English - European Choral Association

Transcription

2/2013
Theme: Singing and New Technologies
Board of Directors
Comité Directeur
Präsidium
President/Président/Präsident
Gábor Móczár, Telki (HU)
Vice-President
Vice-président/Vizepräsident
Carlo Pavese, Turin (IT)
Vice-President
Vice-président/Vizepräsident
Jan Schumacher, Altendiez (DE)
Vice-President
Vice-président/Vizepräsidentin
Anneliese Zeh, Wien (AT)
Treasurer/Trésorier
Schatzmeister
Koenraad de Meulder, Antwerpen(BE)
Board members
Assesseurs/Beisitzer
Séverine Delforge, Longueville (BE)
Martí Ferrer, Girona (CAT-ES)
Guido Helbling, Hauptwil (CH)
Reijo Kekkonen, Helsinki (FI)
Victoria Liedbergius, Oslo (NO)
Kaie Tanner, Tallinn (EE)
Daphne Wassink, Den Haag (NL)
Jean-Claude Wilkens, Lyon (FR)
Secretary General
Secrétaire Général
Generalsekretärin
Sonja Greiner, Bonn (DE)
General Secretariat
Secrétariat Général
Generalsekretariat
Haus der Kultur, Weberstr. 59 a
53113 Bonn, Germany
Tel: +49 228 9125 663
Fax: +49 228 9125 658
E-Mail: [email protected]
www.EuropeanChoralAssociation.org
Impressum
European Choralmagazine
Magazine of the European Choral
Association - Europa Cantat
Editorial Board
Gábor Móczár, Séverine Delforge,
Cathy Al-Ghabra, Sonja Greiner,
Guido Helbling, Núria Tura, Daphne
Wassink and Anneliese Zeh
Editor
Núria Tura (CAT-ES)
Guest Editor
ECA-EC Youth Committee
Original design
Layout
Beate Marx (DE)
Núria Tura (CAT-ES)
Coverfoto:
© Katrhyn Sparks
Postal address
European Choralmagazine
Haus der Kultur, Weberstr. 59a
53113 Bonn, Germany
Tel: +49 228 9125 663
Fax: +49 228 9125 658
E-mail: [email protected]
Printed by
dp Druckpartner Moser
Druck + Verlag GmbH, Rheinbach (DE)
Print run
2,200
We should like to express our warm thanks to: Ulrich Acolas,
Cathy Al-Ghabra, Lore Auerbach, Sylvia Bresson, Jenny Burkart,
Yves Dubois, Scott Ferguson, Monika Graulich, Hans Greiner,
Rosmarie Henn, Pascale Isoleri, Nicki Little, Katy Mangin-Griffiths,
Anne-Marie Masy, Geneviève van Noyen, Alex Oertel, Thérèse
Pacqueteau, Dominique Polin, Sabine Ross, Iris Schäfer, Kathryn
Sparks, Willy Visser, Kristina Wolf and Anneliese Zeh for assisting
with the translations.
This publication was sponsored by
the Federal Ministry for Family,
Seniors, Women and Youth, Germany.
The European Choral Association Europa Cantat receives the support of
the city of Bonn and of the European
Union budget line “as network
active at European level in the field of
culture”. The information contained in
this publication does not necessarily
reflect the position or opinion of the
European Commission.
2
European Choral magazine 02/13
Contents / Sommaire / Inhalt
New Technology for Performances
And the Winner is...Delta Q!
Outdoor Choir Amplifying
Apps and Tablets
Flashmobs and Their Development
Choral Music: Streaming,Youtube, Download
Platforms, Digital Rights
How To Get Your Conductor To Use the Internet
Try out the New Facebook app
for the EUROPA CANTAT XIX Pécs 2015 festival!
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Official Invitation ECA-EC Assembly 2013
News
European Choral Association -Europa Cantat News 15
12
La nouvelle technologie en concert
Et le vainqueur est...Delta Q!
Amplification d’un choeur en extérieur
Apps et tablettes
Les « flashmobs (mobilisation éclair)» et leur
développement
Musique chorale :transfert, Youtube,
plateformes de chargement, droits digitaux.
Comment faire en sorte que votre chef de
choeur utilise internet
Essayez la nouvelle application facebook du
Festival EUROPA CANTAT XIX Pécs 2015!
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Assemblée 2013
Invitation officielle Assemblée Générale 2013
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Nouvelles
Nouvelles de la
European Choral Association - Europa Cantat
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Neue Technik für Konzerte
Und der Gewinner ist... Delta Q!
Klangverstärkung bei Aufführungen im Freien
Apps und Tablets
Flashmobs und ihre Entwicklung
Chormusik: Steaming, Youtube, DownloadPlattformen, digitale Rechte
Wie man Dirigenten dazu bewegt, das
Internet zu nutzen
Probiert unsere neue Facebook-App für das
Festival EUROPA CANTAT XIX Pécs 2015 aus!
Versammlung 2013 Offizielle Einladung Generalversammlung 2013
Neuigkeiten
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20
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Editorial
Thema
français
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deutsch
Thème
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11
Assembly 2013
Editorial
1, 2, 4, 5, 6, 8, 9 and 10 - Festival EUROPA CANTATTorino 2012 6- © Kathryn
Sparks and 7- IFCM World Choral Summit in Beijing 2012 © Gábor Móczár
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6
7
8
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Neues von der
European Choral Association - Europa Cantat
Calendar of Events festivals, competitions
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25
26
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27
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information
Theme
4
english
Editorial
31
3
Upwards and Onwards
Traditionally the Youth Committee of ECA-EC is asked to be guest
editor for the summer issue of the European Choral Magazine. In
January 2013 a new committee was appointed for a 3-year term
using a NEW application process. After an application procedure, a
selection committee carefully chose seven members. Each member
has a particular role in the committee. As Chair, I would like to
introduce our new Youth Committee to you:
The theme of the second European Choral Magazine in 2013 is
Singing and New Technologies.
Robert-Jan Huijsman (who works at Google and sings in its choir
called Googapella!) gets us into a new mindset talking about
reaching new audiences. Our own Youth Committee member
Cathy interviewed the winner of last year’s European Choir Video
Award to find out how the winning video was made and what
they’ve been up to since they won our award. Dobos László writes
about a very controversial matter: outdoor choir amplification.
Of course this issue isn’t complete without articles about apps,
flashmobs, about streaming, YouTube, download platforms,
digital rights and of course tablets. To round off this issue, Iva
Radulovic will give you tips on how to get your conductor to use
the Internet.
I hope you’ll enjoy this issue we’ve put together for you and I hope
to see you soon at one of ECA-ECs events!
4
Jesse Boere, NL
Chair
Burak Onur Erdem, TR
Vice-Chair
Cathy Al-Ghabra, UK
External communication
Emi Faragó, HU
Pécs 2015
Jesse Boere
Chair ECA-EC Youth Committee
Iva Radulovic, RS
Project Coordinator
Flannery Ryan, DE
Internal Communication
Eva Svarcova, CZ
Eurochoir 2013
english
New Technology for Performances
Choral singing, as we know it, is hundreds
of years old and has been slow to pick up on
modern technological developments when
it comes to the way it is performed. Where
should technology fit into choral performances
in 2013?
The key to a modern-day
performance has everything to do with the
modern-day audience.
