and communication capacities
RVW: Serenade to Music Clyde Thompson, %09 %b %2014 %17:%Apr:%th 17AprGMT+0000 Serenade to Music
Composer/Arranger/Edition: Ralph Vaughan Williams
Starting: June 16
For: two months
Copies: 50
Willing to rent: No
Want to rent or borrow
Accompanist needed Miriam Davidson, %09 %b %2014 %15:%Apr:%th 15AprGMT+0000 Crusis Women's Choir in Philadelphia seeks an accompanist for its spring concert, June 7 & 8, with tech rehearsals on June 2 & 5. The choir performs a varied repertoire and is looking for an accompanist who posses excellent piano and sight-reading skills. Previous collaborative/choral experience is preferable.
Knowledge/Skills: High level of piano expertise with a strong emphasis on rhythmic stability, skilled at rehearsal techniques, following a conductor and taking direction. Ease with many musical styles is required. This is a paid position with the possibility of a regular, weekly position in the fall (info available upon request).
Please send a cover letter, resume and up to three references including name, position, phone number and email address to
Anna Crusis is a widely recognized vocal ensemble in the Philadelphia area, committed to excellence in the tradition of women's choral music. Anna prides itself in seeking out works by women composers as well as commissioning new pieces. Our membership embraces multi-culturalism and our repertoire reflects the rich diversity of human lives and struggles. Our singing members and board of directors are all volunteers. Anna self-produces two major concerts a year and performs many community outreach programs each season. We can often be seen singing at benefits, community events, rallies, prisons and shelters—anywhere that music can bring a sense of empowerment and hope.
Anna is a charter member of GALA, the Gay and Lesbian Association of Choruses. GALA is the world's only association committed to serving the LGBT choral movement. ( Anna is also a member of Sister Singers Network, a cooperative web of feminist choruses and
ensembles, composers, arrangers, and individual singers working together to support and enrich the women's choral movement (
Anna Crusis Women’s Choir strives for musical excellence; empowers, challenges and uplifts its audience with music that inspires and transforms. Anna’s music reflects the rich and varied lives of its membership. Anna’s feminist sensibility is reflected in the diversity of its membership and audience, and in the way its singers engage in the activities of a creative, vocal community.
Showtrax for Steve Zegree SATB "Alright, Ok, You Win" Danielle McRoy, %09 %b %2014 %15:%Apr:%th 15AprGMT+0000 Showtrax CD/Tape
Composer/Arranger/Edition: Steve Zegree
Starting: ASAP
For: Through May 10, 2014
Copies: 1
Willing to rent: Yes
The CD/Showtrax accompaniment for this piece is out of print! I would be happy to purchase it from anyone who has it!
Thank you!
Sing in Ireland with Rollo Dilworth - June/July 2015 Michael Clohesy, %09 %b %2014 %19:%Apr:%th 19AprGMT+0000
It would be great if you could join us
Ireland Sings
KIconcerts: Ireland Sings with Rollo Dilworth, summer 2015
Festival gala performances and individual concerts
Dublin and Belfast in early July next year

We’ll feature some Irish pieces
collaborating with Irish clinicians and young Irish choristers.
North America and Ireland united through song!

RSVP KIconcerts
Get the audience to join the song - Money is your Vuvuzela Fahad Siadat, %09 %b %2014 %16:%Apr:%th 16AprGMT+0000
A jazzy and wild ride on the virtues/vices of capitalism. Features audience participation with smart phones and a Vuvuzela solo and is great for collegiate singers.
Hear the piece and see the score:
Maryland Opera Studio presents "Die Fledermaus" Edward Maclary, %09 %b %2014 %15:%Apr:%th 15AprGMT+0000 University of Maryland Opera Studio presents a fully staged production of Johann Strauss Jr.'s beloved comic operetta "Die Fledermaus." The members of the Maryland Opera Studio, the UMD Opera Chorus and the UMD Symphony Orchestra will be led by Edward Maclary. Performances take place in the Kay Theater of the Clarice Smith Performing Arts Center on April 11, 13, 16 and 19. For tickets and further information, please visit <>
The Canticum Novum Singers Presents Bach’s St. Matthew Passion on April 12 at Church of Saint Jean Baptiste in New York, New York Jeffrey James, %09 %b %2014 %15:%Apr:%th 15AprGMT+0000
April 9, 2014
For Immediate Release
Contact: Jeffrey James Arts Consulting
516-586-3433 or
The Canticum Novum Singers Presents Bach’s St. Matthew Passion on April 12 at Church of Saint Jean Baptiste in New York, New York
What: The Canticum Novum Singers Presents J.S. Bach St. Matthew Passion
When: Saturday, April 12 at 7:00 PM
Where: Church of Saint Jean Baptiste, 184 E. 76th St. (at Lexington Ave) in Manhattan
The Canticum Novum Singers, Harold Rosenbaum, Conductor and Artistic Director will present J.S. Bach’s St. Matthew Passion on Saturday, April 12 at 7:00 PM at Church of Saint Jean Baptiste, 184 E. 76th St. (at Lexington Ave) in Manhattan.
This second concert of The Canticum Novum Singers’ 41st  season will present this Bach masterwork that continues to move audiences almost three centuries after it was first heard in St. Thomas’ Church in Leipzig, Germany. Standing as one of the pillars of Western sacred music, it is at once monumental and intimate, deeply sorrowful and powerful.
Soloists will be Andrew Fuchs, tenor (Evangelist), Craig Phillips, bass (Jesus), Laura Heims, soprano, Jeffrey Mandelbaum, countertenor, Sean Fallen, tenor and Christopher Herbert, baritone. Special guests will be the Artemis Chamber Ensemble.
Tickets for the April 12 event are $60 and $40. To order, call 212-866-0468 or visit For MTA transportation information, visit
The Canticum Novum Singers, hailed by critics and audiences alike, is now in its 41st season under the direction of its founder, Harold Rosenbaum. During the past 40 years, this chamber choir has achieved both national and international recognition for its stylistic versatility, vocal blend, and expressive range. The ensemble has presented dozens of world, American, and New York premieres by composers ranging from Handel, J.C. Bach, Faure, and Bruckner, to Harbison, Berio, Schnittke, Rorem, Schickele and George Benjamin. Their website is at
For photos or other press inquiries, please contact Jeffrey James Arts Consulting at 516-586-3433 or
Looking for song Martha Evans, %09 %b %2014 %13:%Apr:%th 13AprGMT+0000 have this ear worm running through my head, but I can't remember the name of the song!  The opening lyrics are "Waiting, waiting, waiting for Emmanuel to appear."  I believe it could be part of a larger Advent "cantata" and has a calypso-style beat.  I'd like to be able to use it for my choir this Advent, so any direction would be appreciated! ]]>Bass/Baritone needed for Easter John Lapetina, %09 %b %2014 %14:%Apr:%th 14AprGMT+0000 George Episcopal Church in Ardmore PA is looking for an extra Bass or Baritone for Easter Sunday. This is a last minute advertisement as the Bass we had contracted for this service no longer can participate. Pay commensurate with experience. One service on Easter Sunday, April 20 - 9 am call for a 10 am service. One paid rehearsal available and encouraged on either Thursday, April 10 at 7:30 pm or Sunday, April 13 at 1:00 pm. Choir consists of volunteers and four paid section leaders. You would be an additional paid singer.
For additional information, please contact John Lapetina -
American Boychoir - Lancaster, PA Sean Browne, %09 %b %2014 %12:%Apr:%th 12AprGMT+0000 spring tour of the world renowned American Boychoir will include a stop in Lancaster. The performance at Manheim Township High School is open to the public. The concert will take place on Monday, April 28th at 7:00 PM in the high school auditorium located at 115 Blue Streak Boulevard in Lancaster.
Tickets are available at the door ($10 adults and $5 students/children).
So far this year American Boychoir has toured in South Korea as well as cities throughout the northeast and southern regions of the United States. This current tour will bring them across the American Midwest. In June, the boys will travel to Normandy, France to commemorate the 70th anniversary of D-Day. Another highlight of the year has been filming the movie “Boychoir” starring Dustin Hoffman. The American Boychoir is featured in both the movie and the soundtrack.
Artistic Choral Director Ruth OShea, %09 %b %2014 %06:%Apr:%th 6AprGMT+0000

Who:  Artistic Director for SATB community chorus in El Dorado County, California
Rehearsals:  Weekly -  Monday evenings 7:00 pm- 9:00 pm (currently)  
Where:  6040 Mother Lode Drive, Placerville, CA 
(held in the worship center at the Placerville Church of the Nazarene)
Stipend:  Monthly stipend – 10 months per year  -  (August to May)
Deadline:  Applications being received now.   Selection by June 30, 2014

Cantare Chorale of the Sierra Foothills is a community-based mixed chorus dedicated to bringing quality choral music to the citizens of El Dorado County. Made up of volunteers from multiple generations and backgrounds, Cantare is dedicated to delivering an uplifting, transcendent experience for all who attend our concerts.  Local singers are invited and encouraged to join Cantare, affording an opportunity for talented individuals to develop and polish their vocal and choral performance skills.

The chorale sings a wide variety of repertoire—classics, traditional, folk, jazz, Broadway, spirituals—in four-, six-, eight-part harmonies.  It pays particular attention to blend, expression, and dynamics.  It strives to bring educational and historical perspectives to the audience regarding the musical selections it performs.

Over the past 21 seasons Cantare has participated in many community events including Veterans Day and Memorial Day tributes, community concert events, Placerville’s annual tree-lighting festival, and brings the joy of music to seniors in El Dorado County convalescent and retirement communities.  Cantare presents seasonal concerts in the Spring and the Fall and extends events into Sacramento County, the California State Capitol, and Harris Center for the Arts at Folsom Lake College.

To Apply
Interested candidates should submit the following via email to ASAP and no later than June 15, 2014, though applications will be accepted until the position is filled.

1.  Professional résumé.
2.  Completed application form (provided by Cantare)
3. Two references (including phone numbers and email addresses) and up to three (optional) letters of reference, reviews, or a combination of the two.
4. Artistic samples of your work, if available.

Applicant Review & Selection
Applicants will be screened for the following criteria:
1. Musicianship:  knowledge, skill, and artistic sensitivity in performing music
2. Directing skills:  technical skills in choral conducting communicating nuances of musical expression to singers
3. Communication: demonstrated skills in conveying information, exchanging ideas--working with groups and individuals
4. Leadership: demonstrated capacity to build loyalty and a following in similar situations
5. Community Interest: understanding of and proximity to El Dorado County

Contact Cantare Chorale with any questions at or call Ruth O’Shea at 530 677-6964.
Visit Cantare at:


Scholarly Abstraction: Community Choir Singing Scott Dorsey, %11 %b %2014 %21:%Feb:%th 21FebGMT+0000
(The abstract to the article “Update on Community Choir Singing in the United States,” by Cindy L. Bell, published in the International Journal of Research in Choral Singing)
This article reviews and responds to recent reports by professional music and arts associations, most prominently the 2003 Chorus America study, announcing that over 23 million American adults sing weekly in community-based choirs. By considering this recent research in combination with studies of community choirs spanning the past 40 years, this article presents an updated literature review of the research on adult amateur singers. These studies produce a consistent demographic and musical profile of today’s adult amateur singer and point to collective universal issues facing community choirs, such as diversity, gender, and developing communication systems. In focusing on the significance of community music in the lives of adult amateur musicians, the author proposes research agendas and models for addressing emergent issues. Additionally, this article advocates that community choirs are valuable resources by which to construct research studies that examine the long-term effects of public school music education and extend our knowledge of lifelong musical learning.
(“Scholarly Abstractions” is a feature highlighting brief abstracts from recent graduate projects in choral music and research published in the IJRCS.  To share your thesis abstract, contact Scott Dorsey at
Conference Morsel: TOO Concerned with Tuning? Scott Dorsey, %08 %b %2014 %19:%Mar:%th 19MarGMT+0000
(An excerpt from the interest session “Starting a Group,” presented by Deke Sharon during the 2014 Western Division Conference)
       People in "a cappella" [the form of pop ensemble singing] have become too concerned with tuning.
       Perhaps it's the prevalence of pitch correction in recordings and pop music, but groups seem ever-concerned with their pitch, and moreover judge other groups as if tuning is the point.
       People usually do not decide what they like or want with their logical minds. They make them with their hearts, and then they justify them intellectually. That's been proven time and again, and is at the core of everything from political campaigns to grocery store product placement.
       To bring it closer to home, do you remember when Ben Folds said to the Beelzebubs in Season One of The Sing Off: "There were some tuning issues, but I just didn't care!" That's exactly what I'm talking about. A great performance with heart and sincerity will always trump technical prowess.
       Do you know who else doesn't care? You don't care. Do you hate all Motown music? Most likely not. I'll bet there are many songs that make you happy But the vocals are well outside what would be considered "in tune" nowadays. And they're beautiful. And real.
       Moreover, if you're focusing primarily on tuning on stage, you're not performing and you're not communicating. You're manufacturing sound.
Cincinnati Symphony Orchestra and May Festival Chorus Amanda Coleman, %08 %b %2014 %22:%Apr:%th 22AprGMT+0000
The May Festival Chorus and the Cincinnati Symphony Orchestra, under the direction of May Festival Music Director James Conlon, have been chosen to perform in Spring For Music’s fourth annual festival season at Carnegie Hall on May 9, 2014 at 7:30 p.m. Spring For Music is designed to allow chosen organizations to showcase their artistic philosophies through distinctive and creative programming in one of the world’s most competitive musical environments.
Tickets for this performance are just $25 and are available now via the May Festival Box Office  or via the Carnegie Hall Box Office beginning on February 28. Please visit or for more information or to purchase tickets.
Riverside Choral Society, Mozart & Britten Kirsten Lundberg, %08 %b %2014 %21:%Apr:%th 21AprGMT+0000
What:  The Riverside Choral Society presents Mozart’s Requiem and Britten’s Cantata Misericordium.
Courtenay Budd, soprano; Margaret Lattimore, alto; Lawrence Jones, tenor; Richard Lippold, baritone; David Salsbery Fry, bass. Patrick Gardner, conductor. Gardner is also Director of Choral Activities at Rutgers University’s Mason Gross School of the Arts, in New Brunswick, N.J.
When:  Friday, May 9, at 8 pm
Where: The Holy Trinity Church, 213 West 82nd Street (between Broadway and Amsterdam Ave.), New York City
Tickets: $25 and $35. Order online at or send a question to  
For More Information: The Riverside Choral Society is at, or 212-780-2181. Questions? Contact
VocalEssence Auditions Philip Brunelle, %08 %b %2014 %20:%Apr:%th 20AprGMT+0000 dates:
April 12, 2014
May 3-4, 2014
May 10, 2014
Full audition details at
Rehearsals are held on Tuesday evenings from September through June, plus special rehearsals and dress rehearsals as needed for each concert. Most rehearsals take place at Plymouth Congregational Church in Minneapolis. VocalEssence singers are expected to commit to the full VocalEssence concert season.
The VocalEssence Ensemble Singers are a paid professional chorus of 32 singers. The Ensemble Singers have a rigorous schedule and typically rehearse from 6:30-9:30pm on Tuesday evenings plus other special rehearsals as needed. The singers perform at most season and community concerts, plus local, national and international tours, recordings, radio broadcasts, daytime performances and for other special occasions.
The VocalEssence Volunteer Chorus is a volunteer based ensemble of approximately 100 singers. The rehearsal runs from 7-9:30pm on Tuesday evenings plus dress rehearsals for each concert. Chorus members sing on most season and community concerts.
Complimentary Download – Grammy award winning Baba Yetu Iris Derke, %08 %b %2014 %18:%Apr:%th 18AprGMT+0000
Distinguished Concerts International New York (DCINY) presents an opportunity to receive a free download of Christopher Tin’s BABA YETU. Each year choirs around the world perform the masterworks of choral/orchestra repertoire, newer works and premieres.  Share what your chorus is doing to promote the choral art each season.
Please click on the link below and fill out this short survey within the next 48 hours to receive your free download of Christopher Tin’s Grammy-Award winning BABA YETU.
UCD Choral Scholars and Ivo Antognini Fund it Campaign Grainne O'Hogan, %08 %b %2014 %10:%Apr:%th 10AprGMT+0000
University College Dublin Choral Scholars have launched a crowdfunding campaign through Irish website to support their commissioning of a new choral work by internationally-acclaimed Swiss composer Ivo Antognini. The campaign went live on Friday 4th April 2014, and will finish on Friday 16th May 2014. Details of the campaign can be found at the link below:


UCD Choral Scholars, directed by Desmond Earley, hopes to commission Swiss composer Ivo Antognini to write a set of three choral pieces for the choir, based on texts by Irish poets. UCD Choral Scholars regularly perform Antognini’s stunning choral arrangements, and through this project hope to enhance this international musical relationship.

