For the members of C4: The Choral Composer/Conductor Collective, the answer is “everyone.” Here’s how this “team of maestros” navigates their various roles in the organization.
Riding the wave of a popular cultural phenomenon has enabled the Oratorio Society of Minnesota to unearth previously unperformed music and attract new audiences.
This issue of the American Choral Review looks at composer Zakaria Paliashvili's setting of Liturgy of St. John Chrysostom. Co-authors John A. Graham and Parker Jayne explore Paliashvili's Georgian influences and how his version fell into obscurity after the Russain Revolution.
Gershon’s vision as he begins his 14th season with the Master Chorale is to break down barriers in choral music and redefine the concert experience.
Sirens, a series of six a cappella movements by composer Mason Bates, explores texts about things that are alluring or attractive. Ragnar Bohlin found the piece itself, particularly the fifth movement, so compelling that he knew he had to have his own chorus perform it.
Gretchen Kuhrmann is the director of Choralis, a Northern Virginia-based chorus that will perform Bob Chilcott’s Requiem at the Chorus America conference on June 12. Chorus America asked her about the concert and her program to train and recruit young singers.
While pursuing one of his favorite pastimes, conductor Mark Shapiro happened upon a groundbreaking piece from the Romantic era.
The influence of R. Nathaniel Dett has shaped Roland Carter's career ever since Carter took his first piano lessons under the watchful gaze of Dett's picture. Now Professor Emeritus at the University of Tennessee Chattanooga, Carter calls our attention to the 2014 centennial of Dett's "Listen to the Lambs."
Research Memorandum Series No. 204
This article is a companion to Research Memorandum Series No. 202 and 203, also providing insight into the work of David Hamilton, a prolific composer and music educator from New Zealand.
As a young girl, Abbie Betinis noticed that singing “Caroling, Caroling” during the holidays always brought tears to her grandpa’s eyes. Later she would learn that the famous carol was one of many composed by her great uncle Alfred Burt, who was carrying on a family tradition of carol writing begun by his father, the Rev. Bates Burt. In 2001, Betinis, by then a composer herself, decided to pick up the family carol writing tradition.