anacrusis - Chor Leoni

Transcription

ACCC is an organization that promotes the art of
choral music by supporting conductors, choirs,
choristers, composers, and the choral industry.
Volume 31 No.2 Spring / Printemps 2013
ISSN 0816-7464
ANACRUSIS
THE JOURNAL OF ASSOCIATION OF
CANADIAN CHORAL COMMUNITIES
REVUE DE L’ASSOCIATION DES COMMUNAUTÉS
CHORALES CANADIENNES
15
Remembering Diane
22
La répétition efficace
33
Equal Voice Choirs:
Thank you, Diane Loomer
L'ACCC est une organisation qui fait la
promotion de l'art choral en soutenant
les chefs, les choeurs, les choristes,
les compositeurs, et l'industrie chorale.
I
nvitation to visit Vienna, Salzburg and Central Europe!
Perform in Vienna, the World Capital of Music!
Experience imperial Vienna where Haydn, Mozart, Beethoven, Schubert, Brahms, Strauss et
al. lived and composed. You are cordially invited to perform in amazing venues and at exciting
festivals such as the annual Summa Cum Laude International Youth Music Festival early
July, with the prestigious Vienna Musikverein and the Vienna Konzerthaus as the main
venues.
Perform in Salzburg, the city of Mozart!
On your tour through Europe, participate in one of the annual festivals of Cultours Europe,
such as the Cantus Salisburgensis Summer Festivals early July or the Magic Mozart
Moments Festival in the fall with performances in the Salzburg Cathedral and the famous
Mozarteum.
We have the contacts. We have the expertise and the information on everything pertaining to the world of music
and culture. Our key to success: Exciting, rewarding tours for choirs, orchestras and bands with creative European
itineraries, well promoted performances and appreciative audiences in top venues. Let us show you what we have
done for others and let us prepare a “tailor-made-unique” program just for you for your once in a lifetime experience
in Europe!
Wally Haupt Travel Marketing Inc.
Canadian Representative of Cultours Europa, Salzburg & Vienna, www.cultours.at
Group Travel Coordinator, Pauwels Travel, Brantford (Ontario) www.pauwelstravel.com
[email protected] • Tel. 416-252-4233
TABLE OF
CONTENTS
TABLE DES
MATIÈRES
ACCC
04
06
08
10
President’s Message
Message du Président
Chief Administrative
Officer’s Message
Message de l’Administratrice
en chef
FOCUS COLUMNS
RUBRIQUES SPÉCIALES
29
By Jackie Hawley
31
Podium 2014 Preview
Podium 2014: Un Aperçu
ACADEMIC ARTICLES
ARTICLES ACADÉMIQUES
Just Intonation in
When I Admire the Rose
15
33
The World of Young Singers:
Hamilton Children’s Choir in China
35
La répétition efficace
Par Robert Ingari
25
World Youth Choir 2012
By Eve Richardson
27
Chor Leoni’s MYVoice Program
By Pete Chamberlain
Adult Community Choirs:
What is a community choir for?
By Kiera Galway
37
View from the Sanctuary:
Seasonal Choirs at
St. George’s Cathedral
By Michael Capon
39
ACCC Student Chapter:
A Message from
Irene Apanovitch, Chair
40
Canadian Choirs on CD –
New Releases
Chorales canadiennes
sur disque – Nouveaux
enregistrements sur le marché
By Zimfira Poloz
22
Equal Voice Choirs: Thank you,
Diane Loomer
By Kellie Walsh
By Doug Dunsmore and Pat Abbott 19
Youth Choirs: Ten Questions
with Conductor Jamie Hillman
By Sarah Morrison
By Kendra Obach
FEATURE ARTICLES
ARTICLES PRÉSENTÉS
Remembering Diane
Community Children’s Choirs:
Mentoring – another layer of the
choral experience
By / Par Patricia Abbott
CONDUCTING APPRENTICESHIP PROGRAM
CALL FOR APPLICATIONS
PROGRAMME D’APPRENTISSAGE EN DIRECTION 2014
APPEL DE DEMANDES
ACCC Board / Conseil d’administration
Executive / Conseil d’administration
Jeff Joudrey,
President / Président
Marta McCarthy,
President-Elect / Président élu
Ki Adams,
Past President / Ancien président
The successful applicant will spend two weeks with the National Youth Choir during
rehearsals, performances and touring. The apprentice will study with one of Canada’s
finest choral conductors and have some conducting opportunities in performance
with the NYC. The 2014 NYC will meet in Nova Scotia, and a week-long performance
tour of the Maritime Provinces will culminate with a performance at Podium 2014
in Halifax. NYC 2014 will be conducted by Dr. Hilary Apfelstadt.
James H. Hawn
Secretary-Treasurer / Secrétaire-trésorier
The successful applicant must be a Canadian citizen (or landed immigrant), must
not be older than 35 years as of the concluding date of the program (May 18,
2014), and must be a member of ACCC.
Carolyn Nielsen,
Communications
Please visit http://choralcanada.org/ACCC_en/apprentice.html for full program
details and instructions for the submission of application materials.
Deadline for applications: October 1, 2013
This program is made possible through the generous support of
The Sir Ernest MacMillan Memorial Foundation.
Le candidat choisi passe deux semaines avec le Chœur national des jeunes pour les
répétitions, les concerts et la tournée. Durant cette période, il (ou elle) a l’occasion
d’étudier avec un des chefs de chœur les plus respectés du Canada, et de diriger le
chœur en concert. Le CNJ de 2014 se réunira en Nouvelle-Écosse, et une tournée de
concerts d’une semaine dans les provinces atlantiques se terminera par un concert à
Podium 2014 à Halifax. Le CNJ de 2014 sera sera dirigé par Hilary Apfelstadt. Veuillez
noter que toutes les répétitions du CNJ se dérouleront en anglais seulement.
Le candidat choisi doit être citoyen canadien (ou résident permanent), ne pas être
âgé de plus de 35 ans à la date de clôture du programme (18 mai 2014) et être
membre de l’ACCC.
Vice Presidents with Portfollios /
Vice-Présidents de portefeuilles
Joel Tranquilla,
Advocacy / Les activités de plaidoyer
John Wiebe,
Professional Development /
Développement professionnel
Provincial Representatives /
Représentants provinciaux
Willi Zwozdesky (BCCF)
Brendan Lord (ACF)
Denise Gress (SCF)
Robert Neufeld (MCA)
Elizabeth Shannon (CO)
Dianne Roxborough Brown (NBCF)
Tim Callahan-Cross (NSCF)
Editorial Review Committee
Dean Jobin-Bevans, Chair (ON)
John Hooper (AB)
Gerald Langner (SK)
Marta McCarthy (ON)
Victoria Meredith (ON)
Vaughn Roste (Georgia, USA)
Patricia Abbott (QC)
Prière d’aller à choralcanada.org/ACCC_fr/apprentice.html pour connaître les détails
du programme et les instructions sur la présentation du dossier de candidature.
Date d’échéance pour la réception du dossier : le 1er octobre, 2013
Carolyn Nielsen,
Editor / Rédactrice
[email protected]
Ce programme est offert grâce au généreux appui de la Fondation commémorative Sir Ernest MacMillan. Erin Bustin,
Managing Editor / Rédactrice en chef
[email protected]
Inés Aguileta
Layout and Design / Configuration et Conception
[email protected]
Anacrusis is the official journal of ACCC.
Subscription is by means of membership
in ACCC.
Guidelines for the submission of academic
articles may be found on the ACCC web site
http://www.choralcanada.org
Anacrusis est le journal officiel de l’ACCC.
Anacrusis est distribué aux membres de
l’ACCC.
Front cover image:
Diane Loomer
© Bruce Hoffman
Vous trouverez sur notre site les directives
pour les soumissions des articles académiques
http://www.choralcanada.org
MEMBERSHIP RENEWAL
RENOUVELLEMENT DE
VOTRE ADHÉSION À L’ACCC
Be sure to renew your membership using the convenient
on-line Membership Form accessible from the Membership
page on our web site.
If you have questions about the status of your membership,
please contact Erin Bustin: [email protected]
Nous vous invitons à renouveler votre adhésion en vous servant
du Formulaire d’adhésion en ligne qui se trouve sous ‘Membres’
sur notre site.
Si vous avez des questions au sujet de votre adhésion, veuillez
contacter Erin Bustin: [email protected]
CALL FOR RESEARCH PAPERS
APPEL DE COMMUNICATIONS
DE RECHERCHE
The Editorial Committee for the Association of Canadian Choral
Communities (ACCC) is now accepting research papers for the Fall
2013 issue of Anacrusis, the magazine of the ACCC. For submission
guidelines, please visit the ACCC website:
http://choralcanada.org/ACCC_en/Guidelines.html
Submissions should be forwarded to the attention of Carolyn Nielsen
([email protected]). All papers will undergo a process of
blind peer review. Submission deadline is July 15, 2013.
Le comité de rédaction de l'Association des communautés chorales
canadiennes (ACCC) accueille des communications de recherche
pour le numéro de l’automne 2013 d'Anacrusis, le journal de
l'ACCC. Pour les directives relatives aux soumissions, veuillez
consulter le site internet de l'ACCC:
http://choralcanada.org/ACCC_fr/Directives_pour_les_soumissions.html
On adressera les soumissions à l'attention de Carolyn Nielsen
([email protected]). Toutes les communications seront
soumises à un processus d'évaluation par les pairs en aveugle.
Le date limite pour la soumission est fixée au 15 juillet 2013.
PRESIDENT’S
MESSAGE
MESSAGE
DU PRÉSIDENT
M
artin Luther King Jr. once wrote
“Change does not roll in on the wheels
of inevitability, but comes through
continuous struggle.” In some ways your
Board members have been working
through that constant struggle since
last May in the ongoing Strategic Planning
process. I’m sure many of us have sat
through a number of these strategic
planning sessions; however, I certainly
have not been involved in a process which
has been as comprehensive and thorough
as this was.
As I am writing this, it has been one month
since the Board met in Toronto in the newly
renovated offices of the Toronto Arts
Council. We spent three days with the
Strategic Planning Committee and full
Board, and heard the final reports of our
two esteemed consultants, Ian Alexander
and Jennifer Green, who have led us
through this process.
But arriving at those results has involved
nine months of intensive work on the
part of the Board: conducting interviews
with our stakeholders, thinking and writing,
committee meetings, more thinking and
writing and countless hours of conference
calls. We developed seven working
groups, each of which were chaired
by a Board member: Advocacy,
Communications, Programs & Services,
Operations, Membership, Revenue
Development, and Governance. In each
of these working groups the chair had
a committee with the power to add from
the general membership. In most cases,
our consultants, Ian and/or Jennifer,
were part of the discussions. What a
collection of talent and resources!
04
ANACRUSIS SPRING/ PRINTEMPS 2013
Working groups met, defined their
mandate, and over several months came
up with a series of recommendations
which were voted upon at the February
meeting. We debated and wrestled
with the tough issues, but consensus
was reached. Now the real work begins!
I am confident that if we can carry out
what we have begun, ACCC will emerge
as a stronger, more nationally unified
organization that is better aligned with
the needs and wishes of the membership.
But the last while hasn’t all been reports
and meetings! The Choral Competition
is going digital and our partnership with
the CBC is developing into a very exciting
project. The CBC has always been a
partner with ACCC, but since ACCC
took the competition over in 2009, we
have been trying to find a format to better
promote and publicize the music of the
entrants and ultimately the winners. Through
CBC Producer, Jeff Reilly, and with the
efforts of dedicated Board and Committee
members and our CAO, Erin Bustin, choirs
will be able to construct their own Artist
Page on cbcmusic.ca, where they will
upload their competition material so that
anyone can listen. We have an ACCC
Artist’s Page, too, featuring a consolidated
playlist of all of the competition audio
(http://music.cbc.ca/#/profile/ACCC).
But the really cool part of all this, is that
these Artist Pages can be permanent
fixtures on cbcmusic.ca, and choirs will be
able to use the site to promote themselves,
link to their own web site, upload music,
videos, and more.
And there has been new life in the ACCC
family. On behalf of the membership,
I would like to congratulate Erin Bustin
and her husband, Mark Laver, on the
birth of their daughter, Nora. The Board
was able to meet Nora in Toronto this
past February and all agree she is a
darling little girl! Erin just returned to
the office from a short maternity leave
and is busy catching up on numerous
projects. We wish the Bustin/Laver
family well as they enter this new
chapter of their lives.
Finally, I would like to thank the Board
for its energy and perseverance in
developing a Strategic Plan which will
allow ACCC to have new relevance in
the 21st century. The collective talent,
wisdom and ability of the directors is
most impressive and their dedication to
the greater good of choral music in Canada
cannot be overstated. Thank you all.
Until next time, Jeff Joudrey, President
M
artin Luther King a écrit un jour:
<<Les changements n’arrivent jamais
facilement, ils se développent, au contraire,
dans le contexte du combat perpétuel.>>
D’une certaine façon les membres de
votre Conseil d’administration s’identifient
avec ce point de vue depuis le mois de
mai dernier lorsque le processus de
planification stratégique a démarré.
C’est vrai que beaucoup d’entre nous
avaient déjà participé à ce genre d’activité
mais le processus auquel nous participons
en ce moment me paraît particulièrement
compréhensif et complet.
A l’heure où j’écris, cela fait déjà un mois
que le Conseil d’administration s’est
réuni dans les bureaux nouvellement
rénovés du Toronto Arts Council. Nous
avons passé trois jours avec le comité
de planification stratégique et l’ensemble
du Conseil d’administration et avons
écouté les rapports définitifs de nos
consultants estimés, à savoir Ian Alexander
et Jennifer Green, qui nous ont dirigés
tout au long du processus.
Ces rapports représentent neuf mois
de travail intensif de la part du Conseil
d’administration: il s’est agi de mener
des entrevues avec des parties intéressées,
de réfléchir, d’écrire, de se réunir en comité,
encore de réfléchir, d’écrire, de passer
des heures en téléconférences. Nous
avons constitué ces neuf derniers mois
sept groupes de travail présidé chacun
par un membre du Conseil: Plaidoyer,
Communications, Programmes et Services,
Opérations, Adhésion, Evolution des
recettes et Gouvernance. Chaque groupe
de travail avait la possibilité d’ajouter
au besoin d’autres membres de l’ACCC.
Dans la plupart des cas, nos consultants
ont pris une part active aux discussions.
Que de talents, que de ressources!
Les groupes de travail se sont réunis,
ils ont défini leurs fonctions, et après
plusieurs mois d’efforts ils ont réussi
à formuler une série de recommandations,
lesquelles ont été approuvées lors de
la réunion de février dernier. Nous avons
discuté, nous nous sommes colletés
avec des questions difficiles, mais un
consensus s’est développé. C’est
maintenant que le véritable travail
commence! Je suis sûr que nos efforts
aboutiront à d’importantes améliorations.
L’ACCC sortira renforçée, il s’agira
d’une association plus unie sur le plan
national, mieux alignée sur les besoins
et les souhaits de ces membres.
Mais je ne voudrais pas vous donner
l’impression que ces derniers temps se
réduisent aux rapports et aux réunions.
Au contraire! Nous sommes en train de
numériser le Concours national pour
chœurs amateurs et en partenariat avec
a CBC nous envisageons un projet fort
intéressant. Il y a longtemps que la CBC
collabore avec l’ACCC, mais depuis que
l’ACCC a assumé la responsabilité
d’organiser le Concours en 2009, nous
cherchons un format nous permettant
de mieux promouvoir et faire valoir la
musique des concurrents et surtout celle
des gagnants. Grâce aux efforts de
Jeff Reilly, producteur à la CBC, ainsi
qu’à ceux des membres dévoués du
Conseil d’administration et de notre
administratrice en chef, Erin Bustin, les
chœurs pourront construire leur propre
page d’artiste et télécharger tout fichier
pertinent pour le concours de sorte que
n’importe pourra aller sur le site et les
écouter. L’ACCC a aussi une page d’artiste
renfermant une liste de diffusion de tous les
enregistrements audio soumis pour le
concours (http://music.cbc.ca/#/profile/ACCC).