Who was the audience for
your most recent performance? Odds are they will
have mostly been friends,
family and locals. Recent
developments, such as
affordable digital recording
technology and high-speed
Internet, have made it possible to reach a vastly larger
audience. A well-recorded
choral performance on a
website like YouTube might
reach anywhere between
ten and a thousand times
the number of people as
were present to hear it live.
You can even earn money
there! Yet still, in constructing our performance,
almost all of us consider the
technological perspective
an afterthought. This needs
to change!
You don’t need to be Eric
Whitacre’s virtual choir
to be successful online,
but you do need to think
about your entire audience,
especially the digital part of
it, when you plan your concert. Your plan for recording
your performance should
be an integral part of your
concert planning, and for
that you need to be aware
of what technology can and
cannot do for you.
As musicians, we find it very
important that listeners get
the best possible sound
quality. To achieve this,
you should learn about the
nuances of sound recording
technology. Affordable modern microphones can provide a sound quality that
used to be available only
to professional recording
studios. But it is important
that you use them correctly.
You may need to adjust
your performance to make
it work, but remember: this
is for the majority of your
audience!
One of the most important
aspects of a microphone
is its “polar pattern,” which
expresses how sensitive the
microphone is to sounds
coming from the front,
back, and sides. Depending
on where and what you’re
recording, a different polar
pattern is appropriate. For
example, a microphone to
Be reful!
ca
record a group of singers
will need to have a wider
pattern, capturing singers
both on the front and on
the sides, but for a soloist
you will want a very narrow
pattern to exclude background noise (such as an
accompanying choir).
Sound editing software
has become very powerful
and easy to use, and often
comes free with computers
or equipment. It allows
an amateur with only a
laptop to do advanced
sound editing. Was the
choir a little loud relative to
the soloist? Or maybe for
a second the soloist was
slightly out of tune? All of
that can be fixed with the
push of a button. What you
need to know, in terms of
your performance, is that
the sound editor can do the
best work if every sound
(s)he would like to edit is recorded separately. If you’re
all singing at the same time,
you would like every separate “sound” (for example,
the soloist versus the choir)
to be recorded through a
different microphone, with
no “bleeding” of one sound
into the microphone of the
other.
To isolate your “sounds”, pay
attention to the polar patterns of your microphones,
and position your singers
onstage accordingly. Your
soloist should be in a place
Visually, your digital audience will also want to feel
like they are closer than the
live audience. Just putting
a camera in the back of the
room will not make you
popular; also think about
having someone who will
shoot close-ups of soloists
and singers. For your
performance, think like a
movie director, and plan
how you will create appealing visual shots. A modern
digital camera such as the
one you use to snap your
holiday pictures can record
“1040p” high-definition
video; that is better than
cinema-quality was just a
few years ago! Once you
have your recordings, modern video editing software
allows amateurs to produce
professional-grade videos
for almost no cost.
Finally, you need to think
about the online concert
experience. Internet listeners are very selective and
will not want to sit out a
one-hour video to hear one
piece they like. Record each
of your songs separately, so
your listeners can quickly
find the music they like.
Then, on your website
or online channel, link
together similar pieces to
keep drawing your listeners
forward into the next piece,
creating a personalized
concert experience for your
online viewers. This puts
great demands on you and
your choir: every piece
must amaze, or your audience may walk out! Drawing your audience in will
be done by word of mouth.
Create performances that
people will want to tell
their friends about!
For some, becoming a choir
that uses modern technology to reach its audience
may not be a big change.
Others may need to rethink
their entire way of performing. The effort can seem
daunting, but such an effort
pays off! Your new audience
will thank you.
Robert-Jan Huijsman
may be a software engineer by
profession, but he‘s been a passionate singer since well before he
could type.
Legal problems with recording and
filming of concerts
When you are on stage or sitting in the audience you regularly can observe how people take out a
small digital camera or a smartphone to take a shot of this
beautiful moment.
If this is done for pure personal use there is nothing really
to be said against it. But it becomes difficult if entire pieces
are recorded or even filmed. Working as a professional
musician with amateurs, one experiences more and more
often that you are informed the day before the concert or
at the final dress rehearsal, or even just before the concert
that it will be recorded or even filmed.
where the broad polar
choir microphone(s) won’t
pick him/her up, which in
practice often means that
(s)he is positioned towards
the front of the stage with
the choir microphone(s)
behind him/her further
downstage. If you’re using
instrumentalists, they
should probably have their
own microphones and
therefore be positioned
slightly apart from the choir
as well. Do you see how
your performance might be
changing already?
It is comprehensible that you wish to immortalize the
fruits of your long and hard work. But most of the time
the persons in charge simply do not realize that they
need the consent of every single participant, in particular of the professional instrumentists and soloists. And it
is easily forgotten that they can expect an extra fee for it.
Those of you who are planning to record your concert
must not forget to check this with all people involved
before the first rehearsal takes place.
Ulrich Acolas
5
And the
Winner is...
Delta Q!
Who are the members
of Delta Q?
Sebastian Hengst: High
Tenor (age 25), Till Buddecke: Tenor (age 30), Martin
Lorenz: Baritone (age 28)
Leopold Hoepner: Bass
(age 25)
How did Delta Q
start?
Two of our members sang
together in another group
and wanted to create a new
group with a focus of becoming professional. They
found the other two members of Delta Q through
networking in choral and
a capella arrangement
events.
Did you study music and were you all
members of choirs
before you sang together?
Music was important in our
lives, but we didn’t imagine
becoming professional!
Leo and Sebastian went to
specialist music schools but
not as singers, Till is a teacher of sports and music,
and Martin was a dancer
who did a bit of singing. We
all have a love of music but
have come to sing together
through different backgrounds.
Do you consider yourselves to be a full time
professional group?
Not yet, that is our threeyear goal. We only formed
in January 2012, so all of
our success so far has come
very quickly!
Let’s talk about your
video, Rolling in the
Deep. How much
rehearsal time did it
take to make?
Originally made for another
video competition, the
deadline was tight so it
was arranged, rehearsed,
recorded and filmed in a
matter of weeks! Really, the
rehearsal time was about
one week!
Did you arrange the
music yourselves?
Yes, Till often arranges for
choirs and vocal groups; he
arranged the music.
How did you decide
on the style and design of the video?
We knew we wanted to
make a ‘backwards’ track,
but they are difficult to put
together. After three days
of brainstorming and trying
out ideas on our mobile
phones, we decided the video was to be fun, for everyone to enjoy, and began
work. Before we recorded it
I [Martin] tried video taping
myself, turning it around in
order to lip-synch better.
When we recorded the
video we played the music
backwards, lip-synching to
it—it was very difficult!
Where did you film
the video?
In Martin’s room! We moved
all the furniture so there
was a plan white wall, and
put a video camera through
a door in to another room.
Because we have to jump
and throw things, it was
very noisy. New to this
apartment, we had to apologise to the neighbours!
6
In 2012, the Youth Committee of the European Choral Association – Europa Cantat announced the European Choir Video Award; the winners were
announced during Europa Cantat XVIII Turin, in July 2012, the prize was
€1000. 24 choirs and vocal groups entered the competition. Now, in 2013,
the new Youth Committee catches up with the baritone of the winners,
Martin Lorenz from Berlin based vocal group ‘Delta Q’. Blown away by
their clever arrangement and video of Adele’s Rolling in the Deep; we
wanted to know how it all started!
© Schall & Schnabel
Did you hire a professional video editor? It
looks fantastic!
We actually did it all ourselves. Luckily, Leo works
for a sound branding firm
(making jingles); he studied
sound design and has some
great programmes, so he
was in charge of cutting it
all and making it look really
professional. He hardly had
any time to do this!