The target for the campaign is €7,000 and full information about the background and aims of the campaign, as well as details of the rewards available to funders, are available on the Fund it page above. Anyone who registers with, anywhere in the world, can fund projects. Information on the campaign can also be found on the UCD Choral Scholars Facebook and Twitter pages. Upon reaching their fundraising target, the plans for this commissioned work would be:

• World Premiere at UCD Choral Scholars Christmas Concert, Dublin, December 2014.

• Swiss Premiere, Antognini Festival, Switzerland, May 14th to 17th, 2015.

• Performing it regularly in the UCD Choral Scholars programme thereafter.

The video below is a link to the choir’s project video which gives an overview of the Fund it campaign.


For more information please contact:

Soprano/Director seeking substitute jobs for soloist, pianist, conductor, or Section Leader Doris Williams, %08 %b %2014 %19:%Apr:%th 19AprGMT+0000 am seeking substitute jobs for Vocal soloist, piano accompanist for a service or choir, or conductor in any style or genre.  I perform on the lute also a variety of music, from Renaissance to Modern spiritual.  I composed my own version of Psalm 23, winning an international award for it!  Contact Doris Williams at 650-213-6463. I live near Palo Alto, California.  Visit my website at  I have two music degrees in vocal performance, speciatlly in Early Music.
Grand Philharmonic Choir presents--St. John Passion Amy Dale, %08 %b %2014 %18:%Apr:%th 18AprGMT+0000 Friday performance of J.S. Bach's St. John Passion (1725 version). Sung in German with English surtitles. Presented by the Grand Philharmonic Choir with the Kitchener Waterloo Symphony and soloists including Colin Ainsworth, evangelist. Friday April 18, 7:30 p.m. at Centre in the Square, Kitchener. Tickets $20 to $70 with discounts for seniors and under  30s, 519-578-1570 or ]]>FINALE HELP Andrew Miller, %08 %b %2014 %16:%Apr:%th 16AprGMT+0000,
One of my students just did a huge arranging project on finale 2014, for mac.  She either has the demo version or her program is glitchy, because she can't save files as etf, xml, pdf, or mus,  The only file extension she can save as is MUSX.  Curious if anyone has finale 2014, would be willing to email me at my personal email, so I can send you this file to open on your program and convert into a file format I can open with finale 2012 for windows.
Please and thanks!! :)
Artistic Director - Men's Chorus - Puerto Vallarta Mexico Richard Canter, %08 %b %2014 %17:%Apr:%th 17AprGMT+0000


Name of Organization: Puerto Vallarta Men’s Chorus
Position: Artistic Director
Job Location: Puerto Vallarta, Jalisco, Mexico
Closing Date: April 30, 2014
Type of Position: Part-time, flexible hours, evenings and weekends
Time Commitment: 10 - 15 hours per week, September – May; 3 - 5 hours per week, June – August
Remuneration: Honorarium commensurate with experience and qualifications; this is a contracted position with no benefits
Organizational Website:

ORGANIZATIONAL DESCRIPTION: The Puerto Vallarta Men’s Chorus is a men’s chorus of approximately 30-40 volunteer singers, founded 2 years ago as the first gay chorus in Mexico. Chorus members are Mexican nationals and expatriates from North and South America with widely varied musical skills. The organization is bi-lingual (Spanish and English) and the current concert season is September through May. Several major concerts and numerous smaller community appearances are scheduled throughout the season.

COMMUNITY DESCRIPTION: Puerto Vallarta is a popular tourist destination for Mexicans and international guests. The community has a 900 seat professional theater, and three active community theater complexes. There are a number of excellent art galleries and restaurants and the town is surrounded by the Bay of Banderas on the west and the beautiful Sierra Madre Mountains to the east.

IDEAL CANDIDATE: The ideal candidate will be someone who is fluent in written and spoken English and Spanish, a Mexican national and/or a music leader with demonstrated success in working in multi-cultural and generational settings. The candidate must be passionate and knowledgeable about the art of male choral music as well as a proven leader and inspiring music educator. The candidate must be a team builder and player, fully supportive of the organization’s Mission Statement and Leadership Code of Conduct. Please see a more detailed description of qualifications and duties on the organization’s website at Artistic Director Position Description (top bar, right side, Home Page for English and Spanish).

HOW TO APPLY: Please send applications immediately, via email ONLY, addressed to Review of applicants and preliminary interviews, in person or via Skype, will begin immediately. Submissions will be accepted until final candidates are selected, no later than the end of April 2014. Questions about this position may also be addressed via email to

Email applications must include the following items:
• Cover letter
• Resume or Curriculum Vitae
• Links to performances, if available
• Three references or contacts of individuals familiar with your work experience or background – one colleague, one supervisor and one subordinate

All applicants will be notified when final candidates have been selected. Final candidates will be scheduled for in-person interview, including brief chorus rehearsal with music mutually decided upon by candidate and selection committee.

Egyptian echoes in St. Louis Philip Barnes, %08 %b %2014 %15:%Apr:%th 15AprGMT+0000
The Saint Louis Chamber Chorus continues with its theme for this season, The Ancients Speak, with an exploration of music inspired by Egypt. The performance features settings of Egyptian texts by Wendy Hiscocks and Vagn Holmboe. The latter's Solhymne is complemented with other paeans to the sun by Franz Schubert, Granville Bantock, and Lili Boulanger, and the program concludes with Jussi Chydenius's I Am The Great Sun. Three of Isis's laments for Osiris are set by Bantock and Elisabeth Maconchy, while some tongue-in-cheek relief is offered by Francis Poulenc and Darius Milhaud, who set choruses from Regnard's comedy, Les Momies d'Egypte. Finally, the concert features the US premiere of Rubens Askenar's extraordinary Cuerpos Futuros, which suggests the chilling 'soundscape' of a pyramid's interior. It is an unusual work for this a cappella choir, as it features instrumental accompaniment, but these are no ordinary instruments: 'wah wah' tubes and a high pitched oscillator via a cellphone app.
The venue for the concert is the newly opened theater at the John Burroughs School, 755 South Price Road, St. Louis, MO 63124. Tickets and more information may be found at <>
The Cellar Singers presents Love Songs with Six Vocal Ensemble Norah Fountain, %08 %b %2014 %14:%Apr:%th 14AprGMT+0000 10: The Cellar Singers Love Songs concert featuring Six Vocal Ensemble. Brahms Leibesleider Waltzes, PDQ Bach's Leibesleider Polkas and Six Vocal Ensemble. Artistic Director Mitchell Pady, Accompanist Blair Bailey joined by two other pianists for the Five Hand PDQ Bach. St. Paul's United Church, Orillia, Ontario, 7.30pm. ]]>One Voice Chorus (Richmond, VA) Seeks Associate Director Lynn G. Atkins, %08 %b %2014 %13:%Apr:%th 13AprGMT+0000 Voice Chorus is looking for an Associate Director.  Candidates should have choral conducting experience with un-auditioned choirs, integrating artistic quality with teaching music fundamentals to adults. One Voice is an inter-racial community chorus in Richmond, Virginia that performs Choral Music as part of its mission to promote racial reconciliation between persons of European-American and African-American descent.

Working with the Artistic Director, the new AD of One Voice Chorus will be a person who understands the adult learner, has the knowledge to collaborate in concert programming, rehearsal strategy, and artistic planning with the Artistic Director, the Accompanist, as well as other Guest Artists, and to be involved and invested in the future growth of OVC into one of the top regional community choirs in the Richmond Metropolitan area.

Minimum Qualifications:

  • Bachelors Degree in Music
  • At least 3 years experience conducting choirs
  • A Strong Understanding of Group/Choral Vocal Technique

To Apply, please send a digital dossier complete with: 

  • Cover Letter
  • Resume/CV
  • a list of recently conducted repertoire
  • Links to A/V of conducted repertoire (Vimeo, YouTube, SoundCloud, etc.)

Please send all materials via E-Mail to:

Applications are invited immediately. In order to receive full consideration, Application must be received by April 30, 2014. For more information about One Voice Chorus, please visit our website at

Si cercano cantori Luca Pellegrini, %08 %b %2014 %11:%Apr:%th 11AprGMT+0000 Nessuna abilità particolare richiesta, solo disponibilità a circa 2h settimanali e voglia di imparare e mettersi in gioco!
Contattare il direttore tramite mail: bassoonpelle(a) o numero +39 3335832796 per ulteriori informazioni.
Indicativamente le prove si svolgeranno nell'Oratorio di Vobarno (bs) il giovedì o il venerdì sera.
Le nostre porte sono aperte a tutti! ]]>
Creative Minister of Music Position in Washington, DC Laurel Curry, %08 %b %2014 %02:%Apr:%th 2AprGMT+0000 Place is looking to fill a ¾ time (30 hours) Creative Minister of Music position to work in a collaborative environment to expand the diversity of our use of music in liturgy and worship. For a full list of requirements and more details about the position visit our website at 

Candidates should submit the following:

  1. A cover letter that identifies how your music and faith experiences match the requirements of this position

  2. Resume

  3. Contact information for three References


Applications can be submitted electronically via email to the Creative Minister of Music Search Committee: To: and CC: Jack Reiffer,


Applications will be accepted until May 2, 2014. Candidates will be contacted shortly thereafter to schedule an interview and audition.

Messe Solonnelle (St. Cecilia Mass) Barbara Repp, %08 %b %2014 %04:%Apr:%th 4AprGMT+0000 ecumenical Unity Choir will present Messe Solennelle (St. Cecilia Mass) by Charles Gounod on Palm Sunday afternoon, April 13 at 4 p.m. at First United Methodist Church, 111 Ryerson Avenue, Newton NJ.  The concert will be directed by Henry Repp who will also be playing the three-manual Peragallo pipe organ.  Harp accompaniment will be provided by Andre Tarantiles.  Soprano soloist will be Amy Shoremount-Obra who will be making her Metropolitan Opera debut this fall.  Tenor will be John Meredith and bass will be David Young.  Also in the program will be Gounod's Marche Solennelle.  Originally written for two harps, it will be played on harp and organ.  Gounod's Hymn to St. Cecilia will be heard on organ, harp, and violin.  The program will conclude with My Eternal King by Jane Marshall.  A free-will offering will be received.  The church is handicapped accessible and has ample parking.  A reception will follow.  ]]>Conducting Choral Masterpieces with Dr. James K. Bass: Apply Now Charles Gambetta, %08 %b %2014 %04:%Apr:%th 4AprGMT+0000

The International Institute for Conductors will accept up to 20 conductors for its new Conducting Choral Masterpieces™ workshop in Bacau, Romania from June 21 - July 4, 2014. Grammy nominated choral conductor James Bass, Director of Choral Studies at the University of South Florida, Director of the Master Chorale of Tampa Bay and Chorusmaster of Seraphic Fire joins Institute faculty Robert Gutter, Conductor Emeritus, Springfield Symphony (MA) and Music Director Emeritus, Philharmonia of Greensboro; Ovidiu Balan, Music Director of the Bacau Philharmonic and Charles Gambetta, creator of the Laban inspired Embodied Conducting™ method for this one-of-a-kind program. The workshop repertoire includes Mozart’s Requiem, Brahms’s Ein deutsches Requiem, the Dvořák Te Deum and the Poulenc Gloria.

The Institute faculty has put together an incredible curriculum that offers:

  • 230 minutes of total podium time
  • Full professional orchestra and 35-40 voice choir
  • Instruction from 4 veteran professional conductors
  • Digital HD video recording of all sessions and concerts
  • Daily video review sessions with Institute faculty
  • The opportunity to learn the language of orchestra musicians
  • Laban inspired Embodied Conducting™ instruction with Charles Gambetta
  • Choral techniques, score study, musicianship and hand independence classes
  • Weekly public concerts that include all participants
  • Student centered, non-competitive learning environment
  • Workshop Languages: English, Italian, Romanian

Whether you are an aspiring conductor with at least a year of conducting study under your belt, an experienced Chorusmaster or choir director interested in mastering the specialized skills and techniques required for conducting choral works with orchestral accompaniment or a college level choral conductor in search of professional development opportunities for promotion or tenure, the Conducting Choral Masterpieces™ workshop provides unequaled opportunities for developing your technique and artistry while gaining valuable practical experience conducting great works with a professional orchestra and chorus. Applications accepted until April 30, 2014.

Find complete details including faculty bios, host orchestra profile, student endorsements, fees and online application portal at or contact Charles Gambetta at or 336.643.8730.

ACDA Partners with JEN Scott Dorsey, %07 %b %2014 %15:%Apr:%th 15AprGMT+0000
The American Choral Directors Association and the Jazz Education Network (Highland Park, Illinois) have entered into a partnership to share resources and information for the furtherance of the vocal jazz genre of the choral art.
“The partnership of ACDA and JEN makes perfect sense for the advancement of the art of vocal jazz. I am so grateful to the leaders of both entities, and to all the forward thinkers in making this alliance a reality,” said Patrice Madura Ward-Steinman, ACDA's National R&S Chair for Vocal Jazz. “There is no doubt in my mind that this artistic relationship of mutual promotion and shared resources will benefit both groups enormously.”
Conference Morsel: Overtone Singing Scott Dorsey, %10 %b %2014 %16:%Mar:%th 16MarGMT+0000 excerpt from the interest session “Overtone Singing as a Choral Art,” presented by Peggy Dettwiler and Stuart Hinds during the 2014 ACDA Eastern Division Conference)
       Remember that overtones are the very basis of vowels, timbre, resonance, and intonation.  Overtone singing can help us increase our abilities in all these areas of singing by gaining greater control of vocal tract shaping and giving a focus to the effects produced by certain movements.  The awareness gained from overtone singing can be applied to matching vowels, tuning intervals and chords, and extending the color palette of the choral sound (an area in which Peggy is an expert).
       Overtone singing is not essentially different from ‘normal’ singing.  The types of vocal tract shaping used in overtone singing are the same as those used in traditional singing when changing vowels, registers, or timbre. None of the adjustments of the vocal tract used in overtone singing are inconsistent with good "open throat" singing.
       Additional information, in the form of video demo, sound files, and works list is available.
GUEST BLOG: "Top Hymns of ACDA Members," by Thomas Vozzella Scott Dorsey, %17 %b %2014 %14:%Mar:%th 14MarGMT+0000
       How many times does the average church attendee, currently around once a month, leave worship thinking, “I only knew one of the hymns this morning”? Below is a list of the top 100 hymns in America, give or take a few. The most frequently mentioned top hymns are highlighted (*). With “How Great Thou Art”, as the all time number one. Each reader will determine what is missing from/or should be removed as each weighs the most beloved hymns in their local congregation. This list was compiled from the most used hymn sites online, i.e., CCLI, Hymnlyrics, LifeWay, CyberHymnal,  etc.
       What we would like to accomplish, WITH YOUR HELP, is to create a list of the top hymns of ACDA members. Let’s try to post at least ten each. Although there are numerous choruses that have earned their way to this list, i.e. “As the Deer”, please, limit your responses to hymns, such as those listed below, however. Do not forget hymns by such notables as Calvin Hampton, David Hurd, John Ferguson, Getty & Townend, etc., if they are popular in your congregation, or with you.
       When we reach 100 posts, we will compile the list of the top hymns of ACDA members. This is not a scientific survey, but rather a summation of the most beloved hymns of ACDA members and their congregations. Along with your name, would you please list your denominational affiliation, church, location (i.e. Los Angeles, CA), and ACDA Division.  
       We thank you for your participation.
       Have a blessed Lent and Easter!
* A  Mighty Fortress Is Our God
Abide With Me
Alas And Did My Savior Bleed?
All Creatures of our God and King
All Hail The Power of Jesus’ Name
All The Way My Savior Leads Me
* Amazing Grace
Are You Washed in the Blood?
At Calvary
Battle Hymn of the Republic
* Be Thou My Vision
Because He Lives
Before The Throne of God Above
Blessed Assurance
Blest Be The Tie That Binds

Child of the King
* Christ The Lord Is Risen Today
Cleanse Me
* Come Thou Fount of Every Blessing
Count Your Blessings
* Crown Him With Many Crowns
Day By Day
* Doxology (Old 100th, Praise God from Whom all Blessings Flow)
Eternal Father, Strong To Save
Face To Face
* Fairest Lord Jesus
Faith is the Victory
Faith of our Fathers
Fight the Good Fight
For All the Saints

God Leads His Dear Children Along
God Will Take Care Of You
* Great Is Thy Faithfulness
Guide Me, O Thou Great Jehovah
Hark! The Herald Angels Sing
Have Thine Own Way, Lord
He Hideth My Soul
He Is Coming Again
He Lives
His Eye Is On the Sparrow
* Holy, Holy, Holy
How Firm A Foundation
* How Great Thou Art
I Am Thine, O Lord
I Love To Tell The Story
I Need Thee Ev’ry Hour
I Surrender All
I’d Rather Have Jesus
I’ll Fly Away
* In Christ Alone
In the Garden
In The Hour of Trial
In The Sweet By and By
* It is Well with My Soul
Jesus, Lover Of My Soul
* Jesus Loves Me
Jesus Paid It All
* Joyful. Joyful, We Adore Thee
Just As I Am