Mais ce qui est vraiment génial, c’est
que toutes ces pages d’artiste pourront
igurer indéfiniment sur cbcmusic.ca et
que les chœurs pourront se servir du site
pour se promouvoir, lier celui-ci à leur
propre site Internet et y télécharger
notamment de la musique et des vidéos.
La famille que constitue l’ACCC s’est
récemment élargie! Au nom de tous les
membres de l’ACCC je tiens à féliciter
Erin Bustin et son mari Mark Laver à
l’occasion de la naissance de leur fille,
Nora. Le Conseil d’administration a eu
le plaisir de faire la connaissance de
Nora à Toronto en février dernier, nous
sommes tous d’accord pour dire que
c’est une petite fille charmante. Erin
vient de reprendre son travail après un
congé de maternité de courte durée, elle
est à présent très occupée à s’informer
sur un tas de projets. Nous souhaitons
à toute la famille Bustin/Lavers tout le
succès possible dans cette nouvelle
aventure.
Enfin, je tiens à remercier le Conseil
d’administration pour l’énergie et la
persévérance dont tous les membres
ont fait preuve en développant un plan
stratégique permettant à l’ACCC
d’assumer une nouvelle pertinence
pour le 21e siècle. Le talent collectif,
la sagesse, les capacités collectives des
directeurs, tout cela est fort impressionnant,
on ne saurait exagérer leur dévouement
à l’art choral au Canada. Un grand
merci à vous tous et toutes!
A la prochaine, Jeff Joudrey, Président
ACCC
05
CHIEF ADMINISTRATIVE
OFFICER’S MESSAGE
MESSAGE DE
L’ADMINISTRATRICE
EN CHEF
A
s I read over the final edits of this
Spring 2013 issue of Anacrusis, I find
myself reflecting on the contributions
of dedicated individuals whose passion,
vision, and hard work keeps the choral
art thriving across Canada. The articles
in this issue are both by and about them.
As I write this, it’s National Volunteer Week
April 21-27, 2013: volunteer.ca/benevoles.ca).
Volunteers are the heart and soul of the
Canadian choral community. They are board
and committee members, administrators,
and singers doing double-duty to keep
the proverbial engines running. From
collecting ticket stubs to hosting fundraising
galas, balancing budgets to setting up
risers, volunteers are crucial to every
aspect of choral activity. I’m sure each
of you not only relies on your own set of
dedicated volunteers, but also contributes
countless volunteer hours of your own
to the choral art. THANK YOU.
Volunteers are also the driving force behind
ACCC: your Board of Directors. As Jeff
indicated in his President’s message,
ACCC Board members have tirelessly
devoted themselves to our recent strategic
plan and now, the real work begins as
we set out to implement ambitious
goals. We can’t wait to share these
with you over the coming months and
at our AGM, which will take place by
teleconference in September. Details
will be coming to you soon, so make
sure that you are subscribed to receive
your regular Choral Canada e-news.
Volunteers play a particularly large role
in ACCC programs. We’re currently a
year away from National Youth Choir
06
and Podium 2014, and already volunteer
forces are hard at work! In the midst of
planning, we paused recently to remember
the first-ever conductor of the National
Youth Choir, John Standing, who passed
away in April. I think it is a fitting reflection
of the impact of founding leaders like
him that this issue features an article
about a National Youth Choir alumnus,
Jamie Hillman. Jamie is one among many
NYC alumni who are becoming leaders
in the choral field, and it is thrilling to
watch graduates of this program come
into their own as the next generation
of choral leaders and luminaries.
This issue pays special tribute to another
of our best loved founding leaders:
Diane Loomer. Diane was a remarkable
conductor whose passion inspired singers
across the nation and around the world.
We at ACCC are deeply saddened by
her passing, but also deeply grateful
for her decades of dedication. Diane’s
commitment to ACCC was such that
she was participating in meetings of
the National Competition for Canadian
Amateur Choirs steering committee
from the hospital as recently as October.
With this issue, we honour her memory
and her legacy.
Choral music, choral singing, and our
choral communities are all about these
remarkable people, who are found
at every level of choral singing, and
throughout the ranks of ACCC’s
membership.
They are conductors and educators who,
with their skill, expertise, and musicality,
lead and inspire legions of singers.
They are singers from every walk of
life, and every skill level, who turn up
at every rehearsal – hopefully on-time,
and with pencil in-hand!
They are composers giving us new
choral works; teachers training future
generations of choral leaders and singers;
industry representatives striving to
serve our needs better.
“They” are “you”. You’re the reason
why ACCC exists!
I hope you enjoy this issue of
Anacrusis.
Erin Bustin
Chief Administrative Officer
M
a relecture des dernières
modifications au numéro du printemps
2013 d’Anacrusis m’incite à réfléchir
aux contributions des êtres dévoués
dont la passion, la vision et le travail
acharné assurent la vigueur de l’art
choral au Canada. Ils sont les auteurs
et les sujets des articles de ce numéro.
Au moment où j’écris, nous célébrons
la Semaine nationale des bénévoles
(21-27 avril 2013: volunteer.ca/benevoles.ca).
Les bénévoles sont l’âme et le cœur de la
communauté chorale canadienne. Ils sont
les membres du conseil d’administration
et de comités, les administrateurs et les
chanteurs qui mettent les bouchées
doubles pour veiller à ce que tout
fonctionne bien. De la collecte des billets
à l’organisation de galas de financement,
en passant par la tenue de comptes et
l’installation de plateformes surélevées,
les bénévoles sont indispensables à la
vie chorale. Je suis certaine que chacun
et chacune d’entre vous non seulement
dépendent de leur propre groupe de
bénévoles, mais font aussi une contribution
en heures innombrables de bénévolat
au profit de l’art choral. MERCI.
bénévoles sont à l’œuvre! Durant nos
séances de planification, nous avons
pris un moment pour nous rappeler de
John Standing, premier chef du Chœur
national des jeunes, qui est décédé en
avril. Je crois que l’article dans ce numéro
sur un ancien du Chœur national des
jeunes, Jamie Hillman, traduit bien
l’impact qu’ont eu les chefs fondateurs,
comme M. Standing. Jamie figure parmi
les nombreux anciens du CNJ qui sont
devenus des chefs de file dans le milieu
de l’art choral. Il est certes exaltant de
voir les diplômés de ce programme
prendre la relève et devenir la nouvelle
génération de chefs et de sommités
du milieu choral.
Les bénévoles, notamment les membres
de votre conseil d’administration,
constituent aussi le moteur de l’ACCC.
Comme Jeff l’a signalé dans son message
du président, ces derniers se sont donné
cœur et âme à l’élaboration de notre
récent plan stratégique. Maintenant, le
vrai travail commence puisqu’il s’agit
de mettre à exécution les moyens
d’atteindre nos objectifs ambitieux. Il
nous tarde de vous communiquer
ceux-ci au cours des prochains mois
et à notre AGA, qui se déroulera par
téléconférence en septembre. Nous vous
communiquerons sous peu de plus
amples renseignements; assurez-vous
d’être abonné à notre bulletin électronique
Choral Canada
Ce numéro rend aussi hommage à
uneautre de nos chefs de file les plus
appréciés : Diane Loomer. Personne
remarquable, Diane a inspiré par sa
passion les chanteurs à la grandeur
du Canada et dans le monde entier.
L’ACCC est profondément attristé par
son décès, tout en étant extrêmement
reconnaissante de son dévouement
pendant de nombreuses décennies.
L’engagement de Diane envers
l’ACCC était tel qu’elle participait de
son lit d’hôpital, pas plus tard qu’en
octobre dernier, à des réunions du comité
directeur du Concours national de chœurs
amateurs canadiens. Dans ce numéro,
nous honorons donc sa mémoire et
son legs.
Les bénévoles jouent un rôle
particulièrement important dans les
programmes de l’ACCC. Nous sommes
à une annnée du Chœur national des
jeunes et de Podium 2014, et déjà, les
Ce sont ces êtres remarquables qui
sont l’essence même de la musique
chorale, du chant choral, de nos
communautés chorales. Ils se retrouvent
partout dans les rangs de l’ACCC.
Ils sont les chefs et éducateurs qui, par
leur compétence, leur expertise et leur
sens de la musique, mènent et inspirent
des légions de chanteurs.
Ils sont les chanteurs de tous les
horizons et niveaux d’habileté qui se
présentent à toutes les répétitions, si
possible à temps et crayon en main!
Ils sont les compositeurs qui nous offrent
de nouvelles œuvres chorales; les
enseignants qui forment les générations
futures de chefs de chœur et de
chanteurs; les représentants de
l’industrie qui s’efforcent de mieux
répondre à nos besoins.
Vous êtes ces êtres remarquables.
Vous êtes la raison d’être de l’ACCC!
Bonne lecture.
Erin Bustin,
Administratrice en Chef
ACCC
07
PODIUM 2014 PREVIEW
PODIUM 2014: UN APERÇU
“If music be the food of love,
come to Nova Scotia!”
-Elise Bradley
Warm, gentle days, parks full of tulips, the
salty tang of the ocean air as you walk
along the boardwalk, and lobster — it’s
spring in the Maritimes. Throw in some
choral concerts by some of the best
choirs in Canada and beyond in stunning
historic churches and you have a
music-lover’s paradise.
Canada’s national choral conference,
Podium, is taking place in Halifax, Nova
Scotia, 15 -18 May 2014. This biennial
feast of music and workshops will attract
some 15 choirs, 200 delegates, and
over 1000 singers of all ages to Halifax
for the Victoria Day weekend.
It’s an exceptional experience for Halifax
and its visitors. Local councillor Jennifer
Watts says: “It’s fantastic to have
Canada’s National Choral Conference
meeting here in Halifax. We love visitors
and we especially love visitors who
come and sing with us! Nova Scotia
has an amazing cultural community
and we look forward to being a national
hub of choral activity in May 2014.”
As a delegate, the conference offers
an extraordinary opportunity to immerse
yourself in four days of workshops,
presentations by renowned conductors
and teachers on conducting and singing
techniques, music education, technology,
and a cornucopia of concerts, from
lunchtime ‘spotlight’ and evening
‘highlight’ concerts, to ‘soundbite’
performances on the Dartmouth ferry, in
the Public Gardens, at the Museum of
the Atlantic, and at Alderney Landing.
08
A group booking has been made at the Westin Hotel, which is well known for its
excellent restaurant and spa facilities, and which has played host to luminaries
such as the Queen and the Canadian prime minister, as well as visiting delegations,
conferences and rock bands. Delegates will benefit from 2012 room prices as well
as free internet access and discounted parking. Most concert venues, such as
St. Mary’s Basilica and St. Matthew’s Church, are walking distance away, as well
as Halifax’s beautiful waterfront and the famous Halifax Farmers’ Market. Free
transit passes will be available to take delegates to venues that are further afield,
such asSt. Patrick’s Church on Brunswick Street.
Other activities include receptions in historic buildings, a “Podium Pub” at a local
brewery, and a grand finishing evening to the weekend with a lobster banquet,
awards presentation, and live entertainment.
For the casual visitor or Halifax resident, Podium 2014 offers many opportunities
to listen to the best choirs from across Canada. Tickets will be available for the
public to attend all highlight and spotlight concerts are free and open to all.
Elise Bradley, artistic director of the Toronto Children’s Chorus, who regularly attends
and presents at national and international choral conferences and will be heading
here for Podium 2014, says:
“Nova Scotia – fabulously friendly folk, fantastic fiddling, fine food, flourishing
festivals and festivities and frolicking frivolities! If music be the food of love,
come to Nova Scotia! First and foremost in your mind must be Podium 2014 in
Halifax, Nova Scotia. Share your story through music and words with other
like-minded musicians, and enjoy the camaraderie of all from sea to sea.”
For more information on Podium 2014, please go to our website,
www.podium2014.ca. We look forward to welcoming you to Halifax.
<<Si la musique est la nourriture
de l'amour, venez nous joindre à
Podium 2014 en Nouvelle-Ecosse!>>
Des jours merveilleux, doux, de magnifiques
jardins vibrant de couleurs des tulipes,
l'air à la saveur salée, le homard, voilà le
printemps dans les Provinces Maritimes.
Ajoutez-y quelques concerts chorals
exécutés par les meilleurs chœurs du
Canada et d'ailleurs dans de belles
églises historiques, n'est-ce pas le
paradis des mélomanes?
Podium, le congrès national de chant
choral canadien, aura lieu à Halifax en
Nouvelle-Ecosse du 15 au 18 mai 2014.
Cette grande rencontre chorale
bisannuelle attirera une quinzaine de
chœurs, jusqu'à 200 délégués et plus
de 1000 choristes de tout âge pendant
le weekend de la fête de la reine.
Ce grand événement représente une
expérience exceptionnelle pour la ville
de Halifax. Comme s'est exclamée la
conseillère municipale Jennifer Watts:
<< Il est merveilleux d'accueillir le congrès
national de chant choral à Halifax. Nous
sommes toujours ravis de recevoir des
visiteurs et surtout ceux qui viennent
chanter avec nous! La Nouvelle-Ecosse
onstitue une communauté culturelle
remarquable et nous nous réjouissons
d'avance d'être au centre de l'art choral
au mois de mai 2014.>>
En tant que délégué vous aurez
l'occasion exceptionnelle de participer
pendant quatre jours aux ateliers, aux
séances animées par d'éminents chefs
de chœur et éducateurs traitant de direction
chorale, de techniques de l'art choral,
de formation musicale, de technologie,
et la possibilité d'assister à une corne d'abondance de concerts allant de courts
spectacles à l'heure du déjeuner aux concerts présentés en soirée, aux spectacles
de quelques minutes seulement présentés sur le traversier Halifax-Dartmouth,
dans les Public Gardens, au Musée de l'Atlantique et à l'Alderney Landing.
Une réservation de groupe a été effectuée à l'hôtel Westin, bien connu pour son
excellent restaurant et ses installations de spa. Le Westin a accueilli diverses
personnalités comme la Reine et le premier ministre du Canada ainsi que des
délégations en visite, des congrès et des groupes rock. Les délégués de Podium
2014 profiteront des tarifs en vigueur en 2012, d'un accès internet gratuit et d'un
stationnement au prix d'escompte. Depuis l'hôtel on pourra se rendre à pied aux
édifices où auront lieu la plupart des concerts, tels que la St. Mary's Basilica ou
St. Matthew's Church. Le magnifique front de mer de Halifax et le célèbre marché
sont tout près d'ailleurs. Pour accéder aux concerts ayant lieu dans des sites plus
éloignés, un laisser-passer gratuit sera proposé, à l'église St. Patrick, rue Brunswick,
par exemple.
A part les événements musicaux, il y aura d'autres activités telles que des réceptions
dans des édifices historiques, un Podium Pub dans une brasserie locale et un
banquet au homard pour marquer la fin de Podium 2014 lors duquel les prix
seront décernés et des spectacles sur scène seront offerts.
Les visiteurs occasionnels ainsi que les habitants de Halifax pourront aussi assister
aux concerts présentés dans le cadre de Podium 2014. En effet, des billets seront
disponibles pour tous les principaux concerts alors que les spectacles ne durant
que quelques minutes seront gratuits.
