Much like the delicious combination of contrasting tastes of a Reese’s Peanut Butter Cup blending music from one genre by performance in another can often result in a stunning reinterpretation of the original source material. Take for instance Samuel Barber’s Adagio for Strings. Originally the second movement from his String Quartet, Op.11, the 1936 […]
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What’s on Great Sacred Music, Sunday, March 2, 2014
Great Sacred Music airs every Sunday morning from 8 until 11 a.m. eastern on The Classical Station. The music on this week’s playlist can also be found on Spotify at this link: GSM – March 2, 2014 Also on Sunday evenings you can hear more choral music both sacred and secular on Wavelengths and Peaceful Reflections beginning […]
CJ Replay: Starting a Collegium Musicum
(An excerpt from the Choral Journal article, “Organizing a Colleguim Musicum,” by Gordon Sanford [p.26]) In organizing a collegium the first thing to determine what music you might expect to perform. Most modern collegia perform music composed before 1750, including a repertoire not normally explored by traditional groups within their school. Other collegia […]
Choral Caffeine: The Church is Not a Battlefield
It is probably safe to say that all places of religious worship are supposed to be about fellowship, spiritual enrichment, peace, and love. Thus it is always amazing to hear people complain about one church or another, demonizing them because of some practice or perceived ill that the find objectionable. Such folks even criticize the […]
Composition Spotlight: Always
COMPOSITION SPOTLIGHT ~ by Jack Senzig (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.) Always by Rick Bartlett for SSA and piano (Click […]
Make Score Prep Videos with Explain Everything
Do you send out score marking instructions to your singers? Many conductors have a set of markings that they want every singer to have in their score: cutoffs, changes to rhythm or diction, accents and dynamic changes, or paticular tempi to observe. Rather than send those on a sheet of paper, or take time in […]