Leaning on the Everlasting Arms
Lord I’m Coming Home
Love Divine, All Loves Excelling
Love Lifted Me
Moment By Moment
More Love To Thee
Morning Has Broken
My Faith Looks Up To Thee
Nearer My God, To Thee
No One Ever Cared for Me Like Jesus
Now We Thank All Our God
O Come All Ye Faithful
O For A Thousand Tongues To Sing
O Holy Night
O Little Town of Bethlehem
O Worship The King
Old Time Religion

Pass Me Not, O Gentle Savior
Peace, Perfect Peace
Praise Him! Praise Him!
Precious Lord Take My Hand
Rescue The Perishing
Revive Us Again
Rock of Ages
Safe in the Arms of Jesus
Saviour, Like a Shepherd Lead Us
Softly and Tenderly Jesus Is Calling
Standing on the Promises
Take My Life and Let It Be
Take Time To Be Holy
* The Old Rugged Cross
There Is A Fountain
There Is Power In The Blood
Till The Storm Passes By
Turn Your Eyes Upon Jesus
Trust And Obey 
Victory In Jesus
What A Day That Will Be
What A Friend We Have in Jesus
What Child Is This?
* When I Survey The Wondrous Cross
When The Roll Is Called Up Yonder
When We All Get To Heaven
Wherever He Leads, I’ll Go
Yesterday, Today, Forever
Seeking Choir Singers in New York Jeeminn Lee, %07 %b %2014 %23:%Apr:%th 23AprGMT+0000 Noisemakers,
We start to our new and very unique choir in Harlem, on May 7th, 2014.
Rehearsal:every Wednesday evening 7:30-9pm
2 concerts/year

anybody who can sing will be welcomed to join!
Our repertoire is no limit, classical, gospel, jazz, pop and many more!
please visit our website, and send your information!
Looking forward to make Joyful Noise together with you guys!
Liturgical settings for FREE - SATB ready to print Bill Heigen, %07 %b %2014 %23:%Apr:%th 23AprGMT+0000 am offering:
1 Ave Maria setting - 2 versions: SATB and Voice/Piano
1 Missa Brevis setting SATB - (Kyrie, Gloria, Sanctus, Agnus Dei)
1 Ave Verum Corpus setting SATB
Go to my website ( - under Free Choral Works), listen to the samples, see the scores and if you want to have them, send me an email and I will send the full scores within 24hs. FREE OF CHARGE!
New Chicago-area Male Chorus Seeks Members Christopher Walsh, %07 %b %2014 %21:%Apr:%th 21AprGMT+0000

A new men’s chorus in Chicago, IL is seeking graduates of collegiate choral ensembles living or working in the Chicagoland area.  

The mission of this new ensemble is to provide a musical outlet for post-collegiate singers that includes high artistic merit, social and professional networking, and the brotherhood developed through male choral singing.

Founding members include alumni of collegiate male choruses across the United States.

If you are interested or know of others who may be interested, please contact Christopher Walsh at  


Baritone Vocalist Needed Kaila Frymire, %07 %b %2014 %22:%Apr:%th 22AprGMT+0000

Minted Music-Theatre seeks a Baritone for it's "Minted & Muddled" composer workshop in June 2014.

The singer will sing the role of Cyrano in 4 excerpts from a new musical adaptation of the play "Cyrano de Bergerac" by Edmond Rostand. The performance will not be memorized, but singers are expected to present a polished performance that facilitates audience discussion of the work-in-progress.

- Perfomances on June 14th & June 21st from 5PM-6PM
- 2-3 rehearsals in early May/early June

To apply, please email the following information to Kaila at
- A copy of your bio & resume
- Files of or a link to recordings
- Any additional information you wish to provide

Thank you!

Need String Parts for "Resurrection Alleluias" by Stan Pethel Leanna Brand, %07 %b %2014 %20:%Apr:%th 20AprGMT+0000 Need String Parts for "Resurrection Alleluias" by Stan Pethel
Composer/Arranger/Edition: Need String Parts for "Resurrection Alleluias" by Stan Pethel
Starting: BY EASTER!!! EEEK!
For: Till April 21
Copies: 1
Willing to rent: Yes
I ordered these string parts and found out today they are backordered!! I have a string quartet coming on Easter and really really need these parts!!
I will buy, borrow or rent.  Your choice!
Concerts in NYC on April 11 or 12? Holly Reynolds, %07 %b %2014 %20:%Apr:%th 20AprGMT+0000 Friends - 
If you are aware of any great choral, band, or orchestral concerts in the NYC area this weekend - would you please let me know? I am working with several student groups who were scheduled to attend a working rehearsal of the Munich Philharmonic at Carnegie Hall. We got word that the event has been canceled. So, we're wondering if there are other great concerts going on? Group is scheduled to see the NY Phil on Friday night. 
Thank you,
Holly Reynolds Lee
Sangre de Cristo Chorale Music Director Jerry Nelson, %07 %b %2014 %20:%Apr:%th 20AprGMT+0000
Sangre de Christo Chorale
Santa Fe, New Mexico
Position: Music Director
Position Summary:
The Sangre de Cristo Chorale, an auditioned intergenerational community chorus of 35 to 45 members, is seeking a Music Director beginning in September, 2014. Candidates will demonstrate an ability to attract diverse singers and audiences, while enhancing choral skills and presenting quality performances in an effort to live the Chorale’s motto “Creating Community through Song.” This is a part-time contract position.
A typical musical season for Sangre de Cristo Chorale is from August through May and includes:
  1. A Fall Rehearsal Retreat (of one or two days, to be determined)
  2. One Fall or Winter-Holiday Themed Concert Repertoire (two concerts & venues)
  3. Community Engagement weekend with a local school choir
  4. One Spring Themed Concert Repertoire (two concerts & venues)
  5. Additional concerts according to specific requests and/or possible collaborations may be added.
Qualifications for the Position:
  1. An advanced degree in music, with emphasis on choral music and conducting preferred.
  2. Experience conducting vocal music in schools, churches, and/or community choirs.
  3. Extensive knowledge of choral repertoire, languages, choral diction, and vocal technique.
Application Procedures:
For complete application procedures, see the Application Packet
February 2015 UK choir tour to New York announced Tim Knight, %07 %b %2014 %18:%Apr:%th 18AprGMT+0000 evening fellow choral directors, 
My two choirs, The Heritage singers and Masterworks chorale are combining to visit New York 18th-22nd February 2015 and would love to hear from any church within easy reach by public transport of Manhattan, or any reccomenstions of possible venues that may like us to visit on this, our third tour of the USA
we can offer Lunchtime recitals, Evensong and Morning services ( we have participated in services in Holland, Hungary, Belgium and the USA, at both St Thomas's 5th avenue and Boston churh of the advent)  or even workshops with the choir on a range of music
Our core repertoire is of course Anglican service music from the Tudor times to the present day and we will be bringing music by Francis Jackson, Edgar Bainton, Maurice Greene and others, but have also been known to pop into Folk song territory and Madrigals!
No hosting is required as is no fee, but if you would like to share some time with a fine english choir, even if only for a hour long recital or a evensong service, then we want to hear from you! - we need to establish contacts etc as soon as we can as we have flights booked, hotels arranged and our 24 singers ready!
The choirs respective websites are and please reply privately to me, I look forward to hearing from you.
Anthems, Cantatas, and Collections Clay Oglesby, %07 %b %2014 %18:%Apr:%th 18AprGMT+0000 have a large amount of church choir music that I am selling for best offer plus shipping. I will be more than happy to e-mail anyone a complete list of what I'm offering, just e-mail me at ]]>Peninsula Women's Chorus Manager Jane Walker, %07 %b %2014 %18:%Apr:%th 18AprGMT+0000 in its 47th year, the Peninsula Women's Chorus (PWC) is a Palo Alto based 50 member women's ensemble performing high quality classical and contemporary music in the Bay Area and selected venues worldwide.  More information including video clips of performances may be found at www.pwchorus.orgThe Position:  The Chorus Manager is responsible for the managerial duties of the PWC.  The Chorus Manager is hired by and reports to the President of the Board of Directors and works in partnership with the Artistic Director, Chorus Coordinators and the Operations Committee, and the Board of Directors to support the smooth running of the PWC.  This job description is an overview of the areas of responsibility of the Chorus Manager and could change from time to time.  Areas of Responsibility: Concert Production--1) Manage all concert productions including securing venues, provide "front of house" management, book contracted Stage Manager and Audio Engineer, negotiate and execute all contracts relating to productions, including guest instrumentalists/other performers, venues, equipment transportation, etc., 2) Supervise efficient box office procedures and customer service, 3) Identify and execute strategies for ticket sales, track ticket sales, and assure proper database management.  Communications/Marketing/Publicity-- with guidance from the volunteer Marketing Chair and the Artistic Director as needed--1) Consolidate content for and edit all printed and web materials in association with the volunteer Webmaster, including press releases and promotional materials, 2) Provide input to contracted Graphic Designer to bring publicity content, i.e. concert programs, recruitment fliers, marketing publications, newsletters, brochures, etc. from creation to print, 3) Manage and deliver materials to the appropriate PWC recipients within project deadlines.  Development--1) Support and serve as project manager for the organization's development efforts, in coordination with the volunteer Development Chair and the Board President 2) Assure continuity and imlementation of the PWC's corporate sponsorship program, in coordination with the Development Chair, 3) Supervise and execute grant management, including research, submission, acknowledgment, tracking and reporting, with input from the volunteer Grant's Chair, 4) Participate in planning appropriate fundraising events with the Board, Artistic Director, and volunteers, 5) Assure timely and accurate database management of donors and prospects, as well as a gift acknowledgment system.  Board Interface--1) Attend and report at bi-monthly Board meetings, and committee meetings as requested and feasible, 2) Assess organizational needs and issues, bringing them to the attention of the Board and making recommendations for addressing them as appropriate. List of Qualifications:  Two years minimum of relevant project management experience. Ability to work effectively with a variety of volunteers. BA/BS degree or equivalent combination of education/life experience. Self motivated, excellent organizational skills, and ability to multi-task. Excellent written and verbal communicatin skills. Solid competence in use of PC or Mac, email, Word, Excel, and the internet. Knowledge of HTML desireable. Driver's license, access to a vehicle, and ability to lift boxes weighing 25 pounds.  Priority will be given to individuals with experience with choral groups, classical music, and non-profit organizations.  Compensation and Hours:  The Chorus Manager position is a 24 hour per week contracted position with compensation commensurate to the candidate's expereince.  The position will average  24 hours per week with three time periods that will require a greater amount of time, e.g. November through mid-December, February through mid-March, and April through mid-May.  Working days and hours are generally flexible, but the position requires availability for all PWC concerts and board meetings.  Interested candidates should email their resume to KylePWC ]]>Henry Purcell’s The Fairy-Queen with the St. Cecilia Chamber Choir Sean Fleming, %07 %b %2014 %17:%Apr:%th 17AprGMT+0000

The St. Cecilia Chamber Choir presents the Maine premiere of Henry Purcell's The Fairy-Queen on Saturday, May 3rd at 7:00 pm, and Sunday, May 4th at 3:00 pm at St. Patrick Church in Newcastle. These concerts conducted by Linda Blanchard will feature a full orchestra, and many well-known soloists, including sopranos Nina Tilander and Abbey Hutchins, mezzo-soprano Jazmin DeRice, tenor Timothy Neill Johnson, and bass John David Adams.


This Restoration-era masque by Henry Purcell includes a libretto which is an adaptation of William Shakespeare's wedding comedy A Midsummer Night's Dream. Sure to be enjoyed by people of all ages, the piece includes beautiful, humorous, and exciting solos, duets, large choral numbers, and orchestra-only pieces.


Tickets are $15 for adults, with students and those under 18 admitted free. Tickets are available online at, or at Maine Coast Book Shop in Damariscotta, Sherman's Books and Stationery in Boothbay Harbor, and Treats in Wiscasset.


The St. Cecilia Chamber Choir is a fully auditioned community chorus directed by Linda Blanchard and accompanied by Sean Fleming, based in Newcastle and founded in 1995. St. Cecilia’s mission is to present outstanding performances of the very best choral repertoire; to provide challenging musical opportunities to gifted local youth; to support our community with outreach programs; and to support Maine composers through the commission and performance of new music. ]]>
Music Director Colleen Herman, %07 %b %2014 %16:%Apr:%th 16AprGMT+0000

The Seaway Chorale and Orchestra (SCO), of Trenton, Mi is seeking a new Music Director for the 2014-15 concert season.  This is a part time position, requiring a music degree, a strong vocal background, and skills in conducting both choral and instrumental groups. 



The Music Director of the Seaway Chorale & Orchestra (SCO) is expected to conduct the Seaway Chorale & Orchestra in rehearsals and regular performances. He/she will report to the SCO Board of Governors and attend its regular meetings.

SPECIFIC DUTIES The Music Director shall:

1. Select, with the help of the Board of Governor’s Audition Committee, all potential new singers into the Chorale.


2. Conduct regular weekly rehearsals of the Chorale during the concert season, between September and December and January and May.


3.  Work with the Board of Governor's to select orchestra members and rehearse with the Seaway Orchestra at least 2 times prior to regular concerts.


4. Rehearse with the Seaway Chorale and auxiliary personnel every night during the weeks of the December and May performances, unless scheduled differently by the Board.


5. Conduct 4 regular performances of the SCO groups annually, 2 in December and 2 in May.


6. Rehearse and/or conduct other performances of the Chorale, as mutually agreed upon with the Board of Governors.


7. Select and rehearse soloists and members of small sub-groups of the Chorale, with selection based upon

an audition process or other method approved by the Board of Governors.


8. Attend all regular meetings of the Board of Governors.


9. Establish annual personal goals that relate to improving operation of the organization.


10.Work with the Board of Governors in establishing short and long-range goals for SCO.


11.Be willing to represent the SCO on special occasions when asked to do so by the Board of Governors.


12. Work with the Music Selection Committee to determine music pieces for each future concert, and gain approval of the Board of Governors. 


13. Work with the SCO President and the Board to solve problems.


14. Work with all SCO committees when it is appropriate to do so.


15. Perform other relevant duties as assigned by the SCO President.


Vocal Soloist Needed for Concert John Pavik, %07 %b %2014 %15:%Apr:%th 15AprGMT+0000 Presbyterian Church- Port Huron is in need of a soprano or mezzo soprano soloist for a May 4th afternoon benefit concert. The commitment requires a 20-25 minute set of solo repertoire (sacred, classical, or musical theater are acceptable) and participation in a second, twenty minute set of simple choral repertoire. Though this is a benefit program, singers will be compensated appropriately. A pianist will be provided and rehearsals can take place at a convenient location for performer. Please contact John at for more information.  ]]> Pulling Rabbit out of the hat: Looking for singers who can read and love to make music James Koenig, %07 %b %2014 %14:%Apr:%th 14AprGMT+0000 for volunteer singers for church choir in a vibrant, welcoming, inclusive church in Manhattan Beach, California.
You will really make music, increase your skills, and be exposed to great music. There's an old saying about talent and skill--
"Use it or lose it."  The old Spiritual "This Little Light of Mine" says "Hide it under a bushel!" "No!"  And an American great of the
musical theater Oscar Hammerstein wrote  "A bell is no bell til you ring it.  A song is no song til you sing it.  And love in your heart
wasn't put there to stay.  Love isn't love til you give it away."  If you love to sing-- Be in touch.  Send an email-- let me know your
prior musical experience.  Don't be shy.  Generally 10:00 a.m.--11:30 Saturday rehearsal,  Sunday morning 8:30 call for 9:00 a.m. service.
Trinity Lutheran Church in Manhattan Beach. 
New Brahms "Zigeunerlieder" transcriptions for SA, SATB, piano 4 hands, and string quartet Ken Malucelli, %07 %b %2014 %17:%Apr:%th 17AprGMT+0000 computers, I’d rearranged Brahms’ fiery “Zigeunerlieder” into a 15-number song cycle for San Francisco Girls Chorus, setting them for 2-part treble using all songs from both Opus 103 and 112, writing all new lyrics, and expanding the solo piano accompaniment into piano 4 hands, as Brahms did for the more frequently performed “Liebeslieder Waltzes.”  


I then created a version for SATB (Brahms’ originals were SATB) and piano-string quartet.  All versions are in my original (highly legible) manuscript, but I am now in the process of digitalizing the entire collection.  


The piano accompaniment was published as piano literature and recorded by Patricia and Vera Purcell, noted Bay Area duo pianists and teachers, and praised by legendary Maestro Richard Bonynge as “a valuable addition to the repertoire.”


The only recordings availble are mp3s of just the string quartet version.  You may hear them on my Web site,  Click on Instrumental, scroll down to bottom and click on blue play tabs.  


If interested in viewing a sampling of the scores, please contact me directly: Ken (at) PrinceSF (dot) com.


Thanks much for your interest.