Elise Bradley, directrice artistique du Toronto Children's Chorus, fréquente et anime
régulièrement des conférences chorales. Elle exprime ainsi son enthousiasme au
sujet de Podium 2014:
<<La Nouvelle Ecosse: des gens accueillants, de célèbres violoneux, une
cuisine superbe, de nombreux festivals et festivités et toutes sortes de
frivolités amusantes! Si la musique est a nourriture de l'amour, rendez-vous
en Nouvelle-Ecosse. Vous y trouverez Podium 2014, à Halifax, du 15 au 18
mai 2014. Partagez votre histoire avec d'autres musiciens ayant les mêmes
points de vue et jouissez de la camaraderie des mélomanes venant d'un
bout à l'autre du Canada.>>
Pour de plus amples renseignements sur Podium 2014, veuillez visiter notre
site internet: www.podium2014.ca. Nous nous réjouissons d'avance de vous
accueillir à Halifax.
ACCC
09
JUST INTONATION IN
WHEN I ADMIRE THE ROSE
By Kendra Obach
Résumé de l’article
Les chefs de chœur prennent tous les jours des décisions, à chaque instant de la
répétition, des décisions qui affecteront la représentation finale de l’ensemble. Et
l’intonation figure parmi les plus grands défis auxquels tout ensemble choral doit
faire face. Comprendre les différentes méthodes reliées à une intonation correcte,
cela permettrait au chef de chœur de prendre des décisions éclairées et de prendre
conscience d’éventuels problèmes.
Kendra Obach is currently finishing her
graduate studies in choral conducting
through the University of Manitoba and
teaches high school choir in Stonewall,
Manitoba.
Cette étude traite de la comparaison entre le tempérament à intervalles égaux et
l’intonation juste en ce qui concerne surtout When I Admire The Rose de Jean
Berger. Il a été démontré que la pédale Fa tenue par la voix de soprano maintient
une fréquence constante. Cependant lorsqu’elle est réglée de manière juste sur
la fondamentale de l’accord, la fréquence du Fa change en fonction du contexte
harmonique vertical.
Quoique l’intonation juste ne soit pas pratique comme système d’intonation complet,
les principes relatifs à l’intonation juste s’avèrent néanmoins utiles au chef de
chœur. Une compréhension de l’intonation juste permet de mieux accorder les
accords, d’identifier d’éventuels problèmes d’intonation et d’utiliser l’intonation
comme outil d’expression musicale plutôt que d’y voir une série de règles immuables.
Choral conductors make decisions every day, every moment of rehearsal that will
affect the final performance of an ensemble. One of the greatest challenges for
any choral ensemble, amateur or professional, is intonation. Understanding different
tuning methods will enable a conductor to make informed musical decisions and
be aware of potential challenges. Equal temperament is the most common tuning
method in Western musical culture, but principals of just intonation also have a
place in the choral ensemble. The differences between these two tuning methods
will be highlighted through analysis of the intonation possibilities in Jean Berger’s
When I Admire the Rose1. The soprano line of the song is a pedal point F which
provides a point of reference. In analyzing the two intonation methods it will be
seen that the F remains unchanged in equal temperament but will be modified
higher and lower depending on context when tuned justly to the vertical harmony.
Though there are many intonation possibilities, this analysis will provide conductors
with some of the information needed to make informed decisions in order to use
intonation as a musically expressive tool rather than a strict, unchangeable set of rules.
Just Intonation and Equal Temperament
Just intonation and equal temperament tuning methods are the most commonly
used and analyzed intonation principals. Just intonation focuses on creating the
most purely tuned intervals within a specific key, whereas equal temperament
divides the octave equally into semitones.
10
Just intonation is a tuning system where each interval is consistently tuned to its
natural form as found in the overtone series. The tonic of the key is used as the
fundamental with which each consecutive interval tuned to the purest form. Though
at first this seems like the ideal method for musical tuning, musicians soon realized
the limitations of a just intonation system. Just intonation does not easily allow
for any key modulation because the pitches are tuned so specifically to a tonic.
context, there is a difference between
tuning an augmented fourth as
compared to a diminished fifth.12
Often the augmented fourth will
tend to be tuned as the leading tone
of the dominant at 590 cents.
J. Murray Barbour opposes the idea that just intonation is useful as a complete
intonation system. He writes that modern music, if performed in just intonation,
would have a significant drop in pitch from the beginning to the end.2 To create
a system where each chord is acoustically pure while keeping the original pitch
fixed is “possible only in some musical fourth dimension.”3 Though, perhaps not
efficient as a complete intonation system, it is clear that many writers, performers
and educators believe that the influence of just intonation is important in choral
performances. A study by David Howard suggests, “singers in a cappella choirs
appear to prefer to sing in just intonation.”4 Many choral music educators make
reference to just intonation either by describing the differences between horizontal
and vertical tuning,5 tuning cadences to the natural overtone series,6 or creating
richer tone by aligning the overtones in a chord.7
As interval ratios become more complex
it also becomes more difficult, and less
important, to tune purely. The opposite
is true for the purest intervals as they
are the most important to have tuned
in order to create the most pleasing
sound. Beginning with the octave, there
is no difference between just intonation
and equal temperament. The relationship
between octaves has been kept intact
through the creation of the equal
tempered system. The perfect fifth in
just intonation is two cents larger than
the fifth in equal temperament. The
fourth naturally will sit two cents lower
than the equal tempered equivalent.
Beyond the important intervals of the
fourth and fifth, it is major and minor
triads that commonly need to be
addressed. The perfect fifth of both
major and minor chords must remain
high. The natural major third sits lower
than equally tempered, where the minor
third sits higher. The difference between
major and minor thirds in equal temperament
is 100 cents, whereas the difference in
just intonation is only 70 cents. Though
it is only fractions of semitones and
small changes in frequency, there
are certainly differences between
justly tuned intervals and those
that are equally tempered.
In comparing a major scale tuned to just intonation and equal temperament, it is
obvious that there are differences at every scale degree except the octave. This
is observed by comparing cents in relation to the tonic, where one cent is equal
to 1/100 of an equal tempered semitone. A complete summary of justly tuned
intervals in comparison with equally tuned intervals is found below.8, 9
Interval
Frequency Ratio
Cents in ET
Cents in JI
Unison
1:1
0
0
nd
25:24
100
112
nd
Minor 2
Major 2
9:8
200
182 or 204
rd
6:5
300
316
rd
5:4
400
386
4:3
500
498
Augmented 4 or
Dimished 5th
45:32
600
590 or 610
Perfect 5th
3:2
700
702
th
Minor 6
8:5
800
884
th
Major 6
5:3
900
884
Minor 7th
9:5
1000
996 or 1018
Major 7th
15:8
1100
1088
Perfect Octave
2:1
1200
1200
Minor 3
Major 3
Perfect 4
th
th
The major third, perfect fourth, major sixth and major seventh are all slightly
lower in just intonation, where the perfect fifth is slightly higher. The major
second has two tuning options depending on the role it is playing harmonically.10
Either it acts as the fifth of the dominant V chord where it can be tuned higher
to 204 cents above the root or when tuned as a sixth to the subdominant it can
be tuned to 182 cents. The tritone and minor seventh also have two acceptable
just tuning options. Like the major second, the tuning of a minor seventh depends
on context. When tuned with the subdominant IV chord, acting as IV/IV, it will
take the lower of the two options.11 Based on modal writing and harmonic
Intonation Possibilities in
When I Admire the Rose
The intonation choices of the choral
conductor become quickly apparent
when beginning to work with a score.
Jean Berger’s When I Admire the
Rose is an excellent piece to analyze
the differences between just intonation
and equal temperament because of the
pedal point in the soprano line. This is
a twentieth century work that includes
both traditional major and minor chords
alongside some tone clusters and
chromaticism. Throughout all this, the
sopranos stay consistently on an F.
ACADEMIC ARTICLES / ARTICLES ACADÉMIQUES
11
There are a tremendous number of considerations when dealing with intonation.
For the purposes of this study, the root of each chord will be taken from the piano
(equal tempered to A440) and used as the point of reference. Only vertical,
harmonic analysis will be considered and not the melodic relationship of a pitch
to the previous or following chord. There is no denying the importance of the
melodic relationship of intervals, but this analysis would add another dimension,
too vast for this study.
The opening chord of When I Admire the Rose is created with a perfect fourth, a
perfect fifth and a perfect octave above the bass. These are the most consonant
intervals, with the simplest frequency ratios. In using justly tuned intervals as
compared to the equally tuned intervals, the fifth (C) will be tuned slightly higher
and the fourth (Bb), slightly lower. The chart below demonstrates the variation in
cents and frequency between the pitches of the opening chord in equal temperament
(ET) and just intonation (JI).
Voice
Pitch
Scale
Degree
Ratio
Cents
ET
Freq.(Hz)
ET
Cents
JI
Freq. (Hz)
JI
Soprano
F
1
2:1
1200
349.23
1200
349.23
Soprano
C
5
4:3
700
261.63
702
261.92
Alto
Bb
4
3:2
500
233.08
498
232.81
Bass
F
1
1;1
0
174.61
0
174.61
In analyzing the vertical harmony throughout the work, the soprano F acts in
several different harmonic roles. When looking only at major and minor chords,
with the addition of the F, the F is seen as seven different functions. The chords
that are clusters will not be included in this analysis as the dissonance will be
great enough that the tuning of the F will be less noticeable. The chart below
compares the equal tempered F and the F tuned justly in each of the seven different
harmonic roles both in cents and in frequency. The F in just intonation is calculated
and tuned in relation to the bass of each major or minor chord.
Role of F
Cents (above Root)
ET
Freq. (Hz)
ET
Cents (above Root)
JI
Root of F Major
and Open 5th
0
349.23
0
349.23
Major 2nd of
Eb Major
200
349.23
204
350.04
Major 3rd of
Db Major
400
349.23
386
346.42
Perfect 4th of
C major
500
349.23
498
348.83
Augmented 4th
of Cb Major
600
349.23
590
347.22
Perfect 5th of
B Maj. and min.
700
349.23
702
349.63
Minot 7th of
Gb minor
1000
349.23
1018
352.88
b
12
Freq. (Hz)
JI
When the F is in the role of the major 2nd, the perfect 5th and the minor 7th, the
pitch will be higher than the initial F. In all other cases the pitch will be lower than
the opening. The variation in frequency from the lowest (346.42 Hz) to highest
(352.88 Hz) is only a difference of 6.46 Hz. This leads to two possible conclusions.
First, the frequency difference is so little that if the equally tempered F is used
throughout the song, the audience may not notice chords that are slightly out
of tune. On the other hand if the choir chooses to adjust the F slightly based on
the just intonation principals, the difference is so little, the audience will likely
not notice that the F is moving but might appreciate the purity of the chords.
Further study of When I Admire the Rose could include the complete application
of just intonation melodically as well as harmonically; in which case, the overall
pitch would most likely drop from beginning to end. Another option is to keep the
pedal point F at a consistent pitch and allow the other chords to adjust in relation
to it, though this would require analysis to identify the impact on other common
tones in relation to the previous and following chords. Though there are many
possibilities for further analysis, this study identifies that there are differences
between equal temperament and just intonation when applied to the vertical
harmony in When I Admire the Rose.
Application to Choral Music and Beyond
Intonation possibilities are infinite and chances are that no two performances will
be tuned identically. The challenge is now to decide how and when to apply this
information. Choral singing in equal temperament enables a choir to finish a piece
in tune with where it began and allows for the possibility of accompaniment. The
benefit of just intonation in choir is the ability to find the most purely balanced
tuning possible within each chord. Conductors have the task of finding a balance
between equal temperament and just intonation in order to find ‘the best of both
worlds’. Some suggestions might be to attempt to tune justly to an equally tempered
root in each chord, or to focus only on just intonation at cadence points or in
sustained chords.
An understanding of just intonation can be useful even when it is not being applied
completely. Knowing that a pure fifth is slightly higher than the equal counterpart
will remind singers that a fifth needs to stay high and perhaps a fifth that is in
tune with the piano might still sound under pitch. This understanding is also true
for the third of a chord. A natural major third can settle slightly lower to a pitch
than the minor third which should remain slightly higher.
Choirs who have a challenge singing in tune often sing flat and tend to drop in
pitch. The study of just intonation shows that many intervals can become smaller
and be naturally in tune. The bigger challenge in solving this problem is perhaps
knowing which pitches need to be kept high and assure that the choir is aware
of these potentially hazardous spots. Awareness of the natural overtone series
and the possibilities of tuning allow a conductor to be better equipped to identify
and provide solutions to intonation problems based on harmonic analysis and an
understanding of the function of the pitch within the chord.
There are many additional aspects of intonation to consider beyond just intonation
and equal temperament. Specifically the difference between harmonic intonation,
where the chord is tuned only with what is happening at the current moment and
melodic tuning where the movement of the musical line may influence tuning
choices. When studying the role of a pitch, the harmonic context gives some
information while the melodic context may give other information.
ACADEMIC ARTICLES / ARTICLES ACADÉMIQUES
13
In order to apply the principles of just intonation in performance choirs must
develop these skills in rehearsal. An aural awareness of justly tuned intervals can
be developed through warm-up exercises such as tuning intervals or chords to
single pitches on the piano or sustained pitches within the choir. Throughout
rehearsal a conductor may help choristers understand their role within the harmonic
context, which will lead to an understanding and awareness from the singers. It
is also crucial to spend time rehearsing without piano in order to develop comfort
with just intonation.
This study is lacking the necessary element of rehearsal and performance with
a live ensemble. The application of the just tuning in When I Admire the Rose is
currently entirely mathematical and needs to be continued in order to establish
the effect it will have on the intonation in performance.
Intonation offers so many choices for the conductor or performer that it truly
becomes an expressive tool rather than a set of rules. Though many others agree
with the idea of intonation as a tool for musical expression,13, 14 no one says it better
than Bruce Haynes who writes; “playing ‘in tune’ is a relative and very personal
affair, and no set of rules or abstractions from practice can possibly encompass
its complexities, or substitute for an alert ear and a willing spirit.”15
Endnotes
1
Berger, Jean. 1963. Villanellas: II. When I Admire the Rose. Delaware, PA: Shawnee Press Inc.
2
J. Murray Barbour, "Just Intonation," Bulletin of the American Musicological Society 2, no. 1 (1937): 12.
3
Barbour, 11.
David M. Howard, "Equal Or Non-Equal Temperament in a Capella SATB Singing," Logopedics, Phoniatrics, Vocology 32, no. 2 (2007): 93.
4
Steven Powell, "Choral Intonation: More than Meets the Ear," Music Educators Journal 77, no. 9 (May 1991): 40-41.
5
Jameson Neil Marvin, "Choral singing, in tune," Choral Journal 32, no. 5 (1991): 27, Music Index, EBSCOhost (accessed October 14, 2012).
6
7
Kevin D. Skelton, "Choral Intonation," Choral Journal 46, no. 3 (September 2005): 41-42.
Bryan H. Suits, “Frequencies for Equal Tempered Scale,” (Physics Department, Michigan
Technological University) http://www.phy.mtu.edu/~suits/notefreqs.html (accessed November 7, 2012)
8
Per-Gunnar Alldahl, Choral Intonation, trans. Robert Carroll (Stockholm, Sweden: Gehrmans
Musikförlag, 2008), 11-12
9
10
Alldahl, 14-15.
11
Alldahl, 21-22.
12
Alldahl, 22-23.
13
Robinson, Ray. and Winold, Allen. The Choral Experience: Literature, Materials and Methods.
(Prospect Heights, Ill: Waveland Press, 1992), 256.
14
Cornelia Watkins, "Advanced Intonation Skills: Helping Students Understand what they Hear," American String Teacher 54, no. 1 (2004): 88.
Haynes, Bruce. "Beyond Temperament: Non-Keyboard Intonation in the 17th and 18th Centuries." Early Music 19, no. 3 (August 1991): 357.