Will you be making
any other videos like
this?
We haven’t made any yet,
as we have mostly been
focusing on expanding our
repertoire, but we hope to
do another video for one of
our own songs in the next
5 months. It will look very
different to our winning
video, because the music
is a house-style song, with
lots of percussive effects.
How did winning the
European Choir Video
Award help Delta Q?
We were able to buy some
essential new equipment
and it has helped promote
our band, enabling us to do
more performances!
Since you won our
award in July 2012,
what have you been
up to?
We have been writing lots
of new arrangements for
our first album, called Ansichtssachen, which translates in English as ‘points of
view’. This is being recorded
in a home studio under
the direction of a producer
and our new manager.
Alongside countless private
gigs and performances
in and around Berlin, we
were lucky to showcase our
work at the International
Cultural Exchange Freiburg
(Internationale Kulturbörse
Frieburg), and we gained a
2nd place in a vocal competition. Delta Q also had the
opportunity to perform in a
concert alongside JuiceBox
vocal group.
What have you got
coming up?
There are a few competitions in the pipeline, lots of
corporate event performances, festivals, double
concerts and local tours
around Berlin! Alongside
the album and expanding
our repertoire, it is a lot!
Where do you hope
to be in three years
time?
On big stages making
people happy with our
performances, as a full time
professional group!
Do you have any
advice for young new
a capella groups or
choirs?
Be passionate. Do everything from your heart,
enjoy it, just have fun with
it. Never be afraid of trying
new things and working
on it until it finally fits. If
you have a dream, stick to
it and improve on it; look at
it from other perspectives
than your own.
Delta Q is an award winning
a capella ensemble from
Berlin. You can watch their
winning video on YouTube
or www.facebook.com/deltaqonline
Look out for their website,
coming soon at
www.delta-q-band.de
Cathy Al-Ghabra
member of the ECA-EC
Youth Committee
english
Outdoor Choir
Amplifying
Some heretical
thoughts...
Is there a more amazing musical and acoustical
experience than hearing choral music filling
a church sanctuary? Hearing natural musical
sound in an ideal acoustic environment produced by either singers or musical instruments is an
experience that is very hard to enhance artificially, even with the most up-to-date sound system.
Although with current technology it is possible
to produce a more gleaming sound image or manipulate sound with endless possibilities using
special effects, one might still ask the fundamental question, “Why was this necessary at all?”
However with the changing
of concert habits, we might
find ourselves more often
in need of amplification of
choral concerts. I’m talking
about outdoor events in particular, but even organizers in
different environments and
conditions (in halls not built
for the purposes of concerts)
might feel that amplification
could come in handy, due to
the need for higher volume.
The results are usually poor
when concerts in big spaces
are amplified. We can recall
numerous outdoor concerts
where the choral sound was
too dry or “box-like,” where
parts were lopsided with
only a few voices dominating, where the bass didn’t
even remotely remind the
listener of natural sound due
to cuts in the low tones, or
where, as a consequence of
excessive enhancement of
high tones, we heard sharp,
piercing, or hissing sopranos.
For many centuries (millenniums) only naturally
sounding acoustic musical
performances existed. The
technology of amplification
is no older than a hundred
years.
In the beginning, technological imperfections left
their marks on quality. But
today, sound technology
has reached a level where,
with professional knowhow and the right applications, achieving naturalsounding amplification is
no longer a myth.
The fundamental problem is
that most of the time those
standing behind audiomixers have no idea of the
beauty of the natural singing
voice. They don’t know how
it is supposed to sound. We
have to understand that the
amplification of a light music
concert, an orchestral concert, or a choral concert are
completely different, both in
their technical requirements
and their applied methodologies. They are just completely different! It gets even
more complicated when
one considers the technique
required for the amplification of small bands, where an
amplified singing voice is a
natural expectation.
I believe we should aim
to reproduce original
tones — sound images in
an ideal acoustic environment, only a bit louder —
when amplifying a choir,
vocal group, or symphony
orchestra. And, of course,
it is not practical to think of
it as a volume contest. Accepting this as a principle,
let us see which tools and
methods are appropriate
when amplifying choirs
and vocal groups.
Dynamic microphones
usually transmit a narrow
sound spectrum and cannot
be placed far away from the
performers. Condenser types
are able to transmit a much
wider range of sound. However, dynamic microphones
are less sensitive to wind
noise than the condensers.
Wind noise is the outdoor
sound system’s worst
enemy. Even the slightest
breeze blowing across a
microphone’s membrane will
cause a low-tone explosion.
To prevent this from happening, sound technicians
most often first cut off the
bass at the microphone and
then at the mixer as well. So,
without much risk of a bass
explosion they can amplify.
But the sound would be atrocious, since not only would
the lower parts be missing,
but the whole sound image
would be bodiless and injured. If possible, one should
use special windshield caps
(baskets), which can almost
protect up to a 35 km/h
wind speed (which is still a
light wind). In higher winds
there is no chance for quality
outdoor amplification of
a choral ensemble. The
sponge windshields which
come with the microphones
are generally only moderately effective. Really good
quality, effective wind-breaks
(e. g., Rycote Baby ball) are
expensive and difficult to
obtain. The microphones
for the artists (in front of the
choir) should be positioned
proportionally, roughly
equidistant between the
performers. Keep the microphones close to the singers,
since while amplifying, the
microphones could produce
audio feedback from the
loudspeaker. It is worth
using higher stands. When
amplifying a twenty-member chamber choir, use
two to four microphones,
and for a bigger choir use
four to twelve. The stands
should be placed a half
meter in front of the choir’s
first row, two and a half to
three meters high, with the
microphones slightly turned
downward to ensure the
proportional coverage. If
the choir stands in four to
five rows, the microphones
should be placed in at
least two rows (e.g., using
a boom, or placing new
stands around the third row,
or maybe from the side,
booming above the choir).
If we place the microphones proportionately,
approximately equidistant
between singers, then we’ll
have an easy job at the
sound mixer.
Adjust all the volume
regulators to the same
signal strength. Put the
equalizations in the “off
fund” position. If one has the
option, it would be best to
choose directly-transmissioned powerful speakers.
The speakers should be
placed in front of the stage
on both sides, so as not to
meet in radiation direction
with the microphones, or
they will produce feedback. The further away the
speaker is in the opposite
direction from the microphone, the lower the risk of
feedback. It is worthwhile
to carry out a feedback test
before a concert. During the
rehearsal overamplify a bit to
see what the maximum volume setting should be during
the concert. In dry acoustics
(outdoor is almost like this)
we use a digital amplifying
effect for choirs. In trying to
make up for the lack of good
acoustics, use the “hall” effect
setting. About 2-2,5 entire
fall-off, 5-100 ms pre delay
setting should be dosed carefully to dry voices. We have
to know that using excessive
effects increases the danger
of feedback. It is enough
to soften the sound a bit; it
is not necessary to force a
church acoustic.
For smaller vocal groups
we have to amplify a bit
differently. Four- to tenmember vocal groups sing
severely into a microphone.
Here, not just the wind noise,
but the singers’ breath can
also “expose” the microphones. The “singing microphones” (different than
instrument microphones)
already counteract the
impact of the singers’ breath. But we can also apply
a microphone windshield
sponge. So, we do not need
to force low-tone cutting
when equalizing. We can
affect the vocal groups
according to their repertoire.