Two new releases by James Q. Mulholland from Colla Voce Music Chris Matthews, %07 %b %2014 %15:%Apr:%th 15AprGMT+0000    
James Q. Mulholland lends his lush harmonic writing style to these two Appalachian folk songs.  Written for the Berea College Concert Choir, these two new releases will serve as a rewarding musical experience for any advanced mixed choir.
Sour Wood Mountain - Quick and lively, this arrangement will keep your choir on its toes from start to finish.
Dear Friends Farewell - Subdued and rubato, this song of parting will bring a moment of reflection to your next choir performance.
Click on the cover or title to view these scores in their entirety.
referred singer already signed but not singing well in weeks before performance Daniel Farris, %07 %b %2014 %14:%Apr:%th 14AprGMT+0000 have signed a soloist to sing a major work, and he's evidently been dropping gigs or completely undersinging/flaking at the last minute in his primary work area.  He's already signed a contract, but the likelihood of him singing well on this concert is slim to none (so say those who sing with him on a regular basis).
He was referred by a friend, but the singer is possibly going to completely flop his performance due to vocal issues of a medical nature (he's "gigged himself out").
What are my legal ramifications or payment options if he doesn't sing it well?
Respond to arnisking(a)
The Shadow of the Cross - Lloyd Larson, Lansdowne, PA Jason Noll, %07 %b %2014 %12:%Apr:%th 12AprGMT+0000 First Presbyterian Church of Lansdowne Chancel Choir and guest musicians will present Lloyd Larson's, The Shadow of the Cross, as part of the Holy Thursday Tenebrae Service. The Service begins at 7pm. ]]>Autumn Sea Cheryl Camm, %07 %b %2014 %12:%Apr:%th 12AprGMT+0000 Sea was composed for a middle school choir. It has optional harmony parts, repeating patterns and elements of canon, although it can be sung as a single line song with piano accompaniment - it is versatile!
I personally have performed it with several primary school choirs who sang most in unison but were able to add some repeating patterns in the chorus. (I also incorportated into a literacy lesson with some Year 6s who were studying kennings, and made up new ones for the repeating patterns.)
I know of a school choir which is currently learning it and have managed to so far have five parts happening at once(year 7 and 8 girls). I also know of a mixed adult choir who have been learning the song with the low voices taking the melody and the high voices taking the repeating patterns and canons.
You can see a page of the score here (click the tiny score to get a larger version)
This link also contains a complete recording and learning video towards the bottom of the page.
Hope you enjoy the song
World of Harmony is raising capital, looking for new music, recruiting singers and relocating Desmond Moulton, %07 %b %2014 %09:%Apr:%th 9AprGMT+0000
World of Harmony, a classical professional choir that records, performs and promote classical choral music that has the potential for commercial success, is currently raising capital to record and promote an album.
We are looking for new repertoire. So if you are a composer, please contact us.
We are also recruiting singers so if you have a good voice and you are a good sightreader, please contact us.
We are currently based in Midwood, Brooklyn, NYC but would be open to relocating to a more central rehearsal venue in the city.
Busan Choral Composition Competition Mi-Eun Kim, %07 %b %2014 %05:%Apr:%th 5AprGMT+0000

2014 Busan Choral Composition Competition

Inaugural Competition: Call for Scores


In celebration of its 10th anniversary, Busan Choral is pleased to announce its inaugural competition for choral composition. Throughout its festival and competition events Busan Choral has fostered cultural exchange and promoted high quality of choral music by attracting notable artists, conductors, composers to one of Asia’s top choral festivals. The Busan Choral Composition Competition will seeks to engage with aspiring young composers and to encourage the creation and new works for the choral music genre. The winning work will be premiered at the 2014 Busan Choral Festival & Competition during the week of October 13~18, 2014. 


Competition Guidelines



Composer must be born between May 31, 1991 and May 31, 1974. 

Composer must hold an undergraduate degree. 

Length and Format

3-10 minutes in duration

Piece must be for unaccompanied, equal or mixed voices choir. 

Smaller, portable percussion instruments are allowed. (Xylophone, vibraphone and timpani not  allowed). 

Text can be chosen from Latin, English or Korean. If another language is chosen, a detailed synopsis and pronunciation must be included in the score. 

Compositions must not have been previously published or awarded in previous composition competitions and never publicly performed. 

Application (June 30, 2014 Deadline)

Complete Application Form

One high resolution photo (3,000 dpi +) 

Copy of passport or official identification with date of birth. 

Score in PDF format

5 copies of the score mailed to the Busan Choral office by June 30. 

Scores submitted to the Busan Choral office will not be returned. 

A written statement by the composer must accompany the application stating that the work is unpublished, has never been awarded in a previous competition and guarantees that the composition is an original work. 

By submitting this application, the composer agrees to transfer publication rights to Busan Choral, make audio and video recordings, share rights with TV, radio and other media outlets. Copyright will be retained by the composer. 


Winners will be announced on July 21, 2014. 

Composition will be judged by a panel of international jury. The jury’s decisions are final and cannot be appealed. 


First Prize: 1,000,000 KRW (~$1,000)

The top prize winning work will be premiered at the 2014 Busan Choral Festival & Competition in the week of October 13~18, 2014. 

The top prize winning work will also be included in a list of competition repertoire. 

Invitation to Busan. Lodging Expenses for the duration of the Busan Choral Festival & Competition

International composers will be provided with up to 2,000,000 KRW (~$2,000) for airfare. Domestic composers will be provided with travel expenses. 

Second Prize: 800,000 KRW (~$800)

Invitation to Busan. Lodging Expenses for the duration of the Busan Choral Festival & Competition

International composers will be provided with up to 1,000,000 KRW (~$1,000) for airfare. Domestic composers will be provided with travel expenses. 

Third Prize: 500,000 KRW (~$500)

Invitation to Busan. Lodging Expenses for the duration of the Busan Choral Festival & Competition

Publication and Rights

Busan Choral and the Korea Choral Institute will hold publication rights of the score. 

Busan Choral will hold performance and recording rights for up to two years following the results of the competition. This will 

The winning work cannot be submitted for future composition competitions.

Busan Choral - Korea Choral Institute
Nam-gu UN Pyungwha-ro 76-1 Busan Cultural Center
Busan, South Korea
+82-(0) 51-622-0534

Speaking of Voice: “If You Don’t Mind Me Asking: Have You Taken a Vocal Pedagogy Class?” by Mary Lynn Doherty Scott Dorsey, %02 %b %2014 %21:%Apr:%nd 21AprGMT+0000
       A recent editorial in the International Journal of Research in Choral Singing (IJRCS), written by Dr. James Daugherty, challenges our profession to question our backgrounds in vocal pedagogy.  As the editor of this publication, Daugherty extends and promotes our field’s scholarship on a host of topics related to the choral arena.  In this particular piece, Daugherty raises several issues I found to be thought provoking and that warrant further discussion.  I am going to focus on just one of them here, but I encourage you to read the original article and to check out the journal (published by ACDA) when you have some free time!
       Daugherty has written extensively on vocal/choral pedagogy and in addition to teaching and conducting, he runs the School of Music Vocology Laboratory at the University of Kansas.  In his editorial, he shares some historical context for the topic of choral conductor preparation as it relates to vocal pedagogy, raising some important points for us to consider.  He writes that, although founded in 1924, it was not until 2009 that the National Association of Schools of Music (NASM) required that doctoral students in choral conducting "must have detailed knowledge of vocal technique and pedagogy" (NASM, 2009, p. 142; taken from Daugherty, 2013, p. 1).  For undergraduates, it wasn’t until the 1990s that NASM required students have "sufficient vocal and pedagogical skill to teach effective use of the voice" (NASM, 1993, p. 36; taken from Daugherty, p. 1).  Daugherty raises the point that while the reference is there, NASM does not specify what is considered “sufficient” or “effective”.  Member institutions can determine this for themselves, so wide variants exist and exposure is probably highly dependent on the individual teachers who shape and offer the program.  As we all know, taking private voice lessons where the emphasis is on building an individual voice is not comparable to learning how to manage voices at many different stages of development within the ensemble setting.   The choral conductor has a great responsibility to support healthy vocal technique in the choral setting, and additional training is almost always required to supplement what we are exposed to in college. Many, many conductors seek this information on their own and become very knowledgeable.
       Daugherty says” I know of no choral conductor-teacher who sets out intentionally to hinder the optimal vocal efficiency of singers in ensemble or dispense inaccurate voice information. Yet, clearly, the expectations for our profession as a whole have been less than consistent and far from exacting ones when it comes to vocal pedagogy and voice care” (p. 1).  Additional training and education to supplement collegiate preparation is vitally important.  After all, we are responsible for a lot more than the music we program.  Our singers voices are in our hands and we have a great opportunity to support lifelong vocal health.
Daugherty, J. (2013). Editorial: Voice care training for choral conductors. International Journal of Research in Choral Singing 4(2), Spring 2013.  Published by ACDA.
Link to the table of contents from the Spring 2013 IJRCS, which includes the full text of the article
Munch a Tasty "Conference Morsel" Scott Dorsey, %04 %b %2014 %17:%Apr:%th 17AprGMT+0000
       Driving past an amusement park on a summer’s day is a bit frustrating.  Okay, fine . . . it’s MADDEDNING!  One sees all of those delightful rides and attractions just waiting to be explored, but we don’t get to go in and play.
       So it is for those of us who, for one reason or another, were not able to attend the recent ACDA conferences.  Knowing that we are being prevented from attending an amazing choral experience is frustrating to one’s soul.
       There is no way to synthesize or digitize the genuine experience of an ACDA conference, but perhaps we can take away a small bit of the sting.
       Every day throughout the next two and a half months the ChoralBuzz feature here on ChoralNet will highlight excerpts from conference interest sessions under the banner of “Conference Morsel.”  The diversity of interest sessions is staggering, so too the diversity of "Conference Morsel" offerings.
       While it’s still not as much fun as riding the choral roller coaster of an ACDA conference, we hope you will enjoy the daily “Conference Morsel” feature.
Monday Motivation: FAIL! Scott Dorsey, %14 %b %2014 %15:%Mar:%th 15MarGMT+0000 ]]>Choral Journal Now Available to Researchers on JSTOR Scott Dorsey, %04 %b %2014 %14:%Apr:%th 14AprGMT+0000
       The American Choral Directors Association is pleased to announce that the Choral Journal  has been released in the JSTOR archive as part of the Arts & Sciences XI Collection.
       JSTOR recently introduced a new initiative as part of our ongoing efforts to make access more widely available, specifically to independent scholars, in ways that are consistent with our publisher partners’ interests.
        The Register & Read Program (R&R) provides free, read-only access to independent scholars with MyJSTOR accounts. Through this program, we aim to share strategic information about usage behavior with publishers to reach a larger audience.
        JPASS is a monthly or annual subscription option for unaffiliated scholars and independent researchers. JPASS subscribers have unlimited read-only access to the JPASS collection and limited PDF downloads based on their subscription model.
        LEARN MORE about JSTOR.
access and use policy for church audio equipment Amalie Hinson, %07 %b %2014 %03:%Apr:%th 3AprGMT+0000,
At the church where I work, we are going through some "turf wars" over access to audio equipment that is used primarily for a contemporary worship service. It has even come to the point that a parishoner came to the church last week a sawed off pad locks, replacing them with his own. He was thoughtful enough to give a key to the secretary. Following that event, the former audio coordinator (volunteer) felt compelled to put a lock of his own on a cabinet, explaining to me that, "no one needs access to that equipment..." My question is, if no one needs the equipment, why lock it up? Or, why do we have it?
I am the worship arts director, and I supervise the worship leader in this service. She would prefer we leave all cabinets unlocked. I hesitate to do that. I would like to know if anyone has a policy to cover use and access to this type of equpment by church members and visiting churches or others who may use our facilities.
Please make suggestions, even if you don't have a standard policy.
Amalie W. Hinson
"Gloria!" by Brandon J. Spencer Brandon Spencer, %07 %b %2014 %02:%Apr:%th 2AprGMT+0000 have written a new setting of "Gloria". It is a short, very exciting piece for SATB voicing. The difficulty level is intermediate to advanced due to some dissonance. For a copy of the score and a recording, please email me at ]]>Selling Concerts CD's for Fundraising Roger Emerson, %06 %b %2014 %23:%Apr:%th 23AprGMT+0000

Like many community choirs, ours faces the continual challenge of funding.  I’ve noticed while attending other community choir performances, some sell CDs of their concerts as part of their fundraising.  I’ve suggested we do the same, but am concerned about music royalty issues.  Does anyone sell CDs of their concerts and how do you handle the royalties?

Rousing Ender piece for high school chorus Kerry Fradley, %06 %b %2014 %23:%Apr:%th 23AprGMT+0000 need a rousing piece for an ender on the high school spring concert.  The theme is world music.  There are 250 kids in the 6 choirs to combine for the last piece. ]]>Songs From The Heart Alex Knight, %06 %b %2014 %20:%Apr:%th 20AprGMT+0000
Why not celebrate Mother’s Day by taking your mother to one of our 2 mid-afternoon concerts.  The concert features a selection of music for mothers of all ages to enjoy. We will also salute Canada with several patriotic songs.

Matinee - 3:00 pm - Saturday, May 3rd at Willoughby Christian Reformed Church
20525 72nd Avenue, Langley.
Mothers Day Matinee - 3:00 pm - Sunday, May 11th at United Churches of Langley (Sharon United)
21562 Old Yale Road, Langley.
Special guest musicians Gary Mussatto (drums) and Steve Johnston  (bass guitar) will join us for these concerts.
Tickets:  Adults $15 - Students $10  - 12 & under free.  Available at the door 1/2 hour prior to concert.
More info at our website:
I will buy your Lord Nelsons James Loeffler, %06 %b %2014 %18:%Apr:%th 18AprGMT+0000 Haydn, Mass in D Minor "Nelson Mass"
Composer/Arranger/Edition: C.F. Peters
Starting: ASAP
For: Purchase
Copies: 30
Willing to rent: No
I am looking to purchase 30 good condition, used "Lord Nelson" scores. Will reimburse for shipping.
Composition Spotlight: Libera Me Scott Dorsey, %31 %b %2014 %13:%Mar:%st 13MarGMT+0000
(Each week we look at one or two of the best choral works posted in the Composition Showcase here on ChoralNet.  This is where we store a treasure trove of works that your choirs will love to sing and your audiences will love to hear.)
Libera Me by Anthony Sylvestre for SATB a cappella (Click here for PDF and here for AUDIO)
Level: High School advanced or higher
Uses: General Concert Use Winter Concert
Program Themes: Death, Deliverance, Wrath, Redemption
This Piece Would Program Well With: La Promesse also by Anthony Sylvestre
With gentle wings your heart will rise and fall with each careful dynamic change in this absolutely stellar creation.  If you like the Morten Lauridsen Dirait-ons, you are going to love this piece.  It tears at your soul and brings tears to your eyes just form the beauty of the writing.  Such pain, wonder and beauty!
French composer Anthony Sylvestre recently joined the Composers of Choral Music Community.  I am looking forward to more works by this extremely sensitive artist!
Reflections is available from the composer’s website:
Soprano FULL CONDUCTOR opening for 7 Day Master Class with Simon Carrington Brian O'Connell, %05 %b %2014 %23:%Apr:%th 23AprGMT+0000
A Collaborative Experience with Simon Carrington, Bronislawa Falinska & Brian O'Connell 
26 July - 2 August 2014, Sarteano (Tuscany), Italy 
Due to a cancellation, we have an opening for a soprano Full Conductor position. 

As a Full Conductor, you'll have daily podium time to conduct your assigned piece in Simon Carrington’s daily 4.5 hour Master Class, and you will conduct this piece in the final concert in the Teatro of Sarteano. 
Everyone sings in the Master Class, where you will explore new repertoire from all eras. Discover a different approach to your singing voice in daily group vocal pedagogy sessions with Bronislawa Falinska utilizing the Rohmert Method of Functional Voicetraining.
Come join 28 conductor/singers from all over the world, in Tuscany, from July 26th to August 2nd. We are an exciting and collaborative music workshop for conductors, music educators and singers, who are interested in rehearsal techniques and love singing in a chamber choral setting. 

More info

The Sarteano Chamber Choral Conducting Workshop is celebrating its 11th year! Visit our new Testimonials Page and see what past participants have to say…
So far, we have six alumni joining us this year.