15
14
REMEMBERING DIANE
By Douglas Dunsmore with
contributions from Patricia Abbott
T
his past December, Diane Loomer, a major life force and a friend to more
people than one can imagine, departed from our presence. Anyone who knew
her will know that she will continue to be part of a vibrant existence on several
higher planes, one of them being the minds, hearts, memories and imaginations
of tens of thousands of souls who were touched by her love of people through
the vehicle of choral music.
In addition to his position as Director
of Choral Activities at MUN, Douglas
Dunsmore has worked with singers
locally, throughout Canada and beyond
for nearly thirty-five years.
A choral conductor of national and
international renown, he is also a
founding artistic director of the widely
acclaimed international choral festival,
Festival500: Sharing the Voices with
significant service within such national
organizations as the Association of
Canadian Choral Communities and
the National Youth Choir.
Professional accolades include the
Telegram NSO Best Musical Contribution
Award in 2007 and the Newfoundland
and Labrador Arts Council’s Achievement
Award in 2012.
Upon his retirement from his post at
MUN (April 30, 2013) Dr. Dunsmore
will continue active involvement in
Festival500, the Philharmonic Choir
of the NSO and Gower Street United
Church. He will also assume his role as
Director of the newly formed Bruneau
Institute of Choral Excellence.
Of course, Diane’s journey to becoming an icon in the world choral community
evolved along many paths in addition to actually conducting choirs. Patricia
Abbott and I have been asked to highlight one of those paths, her connection
with and contributions to the Association of Canadian Choral Communities, the
ACCC. This is a fairly complex story which intersects with many other paths.
My first encounter with Diane came because of a series of events leading to a
once-in-a-lifetime experience. In 1984, the ACCC first floated the experiment of
a National Youth Choir in Winnipeg at the Fort Gary Hotel. It was deep winter, and
of course there was a blizzard that threatened to close everything down. However,
the project was so successful that the new executive (of which I had accidentally
become vice president ... another very long story that while it bears repeating, will
not be engaged in this article) decided that the NYC was an idea whose time had
come, and set about to make plans for its existence in perpetuity.
It was decided that the first “official” National Youth Choir’s auspicious launch should
be celebrated as part of Expo ’86 in Vancouver. There was to be a convergence of
activities: that of the British Columbia Choral Federation’s collaboration with the
Association of Canadian Choral Conductors to create a featured national presence
at Expo ’86. Once that was decided, plans began between the ACCC and the BCCF
to present the inaugural NYC at Expo ’86.
In machinations regarding the constitutional responsibilities of various ACCC programs
in the early 80s, it had been decided that the National Youth Choir would be under
the direct supervision of the Vice-President of ACCC (that would be me at this juncture),
the Executive Director of the ACCC (Carolyn Nielsen at that time) and a locally
appointed local chair. Thus it came to pass that the NYC would perform under the
baton of Jon Washburn at both the BCCF/ACCC national conference and Expo in 1986.
The BCCF appointed Diane Loomer as local chair for the NYC and thus a friendship
with Diane and Dick Loomer began, certainly one of my most fortuitous and
treasured connections of more than 25 years.
It was rather odd that the organization of such a complex entity as the NYC
should be planned from the two most extreme ends of our country, but it was
thus ordained and the rest was history.
FEATURE ARTICLES / ARTICLES PRÉSENTÉS
15
1
It is worth noting here that in 1986,
Newfoundland, in its wisdom (?),
decided to experiment with Double
Daylight Savings Time. This meant that
the time difference between British
Columbia and Newfoundland was so
great that there were only about 30
minutes of the business day that
intersected between both provinces.
Keep in mind that this was considerably
before computers, and the telephone
was the principal instrument of
communication, especially when
speed was of the essence.
16
For my part, I was often guilty of desperately needing to get in touch with Diane in
the early afternoon (Newfoundland time). I would think, surely they will be awake
by now ... but alas ... often they were not. For many years after the event, Dick
Loomer, when introducing me to friends or colleagues would introduce me as
Doug Dunsmore, the only fellow who had spent more time talking to Diane in
bed than he did!!!
Humour aside, we successfully mounted a wonderful project. Diane, of course, was
at the core of all the things that made the project succeed—personal interactions,
coordination between a multitude of committees and “official” people.
So successful was that venture that the same triumvirate (Carolyn, Diane and I)
were also asked to coordinate NYC in 1988 at Mount Allison University, Sackville,
New Brunswick, under the baton of Wayne Riddell.
We were just as effective as we had been in British Columbia, especially since
Carolyn shouldered the role of local arrangements. With Carolyn “managing” the
myriad of details and Diane being equally efficient from seven provinces away, we
were fantastic! In addition to our trio, Dick began to step in to numerous roles with
the ACCC, bringing considerable administrational ability and stability to our national
goals. As time passed and PODIUM (as it was named at Sackville in 1988) began
to evolve in its move from one location to another each two-year cycle, it became
obvious that as an organization, we were very keen to include more than conducting
in our professional arsenal. We wanted to encourage the creation of Canadian
choral music on a large scale. Diane rolled up her sleeves and waded into that
activity with great gusto.
She had already established the practice of actively identifying hopeful Canadian
composers in her regular “read-throughs” of repertoire for Chor Leoni and Elektra.
She and Dick began to systematically gather those works together with the idea
of coming up with a workable way to distribute such works among conductors. In
addition, both she and Dick chose to be active members of many ACCC committees
so that they could effectively mentor budding composers in any way possible. Their
work culminated in the creation of Cypress Choral Music, a major publisher of
Canadian choral music and of up-and-coming Canadian composers. In the late 90s,
composer Donald Patriquin and Dick Loomer talked about the need for a Canadian
choral composition competition that would enrich the repertoire of the country’s
many excellent amateur choirs. This led to the establishment in 1999 of the first
edition of the ACCC Choral Composition Competition, with most of the prize money
coming from Cypress, along with the promise to publish the winning selections.
Diane and Dick’s generosity towards ACCC and, by extension, to the entire choral
community did not end there. They were generous with their time, serving as
longtime members of the ACCC board, freely sharing their expertise and wisdom,
and footing the bill to get themselves to meetings across the country to boot! In
addition to their regular donations to the NYC, they were often the authors of
“random acts of kindness”, such as offering up a surplus from a Chor Leoni tour
concert to help pay ACCC bills or donating substantial amounts of Aeroplan miles
to buy plane tickets for the NYC.
Since those early ACCC days and throughout the association’s history, one does
not have to look far to see either the actual presence of Diane Loomer or at least
evidence of her imprint and contributions on practically every facet of the organization.
She conducted workshops as well as honour and/or community choirs in almost
every Canadian province and mentored more young conductors than we will
probably ever be able to enumerate. In the course of time, she was also the first
woman chosen to be conductor of the National Youth Choir (Saskatoon, 1994), a
singular honour for anyone who understands the history of choral music in our
country. She and Dick travelled to many different festivals and events, working
with conductors, singers and composers in the local areas, encouraging the
practice of commissioning works for every kind of choral combination of forces.
From personal experience, I can bear witness to Diane’s value as a source of
sound advice on all things choral. She was one of the first people we called when
organizing the entity that became Festival 500, and she generously added to our
“blue-skying” in a very big way. She also supported us by appearing with her choirs
here not once, but three times during our eight iterations of the festival. In 2011,
in a ceremony at the Festival, we declared her to be a Festival Ambassador, a title
she shared with only one other, Patricia Abbott ... all this from our interconnectivity
via the ACCC.
17
One could go on for days listing things in which Diane took a leading role, since
projects, concerts and causes that were lifted up through her efforts are myriad.
Perhaps the most remarkable thing about her presence in all these ventures
is the fact that she was there for “US”, using her energy, experience, talent,
charm, love of people and singing to lift up that particular event at that time for
the good of those participating to attain success in the present moment with an
eye to creating momentum for future growth.
That is what repeatedly comes to mind when thinking about Diane’s gifts to everyone.
It was never about lifting herself up as much as it was about lifting up others. The
kind of successes that she helped to create were always built on that — Help for
now and Hope for the future — superlative mentorship for us all to emulate.
For those of us fortunate enough to participate in the celebration of Diane’s life this
January in Vancouver, her dynamism was reinforced on every front. From stories
told by friends and loved ones to the music that soared to the rafters of the Chan
Centre and beyond, we were reminded that her legion of successes were based
on generosity, love and caring. We were also reminded that in the projects, business
ventures and life experiences, Dick and Diane were co-conspiritors in seemingly
all aspects of their lives, whether artistic, professional or personal.
Fittingly, this article can be summed up as so many of the ones that have been written
lately: Thanks, Diane! You will be missed, but your legacy will NOT be forgotten.
Readers may wish to visit the memorial website established in honour of Diane:
http://www.ilasting.com/dianeloomer.php
2
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1
Diane Loomer conducting © Glen Ericksen
2
Patricia Abbott, Doug Dunsmore and Diane Loomer
at Podium 2012 in Ottawa
THE WORLD OF YOUNG SINGERS:
HAMILTON CHILDREN’S CHOIR
IN CHINA
By Zimfira Poloz
T
Zimfira Poloz is a highly respected conductor,
educator and adjudicator with a distinguished
international reputation. First establishing her
musical credentials in Kazakhstan, Ms Poloz
is the Artistic Director of both the Hamilton
Children’s Choir & Young Voices Toronto and
also teaches at the University of Toronto.
Ms Poloz continues to represent Canada
abroad sharing her expertise in working with
children’s voices.
The Hamilton Children’s Choir won the
Grand Prize at the 1st Xinghai International
Choir Competition in November 2012.
he 1st Xinghai International Choir Competition was held in Guangzhou,
China – a very large city in North American terms (28 million people) that has its
own flourishing choral culture. Not only did the Hamilton Children’s Choir participate
in the competitive level of the festival’s competition but we contributed to the
symposium, under the direction of Interkultur, called The World of Young Singers –
An International Symposium on Children and Youth Choral Music. With a panel
of choral experts, this symposium focused on the important aspects which
conductors/music directors need to consider or incorporate with regards to
children and youth choral singing.
At this particular event with 146 choirs participating from 46 different countries
(total of 7000 singers present), we were mesmerized by the beautiful costumes,
smiling faces and beautiful music performed. The event was co-presented by the
CPC Guangzhou Municipal Committee, the People’s Government of the City of
Guangzhou / Canton, and INTERKULTUR, who are renowned for presenting the
World Choir Games. Despite the various languages and cultures, we could feel
the connection between one another. We were all in China for the same reasons:
our love of singing and performing as a choir.
After travelling 30 hours (with mini-naps whenever possible and a surprise dress
rehearsal on the day of our arrival!), we managed to obtain some much needed
rest and time to regroup in order to ready ourselves for a performance at the
Guangzhou Opera House in the official Opening Ceremonies. What made this
performance extra special was learning that Canada’s Consul General of Guangzhou,
Mr. Weldon Epp, was in the audience. He was seated with all the festival dignitaries
and, along with all the representatives, was invited to join everyone on stage as part
of the opening ceremonies encore. As Canadians, we felt so proud at that moment.
For the next few days of the tour, our time was spent focusing on preparing the
choir for the competition performance and their ‘Summit of Voices’ Gala Concert
performance, both scheduled for November 10th. After some much needed rest
and sight-seeing, the choristers were able to re-energize themselves amply to
perform twice and it was such a gift to have the audience respond so positively.
The Hamilton Children’s Choir began the Gala Concert and were privileged to be
followed by performances from the Xing Sheng Choir (Xinghai Conservatory of Music
Department), Pro Musica Chamber Choir (Sweden), CantAnima – Landesjugendchor
Steiermark (Austria) and Novo Conertant Manila (Philippines).
The competition itself consisted of 7 categories in total, with each category offering
an ‘Open’ category (any choir can compete) and a ‘Competitive’ category (a choir
is eligible to compete based on past Grand Prize achievements). Competing choirs
were ranked as Participant, Gold, or Platinum by scoring, and the jury also awarded
19
a Grand Prize, including a purse of
5000 Euro to an overall category winner.
There were a number of outstanding
choirs from all around the world
participating in this choral event.
Following all the competition excitement,
the symposium was presented using
a panel approach to share information
and insight from experts representing
various countries and choral organizations
including: Fred Sjöberg (Sweden),
Katalin Kiss ( Hungary), Henry Leck
(USA), Johan Rooze (Netherlands/
Korea), André van der Merwe (South
Africa), Romans Vanags (Latvia), Yang
Hongnian (China), Lei Guangyao
(China), Zimfira Poloz (Kazakhstan/
Canada). The guest choirs involved
were the Calasiao Children’s Chorus
(Philippines), Choir Minjona (Latvia),
Xinghai Conservatory of Music Choir
(China), and Hamilton Children’s Choir
(Canada) who also assisted with my
segment on ‘Developing Flexibility in
Vocal Colour for Young Singers’.
The premise of the symposium,
originated by Christian Ljunggren
(Sweden), was to share information
following the progression of a child
singing as a young child to singing as
a young adult, considering the various
stages of their human development,
both psychologically and musically.
It was an interactive symposium
offering varied discussions that built
in opportunities for colleagues to
comment or share experiences.
Topics discussed included:
1
2
3. The young adult in the choir — “To Sing or Not to Sing”, the sociological importance of choral music for youth in a multi-cultural and democratic South Africa; bringing young people from different nations together – can music bridge over cultural diversity? The Development of Choral Repertoire in a
Multi-Cultural South Africa, how can we combine good music education with fun!
The symposium offered information that was not only inspiring but also comforting.
Learning new approaches while discovering our challenges with conducting children
& youth choirs are very common around the world. It was refreshing to have this
discussion focused on the young musician’s life because it is a topic not often
presented in this way.
1. The young child in the choir — the
influence of the multi-developed choral music in the world to Chinese
Choir; musical education in the Baltic
States; vocal techniques for the young singer and the specifics of boys choir
Another memorable moment during the tour was receiving an impromptu invitation
from Professor Yang Hongnian to have an exchange with the Xinghai Conservatory
of Music University Girl’s Choir following the Symposium. Both the HCC and
Chinese Girls’ Choir shared warm up exercises, techniques and musical performances
that were attended by other local conductors. This was one of the highlights of
the tour because our focus on touring seemed meaningful and worthwhile by
having such an intimate experience with wonderfully talented people.
2. The teenager in the choir — the boy’s expanding voice; Developing Flexibility in Vocal Colour for Young Singers; results of traditional Kodály music education in Hungary
Our stay in Guangzhou ended by attending the extravagant Closing Ceremonies
held outside at the base of the Guangzhou TV Tower, one of the tallest buildings
in the world. This event opened with 50 grand pianos on stage that were played
all at one time at various points of the night, two large video screens and multiple
performances by various choirs.
20
1
Competition Time
2
Pakkanen
3
Grand Prize winners
3
The final portion of our tour was spent in Shenzhen, China, one of China’s newer
cities – only 33 years old and 18 million people. There we facilitated a 3 day
symposium for the Shenzhen Choral Association attended by 300 conductors. In
addition, the HCC performed a 2 hour feature concert in the beautiful Shenzhen
Concert Hall, enjoyed some local Chinese parks that offered beautiful Chinese
shows and ended our tour with a heart warming exchange with the Shenzhen
School Junior & Senior Choir. This experience was also very memorable and our
choristers were especially surprised by learning the Shenzhen Children’s Choir
rehearsed 12 hours per week.
The Chinese choral community is extremely dedicated to learning the craft of
singing. As well, the Chinese choral community has a wealth of resources
including magnificent concert halls, such as the Guangzhou Opera House, Xinghai
Music Conservatory Symphony Hall, Xinghai Concert Hall, and the Shenzhen
Concert Hall. As a choral conductor, it is such a thrill to be able to perform in such
remarkable venues where each performance is warmly welcomed by a full house.