For traditional choral music
use the “hall” effect, for jazzy
pieces or for pop music transcriptions we can search for
other special effects.
If we’d like to hear the natural
voice, then possibly don’t
use microphones, neither
on audio-mixers the low
tone cutting. If necessary,
below 125 Hz we can take
off a bit from the low tones.
But we have to bear in mind
only to carefully intervene
in the soundimage with the
equalizer.
With procedure described
above, we shall only correct
the speakers’ shortcomings
or the place’s acoustic errors.
When setting the final
sound adjustment, try to
recall the natural choral
sound, with which we are
familiar in good acoustic
environments. Reaching
a good result is not an easy
task.
Dobos László
Erkel-awarded music organiser
7
Apps and Tablets
Today, we have access to an abundance of
publicly available scores through the Internet.
However, using these resources effectively in a
choir’s performance life brings new challenges
with which to deal. Clumsiness of personal
computers, when employed in said environment, is now being replaced with the agility
of tablet computers. And this is creating new
opportunities that were not so easily available
before.
The Choral Public Domain
Library (CPDL) and International Music Score Library
Project/Petrucci Music
Library (IMSLP)’s aspiration
to make all musical scores
and music resources readily
and freely available with
collaboration from libraries
and individuals from all
around the world is creating an enormous archive
for musicians, which can
be accessed easily, any
time, from any place with
the help of the Internet.
The standard document
format, PDF, is capable of
manipulation in various
ways, which becomes more
competent when used with
tablet computers.
The touch interfaces on
tablet computers make the
use of handwriting possible, where only keyboards
and mice were formerly
allowed. Handwriting is a
useful tool, especially in
creating a musical performance or analyzing a piece
of music, because we have
to take notes on an existing
score, which is not such an
easy task using personal
computers. I am going to
droid devices). Using such
an application, handwritten
and typed annotations are
possible. These notes/annotations are automatically
saved onto that PDF file
and can be edited any time
using the same application.
They can also be “flattened”
onto the original file and
sent via e-mail or uploaded onto a cloud storage
service like Dropbox. This
helps transfer your notes to
anywhere you may want to
use them, independent of a
tablet computer.
The second, and more
exciting way of employing
these devices is again
using them for annotation,
but this time with a twist:
annotating simultaneously
and collaboratively. There
are visible for everyone
in that session. This helps
the dissipation of ideas
about the piece, be they
analytical or regarding the
performance of the piece.
The information about a
specific message is also
stored, so that the author of
that message is identified.
Especially for conductors,
these private sessions with
the different voice groups
of the choir really hastens
the process of creating an
accurate performance. And,
vocal examples, techniques
etc., can also be shared by
adding a sound message to
a note or any place on the
score. Since these sessions
are stored in cloud, a member can join in a session
after it’s started, or, if someone misses the session, the
end result of the session
can be, again, “flattened”
and sent via e-mail or
uploaded to Dropbox.
The two features mentioned above demonstrate,
through an extremely
narrow and precise looking
glass, some of the many
possibilities of the tablet
computers’ usefulness in
a choir. There are copious
possibilities to be discovered and used with
these agile and easy-to-use
devices.
M. Selim Yavuz
Computer Engineer
Musicology Student
describe you two different
methods of using tablet
computers in annotating a
musical score.
The first method of using
tablet computers is for
personal use. After you
find the required musical
score through the libraries
I mentioned before, the
scores can be opened in an
application like PDF Expert
(available for iOS and An-
8
are several applications
around for both iOS and
Android that have this functionality. However not all
“whiteboard” applications
let you use the PDF files as
your board. The application
that has all the functionality
required is Bluebeam Revu
(available only for iOS).
Using this application, you
can create sessions, which
other members of your
choir can join. In the sessions, everyone’s messages
english
Flashmobs and Their
Development
Source : http://blog.werbelaeufer.de/allgemein/star-wars-flashmob-mit-dem-wdr-rundfunkorchester-in-koln/
Flashmobs. Everyone knows them, most
people like them and quite a few people
participate in them. But what exactly defines a
flashmob and how did they come to be?
The word “flashmob” actually consists of two words:
“flash” meaning something
fast and “mob” indicating
a crowd of people coming
together in one spot. The
announcement of such an
event usually occurs on the
internet. Someone fixes a
date, time, place and an
action and usually invites
everyone to come without necessarily knowing
the people invited. The
mentioned action could be
anything from everyone
freezing in one position for
a few minutes to a pillow
fight, screaming or doing
their favourite dance moves.
Depending on the elaborateness of the project, people
may meet to discuss the
details first or they just join
right into the action. After
a short period of time the
flashmob is over and everyone leaves acting completely normal as if nothing had
ever happened.
The idea that people come
together to form a spontaneous group with one goal
has been around for a while,
for instance in the book Emil
and the detectives written
by the German author Erich
Kästner, where a lot of
children come together to
follow one thief. But flashmobs didn’t really come up
until 2003 when a group
of more than a hundred
people started to applaud
in a New York hotel lobby
for exactly fifteen seconds,
among other strange things.
Since then it started to go
viral with actions like the
ones already described up
above.
But of course having
these creative but abstract
flashmobs was not the end
of the movement. Soon it
started to develop into an
art form. Dancers, singers
and other musicians started
to see the performance possibilities this new element of
surprise brought along. One
of the first groups to get the
snowball going through millions of views on YouTube
(linked below) was a choir
in Welland, Canada singing
Händel’s Hallelujah chorus
from the Messiah in a mall,
wishing the people there a
Merry Christmas. After that
you could watch choirs and
orchestras all around the
world doing similar shows
in public.
From that point on
flashmobs weren’t just
promoting the act of
doing something fun and
spontaneous but they were
also a way of advertising
music and choirs, a way of
getting people to come
to their concerts. And that
not being the end of it, in
the past years big concerns
have started advertising
themselves through the
open minded, spontaneous
flair of flashmobs. The best
known example is probably
the T-mobile commercial
at Heathrow airport, where
singers welcome back
people coming through the
gates. But lately, professional music institutions
in particular have started
using flashmobs combined
with professional live
recordings to promote their
work. Well known examples
here are for instance the
performance of the end of
Beethoven’s 9th Symphony
Source : http://de.lecturas.org/fotos-graciosas/58133-som-sabadell-flashmob.html
in Sabadell, Catalonia, the
Star Wars theme melody
played by the German WDR
radio orchestra in Cologne, or a Carmina Burana
performance by artists of
the Volksoper in Vienna in
the Viennese train station
just to mention a few of the
thousand examples found
on YouTube.
Flashmobs might have been
around for a while by now
so that people have gotten
used to the idea of spontaneous outbursts in public
and the act itself is not so
new anymore. But in my
opinion the development
they have made from a simple idea to an advertising
strategy reaching millions of
people on YouTube is quite
significant and the professional level they are now
being produced on is an
enrichment to our culture.
It’s going to be interesting
to see where the creative
pathway will lead us next.
In case you’d like to watch
the mentioned videos:
Hallelujah chorus: http://
www.youtube.com/
watch?v=SXh7JR9oKVE
Heathrow airport: http://
www.youtube.com/
watch?v=ZMG2vNVq0ww
Sabadell: http://
www.youtube.com/
watch?v=kbJcQYVtZMo
Star Wars Cologne: http://
www.youtube.com/
watch?v=sTHXIzHPyqE
Carmina Burana Vienna:
https://www.youtube.com/
watch?feature=player_
mbedded&v=PJNp5UKRtbQ
Main source: http://
de.wikipedia.org/wiki/
Flashmob
Flannery Ryan
member of the ECA-EC
Youth Committee
9
Choral Music: Streaming,
Youtube, Download
Platforms, Digital Rights
Choral music is an ever growing plate of vocal
possibilities for music lovers all over the world.