Best to you all,
PORGY & BESS FRIDAY APRIL 11th Carol Donovan, %05 %b %2014 %22:%Apr:%th 22AprGMT+0000 ]]>Lebanon Valley College Concert Choir Home Concert Mark Mecham, %05 %b %2014 %22:%Apr:%th 22AprGMT+0000 concluding concert of the 78th Annual Spring Tour by the Lebanon Valley College Concert Choir
Mark Mecham, conductor
A program entitled Grow In Light
Sunday, April 6, 2014
3:00 p.m.
Miller Chapel on the LVC campus
What's on Great Sacred Music, Sunday, April 6, 2014 Robert Kennedy, %05 %b %2014 %18:%Apr:%th 18AprGMT+0000
Great Sacred Music airs every Sunday morning from 8 until 11 a.m. eastern on The Classical Station.
Most of the music on this week's playlist can also be found on Spotify at this link: GSM - April 6, 2014
Also on Sunday evenings you can hear more choral music both sacred and secular on Wavelengths and Peaceful Reflections
beginning at 9 p.m. eastern.
Tomas Luis de Victoria: Vidi speciosam
Stile Antico
de Victoria's setting of the Responsory for the Feast of the Assumption translates as
follows: "I saw her, beautiful as a dove, ascending from above streams of water, she
whose sweet fragrance was above price in garments deliciously perfumed, and like a
spring day, she was surrounded by roses and lilies of the valley."
Thomas Attwood Walmisley: Psalm 49
Choir of St. Paul's Cathedral, London, John Scott
Andrew Lucas, organ
Anglican chant dates back to the late 16th century. The marriage of the music to the
psalm text is what makes this particular musical form full of both meaning and beauty.
Antonio Vivaldi: I turbato mare, RV 627
The King's Consort, Robert King
Susan Gritton, soprano
This Marian motet describes how the captain and his ship are brought safely into port
by the star of the sea, Mary.
Arvo Part: Salve Regina
Estonian Philharmonic Chamber Choir, Paul Hillier
Christopher Bowers-Broadbent, organ
Arvo Part wrote his setting of the Salve Regina in 2001. The Estonian composer's music
is intensely spiritual.
Gabriel Faure: Messe basse
Saint Thomas Choir of Men and Boys, John Scott
Richard Pittsinger and Jack Keller, treble; 
Kevin Kwan, organ
A messe basse or low mass sets the Kyrie, Sanctus, Benedictus and Agnus Dei portions of
the liturgy. Faure wrote his Messe Basse in 1881.
J.S. Bach: Motet No. 5: "Komm, Jesu, komm", BWV 229
RIAS Chamber Choir; Akademie für Alte Musik Berlin
Rene Jacobs
Scholars think that Bach wrote his six motets for the funerals of prominent citizens. They
were probably performed at graveside.
John Tavener: Little Requiem for Father Malachy Lynch
Choir of Westminster Abbey; English Chamber Orchestra, Martin Neary
The Southern Cathedrals Festival commissioned this work in 1972. It is scored for SATB
choir and orchestra.
Manuel Arenzana: Grand Mass in D
Mexico City Chorus and Chamber Orchestra, Benjamin Jaurez Echenique
Irasema Terrazas, soprano; Gabriela Thierry, mezzo-soprano;
Flavio Becerra, tenor; Jorge Cozatl, bass; Ivan Juarez, bass
Manuel Arenzana (c. 1762-1821) was the organist and choirmaster of Puebla Cathedral
in Puebla de los Angeles, Mexico from 1792-1821.
Horatio Parker: Hora Novissima
Abendmusik Chorus; Nebraska Wesleyan Choir; Nebraska Chamber Orchestra, John Levick
Anna Soranno, soprano; Julie Simson, mezzo-soprano;
Kent Hall, tenor; Duane Andersen, bass-baritone
Horatio Parker (1863–1919) used the opening text of De contemptu mundi by Bernard of
Cluny for his oratorio Hora Novissima. The work was finished in 1893 and is scored for large
chorus,soloists and orchestra. Parker was taught by George Whitefield Chadwick and himself
taught Charles Ives and Roger Sessions.
invitation Gencho Donchev, %05 %b %2014 %17:%Apr:%th 17AprGMT+0000 frends of music,  It is pleasure for us to invite your choir in Bulgarian toun of Harmanli for our VIII international choir festival " Harmonia" from 30 May to 01 June 2014.
Festival is non competitive .Repertoire is free at about   25-30 min. max. We are ready to accept  your group for 3-4-5 days. For more infirmation please, visit
I hope that our offer is good for you. If you have any other wishes, please, contact us - e-mail  or
Looking forward to receiving good news from you as soon as posible.
Your faithfully
Gencho Donchev
American Made Robert Rickman, %05 %b %2014 %16:%Apr:%th 16AprGMT+0000

Connecticut Chamber Choir announces its spring concert, American Made, Sunday, May 4, St. Theresa Church, Trumbull, CT, 4:00 p.m. The concert features recent choral works by contemporary American composers including Trumbull resident and CCC member Benjamin Doyle McCormack, and the New England premier of The Tempest, by Elizabeth Lim. Special guest artists Christopher Judd, baritone, and William R. Braun, piano, will present songs of Kurt Weill and Maury Yeston.

Under the direction of Constance Chase since 2008, Connecticut Chamber Choir is an auditioned ensemble of professional and dedicated avocational musicians from throughout the state of Connecticut. The Choir has established itself as one of the region’s premier vocal ensembles through bi-annual performances of significant choral repertoire, spanning the sixteenth through the twenty-first centuries. Since its inception, Connecticut Chamber Choir has dedicated itself to a tradition of excellence through inspired performance.


Guest Artist, Christopher Judd

Christopher Judd, baritone, has performed solo recitals throughout the United States. His operatic roles have taken him to Spoleto Festival USA and Berkshire Opera Theater. An active choral artist, currently at Riverside Church and formerly at Trinity Wall Street in New York City, he has performed with The New York Philharmonic, Princeton Pro Musica, and on national tour with Andrea Bocelli. He is a founding member and Production Manager of Kinnara Ensemble, a burgeoning twenty-eight-voice professional chamber choir based in the Princeton, NJ area.


Guest Artist, William R. Braun

Pianist William Braun made his New York debut in two concerts given with the singers Dawn Upshaw and Richard Lalli in conjunction with the Museum of Modern Arts “Vienna: 1900” exhibition.  He has performed as concerto soloist with the New World Symphony (Miami), the Florida West Coast Symphony (Sarasota), and the New Haven and Waterbury Symphonies.  He is the pianist of the Wall Street Chamber Players and of the New Haven Symphony.  A prolific writer, he has had Opera News cover stories on Ian Bostridge, Christine Brewer, John Adams, Peter Sellars and Dawn Upshaw.  Opera News has also published his interviews with Birgit Nilsson, Gerald Finley, Nikolaus Harnoncourt, Philip Glass, Alan Gilbert, Thomas Allen and Andrew Porter, as well as over two hundred other pieces.  He earned his doctorate in piano from Yale in 1990.