This tour was a life changing experience for the Hamilton Children’s Choir. It
strengthened the overall choir as a team but also, just as importantly, this tour
provided each chorister the opportunity to develop a better understanding of
the Chinese culture, its music and choral community. As an organization, this
particular event has opened new doors for the Hamilton Children’s Choir in all
aspects including an invitation for a country-wide tour throughout China that
would offer both performances, workshops, competition and choral exchanges.
21
LA RÉPÉTITION EFFICACE
Par Robert Ingari
Q
Robert Ingari est professeur agrégé à
l’Université de Sherbrooke au Québec.
Il y exerce à la fois les fonctions de
responsable de la maîtrise en direction
chorale et des programmes de chant
choral. Monsieur Ingari est également
directeur artistique de l’École d’été
de chant choral de l’Université de
Sherbrooke et le directeur artistique
du chœur professionnel le Chœur de
chambre du Québec ainsi que du Chœur
symphonique de Sherbrooke. En tant que
compositeur, il compose pour chœur et
orchestre, chœur avec instrument solo
et chœur a cappella. Trois de ces œuvres
sont éditées pour Cypress Choral Music.
u’est ce qu’une répétition efficace? Aux États-Unis, là où je suis né et où
j’ai fait mes études, nous avions une pléthore de ressources à ce sujet : des livres
et des livres qui abordaient les techniques de répétition de chant choral. Moi-même,
je donne des cours intitulés Techniques de direction et de répétition dans le cadre
de la maîtrise en direction chorale à l’Université de Sherbrooke, au Québec.
Mais quant à moi, la capacité à décortiquer une œuvre afin que chaque choriste
comprenne les demandes énoncées par le compositeur doit être à la base des
méthodes d’enseignement que choisira le chef. Et le choix de ces méthodes
lui revient à lui seul. Un chœur a une période limitée de répétitions pour préparer
un concert. Alors, son chef aura le grand défi de déterminer comment il arrivera
à préparer toutes les œuvres, en répétition, selon ses propres objectifs et les
demandes du compositeur. C’est là où on pourra constater le niveau d’expertise
d’un chef ; car c’est dans l’efficacité des choix du chef que se trouve son génie.
Peut-être est-ce aussi là où on lui demande le plus de faire appel à son sens de
l’inventivité et de l’imaginaire? La question suivante devrait faire partie de la
conversation intérieure quotidienne du chef : « Comment pourrais-je susciter
une réaction sonore qui rejoigne le plus possible le son que j’ai à l’esprit? »
Cette question vise à déclencher une série d’exercices efficaces et appropriés
pour résoudre les problèmes rencontrés en répétition.
J’aborderai ci-dessous mon approche envers la répétition de chant choral et
quelques-unes des méthodes qui me sont utiles dans mes répétitions quotidiennes.
D’abord, le chef de chœur doit écouter l’ensemble qu’il dirige. Le son qu’un
chœur produira à toutes les étapes du processus d’apprentissage est l’élément
déterminant de l’ordre dans lequel le chef abordera la mise en place d’une œuvre
chorale. Depuis 23 ans de direction de chœurs universitaires et amateurs, c’est le
son du chœur qui déterminera l’ordre d’étapes que je choisirai dans la préparation
d’une œuvre. Mes plans de répétition ne sont que des esquisses qui exposeront
les grandes lignes que je suivrai durant ma répétition. C’est ce que j’entends
en répétition qui fera que je réagisse d’une manière ou d’une autre. La direction
chorale est essentiellement un art pédagogique. Même avec un ensemble avancé,
l’enseignement est au cœur du métier d’un chef de chœur. Et même une œuvre
qui semble trop difficile pour un ensemble pourrait faire partie de son répertoire
si le chef de chœur possède un sens raffiné de l’écoute ainsi que les outils
nécessaires pour la décortiquer avec ses choristes.
Après avoir étudié la partition en profondeur, le chef arrivera à la répétition avec
non seulement un sens global de l’œuvre, mais aussi avec un son idéal à l’esprit
pour chacune des sections ou des phrases de l’œuvre. C’est lors de l’étape
d’écoute du son du chœur, lorsque les choristes lisent une partition pour la
première ou la deuxième fois, que la plupart des décisions du chef seront prises
en vue des étapes suivantes. Lors de l’écoute, le chef évaluera deux choses :
22
1. l’écart entre le sens global qu’il a de l’œuvre et le son produit par le chœur;
2. les techniques nécessaires pour rallier ces deux éléments. L’évaluation constante en répétition que fera le chef sera la source de toutes les décisions qu’il prendra dans les minutes, les heures et les semaines qui suivent.
Avant la répétition, le chef devra se faire une liste de priorités qui l’aidera à mieux
savoir décomposer en étapes simples l’apprentissage d’une œuvre chorale Cette
démarche est nécessaire si on veut s’assurer que chaque élément de l’œuvre
soit retenu lors de l’exécution finale. Comme un architecte, le chef de chœur
devra construire un monument sonore dont l’édification serait impossible sans
la connaissance des matériaux requis. Si la complexité d’une œuvre réside
principalement dans le langage harmonique, ce sera cet aspect qu’il devra aborder
en premier, avec des exercices qui aideront les choristes à saisir les bonnes notes
tout en les situant dans leur contexte. Si par contre le rythme représente le défi
principal, alors les exercices aidant à la compréhension de la structure rythmique
d’une œuvre deviendront la priorité.
La question la plus souvent posée par mes étudiants est celle de savoir par où
commencer. Je leur dis que cela dépend surtout de l’œuvre et je leur propose
une série de questions à se poser :
1. Quel est le caractère rythmique de l’écriture (homorythmique, contrapuntique, legato, leggiero, etc.) ?
2. Quel est le langage harmonique (tonal, modal, atonal, sériel, etc.) ?
3. Quelle sorte de texture est employée ? (texture dense, texture aérée, utilisation de divisi ou de l’unisson, a cappella, accompagnée, etc.)
4. Y a-t-il un lien entre les paroles et l’écriture musicale (figuralisme, traitement syllabique ou mélismatique, etc.) ?
Ensuite, le chef le chef s’appliquera à rallier son sens global de l’œuvre à la réalité
sonore devant lui. C’est à cette étape que la raison d’être du chef de chœur
devient apparente : aider ses choristes à mieux comprendre la structure de
l’écriture d’une œuvre musicale afin qu’ils apprennent, à la longue, à devenir
plus autonome dans le processus d’apprentissage. Une frustration partagée par
mes étudiants en direction chorale, souvent directeurs musicaux de chœurs
amateurs, est celle d’utiliser cette approche avec un chœur dont la majorité des
choristes se disent non-lecteurs. Et ma réponse est toujours la même : quelle
meilleure façon d’aborder la lecture à vue avec un chœur que celle de dévoiler
devant eux les composantes structurelles d’une œuvre chorale ? Combien de
fois un chef de chœur entendra que la lecture à vue intimide ses choristes ?
Toute œuvre est lisible. À la base d’une grande majorité d’œuvres chorales
de toutes les époques se trouvent plusieurs éléments communs qui peuvent
aider un choriste à comprendre la structure d’un motif, d’une phrase ou d’un
environnement harmonique quelconque. Parmi ces éléments se trouvent,
entre autres, la présence de relations intervalliques de triades, le mouvement
mélodique ou harmonique en duo ou trio, l’imitation, et le contour disjoint ou
conjoint d’une mélodie. C’est la responsabilité du chef de chœur de simplifier une
œuvre en la déconstruisant en répétition. Cette déconstruction, faite en fonction
des éléments ci-haut mentionnés, exigera qu’il travaille avec les quatre pupitres
à la fois. Ainsi, le chœur s’habitue à lire à quatre voix et s’approprie le contexte
harmonique et rythmique dès le départ. Par contre, la technique d’isoler deux
voix à la fois afin de faire remarquer certaines relations musicales est la véritable
clé pour faire comprendre la structure d’une pièce. Plus l’écoute du choriste est
portée vers ces relations, plus il sera en mesure de reproduire l’exécution d’un
23
motif ou d’une phrase. De plus, la simplification du schéma rythmique, incluant
la corrélation entre un rythme et la déclamation des paroles, fera en sorte que le
choriste puisse sentir le sens plus large d’une phrase.
Nous ne sommes pas là pour compenser les lacunes des choristes, mais pour
les identifier et les aborder de façon structurée et simplifiée. Un chef de chœur
est là pour faciliter la compréhension structurelle d’une œuvre et pour sensibiliser
les choristes à être éveillés et conscients lorsqu’ils chantent ensemble.
C’est dans sa poursuite de l’efficacité qu’un chef devra examiner la pertinence de la
technique de répétition choisie. Avant tout, le chef devra être capable d’identifier
les problèmes et choisir les exercices en conséquence. Un mauvais choix pourrait
nuire à toutes les étapes qui suivront cette première étape décisive. Si le problème
est une question de justesse, travailler le placement des consonnes finales ne
règlera pas la justesse. Pas plus qu’on ne corrige une erreur rythmique avec un
exercice de soutien diaphragmatique.
C’est en grande partie l’expérience du chef qui déterminera sa capacité à trouver
l’exercice le plus pertinent pour un problème. Trop souvent un chef de chœur
abandonnera un problème avant d’avoir trouvé sa solution. Il craint peut-être que
les choristes s’ennuient s’il insiste pour que le problème soit complètement résolu
avant de passer à autre chose. C’est ici que le chef devra demeurer concentré et
fidèle à sa vision de l’œuvre. D’abord, il se demandera s’il a bien identifié la racine
du problème. Si c’est le cas, il devra revoir son plan afin de chercher d’autres
exercices pouvant mener à sa résolution.
Qu’il le veuille ou non, c’est le jugement du chef qui déterminera la réussite de sa
répétition. Il y a plusieurs questions que le chef devra se poser avant la répétition :
1. Est ce que l’œuvre convient à l’ensemble?
2. Est-ce que le chef connaît l’œuvre à fond?
3. Est-ce que les techniques choisies en répétition aideront les choristes à mieux
omprendre la structure de l’œuvre?
4. Est-ce que les démonstrations et les explications du chef seront présentées
soigneusement, avec le souci du détail?
Peu importe le talent musical du chef, son jugement à toutes les étapes de la
préparation d’un concert demeure l’élément le plus important.
Une répétition efficace et fructueuse ira au-delà des simples enchaînements.Toutes
les connaissances du chef devront lui servir comme une banque de données
dans laquelle il pourra puiser les techniques et les exercices qui assureront la
compréhension profonde par ses choristes de l’œuvre étudiée. Et c’est en réponse
à ces principes qu’un chœur expérimentera des moments dynamiques et inspirants
lors de ses répétitions.
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NEW A CAPPELLA WORKS FOR FULL CHOIR BY YOUNG COMPOSERS
Blair Ellis
Matthew Lyon Hazzard
Dérivé
Les Lieu de nos Dèparts
The Blue Bird
Ave Maria
Good Night
Dieu! Qu’il la fait bon regarder
James Fogarty
Ben Jisoo Kim
Pange Lingua (also for SSA)
Ave Maria
Veni Sancte Spiritus
Litany of the Apotheosis of His Majesty Pharaoh Pepe II
TO SEE AND HEAR SOME OF THIS MUSIC PLEASE VISIT
www.renforthmusic.com
25
WORLD YOUTH
CHOIR 2012
By Eve Richardson
I
Born and raised on Vancouver Island,
Eve Richardson received her Bachelor
of Music & Bachelor of Education
from the University of Alberta in 2010.
She currently studies with Benjamin
Butterfield at the University of Victoria,
where she is working on her MMus
in Voice Performance. Eve is an active
choral singer and has sung with many
ensembles including the National Youth
Choir of Canada, Pro Coro Canada and
the World Youth Choir. She sings with the
chorus for Pacific Opera Victoria and with
Victoria’s Renaissance Octet Raincoast
Voices. As a soloist Eve has performed
with many ensembles including the
Victoria Baroque Players, the Pacific
Baroque Orchestra and the Victoria
Conservatory of Music Orchestra. Eve is
also active as a music educator, working
as a teacher on call in the Victoria school
district, teaching private voice lessons
and acting as both choral scholar and
assistant director to the junior choir at St.
John the Divine.
n the fall of 2011, I was both thrilled and disappointed to discover that I was
one of the Canadian singers selected to sing with the World Youth Choir (WYC)
2011 in Buenos Aires, Argentina. Thrilled, because I was accepted by a panel of
international judges as one of three to represent Canada, but then disappointed
when the session was canceled due to lack of funds. So naturally, I was ecstatic
when I was invited to participate in the WYC 2012 in Cyprus. The good news
continued when I discovered my friend and colleague, Nathan McDonald, was
the other Canadian singer selected to attend WYC 2012. Both alumni of the 2010
National Youth Choir, as well as Victoria residents, we decided to collaborate on a
recital to raise funds for our journey. Generous donations from family, friends and
community members, along with a grant from the Canadian Council for the Arts
covered my travel expenses to and from Cyprus.
The 2012 session ran from August 7th to 30th in Cyprus, uniting sixty-two singers
between the ages of eighteen and twenty-six from thirty-four different countries
from all over the world. Under the direction of world-renowned conductor Cecilia
Rydinger-Alin from Stockholm’s Royal College of Music, the choir rehearsed
intensely for eight days in the small village of Pedoulas, Cyprus, before touring the
country with an outstanding program of a cappella choral repertoire from the
19th and 20th centuries. The repertoire was selected by Rydinger-Alin and
included Britten’s Hymn to St. Cecilia, movements from Martin’s Messe für zwei
vierstimmige Chöre and Rautavaara’s Suite de Lorca, to name a few. Our tour
included performances in Pedoulas, Paphos and Ayia Napa, although we made
a habit of singing spontaneously in as many public places as possible! The most
memorable of these impromptu concerts was a short street performance in front
of Nicosia’s Peace Centre, several meters from the Green Line that currently
divides the Republic of Cyprus from the occupied territories.
Once our tour, intensive recording session and tearful goodbye to our beloved
Cecilia were complete, the second half of the session began. Under the baton of
Cypriot conductor Ayis Ioannides, part two of the session featured a collaborative
program with the Cyprus Youth Orchestra. Our little village of Pedoulas suddenly
tripled in size when 100 young orchestra members from all over Europe joined us
to begin rehearsing Beethoven’s Symphony No. 9 and Penderecki’s Lacrimosa.
The following concert tour was supported in part by the Cyprus presidency of the
European Union and included performances at the Kourion Archaeological site
and the Strovolos Municipal Theatre in Nicosia.
My experience with the WYC has had a profound impact on my work as a singer
and music educator. Simply stated, participating in the WYC has been, to date,
the most musically and culturally rewarding experience of my life. It never ceased
to amaze me how, when we sang, all sixty-two of us from thirty-four countries,
26
WYC 2012: Martinez Richard Dayany, Venezuela for the WYC Foundation
we were immediately speaking the same language. This experience has proven
to me that choral singing has the power to erase cultural barriers and connect
people though singing. I am so grateful that I had the opportunity to partake in
this incredible project and will look back on the session and my friendships fondly
for many years to come. The WYC Foundation, like many arts organizations in
Canada and beyond, is struggling to survive financially. It’s future is uncertain and
I strongly encourage all young Canadians with a passion for choral music and
singing to step forward and embrace this invaluable program!
27
CHOR LEONI’S
MYVOICE PROGRAM
By Pete Chamberlain
E
Pete Chamberlain, former University of
British Columbia faculty member, has
been singing in choirs all his life. He’s
been a member of Chor Leoni Men’s
Choir since 1996, and served as its
president from 2001 - 2009.
ncouraging young men to sing together lies at the heart of Chor Leoni’s
mission. The choir’s first organized endeavour in this regard was the launch of
its Program to Mentor Young Singers (PROMYS) in 2005, when Artistic Director
Diane Loomer contacted a number of high school and university choral conductors
in the Metro Vancouver area and invited them to recommend young men from
their choirs to attend selected Chor Leoni rehearsals, beginning in the fall, and
to sing several pieces with the choir in its annual Remembrance Day concerts.