Where ever you are: in England, Syria or even
Canada, the 21st century gives you an opportunity to listen to all kinds of choral music in
your home and in any public place, if you have
(wireless) internet on personal gadgets. Some
people like to have their own collections of
choral music (in digital form), and with our fast
internet connections, it’s possible to stream,
download for free or simply buy any kind of
music. Digital technology is developing our
knowledge, opportunities and access to choral
music.
It’s not unusual for a man
who lives in a modern
society to be able to hear
online music from the
comfort of his home. You
can enjoy the sounds of viennisian prima donnas, the
best performances of, for
example, Carmina Burana,
or just some local choir,
filmed with amateur camera, for family and friends,
all without taking one step
from your room.
© Netherland Studenten Kamerkoor. Photographer Dirk Rietveld
There are three simple
steps for an objective
observer in front of the
computer. You can find information about choral music with the help of internet
browsers (for example
Google or Wikipedia), videos on YouTube and official
websites of choirs (1), and
sheet music of any kind on
sites (2) specially constructed for that purpose.
The second step is to be
able to hear music you are
looking for. YouTube is the
most common website for
this, but not the only one.
Official websites of choirs
give you the opportunity to
listen to certain parts or the
whole choral performances
(only) if you visit their site.
On Wikipedia, you can hear
the most popular works
(such as the choir from the
fourth movement of Ludvig
van Beethoven/ 9th Symphony „The Ode of Joy“) in
MIDI file, which is specially
incorporated in Wikipedia
for online visitors. YouTube
provides a platform for
choral performances of the
compositions you’re look-
ing for, even full concert
performances! More importantly, you can find almost
everything you wish on
YouTube, even if you don’t
know the original name of
the piece you’re looking,
but only partial information. Also, it is usual to find
audio sounds on YouTube,
placed there preferably by
fans of choral music, who
like to share their passion
with the rest of the world.
You can, then, subscribe
to individual channels of
people who put videos on
Youtube, so you can be in
touch with new posts even
if you’re not an Internet
addict.
Finally, the third and last
step in your quest for choral
music is to download or
buy the scores or audio files
in various formats (mp3,
wma, audio etc.), or simply
buy a CD by online shopping. Not everyone one is
keen to display every piece
of music for free on internet. There are protected
rights for performances of
a certain amount of famous
conductors, divas or other
musicians. You cannot hear
their performances world
wide for free, but you can
buy a CD online, and enjoy
endlessly the sounds of
your favourite performer(s).
The prices for online shopping are not too expensive,
but it depends on what
corner of the world are you
living in. On websites such
as Amazon (3), iTunes and
Spotify you can buy a huge
range of music in all genres.
Rare performances and
compositions are also likely
to be found online, and if
you have some competing
spirit, you can try Limundo
(4).
choral muisc or just like to
hear your favorite music,
today there is no reason
why you shouldn’t do that
by purchasing it for a small
price to own, and you can
listen to it: any place, any
time.
Tatjana Popovic
Musicologist
(1) For example, the choir Swingle
Singers has its official site http://
www.swinglesingers.com, ac.
3/24/2013 at 01:12 p.m., where
you can find various informations
about the choir itself, and, also,
the referral informations where to
find videos and other international
assistance related to that choir.
(2) Some sites are: http://www.
free-scores.com/index_uk.php3,
ac. 3/19/2013 at 02:46 p.m., http://
www.8notes.com, ac. 3/22/2013
at 07:12 p.m., www.musicnotes.
com, ac. 3/23/2013 at 06:51 p.m.
etc. Most of these sites ask you to
register, usually for free, and then
you can stream and download
all the sheets you need, if you can
find them on that particular site.
Russian sites are by far the most
popular ones for downloading
sheet music, because they have the
most compositions to present.
(3) http://www.amazon.com, ac.
3/24/2013 at 05:08 p.m. Here you
have to be a registered customer as
a safety measure for buying online.
(4) http://www.limundo.com, ac.
3/24/2013 at 05:18 p.m. On the music section it is available to buy (or
sell!) about 7,000 disks, gramphone
records or tapes at this moment.
In total, choral music is
widespread all over the
internet, and if you have
a passion to research new
10
In today’s world the use of social media and
Internet is obligatory if you want to know
everything that is happening in the world and
if you want to stay on track with modern use.
In the choral world the use of the Internet as a
way of communicating is starting to become
more active than ever.
More choirs post their
videos and info on the web
and in that way others can
easily learn and hear about
them. Today, people are
starting to use the web as a
primary way of communicating with each other and
other modes of communication such as telephones
and mobile phones are
almost forgotten. Young
people are checking
Facebook and Twitter more
than anything else. That is
why if you want to stay on
trend and be current, your
choir needs to use the web
as a way to communicate
with members and with
your audience. This can
be hard if your conductor
doesn’t quite know how
to use the net or even a
computer. In that case, it is
up to you to get them to
use the Internet. Here are
some quick and easy tips
to help your conductor to
use the Internet as a way of
communicating:
and only administrators
can post
First make a Facebook
nel where you will post
recordings of your choir.
profile for your conductor
(if he/she doesn’t own one)
and help him to use it well
Set up a Facebook group
of your choir – it will be a
group where the members
will only be the members
of choir
Make sure that this
Facebook group is locked
Set up a Twitter account
english
How To Get Your Conductor
To Use the Internet
play it from the web to the
whole choir. It will be a lot
easier to practice it when
you’ve heard it.
for your choir
Make sure that you post
all news about concerts,
rehearsals and other
important information for
your choir
Create a YouTube chan-
In the end, if you want
people to know about your
choir it is always the best to
make a web site where you
will be updating regularly.
And if your conductor
doesn’t know how to use all
of this, take some time and
teach him…
Iva Radulovic
These are all tips to make
your choir up to date
with social media and the
Internet. If your conductor
knows how to use all this
stuff ask him to do so, and
to use Facebook, Twitter
and YouTube as a primary
way of communicating with
members. Also, you can ask
your conductor when you
are learning a new piece to
Member of the ECA-EC Youth
Committee
Try out the new Facebook app for
the EUROPA CANTAT XIX
Pécs 2015 Festival!
A new initiative was
launched in March 2013 to
involve singers and music
lovers in the preparations
of the next EUROPA CANTAT XIX Pécs 2015 Festival
through social media: the
app “I’m Hung(a)ry for...” is
available now on Facebook!
The application was developed to share musical ideas
in three categories: Musical
Genres, Choral Pieces and
Vocal Artists. Users can add
online links to the “Wall
of Ideas” which will soon
turn into an international
selection of today‘s favorite
choral music and vocal
performers. The aim of the
application is to inspire
the International Music
Commission responsible
for coordinating the music
programme of the EUROPA
CANTAT Festival, your
favourites might just get
picked!
Check out the app and
share your ideas if you are
Hung(a)ry for Singing!
11
General Assembly 2013 and
VOICE Conference
in Pécs, Hungary, 8 – 10/11/2013
CANTAT festival in 1988 as
well as Pécs Cantat – The
Singing Cultural Capital of
Europe festival in 2010, and
is now preparing to host the
19th edition of the EUROPA
CANTAT festival in summer
2015.