Simple contemporary a cappella music Leigh Anderson, %05 %b %2014 %17:%Apr:%th 17AprGMT+0000 am looking for a simple, yet fun, contemporary/pop a cappella song, SAB or SATB, that would work for a large group (44). I'm trying to introduce my beginning high school choir to the world of contemporary a cappella, but they are a large group, and I have 32 girls and 12 boys. Most of the boys are inexperienced so the T/B parts can't be too difficult. 
I'm really familiar with a cappella pop/contemporary music, but most of what I have is too difficult for this group or not appropriate for the numbers I have. Thanks so much for any suggestions!
Greater New Haven Community Chorus Choral Conducting Assistant Scholarship (New Haven, CT) Dennis Burke, %05 %b %2014 %14:%Apr:%th 14AprGMT+0000
Greater New Haven Community Chorus
Choral Conducting Assistant Scholarship
There is still time to apply for Greater New Haven Community Chorus’ Choral Conducting Assistant Scholarship.  Application deadline is Tuesday, April 15.  The no-fee, online application is quick and easy.  More details on the scholarship program can be found at  Be sure to check out what our past recipients have to say about their experiences!
Most important American choral works written in last 50 years Robert Cowles, %05 %b %2014 %12:%Apr:%th 12AprGMT+0000, Colleagues.
I am preparing to teach overseas a semester-long course in American choral literature, and to that end I would be interested in hearing your thoughts on what you consider the most "important" Amerkcan choral works written over the past 50 years. "Important" may mean different things to different people--e.g., influential vs. not necessarily influential but unique/effective/brilliant, etc.--so let's keep it flexible and maybe just state why you've chosen to include whatever pieces(s) you cite. I'm looking for a mixture of shorter and longer works, ones that are either sacred or secular, for mixed/men's/women's/children's choruses, a cappella settings as well as those with small or large accompaniment. The course will focus primarily on works from the U.S., but if there are especially significant works to mention from the greater North America then that would be good too. 
Of course, there will be a few "big names"--Lauridsen, Whitacre, and the like--who are likely to be mentioned. That's fine, of course, but in such cases perhaps list what in your view are the most important one or two works by each (as opposed to "anything written by x..."
This is a far more difficult (and interesting) question now than in decades past, due to the ongoing proliferation of divergent musical and culture-based choral styles that have emerged in recent decades in this country; so any thoughts on effective organization of such a course would be welcome as well.
Thank you in advance for your suggestions.
Bob Cowles
Hobart and William Smith Colleges
Music a rhythm of happiness, learn to sing online Steve White, %05 %b %2014 %07:%Apr:%th 7AprGMT+0000
Do you feel that you have some uniqueness in your voice and you like to sing and want to know How to sing higher and also want to improve your skills and just need help from someone who can tell you about your voice texture and helps you to learn the details of music? For singing the most important thing is you must have the knowledge of music and rhythm.
on online portals the Singing lessons are provided follow them like make the most important factor is control on your breathing, repeat the scales, record your voice texture, have proper diet and keep your mind calm and relaxed, keep on trying new things, be positive and take all criticism positively. As singing is something which keeps on improving with time and practice, so never think about what other says.
Q&A W/ Eric Whitacre- UCLA 4/15 Kanwal Sumnani, %05 %b %2014 %08:%Apr:%th 8AprGMT+0000 Award-winner Eric Whitacre will be featured in a free lecture at 6:30 p.m. Tuesday, April 15, in UCLA's Schoenberg Hall, hosted by the Choral Excellence Association at UCLA and the Herb Alpert School of Music.
The lecture, "Questions, Answers, and Conversation," is free, but requires a ticket due to very limited seating. 
Reservations can be made here:
Conference Morsel: Authentic Performance Practice of World Choral Music Scott Dorsey, %03 %b %2014 %18:%Apr:%rd 18AprGMT+0000 excerpt from the interest session “Music Beyond Borders: World Music for Intermediate Treble Choirs,” presented by Jennifer Alarcon during the 2014 ACDA Southwestern Division Conference)
Create a lasting memory, reinforce the love of choral music in a singer’s heart, and amaze your audience with an authentic performance of a world choral piece! Performances are most authentic with the singers have internalized the culture, resulting in a performance that mirror the original expression (Parr, 2006). As the director, we are the driving force behind our student’s experience, so as you prepare a world choral piece for a performance, consider the ideas below.
Historical Perspective
Let’s learn as much as we can about the culture (Goetze, 2000). As a part of your personal score study, discover what the song or text was used for and where it would be performed. Knowing if it was a part of a celebration, religious service, ceremony, or to help in a time of grief will help make the performance ever so meaningful.
Cultural Perspective
Some cultures are more flexible in regard to instrumentation, improvisation, movement, etc. For example, Latin American music has such flexibility. One can feel liberated to remove verses as needed or add/modify auxiliary percussion instruments from the Latin American region. Let your creativity take over and explore the possibilities not explicitly written in the score.
Dance is one of the oldest forms of expression and is intertwined with singing in cultures around the world.  Adding movement can free the singers’ voices and immerse them in a cultural experience. Movement can be as simple as adding body percussion, claps, or stomps. It can also be as intricate as learning a few classical Indian dance moves for an Indian piece or the basic Merengue step for a Latin American piece. Feel free to explore and discover movement possibilities that are not prearranged in the score.
Works Cited:
Goetze, M. (2000). Challenges of performing diverse cultural music. Music Educators Journal, 87, 23-25+48.
Parr, C. (2006). Eight simple rules for singing multicultural music. Music Educators Journal, 93, 34-37.
The Surgical Solution was Surprisingly Unpopular Joshua Bronfman, %05 %b %2014 %13:%Apr:%th 13AprGMT+0000
via Alex Ross: The Rest is Noise
Director of Music (organist) David Christopher, %05 %b %2014 %04:%Apr:%th 4AprGMT+0000
POSITION: Director of Music (Organist)
MINIMUM EDUCATION: Bachelor’s degree in music
SALARY: Negotiable, based on AGO salary scale with Diocesan benefits
PARISH ENSEMBLES: Adult Choirs (2), Children’s Choir, Handbells
ORGAN: Peragallo 2-manual (All Saint’s) & David Storey 2-manual tracker (St. George’s Chapel)
BENEFITS: Health and Dental Insurance, Retirement/pension, Sick Leave, Vacation
The Episcopal Parish of All Saint’s Church & St. George’s Chapel ( seeks a dynamic musician to lead the music program and serve as choirmaster for an active parish in downtown Rehoboth Beach, Delaware and oversee the music at the historic St. George’s Chapel in Lewes, Delaware.  The position is 3/4 time (30+ hours per week) and can be structured in multiple ways for the right candidate(s).  
The liturgy and music of the parish is strongly based in the Episcopal traditional, yet frequently incorporates a wide range of musical styles including jazz, spirituals and contemporary works.  The primary hymnals are the Episcopal 1982 and LEVAS II hymnals with supplemental resources used as well.
The ideal candidate will have excellent management and inter-personal skills and will be charged with leading a team of professional and amateur musical assistants (organists and choir directors) who assist with the various ensembles of the parish.  There are two adult choirs; one at All Saint’s and one at St. George’s, as well as a handbell choir and a newly formed children’s choir.  The Director of Music’s primary focus is on the choral program at All Saint’s and events at both churches, and will work creatively with the Rector to design creative liturgies and oversee a number of special events that occasionally combine both choirs.  St. George’s currently has a separate organist and choir director, and the parish Director of Music will provide additional support and resources to the weekly music at the chapel.  In addition to a Jazz Mass each fall and a summer Organ Recital Series, feast days are often enhanced by the addition of guest instrumentalists and singers.
The candidate should ideally have strong keyboard skills, particularly the ability to lead rehearsals from the piano or organ.  The music director may serve as principal organist, but depending on the qualifications of the candidate, these responsibilities may be delegated to other organists in the parish.
Applicants should submit a cover letter, resume and a minimum of two references by e-mail no later than Wednesday, May 1 to Father Max Wolf at    Phone inquiries may be made by contacting Fr. Wolf through the church office at (302) 227-7202.
Los Angeles, CA – April 3, 2014 – Acclaimed Grammy®-nominated choral conductor and Los Angeles Master Chorale (LAMC) Music Director Emeritus Paul Salamunovich, whose artistry touched millions of people around the world through recordings, live performances, college and university clinics, and the numerous film scores on which he conducted and sang, has died at age 86 from multiple complications due to West Nile virus.
The California native and long-time North Hollywood resident was Music Director of the Los Angeles Master Chorale from 1991 to 2001, Director of Choral Music at St. Charles Borromeo Church in North Hollywood for 60 years (1949-2009), an esteemed music educator who held academic posts at Mount St. Mary’s College and Loyola Marymount University, and an adjunct professor at the USC Thornton School of Music. 
His death comes in the midst of the Chorale’s 50th Anniversary Season, which opened with a multi-media retrospective concert at Walt Disney Concert Hall highlighting the signature works associated with each of the four music directors who have led the Chorale since its inception in 1964, including for Salamunovich Gregorian chant, works by Maurice Duruflé, Morten Lauridsen’s O Magnum Mysterium and the remarkably prescient hymn The Lord Bless You and Keep You
The New York Times declared the chorus “one of America’s top vocal ensembles” during Salamunovich’s final season with the Chorale in 2001.  A major force in the resurgence of interest in choral music, he championed such leading contemporary composers as Morten Lauridsen, Dominick Argento, Ariel Quintana and Libby Larsen, helping to expand the depth and breadth of the choral music repertoire.  His remarkably fruitful collaboration with Lauridsen, in particular, resulted in the Chorale’s Grammy®-nominated recording Lux Aeterna and ultimately helped to propel Lauridsen to become the most frequently performed American choral composer in modern history.  Salamunovich also guest-conducted throughout the world and prepared choirs for such notable conductors as Igor Stravinsky, Robert Shaw, Bruno Walter, Eugene Ormandy, Alfred Wallenstein, Sir Georg Solti, Zubin Mehta, Carlo Maria Giulini, Valery Gergiev and Simon Rattle.  In addition, he conducted choral music on the scores for more than 100 film and television projects, including The Godfather and ER, and sang on the sound tracks of Judgment at Nuremburg, Universal, 1961, and How the West was Won, MGM, 1962, among many others.
“All of us in the Los Angeles Master Chorale family mourn the loss of Paul Salamunovich and extend loving condolences to the entire Salamunovich extended family,” said LAMC President and CEO Terry Knowles.  “Paul’s impact on the Chorale was long, deep and powerful.  Any success our organization enjoys today is rooted in Paul’s artistic leadership.  We honor his memory, and we will never forget him.”
“Paul was one of a handful of conductors who created and shaped the sound of choral music in America,” said LAMC Music Director Grant Gershon, who succeeded Salamunovich at the choir’s artistic helm in 2001.  “As both a teacher and performer he was hugely influential, and his signature choral sound lives on through the many conductors and choirs that he inspired.  In particular, his legendary work with LAMC composer in residence Morten Lauridsen is the epitome of a successful composer-conductor relationship, and together they brought international acclaim to the Los Angeles Master Chorale.  He was my friend and colleague, and I have always been hugely grateful for his support and advocacy when I took over the reins of the Chorale.  We will miss him.  He was a giant in the field of choral music.”
Salamunovich, a protégé of legendary choral conductor Roger Wagner, has been inexorably tied to the Los Angeles Master Chorale since the beginning, having been a founding member and Assistant Conductor from its inception until 1977, as well as an integral part of its various choral precursors.
Born on June 7, 1927, in Redondo Beach, California, Salamunovich attended St. James Elementary School, where he sang in a boys choir steeped in Gregorian chant, providing an early foundation for his career and nurturing his life-long passion for Gregorian chant.   He had the good fortune of watching Wagner conduct his first concert with the Wagner Men and Boys Choir, which was presented at St. James Parish.  When Salamunovich was about 13 years old, his family moved to Hollywood.  He began singing for Richard Keys Biggs at the Blessed Sacrament Church and formally met Wagner, who invited him to watch his choir rehearse at St. Joseph’s Church in downtown Los Angeles.  Salamunovich rode the streetcar to downtown by himself on several occasions to observe Wagner, who took note of the regular visitor and invited him to sing with his choir.  Following his graduation from Hollywood High School in 1945, Salamunovich enlisted in the Navy, serving in Pearl Harbor after World War II.
He moved back to Los Angeles after completing his enlistment at age 19 and was asked by Wagner to join his newly formed Los Angeles Youth Chorus, which included among its members 13-year old Marilyn Horne and 14-year old Marni Nixon, and which in 1948 evolved into the Roger Wagner Chorale, of which Salamunovich was a founding member.  At Wagner’s urging, Salamunovich enrolled at Mt. St. Mary’s College to study music and then launched a career in choral conducting.  Notably, Salamunovich took over Wagner’s choir director post at St. Charles Borromeo Church in 1949 when Wagner left to focus on other conducting interests; Salamunovich retained the post for 60 years until his retirement in 2009.  Wagner, impressed by Salamunovich’s considerable skills, continued to utilize him and tapped him to be Assistant Conductor of the Roger Wagner Chorale from 1953 to 1977.  
Then, in 1964, Wagner – with the support of the Los Angeles Junior Chamber of Commerce and local businessmen Z. Wayne Griffin, Harrison A. Price, Donald J. Nores and Marshall A. Rutter – formed another new chorus, the Los Angeles Master Chorale, which became a founding resident company of the Music Center just as construction on its first home, the Dorothy Chandler Pavilion, was being completed.  Again, Wagner selected Salamunovich, who was a founding member of the independent professional choir, to be its assistant conductor, a position he held until 1977 when Salamunovich resigned to pursue other leading positions he was then being offered.
Although it was expected by many that Salamunovich would succeed Wagner as the Chorale’s Music Director, an appointment for which Wagner himself lobbied, Salamunovich’s schedule prevented consideration of the possibility and the Board of Directors instead selected Scottish opera conductor John Currie as Wagner’s successor.  In 1991, after Currie’s somewhat turbulent tenure concluded, Salamunovich accepted the position as music director of the Los Angeles Master Chorale.  He immediately began rebuilding the Chorale’s Wagner era signature “pyramid” choral sound anchored by rich robust bass and capped by shimmering soprano. Having led many of the Chorale’s rehearsals while he served as Wagner’s assistant, Salamunovich had had an indelible impact on the Chorale’s early sound. The press heralded his return and his efforts, stating, “The panache is back; Paul Salamunovich has restored the L.A. Master Chorale to its former glory” (Los Angeles Times).
By the end of Salamunovich’s tenure 10 years later in 2001, he was resoundingly lauded for developing the Chorale’s “wide dynamic palette” (Los Angeles Times) and “sterling, precise singing” (Daily Variety).  Critics further declared, “For the past decade (the Chorale) has reached new heights under the baton of Music Director Paul Salamunovich” (Pasadena Star-News), and Salamunovich has “sharpened and refined his choral instrument to a virtually unbeatable level” (Los Angeles Times).
But of all of Salamunovich’s remarkable accomplishments during his long and productive career, he is most closely associated with the extremely productive relationship he shared with Morten Lauridsen, who served as the Chorale’s first composer in residence from 1995 to 2001, and whose critically acclaimed choral “blockbusters” Lux Aeterna, O Magnum Mysterium and Ave Maria, all written for the chorus, are among the works included in the Chorale’s 1998 Grammy®-nominated, best-selling recording “Lux Aeterna” conducted by Salamunovich.  Under Salamunovich’s direction, the lush recording, with its “radiantly beautiful music,” (Wall St. Journal) and “affecting emotional pull” (Daily Telegraph), elevated the Master Chorale and Lauridsen to international prominence.
Salamunovich was also noted for his keen interpretations of renowned 20th century French composer Maurice Duruflé’s works for choir and orchestra.  In particular, they collaborated on a 1967 performance of Duruflé’s Requiem, Op. 9, for which Salamunovich prepared the St. Charles Borromeo Choir and the composer conducted.  Significantly impressed by Salamunovich’s talents during their only time working together, Duruflé kept a picture of the two of them that still hangs in his home in Paris, which is curated by the Duruflé Society.
For his final season with the Chorale in 2000-2001, Salamunovich conducted five concerts, including a rare performance of the Mass in C# Minor by Vierne for double organ and choir with renowned organist Frederick Swann at the First Congregational Church of Los Angeles.  The other concerts, held at the Dorothy Chandler Pavilion, featured choral works by Mozart, Britten, Kodály, Parry, Verdi, Argento, Duruflé, Susa, and Pinkham, among others.  The Chorale also gave two joint performance of Bach’s B Minor Mass with the Los Angeles Chamber Orchestra at UCLA’s Royce Hall and the Alex Theatre in Glendale.  And for his finale as Music Director, Salamunovich conducted four of his favorite pieces:  Verdi’s Stabat Mater, Holst’s Hymn of Jesus, Neilsen’s Hymnus Amoris and, of course, Lauridsen’s Lux AeternaHe managed to accomplish all this while successfully battling lymphoma, diagnosed at the beginning of the season.
Following his retirement, Salamunovich continued his close relationship with the Chorale, regularly attending the chorus’s concerts and galas, and returned to the Chorale as a guest conductor in a sold-out concert of some of his favorite choral works during the Chorale’s second season in Walt Disney Concert Hall in 2005.
As a conductor and former singer, Salamunovich’s musical contributions spanned the spectrum from classical, pop and jazz to folk and new age music with such diverse artists as Stan Kenton, Liz Story and Cirque de Soleil.  He conducted countless live performances; sang or conducted on more than 20 recordings, including three with the Los Angeles Master Chorale; helped to shape the lives of thousands of students as a faculty member at Loyola Marymount University for 28 years and at Mt. St. Mary’s College for 18; provided training to tens of thousands more around the world as an in-demand clinician; and helped provide spiritual fulfillment to countless others as Music Director of the St. Charles Borromeo Church in North Hollywood. Salamunovich also served as Conductor in Residence at the University of Western Australia in Perth and the Pontifical Institute of Sacred Music in Rome.
Salamunovich’s other film credits include conducting choral music on the scores of Angels and Demons, First Knight, Air Force One, A.I., Peter Pan, Flatliners and The Sum of All Fears, among many others.   Earlier in his career, he sang on the motion picture soundtracks of The Great Imposter, Universal, 1960; The Last Sunset, Universal, 1961; The Spiral Road, Universal, 1963; Captain Newman, M.D., Universal, 1963, Dead Ringer, Warner Bros., 1963; War Lord, Universal, 1965; The Trouble with Angels, Columbia, 1965; Angel in My Pocket, Universal, 1965; and The Last of Sheila, Warner Bros., 1973.
With the choir at St. Charles Borromeo he recorded five albums of sacred music and was featured on Andy Williams’ 1969 recording of “Battle Hymn of the Republic” as well as on Williams’ 1986 NBC-TV Christmas Eve Special hosted by Henry Mancini and Doc Severinsen.  In addition, in 1985 the St. Charles Borromeo Choir was invited by the Papal Church Music Society to tour Europe in conjunction with the 8th International Convention of Sacred Music, which included a private audience with Pope John Paul II in the Vatican Palace.  In 1987, the church’s choir sang at the City of Los Angeles’s official reception for the Pope, and the following year it became the first American choir invited to sing High Mass for the Feast of Sts. Peter and Paul at St. Peter’s Square in Rome with the Pope presiding.  It holds the distinction of being the only parish choir to be so honored.
Among numerous accolades, Salamunovich received a Papal knighthood as a Knight Commander in the Order of St. Gregory the Great from Pope Paul VI in 1969; the “Distinguished Artist Award” from the Music Center of Los Angeles in 2005; the “Lifetime Achievement Award” from the American Chorale Directors Association in 2000; and the Pro Ecclesia et Pontifice, known as the “Cross of Honour,” the highest medal that can be awarded by the Papacy to the laity in 2013.  He was inducted into the Loyola Marymount Faculty Hall of Fame in 2012.  He also holds honorary doctorates from Loyola Marymount University and the University of St. Thomas in Minnesota.
Salamunovich is survived by his wife of nearly 64 years, Dottie, sons John of Houston, Texas, Stephen of Seattle, Washington, Joseph of Glen Ellyn, Illinois, and Thomas of Vail, Colorado.  He is also survived by his older brother Joseph of Studio City, son-in-law, Gordon Goodman, daughters-in-law Claire, Sheila, Meredith and Nancy Salamunovich, 11 grandchildren and 4 great-grandchildren.  His daughter, Nanette, preceded him in death in 1977.  Public services are pending and the burial will be private.
                                                                        # # #
"Night Before Christmas" en français Ken Malucelli, %05 %b %2014 %00:%Apr:%th 0AprGMT+0000     For those with choirs that serve a predominantly French demographic, I've had occasion to do a completely French version/translation of my original "'Twas the Night Before Christmas" setting, for SATB and either piano 4 hands or full symphony orchestra.  Now entitled "Une visite de St. Nicolas," it is indeed the complete poem we all have known and loved since childhood.  
     For those unfamiliar with the original, I've set the complete text to melodies of beloved carols and end with a send-up of the first movement of Bach's "Magnificat in D."  For the French version I've substituted one on the English (originally German) carols with a more standard French one.  You can hear the original, accompanied by piano 4 hands, on my site, kenmalucelli dot com.  Click on Holiday & Seasonal, scroll down to title (6th from bottom) and click on blue play tab.
     If interested in viewing the complete score of either version, you may contact me directly: Ken (at)
     Thanks for your interest.
SmartMusic Shawna Dumbaugh, %04 %b %2014 %21:%Apr:%th 21AprGMT+0000 do you use SmartMusic with your choir?  I am trying to find a way to use it to assess my students individually.  Does anybody have any ideas or tips?
UNT Collegium Singers, Richard Sparks, cond. Richard Sparks, %04 %b %2014 %22:%Apr:%th 22AprGMT+0000 the University of North Texas Collegium Singers and Baroque Orchestra Wednesday, April 9 at 8 PM for their final concert of the year.
The Collegium Singers will sing Kuhnau's 'Tristis est anima mea' (conducted by Kerry Glann, with choir, organ, and 3 sackbuts), Schelle's absolutely beautiful, 'Christus, der ist mein Leben' (5 soloists, choir, 4 violins, 4 violas, and continuo), and Bach's great motet, 'Der Geisthilft' (both conducted by Richard Sparks).
The UNT Baroque orchestra closes with Brandenburg 2! Soloists: Chuong Vu (violin), Kathryn Montoya (oboe), Andreas Stoltzfuss (trumpet), and Paul Leenhouts (recorder). Should be fantastic!
Hear it all live at MPAC, UNT or live-streamed online (at 8 PM, Central time zone):
Handel's Messiah--A Celebration of God's Amazing Grace (April 12 and 13) Noah DeLong, %04 %b %2014 %19:%Apr:%th 19AprGMT+0000

MILLIGAN COLLEGE, TN (March 3, 2014) — The Milligan College Concert Choir and Orchestra will combine with several local church choirs and professional soloists to present two concert performances of "Handel's 'Messiah': A Celebration of God's Amazing Grace" on April 12 and 13.

The first performance will be on Saturday, April 12, at 7 p.m. The second performance will be on Sunday, April 13, at 3 p.m. Both performances will be held in Milligan's Mary B. Martin Auditorium of Seeger Memorial Chapel and are open to the public. Tickets are now on sale in the Milligan Bookstore.

This performance, which is the United States premiere of "Handel's 'Messiah': A Celebration of God's Amazing Grace," covers the story of Jesus' passion. It intersperses dramatic readings from the sermons of John Newton with the second part of Handel's "Messiah" in a beautiful concert that will draw audiences to the powerful message of God's amazing grace.

The original concept comes from a 2010 performance at the Gloucester Cathedral, given under the auspices of the John Newton Project. Newton, a contemporary of Handel and the writer of "Amazing Grace," preached more than 50 sermons from every biblical text in Handel's "Messiah."  The objective of the John Newton Project is the transformation of society through faith in Jesus Christ, using the life and works of John Newton as one great example.

In addition, Marylynn Rouse, a British scholar with the John Newton Project, will be on hand to introduce each performance and to give several lectures in the week leading up to the concerts.

"We had longed to see others take up the idea of using Handel's 'Messiah' in combination with Newton's sermons," said Rouse. "It is a great joy to share with Milligan College and local churches in using this as an outreach for the gospel and broadening awareness of the great truths of Jesus the Messiah, by combining musical skills with Newton's rich biblical expositions of the words."

In addition to the Milligan College Concert Choir and Orchestra, the choirs of three Johnson City, Tenn., churches—Central Baptist Church, Grandview Christian Church and Munsey Memorial United Methodist Church—will perform in the concert.

"One of the exciting aspects of this project is the opportunity to collaborate with so many musicians from our region," said Noah DeLong, assistant professor of music at Milligan. "After our first rehearsal with the combined chorus, I was struck not only by the wonderful sound that such a large group can make, but also by the moving spirit of Christian unity that was evident among these servants who faithfully participate in various music ministries."

To purchase tickets, visit the Milligan College Bookstore, open Monday through Friday, 8 a.m. to 5 p.m., or call 423.461.8733. Tickets cost $10 pre-sale, $15 at the door and $5 for students.  More information about this performance can be found at

On Tuesday, April 8, Rouse will give two lectures with more information on the background of John Newton and his sermons on Handel's "Messiah." The first lecture will be during Milligan's convocation at 11 a.m. in the Mary B. Martin Auditorium of Seeger Memorial Chapel and the second will be at 7 p.m. in Hyder Auditorium, located in Milligan's science building.


MILLIGAN COLLEGE is a Christian liberal arts college in Northeast Tennessee whose vision is to change lives and shape culture through a commitment to servant leadership. The college offers more than 100 majors, minors, pre-professional degrees and concentrations in a variety of fields, along with graduate and adult degree completion programs.  To learn more about Milligan College, visit or call 800-447-5922.

