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Throughout music history, our art in its various forms has been used to incite patriotic or nationalistic fervor.  Composers have often been called upon to write works with a specific nation in mind.  The most obvious use of music in this way is the composition of stirring national anthems (or works that perhaps should be […]

FIVE FROM THE FOLDER:  MIXED VOICES by Elizabeth Schauer   1.  “Missa Cellensis in C” (Mariazellermesse), H.XXII:8. F.J. Haydn. Carus-Verlag. An extended work in Haydn’s typical, buoyant style.  Large choral role, challenging but accessible, including expected fugues, virtuosic solo writing, sparkling orchestration.   2.  “Abendlied,” Op. 69, no. 3.  Josef Rheinberger. CPDL. For unaccompanied voices […]

FIVE FROM THE FOLDER: TREBLE CHOIR by Ashley Conway   1.  “Sisters” (from “My Girls”). Gwyneth Walker. SSA  a cappella. Treble Clef Music Press. This text can serve to unify women of all backgrounds because we, indeed, are all “sisters.” School-yard clapping and an upbeat tempo make this a popular piece with choirs.   2.  […]

(An excerpt from the Choral Journal article, “Early Instruments and Choral Music,” by Joan Cantoni Conlon)          There is a growing awareness of the performance potential of music from the Middle Ages and the Renaissance. Of equal importance, are the increased opportunities for acquiring early-instrument reproductions. Thorough investigation and sumptuous recordings by such groups […]

(An excerpt from the Choral Journal article, “Choral/Orchestral Balance: An Old Problem Reviewed” by James Fankhauser)          Can anyone imagine a choral director who would not choose to have his choir within eight feet of the podium for choral-orchestral works? Does anyone really like placing the choir at the back of the stage, behind […]