© ECA - EC
Dear members and friends
of the European Choral Association - Europa Cantat,
It is our pleasure to invite
you to this year’s General
Assembly of the European
Choral Association - Europa Cantat on Saturday,
November 9th 2013 in Pécs,
Hungary, hosted by EUROPA
CANTAT 2015 Pécs Nonprofit Ltd., ZSÖK – Zsolnay
Heritage Management
Nonprofit Ltd. and KÓTA –
Association of Hungarian
Choirs and Orchestras. This
year’s General Assembly
will be hosted by the city
which hosted the EUROPA
12
In addition to the formal
General Assembly, we would
like to introduce the first
conference for the multiannual cooperation project
VOICE – Vision on Innovation for Choral Music in
Europe, coordinated by the
European Choral Association – Europa Cantat which is
co-operating with 13 other
partners in 11 European
countries from June 2012 to
May 2015 (also see ECmagazine 1/2013).
The short conference “Inspiring Cooperation through
VOICE” will offer a detailed
insight to this project and
will promote the cooperative elements within such a
major European project. The
presentation will include
examples of past activities,
explanations from partners
on their cooperation strategies and experiences so
far, as well as the proposed
strategy for the vast datacollection project which
will be started in the frame
of VOICE in summer 2013.
Additionally, examples of
good practice in coopera-
tion, both from our member
associations and from
associations outside choral
music will be presented.
We will be inviting some of
our member organisations
to share their successes in
encouraging participation
from their members in
international activities.
The year 2012 saw the 50th
anniversary of the European Federation of Young
Choirs (which was also
known as Europa Cantat
and, since the merger in
2011, known today as European Choral Association
– Europa Cantat). With our
membership to this great
organisation, we are planning to leave enough time
for bilateral and multilateral
talks over a good drink (for
example the Apéritif before
lunch on Saturday), during
which you may start planning new future cooperation projects.
There will also be an exceptional musical programme
with concerts, sample
rehearsals and a reading
session for conductors. For
the detailed programme see
page 13.
Delegates should plan to
arrive in Pécs on Friday,
November 8th in the afternoon, and should plan to
leave on Sunday, November
10th around lunchtime. The
official programme will start
on Friday around 18.00 and
will finish on Sunday around
11.00; participants arriving
earlier or staying longer can
participate in optional tours
to discover the Zsolnay
Cultural Quarter on Friday
afternoon and late Sunday
morning.
Those wishing to attend
the General Assembly and
conference in Pécs should
fill in the application form
on page 14 or the online application form on our website in the members’ only
section and send it back
to us before 30/9/2013.
Please expect to receive a
more detailed programme,
a map which shows the
hotel and further important
information, as well as the
documents for the General
Assembly.
English will be the main
working language of the
General Assembly, but individual or group translation
into French and German will
be provided where needed.
We are looking forward to
welcoming many members
and other guests in Pécs!
Gábor Móczár
President of the European Choral
Association - Europa Cantat
Schedule of the Weekend
8 – 10/11/2013
Saturday, 09/11/2013, 9.00 – 12.00
Friday, 8/11/2013
Arrival (if you fly to Budapest airport you can take a
transfer shuttle bus to Pécs, see details on the “reply
form for application”)
From 15.00: Welcome desk, inscriptions at your hotel
(for those arriving after 18.00, registration desk will
move to the Visitor Centre of Zsolnay Cultural Quarter)
16:00: Optional City Tour”Discover the Zsolnay Cultural
Quarter”
18.00: Short Open Singing and Keynote Speech “Where
will the cultural world be by 2020?” in the Liszt Hall of
the Institute of Music in the Zsolnay Cultural Quarter
19.00: Concert in the Liszt Hall of the Institute of Music
in the Zsolnay Cultural Quarter
20:00: Dinner in the Zsolnay Cultural Quarter accompanied by a wine tasting and a folk music performance,
followed by a folk dancing session.
0. Opening
1. Approval of the agenda
2. Minutes General Assembly 2012
3. Report of the President
4. Activities’ reports 2013
5. Report of the Treasurer: Finances 2012 - 2013,
Preliminary Budget for 2014
6. Discharge of the Board of Directors
7. New Strategy for the coming years
8. Welcome to new members
9. “Friends of Choral Music in Europe”
10. A look into the future: Activities 2014 – 2015,
including ECjunior 2014 and the EUROPA CANTAT
festival 2015 as well as VOICE and other projects
11. Presentation by the Youth Committee
12. Invitation to General Assembly 2014 in Barcelona,
Catalonia, Spain (21 – 23/11/2014)
13. Miscellaneous
Subject to changes
Participation fees
per participant for members
In single rooms:
Country group 1: 250,- €/person
In double rooms:
Country groups
1 from AT, BE, CA, CH, DE, DK, ES, FI, FR, HK, IE, IL, IS,I T, JP, LU, NL, NO,
NZ, SE, SG, UK, US
2 from CN, CY, CZ, EE, GR, MT, PT, PL, SI, SK, TW and some overseas
countries
3 from AL, AM, BA, BG, BY, CS, GE, HR, HU, KZ, LV, LT, MD, MK, RO, RS,
RU, TR, UA
If you are not sure which country group you belong to, write to
[email protected]
Non-members pay a supplement of 10 €/person
The fee includes
- accommodation in a hotel in Pécs from Friday, 08/11
to Sunday, 10/11/2013
- meals from Friday dinner to Sunday breakfast
- concerts on Friday and Saturday evening, all workshops and
presentations
You will be asked to pay your participation fee in EUR (€) by bank
transfer in advance. Credit cards are accepted with a supplement of
5% banking fees (VISA and Mastercard).
We thank the city of Pécs, EUROPA CANTAT Pécs 2015 Nonprofit Ltd., ZSÖK – Zsolnay Heritage Management Nonprofit
Ltd and KÓTA – Association of Hungarian Choirs and Orchestras for the kind invitation and the cooperation.
There will be the possibility to display information material on associations and projects on tables in the main
hall of the General Assembly on Saturday.
Saturday, 09/11/2013
09.00: General Assembly of the European Choral Association – Europa Cantat in the Kodály Centre (including
Coffee Break at 10.30)
12.00: Apéritif in celebration of the 50th anniversary
of the ECA-EC (Kodály Centre)
13.00: Lunch (Kodály Centre)
Conference “Inspiring Cooperation through VOICE”
(Kodály Centre)
15:00: Conference – part 1:
- Plenary session: Presenting the VOICE project
16:00: Coffee Break
16:30: Conference – part 2 with 3 parallel sessions
- Organisational session: VOICE data-collection
on choral life in Europe
- Inspirational session: Examples of European
cooperation in other fields of music
- Musical session: Conductors’ exchange – with example
of a Pécs choir working with a conductor from abroad
17:15: Conference – part 3 with 3 parallel sessions
- Organisational/inspirational session: exemplary
initiatives on how to engage the membership in
international activities
- Inspirational session: Models of bilateral and trilateral
cooperation among the membership
- Musical session: Reading session with children’s choir
repertoire
18:00 Short Plenary session
19:30: Concert in the Cathedral of Pécs
21:00: Dinner at Pezsgöház Restaurant near the
Cathedral with musical surprise
english
Agenda of the
General Assembly 2013
EUROPA CANTAT XIX
Pécs 2015
24 July - 2 August
Sunday, 10/11/2013
09:30: Conference – part 4 with parallel sessions
- Organisational sessions: Meetings of informal
working groups on subjects such as “National youth
choirs”, “Singing and music education” and
“Hearts-in-Harmony” inclusive events
- Musical session: Vocal wake up technique /
Warm-up techniques
11:00: Optional guided tour in the Zsolnay Cultural
Quarter
The exact programme of the workshops with the names
of the speakers will be published on the website
www.EuropeanChoralAssociation.org or www.eca-ec.org
13
Reply form for application / formulaire de réponse pour l’inscription / Antwortformular für die Anmeldung
For online registration see / pour s’inscrire en ligne voir / um sich online anzumelden siehe:
www.eca-ec.org -> Members –> Login for members / General Assembly –Online registration form
Deadline for application / date limite d’inscription / Anmeldefrist: 30.09.2013!