Need Contract between a Concert Series and one or more performers June Diggle, %04 %b %2014 %20:%Apr:%th 20AprGMT+0000 am on the board of a concert series in a small town and we are looking for a contract we could use/modify that would be between a hiring entity (like a concert series, church, college etc) and one or more performers/musicians.
We are particularly interested in language that addresses a performer cancelling a scheduled performance, but we also just need a great boiler-plate document.
Thanking all of you in advance,
June Diggle
Need to borrow Song of Pentecost by Joel Raney Noel White, %04 %b %2014 %18:%Apr:%th 18AprGMT+0000 25 copies of Song Pentecost
Composer/Arranger/Edition: Joel Raney
Starting: May 5, 2014
For: June 11, 2014
Copies: 25
Willing to rent: No
I am using Song of Pentecost by Joel Raney for Pentecost (June 8, 2014).  Could I borrow 25 copies....I will pay the postage both ways and return the copies as delivered.  Thanks for your help!
Full-time and Part Time Positions Announcement In-School and Neighborhood Choir Conductors Sarah Fader, %04 %b %2014 %18:%Apr:%th 18AprGMT+0000
Contact: Interested candidates should send cover letter and resume by e-mail:
Jocelyn Smith, Program Director
Chicago Children’s Choir
Chicago Cultural Center, 5th floor
78 East Washington St.
Chicago, IL 60602
No faxes please
Founded in 1956, Chicago Children’s Choir is a multiracial, multicultural choral music education organization, shaping the future by making a difference in the lives of children and youth through music excellence.
Mission and Background
Founded in 1956 during the Civil Rights Movement, Chicago Children's Choir is the nation’s largest and one of the most renowned youth choral music education organizations. It currently serves over 3,500 children, ages 8 to 18 through choirs in 65 schools, after-school programs in 9 Chicago neighborhoods, DiMension – a choir for boys whose voices are going through the process of change, and the internationally acclaimed Voice of Chicago. Singers are racially and culturally diverse, with 75% from low-income households, representing almost every zip code in Chicago. With an incredible breadth of repertoire, the Emmy award-winning Choir performs throughout the city, nation and world, collaborating regularly with the Lyric Opera of Chicago, Chicago Symphony Orchestra, Steppenwolf Theatre Company, Ravinia Festival and Millennium Park. This year’s national tours include Kansas City, Cleveland, Detroit, Baltimore/DC, and Amherst, and the Voice of Chicago will be travelling to South Africa summer 2014.
In-School Program: Serving approximately 2,700 students, the Choir offers choral programs in 65 Chicago public elementary and middle schools. In many cases, the Choir’s program is the only arts education offered to students within the school.  Most schools hire the Choir to provide instruction for one or two choirs, one or two times per week.  The Choir’s Program Director works with the conductor to set the schedule.
Neighborhood Choir Program: The Choir serves nine diverse communities in Chicago:  Albany Park, Beverly, Englewood, Garfield Park, Humboldt Park, Hyde Park, Lincoln Park/DePaul, Pilsen/Little Village and Rogers Park communities. This program provides after-school instruction to over 600 beginning and intermediate level singers while building community pride and stewardship in each singer. Singers in 3rd grade through early high school rehearse twice a week throughout the school year. Most choirs divide into two or three levels, and they perform several times during the year and sometimes take a 3 to 4-day national tour in the spring.
Job responsibilities include:
  • Direct assigned choir(s) using the curriculum and repertoire set forth by the Director of Choral Programs and Artistic Director.
  • Attend all conductor meetings and professional development workshops as scheduled.
  • Maintain high quality rehearsals and performance standards in regards to both the musical product and the level of discipline.
  • Communicate regularly with the Choir administration to ensure consistency among all programs.
  • Communicate regularly with parents to develop excellent relationships and programs. 
  • Complete singer evaluations twice yearly for the In-School and Neighborhood Choir Programs.
  • Run auditions at each In-School and Neighborhood location. 
  • Prepare choirs for, and participate in, all concert events including self-produced, local, and touring concerts.
  • Work with Program Director to plan appropriate tour for each choir (Neighborhood Choirs only). 
  • Inform singers of opportunities for growth within the Choir and assist with promotion into more advanced Choir ensembles, when appropriate.
  • Recruit singers throughout the community and help raise awareness of Chicago Children’s Choir programs.
  • Attend and assist with all Choir events as needed.
  • Minimum of a Bachelor’s Degree in music (music education preferred). Master’s Degree preferred for Neighborhood Choir Programs.
  • Experience teaching in the music education field.
  • Experience in working with children and youth from diverse backgrounds preferred.
  • Committed to working in an environment that is mission driven. 
  • Must be able to take initiative.
  • Must possess a high level of energy and self-motivation and have the ability to establish strong working relationships with individuals inside and outside the organization.
  • Enjoy working with children.
Competitive salary with benefits for full-time employees including paid vacation, medical, dental and life insurance, as well as a tax-deferred retirement plan.
Chicago Children’s Choir does not discriminate on the basis of national origin, race, religious belief, gender or disability in admission or access to, or employment in, its programs and activities. 
Small ensemble auditioning SATB voices Eric Sorum, %04 %b %2014 %17:%Apr:%th 17AprGMT+0000 is a group of talented singers who seek a challenging musical experience, particularly with sacred polyphonic works of the Renaissance and Baroque, as well as other eclectic music.  We are seeking to add a few select SATB voices to form a very dedicated and skilled troupe of 10-12 singers.
Hymnos will spend the summer singing at churches throughout the Minnesota metro are, providing a program of choral music for their Sunday morning services.  Part of the mission of Hymnos is to bring choral music into the center of people's lives, and to invigorate and inspire sacred music.  Our goal this summer is to bring choral music to a wide audience of church communities, allowing listeners to experience music they may not have heard before.
Rehearsals are typically Sundays, 4:00-6:00 P.M., beginning May 4.
Singers will be paid through collections taken at performances.
Auditions are by appointment with the director.  No prepared piece is required.  Strong vocal skills, intonation, sight-reading, and a variety of vocal colors are desired.
Please respond by e-mail at:
Recordings of the Hymnos ensemble may be found on the Facebook page: or our website:
Wanted: Black Choir Robes Michala Martin, %04 %b %2014 %17:%Apr:%th 17AprGMT+0000 school is looking for lightly used, good quality, black choir robes.  If you are looking to sell, we may be looking to buy!  Please contact me through this posting or via the email link above.
Michala Martin
Feldenkrais for Singers and Open Rehearsal Darlene Wyzga, %04 %b %2014 %18:%Apr:%th 18AprGMT+0000

Join the singers of Schola Cantorum on Hudson:

Saturday, April 12th, 2:15 to 3:45
St. John’s in the Village Episcopal Church
224 Waverly Place, New York  10014

Feldenkrais Practitioner Kathy Yates is Guild Certified, and deeply experienced in working with singers.  As a dancer, actress and teacher who comes from a family of renowned singers and stage performers, she has worked in the field of movement and voice for over 25 years.

"Singers making use of the Feldenkrais Method find that they feel more flexible and balanced, and that the sound flows more effortlessly," Kathy explains. 

A professional singer who attended one of Kathy’s recent workshops writes:  “What an absolute treat [the workshop] was for me! I had to sing at a rehearsal last night and really felt free-  I didn’t do anything different but it just happened!”  -DS

The well-reviewed ‘Schola tone’ is based in a healthy technique consistent with solo training.  As such, Schola Cantorum on Hudson offers its singers opportunities for deepening their experience as singing artists, occasionally opening such opportunities to the public.

Register to reserve space and materials. Please let us know where you saw this listing. Walk-ins welcome, as space allows. Admission is free.

High School Choral Clinic with guest artist, Dr. Ken Davis Jeff Wall, %04 %b %2014 %17:%Apr:%th 17AprGMT+0000
Dr. Kenneth Davis - High School Choral Clinic
Northeastern State University - Tahlequah, OK
Center for the Performing Arts

Friday, May 2nd
9:00 a.m. Registration
2:30 p.m. Final Performance

High School Choral Clinic
• Prepare a selection with your choir
• Allow Dr. Davis to work with you & your choir on that selection
• Listen & learn as he works with other choirs
• Have lunch in the NSU University Center
• The day culminates in an afternoon performance exchange between visiting choirs to apply the knowledge learned
• Each choir will receive a certificate of participation. Directors will be sent an audio recording of the final performance.
The deadline for registration is fast approaching.  Join us!

Saturday, May 3rd – 7:00 p.m.
University Singers Concert
conducted by Dr. Davis
Whether he is holding a paintbrush or baton, Ken Davis is committed to actively producing images and sounds of extraordinary meaning and beauty. Deeply passionate about a life in the arts, he holds degrees in education, music, theology and the liberal arts. Davis completed a doctorate in conducting at the prestigious Eastman School of Music and worked for over 25 years as a college choral conductor. He has studied with Don Neuen, Roger Wagner, Alfred Mann and has sung with Robert Shaw in Atlanta, France and New York. His ensembles have toured Europe many times and have performed in Carnegie Hall and Lincoln Center, on The Today Show and Good Morning America, as well as, at Regional and National Conventions of the American Choral Directors Association. His faculty appointments include Western Kentucky University, Texas Tech University and St. Johns College. His life changed forever when he took a course in Plein Air painting in 2001. What began as a hobby, became a passion and is now an obsession. Since that time he has pursued serious study with Albert Handell, Matt Smith, Richard McKinley and Kevin Macpherson. He recently made the decision to undertake painting full time and now spends the majority of his time painting in the field or working in the studio. He remains active as a guest conductor and workshop clinician, and is thrilled to conduct the professional Dallas-based choir, The Ken Davis Chorale.
Abington CHORAL CLUB WILL PRESENT ITS 67TH ANNUAL SPRING CONCERT. Italo A. ( TALLY ) Vassalluzzo, %04 %b %2014 %17:%Apr:%th 17AprGMT+0000
Mark your calendar now and kick-off the Spring season with the Abington Choral Club. The Choral Club will present its Annual Spring Concert  ~ “THE AMERICAN SPIRIT“ ~  on Saturday May 3, 2014 at 7:30 PM* in the Abington Senior High School Auditorium, 970 Highland Avenue, Abington, Pa. 19001
Under the direction of Peter Hilliard and accompanied by Roburt Gajdos, the 80 voice chorus will perform music celebrating our heritage. The concert will include selections from Mozart’s “Requiem” along with spirituals and music honoring our country and its heroes. Selections include “At The River”, by Aaron Copland & R. Wilding White, “ Ev’ry Time I feel The Spirit”, arr. by William L. Dawson, plus
How Can I keep From Singing”, arr. by Gwyneth Walker, “Festival Sanctus”, arr. by John Leavitt, “Armed Forces Salute”, arr. by James Weldon Johnson. The program will also include an arrangement of 
“Scandalize My Name” by our director, Peter Hilliard, and a few surprises. We will be joined by special guests the Abington High School Select Choir under the direction of Tim Myers. Look forward to an entertaining and whistle blowing happy time, you will love it.
No tickets are required and admission is free. However a suggested minimum donation of $10 will be gladly accepted at the door so that ACC may continue its out reach program throughout the community.  *Please note new concert time. For info: or E-Mail -
In Memoriam: Paul Salamunovich Scott Dorsey, %04 %b %2014 %18:%Apr:%th 18AprGMT+0000 choral icon Paul Salamunovich passed on April 3, 2014, according to a post by his son-in-law, Gordon Goodman.
He was the Music Director Emeritus of the Los Angeles Master Chorale, after having served as Music Director from 1991 to 2001. He served as Director of Music at St. Charles Borromeo Church in North Hollywood, California, for 60 years between 1949 and 2009. In addition, he held academic positions at a number of Southern California universities.
He is acknowledged as an expert in Gregorian chant and has long been recognized for his contributions in the field of sacred music, most notably receiving a Papal knighthood in the Order of St. Gregory the Great from Pope Paul VI in 1969. He is also a master clinician, having been invited to conduct just under 1000 festivals and workshops around the world including an unprecedented four consecutive ACDA national conventions—all with different groups.
"Hold On' by Lucy Simon Christine Lutterloh, %04 %b %2014 %16:%Apr:%th 16AprGMT+0000 anyone know where I could get the choral music to "Hold On" by Lucy Simon/arr. Staheli from "the Secret Garden"? I've heard recordings and I love it, but can't find it anywhere! ]]>Out of print CD track? Alright, Ok, you win Danielle McRoy, %03 %b %2014 %22:%Apr:%rd 22AprGMT+0000,
Wondering if anyone has/knows where I can get the show trax accompaniment for the Steve Zegree SATB arrangement of "Alright, OK, you win" published by Hal Leonard. It appears to be out of print.
East Carolina University - Summer Vocal Music Intensive John McDonald, %04 %b %2014 %13:%Apr:%th 13AprGMT+0000
The East Carolina University Summer Vocal Music Intensive
For the High School Singer
June 18-27, 2014
East Carolina University
Deadlines for The East Carolina University Summer Vocal Music Intensive for the High School Singer are fast approaching!  Here is a recap of this exciting new program:
  • A focused emphasis on the all-around singer, including: 
  • Multiple choirs of varying sizes and repertoire.
  • 2 voice lessons with an ECU voice faculty member (included in tuition).
    • Electives that are built into each student’s camp experience, including honors chorus preparation, conducting, musical theatre training, and the potential for an opera ensemble experience with current ECU vocal performance majors.
  • Opportunities for solo recital performance for qualified singers.
  • A collegiate atmosphere for the participants.  Students will receive a weekly schedule similar to the one they would receive as a student at ECU, with open time built in for activities such as practice and study.
  • A focus on audition preparation, with several opportunities throughout the camp for students to improve their auditioning skills.
In addition, the daily rate for the camp is comparable to past years!  In comparison to other music camps in the region, the ECU Summer Vocal Music Intensive is the best investment for the promising high school singer.  
The application deadline for scholarship information is April 18th, 2014.
For more information, hurry over to our website or our Facebook page.
Questions? Contact Kyle Nielsen, lead camp administrator.
Choir for May Wedding Lynn McSmith, %04 %b %2014 %03:%Apr:%th 3AprGMT+0000 for a choir to perform in May Wedding on May 10th in Hollywood, CA.
Would be one song for a post/reception dinner - an 80s pop classic.