Initially, six boys from the Vancouver area joined the program, rehearsed with
the choir during September and October, and sang with it in all three of its
Remembrance Day concerts – two in Vancouver, one in Victoria.
PROMYS has continued to thrive, providing around 70 young men with an
invaluable opportunity to rehearse and perform at a professional level with Chor
Leoni. As successful as it has been, however, the overall reach of PROMYS has
remained quite limited, as it typically seeks out the more experienced among the
potentially large cohort of teenage choristers.
In early 2009, the choir decided to stretch its educational outreach to include boys
who had but a passing acquaintance, if any, with choral singing, but might be keen
to experience it. The plan was to create a new outreach program (supplementing,
not displacing, PROMYS), one which would encourage young men to develop
their singing skills, music knowledge and experience in choral music, as well as
highlight opportunities for them further to pursue choral music through educational,
recreational and professional avenues. A key motive in developing this new initiative
was the fact that young men in high schools have very few avenues to explore
their interests in choral singing, especially given the many social pressures that
young people encounter. Chor Leoni believed it could break through such barriers
and make choral singing more appealing and accessible to young men by conducting
a program outside of the school environment, removing all costs, and requiring a
relatively short-term commitment of only several months.
Thus was born the concept of MYVoice – a program for mobilizing young men’s
voices – a dream of bringing many high-school aged boys together in one or more
all-male ensembles to learn music, find their voices, develop their confidence,
and nurture their interest and commitment to music and culture. At this precise
time, it was Chor Leoni’s great fortune to engage with the RBC Foundation,
whose Emerging Artists Program seeks, among other objectives, to “educate
and raise awareness about the importance of the arts in Canada.” There was
a meeting of minds and visions, and, in the fall of 2009, the RBC Foundation
generously provided a two-year lead grant to the choir in support of its newly
minted MyVoice program.
28
Much of the first year (2009-2010) was devoted to planning and publicizing the
new program, recruiting the Coordinator and choral directors, and working out
the details of venues and timing of rehearsals and concerts. To coordinate the
program, the choir chose Kevin Zakresky, who had just been appointed as Chor
Leoni’s Assistant Conductor. Born, bred and educated in British Columbia, Kevin
was in the final stages of a doctoral program at Yale University (since completed).
Kevin was also designated to conduct one of the two planned MYVoice choruses;
Carrie Tennant, Conductor of the Youth Choir of Coastal Sound Music Academy,
was chosen to conduct the other.
By early September 2010, most of the details had been worked out: students to
be recruited during the Fall; rehearsals to begin in January 2011 at two sites, one
in Vancouver, the other in New Westminster; a final workshop-cum-concert to
occur in the spring; and repertoire to be determined and coordinated under the
direction of Diane Loomer.
The response to recruitment activities was very positive, resulting in an enrollment
of approximately 70 students by the start of the program in January. Over the next
number of months, MYVoice lost a few participants and gained a few, ending with
65 singers by April 2011. Interestingly, each choir had its own distinct character.
The New Westminster group by and large had boys with a bit more choral experience
than its counterpart in Vancouver, so that its conductor, Kevin Zakresky, was able
to focus mainly on developing pure harmonies and building vocal strength. Carrie
Tennant, the director of the less experienced group, spent the first number of
rehearsals teaching basic choral techniques, from proper breathing techniques,
to good voice production, to reading music. By the end of the three-month period,
she had transformed the group into a remarkable choral ensemble, complete
with costumes and choreography.
In April 2011, the two groups came
together for a day of workshops and
other activities, culminating in an
evening concert with Chor Leoni. It
was eminently successful, as high
energy and exuberance dominated
the day, well into the evening hours.
The boys were amazingly engaged,
not only in the making of music, but
also in the bonding of a community.
Those attending the concert — parents
and friends, but also many who had
heard of MYVoice and were intrigued
to see and hear it in action — were
genuinely captivated by the sound and
sight of these young men.The response
to MYVoice was overwhelmingly
positive... on the part of the boys
themselves, as well as of their parents.
Letters from some of the latter confirmed
the hopes and expectations that fueled
the MYVoice project from the start—
that singing together can be self-affirmative
and rewarding for young men at a very
challenging stage in their lives. In fact,
for many, participants and observers
alike, the experience was “transformational.”
The boys felt they had learned and
grown as members of the program,
that they would sign up again ... and
would encourage their friends to do so.
MYVoice is free of charge to all
participants; the program stands alone
outside of Chor Leoni’s operating
budget, its funding coming from
corporations (RBC and TELUS),
government (province and metro
Vancouver), private individuals, and
ticket revenue from its April concert.
The program is currently (March 2013)
well into its third season, with choruses
in Vancouver, New Westminster and
Richmond, and with a total of around
80 boys participating – 35 of them now
into their second year of the program,
12 into their third. In a remarkably
brief period, MYVoice has become a
region-wide program, drawing boys
from 15 of Metro Vancouver’s 22
municipalities. Praised by the Globe
and Mail (December 2011) as one of
10 “Things that Work in BC,” MYVoice
is here to stay and grow.
MYV boys 2012
29
COMMUNITY CHILDREN’S CHOIRS:
MENTORING – ANOTHER LAYER OF
THE CHORAL EXPERIENCE
By Jackie Hawley
T
hose of us directly involved with the choral experience are very aware of the
multi-layered benefits of choral singing. For many of our choirs, the mentoring
experience is a significant layer of our programs.
Artistic Director: Ottawa Children’s Choir
www.ottawachildrenschoir.ca
Founder/Director: Cantiamo Girls Choir of
Ottawa www.cantiamogirlschoir.ca
Jackie Hawley (BMus, BEd) has conducted
adult, youth and children’s choirs and been
a clinician for choirs and schools throughout
Ontario for more than twenty-five years.
Ms. Hawley has been Artistic Director of
the Ottawa Children’s Choir since Jan. 2008
and is founding director (2003) of the
Cantiamo Girls Choir of Ottawa and its
Training Choir (launched in 2006).
Mentoring is one of the major focuses of the Cantiamo Girls Choir of Ottawa. The
more experienced girls of the main choir are invited to be mentors to the younger,
less experienced singers of the Cantiamo Training Choir (TC). These girls attend
the TC rehearsal each week and are assigned a seat next to a chorister who is
in need of individual guidance.
Before the first rehearsal, I meet with the mentors to explain their role. Mentors
are to support the TC choristers by listening to them sing and determining what
the issues are and how best to address them. Mentors are to observe posture
and gently remind how to sit/stand and mentors also create a comfort level for
the new singers by building relationships. The mentors are not there to just sing
along with the TC.
Usually, the TC choristers need help with organizing their music and following
their scores. Many of the new TC choristers have never seen a choral score and
it is part of their training to develop musical literacy. Mentors guide the choristers
and help them to focus attention on the score rather than just sit and listen and
try to learn the pieces by rote. Mentors are also there to demonstrate proper
posture, watching the conductor and healthy vocal technique. Because the mentors
are older, more experienced singers with a more developed instrument, they
must take care not to vocally overpower the TC choristers. The mentor voices
are a guide and are meant to be heard by the TC choristers as examples of healthy,
properly produced tone that should be imitated. The TC choristers tend to sing
the mentors’ support creates a safety zone for the new singers. It is especially
helpful to have mentors next to those choristers who (given that TC is un-auditioned)
have difficulty matching pitch. The mentor can sing close to the ear of the
chorister and can also use hand gestures to help indicate that their voice needs
to move to a different place to match with the other choristers. The TC rehearsal
is only 45 minutes per week so it is valuable to have mentors help these new
choristers within the context of rehearsal so that the rest of the group can keep
working on other skills.
Mentors are also useful for demonstrating repertoire or singing harmony with
TC thus allowing them to experience the sound of a second or third part. And,
mentors are used for leading sections in rounds which helps develop the aural
skills of the TC members more quickly.
30
In performance, the mentors sometimes, but not always, sing with the TC. This
depends on repertoire, the age mix of the TC, the acoustic of the venue and the
purpose of the performance. Mentors help line up and focus the TC and lead them
on and off stage. I prefer to use mentors rather than parent volunteers because the
mentors have a relationship with the TC choristers and are familiar with performance
skills and can demonstrate this to the TC with calm confidence and poise.
In a season where there are some very experienced mentors, I will invite an
apprentice conductor and accompanist to teach a piece to the TC and perform it
in concert. These apprentices are responsible for studying the score, creating a
rehearsal plan and teaching the piece completely on their own from start to performance.
The apprentices receive written feedback from me and our accompanist so that
they can reflect on their experience and incorporate constructive advice in to their
next rehearsal. This demonstrates to the TC that the mentors are also learning
and they are willing to place themselves in a challenging position in order to
develop their own skills.
Mentoring is also used when TC members are moving up to the main choir. This
is a very big jump and can be overwhelming for new choristers. Each new chorister
is assigned a mentor who helps with finding music in the large pile of repertoire,
score marking, focus and vocal support. The mentors give me updates as to how
the new choristers are doing and if they may need some individual attention from
me. The mentors also make sure that at choir socials the new choristers are included
and warmly welcomed as part of the group.
in to schools and have the school choir
mix in with our choristers so that the
school choristers can feel what it is
like to sing in a large group of trained
voices. When the Cantiamo choristers
sing a descant over the school choir,
it is fun to see the school choristers’
eyes light up in amazement. It is
always an inspiring day for all involved.
Mentoring not only benefits the less
experienced chorister but is also very
valuable to the experienced chorister.
It is empowering to realize one’s wealth
of knowledge (even at a young age)
and be able to impart it to others and
it is important to listen reflectively and
be proactive in working towards artistic
depth. Creating an environment of
collaboration and mutual support can
only enhance the beauty of the music
and the people in our choirs. If you
haven’t already, try mentoring within
your choir! (http://www.youtube.com/
watch?v=a2PLa2YEpak )
The Cantiamo Girls Choir and Training Choir both do mentoring outside of the
organization. Our school tour has us connecting with school choirs for a mini
workshop and short rehearsal and a massed performance for their school. We go
Cantiamo Girls Choir and Training Choir mentoring students and school choir on school tour day.
31
YOUTH CHOIRS: TEN QUESTIONS
WITH CONDUCTOR JAMIE HILLMAN
By Sarah Morrison
I
Sarah Morrison enjoys a career as a music
educator, choral conductor, clinician and
performer. She is Director of Choral Music
at Appleby College, the Artistic Director of
the Oakville Children’s Choir and sings with
the Canadian Chamber Choir. Sarah is the
2010 recipient of the prestigious Leslie Bell
Prize in Choral Conducting.
first met Jamie Hillman when we were both choristers in OYC 1999 under the
direction of Ken Fleet. Through that experience and other more recent musical
involvements, such as singing together in The Canadian Chamber Choir, our
friendship has grown over the years. Upon hearing that Jamie is the 2012 winner
of the Leslie Bell Prize for Choral Conducting, awarded by Choirs Ontario and The
Ontario Arts Council, I contacted Jamie to see if he might be interested in sharing
his thoughts and wisdoms about working with youth choirs through an interview.
So, this Youth Choir column features an interview with Jamie Hillman, Canadian
singer, composer, conductor and most recent Leslie Bell Prize laureate.
1. What are some of your experiences singing in youth choirs in Canada?
I was a member of the Ontario Youth Choir, Amabile Boys Choir, and the National
Youth Choir. In my hometown of Chatham, ON, there were few opportunities for
young people who wanted a serious choral experience, so membership in these
choirs introduced me to quality choral music, outstanding conductors, and like-minded
peers who shared my love of music.
2. How have these experiences contributed to your current musical career path?
It was likely during an Ontario Youth Choir rehearsal that I experienced the “aha
moment” that set me on the path: “I bet I could do that one day!” This moment
caused me to take the risk to step to the other side of the podium, from ensemble
member to conductor. I often program repertoire that I’ve sung in these choirs with
my own ensembles. My philosophy is that one really doesn’t know a piece until
singing it in a choir, and seeing it through from beginning rehearsal to final performance.
3. Do you currently work with young people or youth choirs in your musical
work or have you in the past? Is this an age that you enjoy working with as
a conductor?
I enjoy working with choirs of all ages and kinds. I currently direct a children’s
church choir (grades 2-5), an undergraduate men’s choir (ages 18-21), a prison
choir (late 20s - 60s), and an adult church choir (young professionals to senior
citizens). What I particularly enjoy about working with youth choirs is that the
singers often take ownership of the ensemble. They are proud of their hard work
and are excited to share it with audiences.
4. Who were some of your most memorable youth choir conductors?
Ken Fleet (OYC and Amabile), Mark Sirett (OYC), Carol Beynon (Amabile), Lydia
Adams (NYC), and Brainerd Blyden-Taylor (OYC). Ken Fleet’s rehearsals were
always fun. I learned AND laughed a lot! I still use his term “hot tub ah.” Mark
Sirett is a master of rehearsal techniques. He worked us hard, but in the end we
32
6. What were a few of your favourite songs that you performed in youth choirs?
Britten’s “A Hymn to the Virgin,” Mark Sirett’s “Veni Sancte Spiritus,” and
“Rainbow ‘Round My Shoulder” arr. by Robert DeCormier. The Britten makes me
wish that I were Catholic. I love the composer’s use of two choirs and two languages,
and the reverence that is achieved through simplicity. Mark Sirett’s “Veni Sancte
Spiritus” is a piece that also incorporates both Latin and English texts. Sirett really
knows how to write a melody. Every line in the texture is important and interesting.
“Rainbow ‘Round My Shoulder” is a powerful chain gang song. The storyline/lyrics
and the sounds of voiced exhalation, iron being struck, and chains dropping took
me into another world.
Jamie Hillman
were well prepared and sounded great.
Carol Beynon fostered an environment
in which we grew as both musicians
and people. Lydia Adams, in addition
to having incredible ears, chose such
diverse repertoire. I fell in love with
singing all over again. I remember at
the end of one performance, she looked
directly at me and mouthed the words
“thank you.” She was probably talking
to the entire choir, but I felt that my
contribution was valued. Brainerd
Blyden-Taylor is innately musical. He
brought a sense of freshness to rehearsals
and to the music that we sang.
5. What qualities do you think that
a conductor needs to possess to
work effectively with youth choirs?
A good sense of humor is key. I’ve found
the saying “Laughter Lubricates Learning”
to be very true. Spontaneity is important
as well. When appropriate, being
willing to stray from the rehearsal plan
to tell a joke, share a story about yourself,
ask singers what the text means to
them, or to discuss how the singers
would improve the piece if they were
conducting it are all opportunities to
create “moments.” Singers remember
these moments more than they remember
what was said about measure five.
7. As a composer, do you have any advice for young composers writing for
the Youth Choir genre?
Knowing your instrument, the voice (in particular, the changing/developing voice),
is essential. As a conductor selecting music for my own choirs, I look at the vocal
ranges/tessitura before evaluating compositional elements and text. I ask myself
questions like “Are the vowels ‘friendly’ when the sopranos have to sing above
the staff?“ and “Is the bass part too low for young, male baritones?” Spending
time in the choral rehearsal (as singer, conductor, accompanist, or listener-observer)
is probably the best advice that I can give. Choosing to set texts that resonate
with young people is also important.
8. How can we attract more young people, particularly young men, to our
youth choir programs in Canada?