After this deadline the rooms in the hotel reserved for us cannot be assured anymore! / Après cette date limite nous ne pouvons plus garantir une chambre dans l’hôtel
réservé./Nach dieser Frist können wir können keine Zimmer mehr im reservierten Hotel garantieren!
[ ] female / féminin / weiblich
[ ] direct member / membre direct / direktes Mitglied [ ] indirect member / membre indirect / indirektes Mitglied
[ ] male / masculin / männlich
Address (home / privée / privat)__________________________________________________________________________________
_____________________________________________
[ ] non-member / non-membre / Nicht-Mitglied
First name / prénom / Vorname: ______________________ Last name / nom / Nachname: __________________________________
Country / pays / Land: __________________________________________
Participant / Teilnehmer:
General Assembly of the European Choral Association - Europa Cantat
and Conference, Pécs, Hungary, 8 - 10/11/2013
Take-out, photocopy, send it to us!
Organisation: _________________________________________________________________________________________________
Address (work / travail / Arbeit): __________________________________________________________________________________
______________________________________________ Country / pays / Land: __________________________________________
Tel: ________________________ Fax: ____________________________ e-mail: ___________________________________________
[ ] Je ne comprends pas l’anglais et j’ai besoin de traductions en français / [ ] Ich verstehe kein Englisch und brauche Übersetzung ins Deutsche
ARRIVAL - DEPARTURE / ARRIVÉE - DÉPART / ANREISE - ABREISE
[ ] arrival to / arrivée à / Anreise in Budapest
• If you will arrive in (leave from) Budapest, please book a transfer shuttle yourself through the following company :
• Si vous arrivez à (partez de) Budapest, merci de réserver vous-même un transfert minibus par la compagnie :
• Falls Sie in Budapest ankommen /von Budapest abreisen, buchen Sie bitte selbst Ihren Bus-Transfer über die Firma:
www.travel4you.hu
Please mention in the comments field „EUROPA CANTAT“ so they recognize you are travelling to our event!/Merci de mentionner dans le
champ pour commentaires “EUROPA CANTAT”/Bitte erwähnen Sie im Bemerkungsfeld « EUROPA CANTAT »
[ ] arrival to / arrivée à / Anreise in Pécs
• If you arrive directly to Pécs / Si vous arrivez directement à Pécs / falls Sie direkt nach Pécs reisen:
_____.11.2013 at / à / um______________ h
ROOMS / CHAMBRES / ZIMMER
Please reserve the following arrangement for me / Veuillez me réserver / Bitte reservieren Sie folgendes Zimmer für mich:
[ ]
one single room / une chambre individuelle / ein Einzelzimmer
[ ]
one place in a double room / une place en chambre double / ein Platz im Doppelzimmer
I would like to share a room with / Je voudrais partager une chambre avec / Ich möchte das Zimmer teilen mit:
____________________________________________________________________________
[ ]
I don’t need accommodation / Je n’ai pas besoin de logement / Ich benötige keine Unterkunft
Signature / Unterschrift: ________________
Date / Datum: ____________
Please return this form (1 per person!) as soon as possible by mail, fax or e-mail to the following address:
Renvoyez ce formulaire (1 par personne!) le plus tôt possible par courrier, fax ou e-mail à l‘adresse suivante s.v.p.:
Bitte schicken Sie dieses Formular (1 pro Person!) so bald wie möglich per Post, Fax oder E-Mail an folgende Adresse:
[ ] by train / en train / mit dem Zug at / à / um _____ h/min
[ ] by car / en voiture / per PKW around / vers / gegen ______ h
[ ] by bus / en bus / mit dem Bus at / à / um _____ h/min
Date of departure / départ / Abreise:
_____.11.2013 at / à / um _____________ h
Date of arrival / arrivée / Ankunft:
Tel: ________________________ Fax: ________________________ e-mail: _______________________________________________
14
Weberstr. 59a, c/o Haus der Kultur, 53113 Bonn, Germany
Tel: +49 228 9125663, Fax: +49 228 9125658, E-mail: [email protected]
European Choral Association - Europa Cantat General Secretariat
ECA-EC General
Assembly 2014 in
Barcelona
The General Assembly in 2014 will take place
in Barcelona, Catalonia, Spain from November
21st to 23rd 2014, hosted by the Moviment
Coral Català and in the frame of the project
VOICE – Vision on Innovation for Choral Music
in Europe. Save the dates in your calendar
now!
For the General Assembly in 2013 in Pécs,
November 8th to 10th, you will find the official invitation and details in this magazine on
page 12.
Rich 2014:
Programme of
Events
Our brochure with the 2014 events will be
published in July 2013 and distributed during
our summer events as well as mailed to our
members in July/August 2013. We are looking
forward to a rich programme including EUROPA CANTAT junior 7 in Bergen (NO), several
International Singing Weeks, master classes
and seminars for conductors and composers,
the next edition of the European Award for
Choral Composers, training programmes for
managers, the Eurochoir and the World Youth
Choir and a number of conferences across
Europe.
Results of
Conductors’
Competition
Donka Miteva (BG) winner of
Competition for Young Choral
Conductors in St. Petersburg
At the 7th International Competition for
Young Choral Conductors in St Petersburg,
Russia, April 3rd-7th, 33-year old conducEuropean Choral magazine 02/13
english
news
tor Donka Miteva from Bulgaria won first
prize overall alongside several special prizes.
Second prize was won by Eun Hye Cho from
South Korea and the third prize went to Anton
Maximov from Russia.
The special prize of the European Choral
Association – Europa Cantat which consists of
an (assistant) conductorship at the EUROPA
CANTAT festival in Pécs, Hungary in 2015, was
given to Yuval Weinberg from Israel and the
scholarship for promising young conductor, offered by the Noël Minet Fund of the
European Choral Association – Europa Cantat,
went to Zoltán Dévity from Hungary.
Further special prizes went to Alexander
Humala from Belarus (finalist), Anastasia
Belyaeva from Russia and Krastin Nastev from
Bulgaria as well as Eun Hye Cho and Anton
Maximov. 2 participants of the competition
(Yuval Weinberg and Alexander Humala)
received a scholarship of the Noël Minet Fund
for their participation in this event. More
details can be found in the full Press Release
on our website www.eca-ec.org in the news
section or under -> Events -> Events Archive
-> Competition for Conductors.
The 2013 edition of the International Competition for Young Choral Conductors, combined
with the first International Forum of Choral
Conductors in Russia, was organised by the
Centre of International Cooperation “Inter Aspect” in collaboration with the St. Petersburg
State University of Culture and Arts and the
Central-Eastern European Centre of ECA-EC.
Choral organisations in Europe are encouraged to invite the emerging conducting winners from this year’s competition as workshop
leaders for future events.
