“The phenomenon of a gay men’s chorus is a vital part of the musical fabric of our society. It is not a gimmick to draw a crowd. We have always just wanted to put on great concerts – and make a difference while doing it.”
This issue of the American Choral Review examines the life and legacy of little-known conductor Theodore Thomas, who in the mid 19th-century almost single-handedly built two of the premiere orchestras in the country and was one of the first conductors to treat the chorus as a serious ensemble, fostering performances of large choral-orchestral works.
"I want to catalyze an international community around our organization and expand the repertoire that we do."
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.
Can’t breathe? Butterflies in your stomach? Afraid to open your mouth? Here are some strategies to combat Musical Performance Anxiety.
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.
Experienced song leaders share what they've learned about the special magic of bringing together a group of ordinary people in song.
It’s a question many singers ask themselves, especially right before their chorus audition. What are conductors really looking for? Is it perfection?
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.
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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.