The world is rapidly changing and young people often have priorities that are different
from those of conductors and other adults. For example, while society is telling youth
that they should be individuals and express themselves, conductors (of which I am
one) are dressing them in black, lining them up in rows, and putting choir folders in
front of their faces. We can attract more young people to our programs by challenging
the traditional choral model. When it comes to recruiting more young men, I believe
the best place to do this is on the soccer field and at the hockey arena (this can be
taken literally or figuratively). Boys are asked to choose between their athletic OR
artistic sides. We can attract more young men by being focused on AND instead
of OR. The Amabile Boys Choir has been particularly successful with this.
9. How important is the social aspect of singing in a youth choir and what
can be done to build this cohesive element?
The social aspect of being in a youth choir is of paramount importance. I believe that
one of the reasons why choirs such as provincial youth choirs and National Youth
Choir are so successful is that the singers form close (sometimes life-long!) friendships
by eating together, bunking together, and touring together – not to mention sharing
incidents like staying with billets and bus breakdowns! While maintaining a certain
level of professionalism, there are many things that the conductor can initiate to
strengthen the cohesive element. Last semester, after a few of the rehearsals with
my undergraduate men’s choir, I joined them in the cafeteria for dinner. This time
did more to build my ensemble than, say, private score study would have done.
10. What one piece of advice might you give to a youth choir conductor?
For your singers, work tirelessly to recreate the experience, environment, and
opportunities that made you fall in love with choral music in the first place.
Thank you, Jamie, for sharing your insights with us!
(S. Morrison, personal communication, January 11, 2013)
FOCUS COLUMNS / RUBRIQUES SPÉCIALES
33
EQUAL VOICE CHOIRS:
THANK YOU, DIANE LOOMER
By Kellie Walsh
R
ecently we lost one of the founders of equal voice choirs in this country.
The following article reflects upon some of the insights I gained from Diane
Loomer, and in turn passes them on in hopes that it will, in some small way,
help keep her musical spirit alive and vibrant in all of us. – Kellie Walsh
Kellie Walsh is Artistic Director of Shallaway:
Newfoundland and Labrador Youth in
Chorus. She is the Founder and Artistic
Director of Lady Cove Women’s Choir
and Co-Founder and Artistic Director of
Newman Sound Men’s Choir. Kellie also
enjoys a busy schedule as a workshop
clinician, adjudicator and teacher.
“Trust your instincts” – the very first thing that Diane said to me when I so
sheepishly called her for the first time in 2003 to ask her advice about starting a
women’s choir in Newfoundland. That was one of so many golden nuggets of
advice that Diane would offer over the ten years that I was lucky enough to get
to know her. When I moved home to NL after being in Toronto for a number of
years it was my dream to start a women’s choir, and the model that I listened
to, read about, and dreamed about was Elektra. One day I decided that I really
had nothing to lose and so I emailed Diane to tell her about this choir that I had
just started, in hopes that I could call and ask her advice about a few things. She
was so incredibly generous, and immediately agreed to talk with me. During
our conversation she said to trust my instincts, and that “if making music and
building the choir is coming from a place of love for the music and love of people”
then I would make good decisions. One of the points that she could not stress
enough in our conversation was to strive for your absolute best at all times – to
always aim for “the highest standard that you can possibly attain”. “You will
know the feeling of settling,” she said, “and don’t become accustomed to that
feeling!” After that first call, I was immediately drawn in by her integrity and
wisdom, and inspired by her generosity and kindness – a powerful lesson in itself.
The next time I contacted Diane was to ask her about the CBC Choral Competition
[now the ACCC National Competition for Canadian Amateur Choirs] and whether
or not it had been a good experience for her choirs. Up to that point I was not
convinced that competition in the music world was good for anything! But, I was
aware that Elektra and Chor Leoni regularly entered the CBC competition and decided
there must be a reason (other than winning prizes and money) why Diane consistently
entered competitions with her choirs. I sent off a quick note asking to talk with her,
and I once again was lucky enough to hear a lifetime’s worth of advice about the
nature of competition and some ideas about how to go about choosing repertoire
for competitions. I clearly remember Diane talking about the importance of striving
for artistic excellence, and the fact that there arefew vehicles as powerful in
attaining musical excellence as competition preparation and live competition
performances. She noted that “of course it is nice to win competitions”, but
“the growth that happens when preparing for a competition was the real prize”.
In terms of repertoire, I remember it like it was yesterday when she said “in
a competition it is most important to perform the repertoire absolutely perfectly,
so choose music that you know the choir can sing to perfection, even if it is not
terribly difficult”. This one conversation has helped guide me during the past ten
years. I regularly enter competitions with the choirs and am very proud that the
34
winning or losing has not become
the target. Instead it is the striving
for excellence that has helped mold
the choirs into the ensembles they
are today.
A few years after Lady Cove began, I,
Dr. Doug Dunsmore, and David Chafe
jointly founded Newman Sound Men’s
Choir. It was at this time that I was
struggling with growth and needing
some sound advice about governance.
I asked Diane if we could chat about how
the boards of directors for Elektra and
Chor Leoni functioned. The musical
growth was not something I was
struggling with, but building the
infrastructure that could support this
growth was something that I knew
needed careful attention. Diane was so
generous in sharing with me the exact
structure of each of her boards, as well
as some of her models for budgets and
funding. There were two pieces of
advice that I took from that conversation
that have served me and the choirs well
over the past ten years. Diane insisted
that as an artistic director you must
inspire your board of directors. In order
for people who are hugely busy in their
own lives to want to spend time working
on behalf of you and your choir, you must
give them a reason to want to work
hard. That will come from your clearly
defined vision and goals. As well, she
encouraged me to include people other
than choir members and family members
on the board. Diane shared that when
building the board of directors for Chor
Leoni, they decided to seek community
representatives who had no previous
involvement with the choir to serve on
committees, and she insisted that this
was a very positive and powerful model.
She told me that this was a good way
to get the choir more connected to the
greater community and a good way to
broaden the circle of support for the choir.
“The most important thing is to have
a really clear sense of where you want
to go and what you want to do – what
sits well with you and what doesn’t sit
well with you and then… people will
be willing to help and things will fall
into place”.
Diane Loomer
Three years ago, Newman Sound
recorded our first CD. We decided on
a CD of all folksongs and one of the
tracks is Diane’s arrangement of “Fogarty
Bay”. She and I were communicating
about the song at one point and she
must have sensed my frustration with
the editing process. Most of us know
all too well what it feels like – on top of
your already insanely busy schedule, you
are trying to carve out hours and hours
to sit and carefully listen to and scrutinize
take upon take of the music you recorded.
It always makes me question all of my
musical judgments and all of my choral
‘chops’, and I truly envy you if you are
a choral conductor who does not feel
like applying for law school during this
process! When emailing Diane, I was
obviously at the stage where I just
wanted the CD to be finished, but the
music was not ready to be sent into
the world. One morning I opened my
email and this message from her came
in…she somehow knew I needed to
hear this, and it has helped me get
through a number of other recordings.
In fact as I write this article I am in the
middle of editing Lady Cove’s second
CD, and I have this quote on my desk
top. I look at it every time I sit down
for another ‘fun’ editing session.
“I wish you good luck on the editing – I
know how hard that can be – and what
kind of discipline and patience it takes.
Just remember as you compile and
produce – once it’s gone out, it’s the
world’s. Be sure you can still live with
it 10 years from now….! “
As I write this article, I am overwhelmed
with gratitude. I feel so lucky to have
such generous role models, mentors
and friends. Diane is one of a number of
incredible people in this country that
have an overwhelmingly huge generosity
of spirit…so big that it can’t help but be
contagious. I believe that one of the core
reasons why choral music is so very
vibrant and healthy in Canada is because
of the empathetic, community minded,
and deeply caring nature of our role models.
I asked Diane for luck one time and
this was her response:
“I’ll go plant a toonie in the garden
- which is what I always do when
I’m hoping good luck might be on its
way”. So to carry on her tradition and
in her memory, please know that there
is a toonie planted in my garden in
Newfoundland…to send you all luck
and wish you the very best in all you do.
35
ADULT COMMUNITY CHOIRS:
WHAT IS A COMMUNITY CHOIR FOR?
By Kiera Galway
W
hat is a community choir for? The answer springs to mind quickly enough
to nearly dismiss the question: we all know that choir is for singing. But we also
know that community choirs are so much more for their participants. Music
making is important, but choir also offers opportunities for friendship, a support
system, entertainment, mental/physical health, and education – the ability to
nurture a whole self is part of what draws people to choral music making. This
column considers the many possible roles community choirs play in the lives of
their participants and more broadly in society.
Kiera Galway is a conductor and
educator currently pursuing a PhD in
music education at the University of
Toronto. Her research interests include
the formation of identity through choral
music and conductor-ensemble interaction
in rehearsal. She looks forward to
finding ways of bridging scholarship
and practice.
This line of questioning was prompted by a workshop I attended this past
weekend (sponsored by Choirs Ontario). One of the highlights was a round-table
discussion on “where choral music is going in the future”. I found it interesting
that the discussion’s refrain was choral music’s role as primarily educative. In fact,
one of the tacit assumptions of the workshop in general was that one of the
main reasons community choirs exist is to teach. Education is a guiding principle
of much community music-making, but rarely is the centrality of its role stated
so explicitly. Singers, if they are not formally trained, often pick up rudiments like
score reading, sight singing, rhythm and basic theory in the process of learning
music (and some might suggest that it is very difficult to learn music without
some baseline knowledge), but to suggest that choirs now take the place of more
formalized systems of music education (replacing K-12 music programs, for example)
has huge implications for practice. If we accept the premise that community
choirs are primarily educative, the whole approach to ‘doing’ choral music might
change. For example, the repertoire chosen could favour selections that help
develop understanding of musical concepts. Rehearsals might focus more on
ear-training and sight-singing rather than learning the piece at any cost (for example,
resorting to rote learning only). The balance between ‘process’ and ‘product’
would shift to emphasize learning, comprehension, and technique over a ‘perfect’
performance. An educative model would privilege the singers over any other
consideration. This idea summons a useful partner to my opening question: Who
is community choral music for? The singers? The audience? To which demographics
might choral music appeal? Does what we do change depending on the answers
to these questions? I think these are questions we all hold at the back of our
minds but seldom articulate – yet they influence every element of practice from
how the choir mandate is constructed, to how the choir is marketed and how a
season’s program is crafted. To play devil’s advocate, is education the primarily
goal of community choral singing? After all, each person in the ensemble has
different reasons for being there – so, what else might a community choir be for?
My academic interest in intersections between spatiality, geography and music
led to an interest in the physical and metaphorical ‘places’ choral participation
occupies in the lives of singers. Some of the singers I work with describe their
36
experience in choir as a personal place separate from work and home life, a place
just for them where they can be refreshed through singing. Ray Oldenburg (The
Great Good Place, 1989) argues that what they are describing is in fact called
“third place” or “third space”. A common term in community planning, “third
place” refers to a space separate from home (first place) and work (second place)
that anchors community life and facilitates creative interaction. Oldenburg identifies
several characteristics of third place:
1. They are neutral - occupants of Third Places have little to no obligation to be there. They are not tied down to the area financially, politically, legally,
or otherwise and are free to come and go as they please.
2. Third Places put no importance on an individual’s economic or social status, allowing for a sense of commonality among its occupants. There are no prerequisites or requirements that would prevent acceptance or participation in the Third Place.
3. Playful and happy conversation (or maybe…singing?) is the main focus of activity in Third Places, although it is not required to be the only activity. The tone of conversation is usually light hearted and humorous; never hostile.
4. Third places must be open and readily accessible to those who occupy them. They must also be accommodating, meaning they provide the wants of their inhabitants, and all occupants feel their needs have been fulfilled.
5. Third Places harbor a number of regulars that help give the space its tone – they
help acclimatize newcomers.
6. Third Places are never snobby or pretentious, and are accepting of all types of individuals, from several different walks of life.
7.Occupants of Third Places will often have the same feelings of warmth, possession, and belonging as they would in their own homes. They feel a piece of themselves is rooted in the space, and feel rejuvenated by spending time there.
Throughout Oldenburg’s list of characteristics, the term “third place” could easily
be replaced by “community choir”. His description also encapsulates exactly
what we strive for in a community choir. Just like Oldenburg’s “third place”, the
ideal of a community choir constitutes a place, consciously chosen, where people
can feel comfortable, happy, accepted, stimulated and refreshed, regardless of
their job, religion or financial status. These “extra-musical” elements are just as,
or arguably, more important than the singing that occurs in the space.
So what is a community choir for? At the risk of sounding trite, I’ll say that the
lovely thing about choral singing is that, when all is in balance, we don’t have to
choose: when carefully presented, the music serves to teach, and, elegantly, all
the benefits of “third place” are achieved through singing together over time.
37
VIEW FROM THE SANCTUARY:
SEASONAL CHOIRS AT
ST. GEORGE’S CATHEDRAL
By Michael Capon
F
or many, joining a church choir might feel like jumping into the deep end of
a pool from a ten metre platform. In a world where personal agendas are full to
overflowing, a church choir represents a huge time commitment.
How can you draw busy people into your church choir?
Michael Capon serves as Director of
Music at St. George’s Anglican Cathedral
in Kingston Ontario, and is active as a
performer, conductor, composer, and
teacher. In addition to his church work,
Michael has directed community choirs
and orchestras, directed music for theatrical
productions, taught music theory and
organ students, and adjudicated at music
festivals and competitions. He has also
written a number of choral anthems.
Visit www.michaelcapon.webs.com.
To create an easier way in, like the shallow end of a pool, St. George’s Cathedral,
Kingston, offers a series of short-term singing opportunities that we call Seasonal
Choirs. The program includes a Christmas Choir, Easter Choir, Concert Choir,
Evensong Choir, and Summer Choir.
This seasonal program supports the life and work of the Cathedral Choir in a
number of ways, especially recruitment. A few seasonal singers will likely enjoy
the experience enough to join the choir on a regular basis. While recruiting is
an important element of the program, realistically, most will never join full time.
Other benefits include:
Creating singing opportunities for those whose obligations prevent them from joining full time
• Offering valuable experience to less confident singers
• Developing a group of extra singers for other special occasions
• Providing an opportunity for the Director to try out new singers
• Giving the group a chance to sing repertoire requiring a larger choir
• Contributing to the reputation of the choir as a welcoming, friendly group
• Raising the profile of the church in the wider community
•
The program also carries with it potential risks that must be dealt with carefully.
There is potential for choir members to resent seasonal singers. “I commit to the
choir all year long, and others come in at special festivals and take all the glory”. It
is therefore important to communicate all the benefits of the program with the choir,
including its value in recruitment. It is in their best interest to be welcoming and friendly.
As well, it is important that seasonal singers be well prepared. They must come
to rehearsals (missing no more than, say, 1 out of 3), and are encouraged to pick
up the music ahead of time so they can prepare beforehand.
There is also potential for other choir directors to resent apparent poaching of their
choir members. To avoid this perception I take care not to invite members of other
church choirs to services that will conflict with their obligations to that group. Most
of the seasonal events take place in the evening and don’t clash with other church
choir commitments.
38
Here are some examples of what the program looks like at St. George’s
Cathedral. Feel free to adapt this model to suit your own needs.
The Cathedral Choir rehearses on Fridays from 5:30pm to 7:30pm. When seasonal
singers participate, they come to a portion of the Cathedral Choir rehearsal, with
the result that the regular choristers do not have any change in their rehearsal
pattern. In our case, the unusual Friday evening rehearsal time makes it easier
for members of other church choirs to participate.
The Christmas Choir, not surprisingly, gets the best response of all. This choir
sings for the Lessons and Carols Service on the Sunday evening before Christmas,
and, optionally, at the Christmas Eve service (since they may sing in their own
choir at that time). Starting three weeks before the service, the Christmas singers
join the Cathedral Choir rehearsal from 6:15pm to 7:30pm. The Easter Choir and
Concert Choirs work similarly to the Christmas Choir, with slightly different timing.