This is a paying job. Please message for serious inquiries only.
ONLY OPERA CHORUSES Andrea Myburgh, %04 %b %2014 %10:%Apr:%th 10AprGMT+0000 am in Love with opera music. I see a Milky Way of Music. You stand in awe and recognise the divergent world of music is no different from complexity of the heavens. Some stars are gone, but their light remains and I see Bach and Mozart. Some stars are far bigger and represent our superstars. Others are just being born and I can imagine seeing the stars of tomorrow. Everybody is there. Past, present and future.
Please share your Opera Choruses on . Members can post their favourite opera choruses on Only Opera. Also images of their choirs in the Gallery. All sorts of things. Blog and so forth. The issue is Only Opera Choruses.
I hope to see you on Only Opera
Summer choral workshop in Brittany - France Franck Pellé-Rolland, %04 %b %2014 %09:%Apr:%th 9AprGMT+0000
Dates : July 5-12, 2014
Sponsor : Le Chant des Oyseaux
Location : Arradon (Brittany - France)
Le Chant des Oyseaux run a choral workshop in Arradon (South Brittany, France). This workshop is aimed at skilled amateur singers.
The repertoire will focus on Spanish Golden Age music : Mass Ave Maris Stella by Tomás Luis de Victoria.
Tutor : Franck Pellé-Rolland, artistic director
Our website is updated. Please have a look and feel free to spread the word among singers in your choirs. They will enjoy Victoria’s music, F. Pellé-Rolland’s French touch and the amazing beauty of the gulf of Morbihan, listed as one of the most beautiful bays in the world !
For more information :
Mozart Requiem & Miserere Mei Deus (Allegri) George Brown, %04 %b %2014 %03:%Apr:%th 3AprGMT+0000 choir of St. Georges Episcopal Church, Griffin, GA will be celebrating a noon Good Friday service with the Mozart Requiem mass and Miserere Mei Deus by Gregorio Allegri.  The public is invited. ]]>What Fair Use Is (and Isn't) Jeff Tillinghast, %04 %b %2014 %04:%Apr:%th 4AprGMT+0000
A teacher came to me last week asking if it was copyright-compliant to download a YouTube video to show in an upcoming concert. "After all," she surmised, "it's publicly viewable already, and we're a school, so it's fair use, right?" Fair Use is that aspect of U.S. copyright law which gives considerable leeway for use of otherwise protected materials to schools and educational institutions "for educational use." As the notion of copyright lurches into the digital distribution era, that has been interpreted fairly generously for schools and teachers, although sometimes "educational use" becomes a universal trump card that far exceeds its purpose and intent. While there are few truly definitive laws thus far with digital materials, there are some princples and legal guidelines which, when applied to questions of use and distribution, help us know whether we are operating within the spirit and scope of copyright and Fair Use.
Disclaimer: I am not a lawyer, and this is not legal advice.
What's Your Audience?
In my example above, the teacher wanted to show a few YouTube clips of orchestras as people entered the concert. Her idea was that it would be great to a) set the tone of the concert with appropriate music, as well as b) showing students that music is practiced by many different kids of ensembles and musicians. Clearly, she has an educational intent for both the students and the audience, but does it count as "educational use?" One of the major digital-era copyright laws is the TEACH act, which gives teachers the right to distribute digital materials to students. One of the keys of the act is that you have to be able to show that you have a reasonably-defined group of students (e.g. your students/ensemble), and that whatever materials you share are only shown to them.
For example, if I would like to show an episode of BBC's "The Choir" in class to talk about sectional rehearsal techniques, I can. If I would like to share a recording of that video on an internal website which is only accessible to members of our group (e.g. a LMS/CMS, internal blog, etc.), I can. What I cannot do is hand a copy of a DVD to each singer and say "go watch this at home"-- by making copies and passig them around, I can no longer say that it's only accessible to members of my educational body.
In our initial example, the teacher wants to display the video to people outside of her ensembles (the audience at the concert), so it does not count as educational "Fair Use."
Ownership Still Matters
YouTube (as well as Vimeo and other services) is an incredible resource for musicians and music educators: countless examples of genres, eras and instrumentation/voicing all across the spectrum from beginning musicians to professionals. It's rife with copyright pitfalls, though, and Google (which owns YouTube) adjusts the rules every few months to try and keep it on the correct side of the law. One common issue when it comes to educators is the use of downloaders (either plugins/software or websites) which allow you to download videos from YouTube and keep them on your computer. Educators do this for several reasons: YouTube might be blocked at their schools, so they download the videos at home and bring them in, or their Internet connections at school may be unreliable, leading teachers to download the video to try and ensure that they'll be able to show the video effectively.
The catch is that none of these solutions are YouTube-sanctioned. Furthermore, YouTube does not grant anyone permission to download and keep any movies that it hosts on your own computer. To do so deprives YouTube of the advertising revenue and data mining which are the basis of its commercial model. This runs afoul of the other common misunderstanding of educational use: the "commercial integrity" test. In essence, you cannot do anything under the auspices of Fair Use which violates the commercial integrity of the product in question. Take the common example of photocopying sheet music: Sheet music is meant to be sold as individual copies, commesurate to the number of singers who will be using the score. If you take one copy of a score and photocopy it for all of your singers, you are violating the commercial integrity of the product-- you are only buying one copy for a scenario which clearly entails purchasing more than one, and short circuiting the commerical model of the publisher in the process.
YouTube's commercial model is that users should go to the website in order to view the videos. Downloading them and hosting them on your own (even if it's for educational use, and even if it's for a closed population) defeats their commercial model. Our teacher above made the mistake of thinking that having access be "public to view" was the same as it being "public to own." While digital sharing is completely embedded (sorry!) in the Internet now, it does not remove the distinction between those materials which you have right to view and access, and those which you have the right to own and manage. 
Digital copyright law is an enormous and evolving conversation, and one that likely has several more shifts before it arrives at anything resembling a "new norm." The underlying principles of "defining your audience" and "commercial integrity" are at the heart of media ownership, though, and keeping them as litmus tests for your own media questions will help you navigate the complex world of copyright. If you a producer of media, these are questions that you have the ability to define more specifically for your work using tools like Creative Commons, where you can specify to greater detail what rights you grant to the world using your materials. Finally, the underlying question for many people will be "am I going to get in trouble if I go too far?" In the current climate it's hard to imagine that any one individual is going to get pinched for copyright infringement given the tidal wave of intentional piracy online. It's true that the odds may be low that your concert program or class website is going to attract legal attention. As professionals in the field, however, we have a vested interest in media ownership and protection, and ensuring that we fully understand the system as it stands today makes us more prepared and qualified to help shape the conversation moving forward.
Conference Morsel: Genuine Inspiration Scott Dorsey, %01 %b %2014 %15:%Apr:%st 15AprGMT+0000
(An excerpt from the interest session “Inspiration: Look Beyond the Page,” presented by Tom Wine during the 2014 ACDA Southwestern Division Conference)
       Inspiration.  Where does it come from and how can it be taught to singers in a choir? Defining the element which singers will identify as the source of inspiration is always a challenge.  Miles Davis said, "Don't play what's there, play what's not there."   The score study process should be designed to let the singers understand composer intention and how it affects performance decisions.
        The typical score study process includes: 1. research the composer and the poet, 2. analyze the music harmonically and stylistically, 3. make informed and inspired decisions about interpretation of each line of the score, 4. develop gestures which will present the music to the ensemble.  Directors have an obligation to inspire singers to find for themselves some of the implied phrasing, dynamic shaping, and text stress required to make the music come alive.   Take chances with visual and verbal imagery.  Make a personal connection to the music.
        Be a conductor your singers TRUST.  Trust involves two conflicting positions: competence and vulnerability.  Singers must trust that your leadership from the podium is skilled and prepared so that the performance will not be a failure.  Trust also requires you to make yourself vulnerable.  If you only conduct from a position of power you do not appear open for communication.   Balancing authority with a willingness to give ownership of the music to the singers is the only way to allow the singers an insight into the composer’s inspired intentions.
Two free vocal albums, for Educators and their students: Free from Mister Tim Timothy Jones, %04 %b %2014 %02:%Apr:%th 2AprGMT+0000 special offer for ChoralNet users: two complete albums from Mister Tim, free for download for you and your students:
Mister Tim the Funky Introvert"The Funky Introvert" is 19 tracks of original music featuring Mister Tim's progressive indie rock as performed in his solo live-looping shows. Many tracks are appropriate performance pieces for forward-thinking choral groups and scholastic a cappella groups (sheet music available by request).
Mister Tim Smiley Laughy Happy Facey"Smiley Laughy Happy Facey" is Mister Tim's latest album of clean comedic a cappella. Known for his work with viral video sensations "moosebutter" (Star Wars: John Williams is the Man) and for his perrenial Men's choir novelty hit "Pirate Song," Tim presents twisted covers, parodies, and original songs. Sheet music is available by request.
 Singer, composer, conductor, music director, and a cappella innovator Mister Tim (Timothy Jones) travels the world performing his solo live-looping / modern choral music shows and workshopping and coaching student choirs and a cappella groups. He studied in the Masters of Choral Conducting program at the University of Colorado-Boulder with Joan Conlon and Lawrence Kaptein and holds a BA in Music, Vocal Performance emphasis, from the University of Utah.

As one of the leading innovators in modern a cappella music, Mister Tim has created more than a dozen award-winning groups that have toured around the world.  His groups include 2010 International Harmony Sweepstakes Champions Plumbers of Rome, comedy quartet and internet celebrities moosebutter, a cappella cover band Wonder Voice, indie-rock vocal band THROAT, beatbox quartet Mouth Beats, and the world's first (and only?) a cappella heavy metal band Placental Armageddon.   

As a soloist, Mister Tim pushes the boundaries of vocal performance, using technology to 'live-loop' his voice on stage, creating songs in real time with just his voice and an astonishing array of vocal techniques and sound effects.  Full bands, choirs, and soundscapes come to life as Mister Tim performs his one-of-a-kind, often quirky, always fascinating original songs, as well as delightfully skewed cover versions of hit songs.  With a heavy dose of improvisation and spur-of-the-moment, influenced-by-the-audience flights of spontaneity, each Mister Tim solo show is unique.  

Auditions for Los Robles Master Chorale Lesley Leighton, %04 %b %2014 %01:%Apr:%th 1AprGMT+0000 auditions for Los Robles Master Chorale are in April and June, if needed.  The 100-voice regional chorus, which rehearses in Oak Park, CA and performs in both Los Angeles and Ventura counties, is looking for all voice types.  The chorus performs masterworks from the standard repertoire (2013-14 season: Handel Messiah; Verdi Requiem; Martin Mass for Double Choir; Gretchaninoff Passion Week), world premieres (2013-14 season: Three Poems of e.e.cummings, Jasper Randall; On This Hill, Jordan Nelson; The Christ Child, Giorgio Navarini, winner of the 2013 Young Composers Competition), in addition to well-known composers such as Lauridsen, Whitacre, Hogan, and Vaughan Williams.  The chorus collaborates every year with the New West Symphony and Los Robles Children's Chorus in addition to special collaborations when the opportunity arises, such as performing Mahler 8 with Los Angeles Master Chorale and the Los Angeles Philharmonic.  
The audition consists of the singer performing a prepared aria or art song and some sight reading and usually takes about ten minutes.  An accompanist will be provided, but please be sure to have a copy of your music for him or her.
Auditions are by appointment only.  Please contact Lynn Youngren to make an appointmnent:
You can read more about the chorale here:
Incite Singing.  Ignite Joy!
Carlisle Floyd's "Susannah" Rhoda Wolin, %03 %b %2014 %21:%Apr:%rd 21AprGMT+0000 Lirico,  under the direction of Warren Helms, will present Susannah, an opera in two acts by the American composer, Carlisle Floyd on Saturday, May 10, 2014, 8:00 p.m. at The Church of the Redeemer, South Street, Morristown, NJ.  The opera is adapted from the Apocryphal tale of Susannah and the Elders - with, however, a darker ending.  The opera was awarded the New York Music Critics Circle Award for Best New Opera in 1956 and was chosen to represent American music and culture at the World's Fair at Brussels in 1958.   The music is largely characterized by Appalachian folk  melodies , Protestant hymns and traditional classical music.  The opera was written during the McCarthy era and is  said to be in response to the events of that era.  Susannah is one of the most performed American operas, second only  to Porgy and Bess.   ]]>Cantemus Performs "Sing We Merrily: Part Songs, Catches & Glees" Susan Nash, %03 %b %2014 %19:%Apr:%rd 19AprGMT+0000
The 42 singers of the Cantemus Chamber Chorus, under Music Dirtector Jane Ring Frank, will present a spring concert called "Sing We Merrily: Part Songs, Catches & Glees" on April 26 in Hamilton, MA and April 27 in Newburyport, MA. Frank calls the program "joyful, soulful, humorous and always melodious." Works include "Five Partsongs" by Holst, "In Windsor Forest" by Vaughan Williams, "Three Songs of Innocence" by Ken Neufeld, "Blackbird" and "I Will" by the Beatles, "And So It Goes" by Billy Joel and more! Details at
NEEDED: 1 or 2 GOOD Male Singers Stephen Winn Klyce, %03 %b %2014 %19:%Apr:%rd 19AprGMT+0000 Wilmington DE (New Castle Countyi)
Commitment: 5 weeks of great rehearsals and 1-3 performances
Reward: Enjoyment of superb eclectic world music and small chorale of prima singers
Voice Parts: Bass, Baritone, Tenor (any range); Preferred: Good sight-reading; pleasant voice!
Contact: (Chorus member) Stephen: CALL 302-745-0308 NOW
Byrd "Ave Verum Corpus" tuning example william copper, %03 %b %2014 %19:%Apr:%rd 19AprGMT+0000 the studies in intonation begun several years ago, I've posted the first phrase of Byrd's Ave Verum Corpus with tuning markings.  And a linked recording from the page.   If my interpretation is correct, Byrd has intentionally raised the entire intonation by a comma on the word "corpus" ... he was  a good Catholic, I think, and perhaps this is elevating the host in music? 
Please see     Subsequent phrases coming soon.
Randall Thompson non-Frostiana? William Spencer, %03 %b %2014 %17:%Apr:%rd 17AprGMT+0000 there: Anybody have experience with doing Thompson's music that isn't Frostiana or the Alleluia? Based purely on written descriptions (I haven't heard or seen scores for any of these yet) I'm especially thinking about the following for next season:
  • Americana
  • A Concord Cantata
  • Odes Of Horace
  • Two Herbert Settings
  • The Testament of Freedom
  • The Peaceable Kingdom
but am also thinking about these:
  • Five Love Songs (incl baritone soloist)
  • Ode To The Virginian Voyage
  • A Feast Of Praise
  • Tarantella
  • Fare Well
  • The Lord Is My Shepherd
The usual things: how hard are they, how many singers would you need, how much flexibility is there in how they are accompanied, audience reaction, etc.
Any thoughts are welcome. Thanks! Bill
GOING BEYOND WORDS TO FEATURE A NEW POULENC RECORDING Stanley Schmidt, %03 %b %2014 %16:%Apr:%rd 16AprGMT+0000 
Going Beyond Words, now in it's 21st year offers three very different compositions to celebrate the Fifth Sunday in Lent. The composers represented are Francis Poulenc, Charles Gounod, and Johann Sebastian Bach.     Stream this award winning choral program with host Stanley Schmidt (a Life Member of ACDA) this Sunday, April 6, 2014, at Noon Central Time.   Go to KVNO.ORG and click on Listen to Classical.  To view images of the CD's and compete lists of music played over the last five years visit the blog at WWW.GOINGBEYONDWORDS.COM  
Music Details Below.
In December 1959 Leonard Bernstein Commissioned a new work from Francis Poulenc for the New York Philharmonice Orchestra.  He chose to write Sept Répons de Ténèbres for Treble Soloist, a Chorus of Boys and Mens voices and Symphony Orchestra.   The performance did not take place until after Poulen's death in April of 1963, but was under the direction of Thomas Schippers.   The composer insisted on the all male vocal forces.   However, fifty years after his death it is important to allow audiences to hear it with mixed voices.
The Text goes through the story of Christ going to the garden to pray; the Disciples fall asleep; Judas betrays his Master; the world turns dark and the Lord is buried.  This new recording from Harmonia Mundi features Carolyn Sampson, Soprano; Cappella Amsterdam; The Estonian Philharmonic Chamber Choir and the Estonian National Symphony Orchestra.   The Conductor is Daniel Reuss.
Sept Répons de Ténèbres for Soprano, Choeur et Orchestre Francis Poulenc
Carolyn Sampson, Soloist; Cappella Amsterdam; The Estonian Philharmonic Chamber Choir
The Estonian National Symphony Orchestra; Daniel Reuss, Conductor
HARMONIA MUNDI 902149 (2014)
O Divine Redeemer Charles Gounod
"The Cathedral Tenor" Howard Fankhouser; Joseph Adam, Piano/Organ
Page Smith Bilski Violoncello; Jennifer Sokol, Violin; Clint Kraus,  Positive Organ
Aus de Tiefen rufe ich, Herr, zu dir (Out of the Depths I Cry unto Thee O Lord)
BWV 131 Johann Sebastian Bach 
"Johann Sebastian Bach - Funeral Cantatas BWV 198 and BWV 131"
Amsterdam Baroque Choir and Orchestra; Ton Koopman, Conductor
Please submit any comments to:
Executive Director- Part Time- SD North Coast Singers Sally Dean, %03 %b %2014 %04:%Apr:%rd 4AprGMT+0000
SUMMARY The Executive Director (ED) of the San Diego North Coast Singers (SDNCS) will be responsible for managing, maintaining, developing and executing short- and long-term plans and vision in the areas of marketing, fundraising and outreach to our community. Reporting to the Board of Directors, the ED works closely with the Artistic Director and staff to fulfill our mission. Our mission is to provide an excellent choral music education, while fostering global understanding through the performance of songs from diverse cultures. SDNCS is a 501(c)3 non-profit organization.
Marketing and Public Relations (approximately 25% of responsibilities)
  • Develop plans to grow enrollment in our programs through the identification and recruitment of target singers and implementation of marketing / PR programs, including writing press releases.
  • Communicate the work and mission of the organization and increase brand awareness.
  • Act as spokesperson for the organization with community and regional arts organizations, education institutions, businesses, foundations, government agencies, music educators and other stakeholders, including non-profit and corporate entities.
  • Manage SDNCS’s social media presence.
Fundraising and Development (approximately 25% of responsibilities)
  • Lead the SDNCS development programs, including its annual fundraising efforts, endowment, capital, and planned giving
  • Identify and cultivate appropriate funding opportunities from individuals, foundations, corporations, and government agencies. Manage all donor relationships.
  • Coordinate with all city, county, and regional governments and foundation agencies on grants and funding programs; write, submit and monitor all grant proposals.
Outreach and Education (approximately 25% of responsibilities)
  • Develop strategic partnerships with community arts, education, and cultural organizations to advance SDNCS’s outreach activities and collaborative partnerships throughout the County and beyond.
  • Develop outreach programs and activities, including summer camps, after school programs and outreach concerts.
  • Increase SDNCS’s ability to serve underprivileged children.
  • Work closely with the Artistic Director on coordinating occasional tours and festivals.
Financial Management and Operations (approximately 15% of responsibilities)
  • Work with Artistic Director and staff to oversee management of cash flow (including some check signing or other cash-related responsibilities) and to present appropriate balance sheets, income statements, and other financial oversight tools to the Board on a regular and timely basis.
  • Work with Artistic Director and staff to develop an annual budget and business plan, ensure financial controls are in place to maintain oversight and ethical use of funds, and supervise bookkeeping and accounting in accordance with accepted accounting principles for non-profits.
  • Represent chorus with external vendors and negotiate favorable contracts.
  • Implement and monitor a long-term strategic and short-term operating plan in coordination with the Board of Directors, Artistic Director and staff, and assume joint responsibility for its implementation.
  • Responsible for compliance activities, e.g. licenses, tax designations, name change(s) and other regulatory or statutory filings that may be required.
Governance (approximately 10% of responsibilities)
•       Provide concise, relevant, and timely information to the Board so that it can fulfill its policy and decision making responsibilities.
•     Actively assist in Board member prospect identification, cultivation, and recruitment.
•     Attend monthly Board meetings and annual retreat, and assist with Board committees as appropriate.
  • Bachelor’s degree
  • 3 years experience as Executive Director in an arts organization
  • 3 years experience with children’s organizations
  • 3 years experience in managing donor relations
  • 7-10 years’ experience in non-profit organization (as Board member or as staff)
  • Demonstrated strong connections in local and donor communities
  • Successful grant writing experience
  • Successful management of a variety of fundraising campaigns
  • Strong, demonstrated ability in written and verbal communications, including social media, print and press releases, and public speaking.
Strong computer skills, including MS Office; familiarity with donor software preferred
This is an exempt position, budgeted at approximately 10 hours per week.  Compensation will be based on experience and background, and will range from $24,000 to $26,000 annually.
To apply send a resume and cover letter, including salary requirements, to: The San Diego North Coast Singers is an Equal Opportunity Employer. Local candidates only; no relocation is offered or considered. All final candidates will be required to successfully complete a full background and credit check at the offer stage.