I hope these ideas will encourage
you to think creatively about how you
can make new doorways into your
own church choir. You can find more
information about our Seasonal Choirs
on our website (stgeorgescathedral.
ca). Feel free to contact me if you
have questions, suggestions, or
experiences to share.
The Evensong Choir, on the other hand, simply rehearses on the day of the
service (also known as “warm and serve”!). For a 5pm Choral Evensong, they
rehearse, along with the Cathedral Choir, at 3pm. Because singers have to learn
the music quickly, this is an appropriate group for more competent singers with
relatively good music reading skills. One advantage of the single on-the-day
rehearsal is that singers from out of town, or with commitments conflicting with
the regular rehearsal time, can join in. The Summer Choir works similarly, in that
singers are invited to join a short rehearsal before the Sunday morning service.
Organization and planning are crucial for the program to run smoothly and appeal
to outside singers. In the summertime I plan the schedule for the entire season
and publicize it in a brochure, on the Cathedral website, and by e-mail.
I keep a database of singers. Anyone I meet who might be interested in singing
with us, I add to the database. Fields include:
•
•
•
•
Name, voice, e-mail, phone
Replied (yes or no)
Other Church Choir (yes or no)
History
Two or three weeks prior to the first rehearsal, I prepare an e-mail message
containing the rehearsal and service dates and times, information on how to pick
up the music ahead of time, and an invitation to respond. I copy the e-mail addresses
from my database into the BCC field for privacy, and send. In my experience, e-mail
is more effective than phoning because the recipient has time to think about it,
discuss it with their partner, check their calendar, etc. However, since many suffer
from e-mail fatigue, I am also in the process of developing a Cathedral Seasonal
Choirs Facebook page in order to offer another method of communication.
When I get a response from someone, I flag the “Replied” column so that I know
I have heard back from them. To keep the database up to date, each year I send
a message to the non-responders that they will be removed from the list unless
they reply. I also flag members of other church choirs, if known, so I can make
sure not to invite them to conflicting events (such as Easter Day).
Finally, when someone participates in one of the Seasonal Choirs, I make an entry
in the “History” field (e.g. “ea12” for Easter 2012) so I have a record of when
they sang with us.
39
ACCC STUDENT CHAPTER:
A MESSAGE FROM
IRENE APANOVITCH, CHAIR
I’
m excited to introduce the ACCCStudent Chapter in this issue of Anacrusis.
Through Incanto Blog (www.incantoblog.com), the Student Chapter aims to provide
ACCC student members with a unique opportunity to showcase their work to the
national community. Over the past several months, I have had a chance to work
with four exceptional volunteers from across Canada in forming this project —
Brendan Lord (AB), Andrea Ellis (PE), Kiera Galway (ON), and James Fogarty (NB).
Together, we have been working towards bringing meaningful content to Incanto
Blog and developing opportunities for professional development for our student
members. In January, we were delighted to add a new member to our team — Jennifer
Gillis (PE) — who will be acting as our Podium Representative. As preparations for the
upcoming Podium 2014 Conference continue, the Student Chapter Committee is
working on putting together exciting initiatives for our student members.
If you haven’t yet visited Incanto Blog, don’t miss out! In addition to on-going
updates about workshops, masterclasses and interesting articles, we are featuring
two exciting pages this year: Audio/Video and Composers.
Student Composer Feature
So who is making waves in the Canadian choral composition scene? Check out
Incanto Blog to find out! So far, we’ve featured composers from in and around
Canada, including Cassandra Luftspring (Toronto, ON), Christopher Hossfeld
(Montreal, QC), James Fogarty (Moncton, NB) and Kathleen Allan (St. John’s, NL).
We’re always looking for new composers to add to our roster! If you or your colleague
would like to have their works showcased on Incanto, please contact us via
[email protected].
Audio/Video Feature
This page is geared towards showcasing conducting videos by current students
and recent graduates in choral conducting. Spring recitals are coming up! As many
of us prepare for conducting recitals, consider putting up footage of your concert
on Incanto! Simply e-mail us a link to your video to [email protected].
Whether you are reviewing a research paper, preparing for a conducting recital,
or simply singing in a choir, I hope that professors and students will keep
Incanto Blog in mind as a valuable tool for exhibiting your own or your students’
accomplishments to our national choral community and learning about the
achievements of your peers.
Wishing you an exciting remainder to your school year!
Irene Apanovitch Chair, ACCC Student Chapter
40
CANADIAN CHOIRS
ON CD – NEW RELEASES
CHORALES CANADIENNES
SUR DISQUE – NOUVEAUX
ENREGISTREMENTS
SUR LE MARCHÉ
By/ Par Patricia Abbott
Patricia Abbott a été pendant de longues
années Directrice générale de l’ACCC et
à présent elle est Directrice artistique
de CAMMAC. Très estimée en tant que
chef de chorale, elle dirige la Chorale du
Gesù, la Chorale EMSB, l’Ensemble vocal
Cantivo et les Voix du Carrefour.
Patricia Abbott served for many years as
the Executive Director of ACCC and is
currently the Artistic Director of CAMMAC.
A highly respected choral director, she
conducts Chorale du Gesù, EMSB Chorale,
Ensemble vocal Cantivo and Les Voix du
Carrefour.
Allan Bevan: Parlez-moi
Concerto Della Donna, Iwan Edwards, conductor / directeur
Pamela Reimer, piano
Concerto Della Donna (2011)
www.concertodelladonna.ca
This CD is a very attractive compilation of SSA/SSAA songs by Canadian composer
Allan Bevan, written over the past 25 years and all exquisitely sung by the fine
Montreal group of young women, Concerto Della Donna, and beautifully accompanied
by Pamela Reimer. On it you will find Bevan’s compositions, which took first prizes
in ACCC’s Composition Competition (Ave Maria, Echo, Harp of Wild), as well as
some of his Christmas pieces and folk song arrangements. The title track, Parlez-moi,
is a recent piece and one of his two arrangements of songs written by Franco-Albertan
writer/composer France Levasseur-Ouimet included on the album. The other is
Dormez, from the secular oratorio, Elles s’appelaient Marie. If you do not know
these pieces, know that this is all repertoire worth discovering and programming
with your own equal-voice ensemble!
Ce CD est une très belle compilation de chansons SSA/SSAA écrites au cours
des 25 dernières années par le compositeur canadien Allan Bevan. Elles sont
toutes très finement interprétées par l’excellente chorale montréalaise de jeunes
femmes, Concerto Della Donna, et accompagnées avec finesse par Pamela
Reimer. Vous y trouverez les compositions de Bevan primées dans le Concours
de composition de l’ACCC (Ave Maria, Echo, Harp of Wild), ainsi que des noëls
et des arrangements de folklores. La pièce-titre, Parlez-moi, est toute récente,
et elle est l’une des deux arrangements de pièces écrites par l’auteur-compositeure franco-albertaine, France Levasseur-Ouimet, inclus sur l’album. L’autre est
Dormez, tirée de l’oratorio Elles s’appelaient Marie. Si vous ne connaissez pas
encore ces pièces, sachez qu’il s’agit de répertoire à découvrir et à intégrer à vos
programmes pour voix égales!
41
All the Stars Looked Down
Spiritus Chamber Choir, Timothy Shantz, artistic director / directeur artistique
Spiritus Chamber Choir (2012)
www.spirituschamberchoir.ca
I can happily listen to Christmas music all year round, especially when it is of this
quality. Calgary’s Spiritus Chamber Choir delivers beautiful performances of music
by 20th-century composers and arrangers, including several Canadians (Allan Bevan,
Robin John King, Healey Willan), as well as the world premiere of Jeff Enns’
arrangement of Adeste fideles (also Canadian). I was particularly taken with King’s
There is No Rose and Robin Fullalove’s I Sing of a Maiden (another Canadian).
This may become one of my favourite Christmas CDs.
Je peux facilement écouter de la musique de Noël à l’année longue, surtout quand
il s’agit d’une qualité comme celle-ci. Le choeur de chambre Spiritus de Calgary
nous livre ici de magnifiques performances de musique par des composieurs et
arrangeurs du XXe siècle, dont quelques canadiens (Allan Bevan, Robin John King,
Healey Willan) en plus de la première mondiale de l’arrangement de Adeste fideles
par un autre canadien, Jeff Enns. J’ai été particulièrement frappée par There is No
Rose de King et par I Sing of a Maiden par Robin Fullalove (canadien aussi). Ce
CD a de bonnes chances de devenir un de mes disques de Noël préférés.
¡Baila!
L’Ensemble vocal Sainte-Anne Singers
Margo Keenan, fondatrice et directrice musicale / founder and musical director
EV Sainte-Anne Singers (2012)
www.sainteannesingers.org
The title is Spanish for “Dance!” and invites us to celebrate the 25 years of fine a
cappella singing that this group has brought to the Montreal choral scene. Based
in Ste-Anne-de-Bellevue in Montréal’s West Island, the choir formed as a group
of seven in 1987, singing mostly folk songs and madrigals. With time, the group
expanded and so did its repertoire. The recording features some of the ensemble’s
favourite pieces over the years, recorded live in concert. Selections range from
Renaissance standards and well-loved pieces by Donald Patriquin, Stephen Hatfield
and Eric Whitacre to not-well-known-but-worth-discovering songs such as Le ciel
se marie avec la mer (Jacques Blanchet, arr. Alfred Marin) and Serre-moi fort
(Bande Magnétik, arr. Andrée Breault).
Le titre est le mot espagnol pour «dansez!» et il nous invite à célébrer les 25 ans
de la belle tradition de chant a cappella que ce choeur a apporté à la scène chorale
montréalaise. Basé à Ste-Anne-de-Bellevue dans l’Ouest-de-l’Île de Montréal, ce
choeur a commence avec un groupe de sept personnes en 1987 qui chantait surtout
des folklores et des madrigaux. Avec le temps, le groupe a pris de l’ampleur tout
comme son répertoire. Cet enregistrement contient parmi les pièces préférées du
choeur chantées en concert et donc pris sur le vif. Le répertoire comprend des
pièces bien connues de la Renaissance et de compositeurs tels que Donald
Patriquin, Stephen Hatfield et Eric Whitacre, mais aussi des pièces qui gagnent
à être connues, par exemple Le ciel se marie avec la mer (Jacques Blanchet, arr.
Alfred Marin) et Serre-moi fort (Bande Magnétik, arr. Andrée Breault).
42
Exsultate Deo: Music through the church year for choir and organ
St. Barnabas Anglican Church Choir, Ottawa
Wesley R. Warren, organist and choirmaster / organiste et maître de chapelle
Barbara Hallam-Price, accompanist / accompagnatrice
St. Barnabas Choral Foundation (2012)
www.stbarnabasottawa.com
Favourite hymns combined with great motets and organ classics make for a
satisfying collection of church music for those days when you need to listen to
music that uplifts and comforts. You will find music that takes you through the
church year, as the title suggests, from Advent through to “ordinary time”, as
well as music for morning Mass and Evensong. This recording attests to the fine
music tradition at St. Barnabas. The CD makes me want to attend a service there
the next time I am in Ottawa!
Des cantiques bien-aimés en compagnie de grands motets et de classiques pour
l’orgue font de ce CD une collection satisfaisante de musique d’église pour les
jours où vous avez besoin d’écouter de la musique qui soulève l’âme et qui réconforte.
Les pièces nous font voyager à travers l’année liturgique, de l’Avent jusqu’au Temps
Ordinaire, ainsi que des pièces pour la Messe et les Vêpres. Cet enregistrement
est témoin de la très belle tradition musicale à St. Barnabas et me donne le goût
d’assister à un office dans cette église lors de mon prochain passage à Ottawa!
In the Greystone Tradition Vol. 3: 2007-2011
University of Saskatchewan Greystone Singers,
Dr. Gerald Langner, conductor / directeur
University of Saskatchewan (2011) www.usask.ca/music
Third in a series of compilations of the choir’s recordings and live concerts with
present conductor Gerald Langner, this CD is a testament to the group’s ongoing
commitment to performing a wide variety of repertoire of the highest standard.
Indeed, the “Greystone tradition” is one of excellence and dedication to fine choral
singing firmly established in 1963 when Robert Solem took over the leadership of
the Greystone Singers. This particular recording features an abundance of great
sacred music from throughout the centuries as well as contemporary works,
spirituals, to folk songs from Canada and China, where the choir toured in 2010. It
is a treat to hear these young men and women singing Sweelinck and Stanford
as well as Oscar Peterson and Moses Hogan!
Troisième dans une série de compilations des enregistrements et concerts du
choeur sous la direction de son chef actuel, Gerald Langner, ce CD est témoin de
l’engagement de longue date de ce groupe de chanter une grande variété de
répertoire du plus haut niveau. La «tradition Greystone» vise l’excellence en chant
choral et a été exprimée et adoptée comme devise quand Robert Solem a pris
la direction des Greystone Singers en 1963. Cet album comprend beaucoup de
grands standards de la musique sacrée de différentes époques, mais aussi des
pièces contemporaines, des spirituals et des folklores du Canada de la Chine, où
le choeur a fait une tournée en 2010. Il est très agréable d’entendre ces étudiants
universitaires chanter les classiques de Sweelinck et de Stanford aussi bien que
la musique d’Oscar Peterson et de Moses Hogan!
43
The following individuals, organizations and foundations have supported the Canadian Choral
Foundation and/or the Association of Canadian Choral Communities in 2012-13. Thank you!
Les particuliers, fondations et organismes suivants ont appuyé en 2012-13 la Fondation
canadienne de musique chorale et (ou) l’Association des Communautés Chorales
Canadiennes. Nous les remercions de leur appui!
Anonymous
Patricia Abbott
Lydia Adams
Alberta Choral Federation
Kathleen Allan
Allliance des chorales du Québec
Joan Andrews
Allan Bevan
Carol Beynon
British Columbia Choral Federation
Ian Bullen
Debra Cairns
Canadian Centennial Choir
Canadian Music Industry Education Committee
Cantabile Choirs of Kingston
Cantus Vocum Chamber Choir
Cellar Singers of Orillia
David Christiani
Choirs Ontario
Robert Cooper
The C.L. Copland Family Foundation
Iwan Edwards
Jeffrey Enns
Leonard Enns
Laurier Fagnan
David Ferguson
Carolyn Gray
Albert Greer
Denise Gress
Jackie Hawley
James Hawn
Heart Notes Choir
Terry Hurrell
Halyna Kondracki
Lady Cove Women’s Choir
Scott Leithead
La Fondation Liette-Turner
Diane and Dick Loomer
44
Sir Ernest MacMillan Foundation /
Fondation commémorative The Sir Ernest MacMillan
Manitoba Choral Association
Stephanie Martin
Derek Morphy
MusicPlus
New Brunswick Choral Federation
Carolyn Nielsen
Nova Scotia Choral Federation
Donna Otto
Philharmonic Choir of the Newfoundland Symphony Orchestra
Elaine Quilichini
Quintessential Vocal Ensemble
Leonard Ratzlaff
Wayne Riddell
Ardelle Ries
Saskatchewan Choral Federation
Shallaway (Newfoundland Youth in Chorus)
Timothy Shantz
Shoppers Drug Mart /O’Loingsigh Drugs Limited, St. John’s
Singers Helping Singers (Brandon, MB)
Mark Sirett
Small World MUSICFOLDER.com
Neil Strickland
John Standing
Tafelmusik
University of Ottawa / Université d’Ottawa
University of Toronto
Jon Washburn
Ruth Watson Henderson
Yellowknife Choral Society
William Zwozdesky
Your generous support helps keep Canada singing.
Thank you!
Votre généreux appui aide le Canada à chanter. Merci!
Seize the moment.
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