The Mock Turtle’s
Song by Chris
Artley wins
Composition
Competition
The European Choral Association – Europa
Cantat published a competition call for a small
choral compositions in connection with the
festival Youth Choirs in Movement in Bonn in
July 2013. The competition called for proposals of choral songs using the theme “Singing
and Movement” for children and young
people, fitting the theme of this festival.
14 compositions from 9 countries were
submitted and in May 2013 “The Mock Turtle’s
Song” by Chris Artley (UK/NZ) was chosen
by the panel. Find further information about
Chris Artley in the full Press release on www.
eca-ec.org ->News.
“The Mock Turtle’s Song”, a composition
based on a text from “Alice in Wonderland” by
Lewis Caroll, will be performed in the frame
of the festival “Youth Choirs in Movement 3“
between July 10th and 14th 2012 by choirs
participating in the festival and published by
Helbling Verlag.
“Youth Choirs in Movement” is part of “VOICE
- Vision On Innovation for Choral music in
Europe” - www.thevoiceproject.eu.
News from our
Youth
Committee:
Cathy Al-Ghabra elected to
EMC Youth Committee
Three members of the Youth Committee
attended the Youth Day as part of the 3rd
European Forum on Music (EFM) in Glasgow.
Jesse Boere (Chair), Cathy Al-Ghabra (External
Communications) and Flannery Ryan (Internal
Communications) participated in workshops
and discussions on the theme Bridging the
Gap from Education and Training to Employment. This Youth Day is an integral part of the
EU Youth in Action project Make Music! Be
Heard! in which the ECA-EC is a partner and
which runs till the end of 2013. On the second
day of the EFM, Jesse, Cathy and Flannery presented (as ECA-EC Youth Committee) in the
frame of a session called “Youth as Resource”,
discussing youth involvement in the ECA-EC
and specifically the impact of the Young Event
Management Program (YEMP). At the General
Assembly of the European Music Council,
Cathy was elected to the EMC Youth Committee. We congratulate Cathy and are pleased
that we can maintain a good liaison between
our two youth committees through her role.
Composition Competition in the frame of
Youth Choirs in Movement - The Mock Turtle’s
Song by Chris Artley WINS
15
News from our
members (BE)
News from the
VOICE project
New President for choral
association in Wallonie
Noël Minet, President of the Fédération Chorale
Wallonie-Bruxelles - A Coeur Joie Belgique for
22 years, has announced that he is stepping
down from this position to become Honorary
President of the association. Noël, who was
also Board member and President of Europa
Cantat, President of A Cœur Joie International
and Board member of IFCM for many years, has
been a key figure for choral life in Europe and
has contributed greatly to the development
of European choral singing and beyond. We
are still regularly in touch with him as former
President and as main donor of the Noël Minet
Fund and we last invited him to speak on the
occasion of the 50th anniversary of the European Federation of Young Choirs in Bonn in
February 2013. Thank you very much, Noël!
We would like to congratulate Séverine Delforge, current Board member of ECA-EC and
former Vice-President of the Wallonian choral
association, in her role as the new President.
Choral composer
Vic Nees dies
Vic Nees, choral composer, conductor, musicologist, columnist and defender of Flemish
music, died on 14 March 2013. His death is a
grave loss for the choral world. Every Flemish
choir has undoubtedly sung music by Vic Nees,
his compositions are very popular abroad and
choirs throughout the world have performed
his music in concert.
Vic Nees (1936-2013), born in Malines (Mechelen), Belgium 1936,was the son of composer
and carillon player Staf Nees (1901-1965). He
studied composition under Flor Peeters at
the Royal Flemish Conservatorium of Music in
Antwerp (Koninklijk Vlaams Conservatorium,
Antwerpen) and choral conducting in Hamburg under Kurt Thomas. He was a producer of
choral music at the Flemish Radio in Brussels
from 1961 - 1970 and conductor of the Radio
Choir 1970 - 1996. Vic played an important role
in the choral life of his country and was an adjudicator in many international competitions. Experienced as a conductor of non-professional
choirs and involved in amateur choral activities,
he knew exactly how to adapt new techniques
to the potential of amateur singers. As a composer, Vic devoted himself mainly to choral music in which text and music blend together in
a natural way. In the Low Countries, his choral
works are ranked amongst the most remarkable of the last century, being heard all over
Europe and beyond; his Magnificat in particular
is sung worldwide. De zee is een orkest (2000),
Trumpet Te Deum (2003), Requiem (2007) and
Passio super Galli cantu (2010) are the most
important works of that period. In 2011, Davidfonds and Koor&Stem published a monography and catalogue about Vic Nees, entitled ‘O
song.’ On the occasion of his death, organisation for vocal music Koor&Stem have written a
eulogy entitled Et lux, et lux, et lux perpetua.
16
• How can I help?
Contact us if you have any statistical data on
your regional or national choral situation.
Spread the news about this survey, fill it in
yourself if you belong to an ensemble. We
can provide info material upon request (if you
can insert flyers in a festival bag, or insert an
image in your newsletter, etc.).
• THANK YOU! Any information provided
through this survey will help us continue to
build a sucessful Choral Europe.
www.singingeurope.org
How many singers in Europe?
Help us answer that question!
As part of the VOICE project, we are setting
up a pilot-study to assess the situation of
choral music in Europe. The main objective
is to gather relevant existing statistical data
(regarding for example the number of choirs,
ensembles, the demographics of singers, the
repertoire sung) in the different European
countries. This data will be compiled into a
public report that will help organisations,
individual choirs and policy maker get a better idea of the current situation of our “Singing
Europe”.
We have decided the most accurate way to
gather data is through asking choirs and vocal
ensembles from all over Europe to answer
a short survey. This survey can be answered
by any person participating in an ensemble
(singer, conductor, administrator or board
member). A short description of the ensemble
is required, with information about its musical activities, as well as organisational and
financial data.
We will invite you to promote this survey
amongst all your contacts in the singing community, especially those people and organisations that do not belong to our network(s).
The more answers we get, the richer the
results!
• Where can I find the survey?
On the website: www.singingeurope.org (a
paper version can be provided upon request).
We will try to translate it into as many
European languages as possible (your help is
welcome!)
• When?
It will be online from July 2013 to September
2014
• How long does it take?
Filling the survey will take between 5 and 20
minutes
Be part of the VOICE
summer! Visit our events!
• “Youth Choirs in Movement” in Bonn, Germany – 10 – 14/7/2013
• “Mediterranean Voices Conference” in Girona, Catalonia, Spain – 29/7 - 2/8/2013
• “Master Class for conductors” in Vaison‐la‐
Romaine, France ‐ 23 – 28/7/2013
• “Eurochoir session 2013” in Pécs, Hungary ‐
10‐17/8/2013
• “Urban Youth Choir Festival” in Örebro,
Sweden ‐ 05-08/9/2013
• “Choral Crossroads – Singing Bridges II” in
Limassol, Cyprus – 27‐30/9/2013
• “Master Class for conductors” in Örebro,
Sweden ‐ 25 -31/10/2013
• “Conference with first results of VOICE” at
ECA-EC General Assembly in Pécs, Hungary
8-10/11/2013
More information
www.thevoiceproject.eu
The VOICE project?
The VOICE project is a European Cooperation
project coordinated by the European Choral
Association – Europa Cantat. Fourteen partner
organisations from 11 countries are working together during three years to foster a
new vision on innovation for choral music in
Europe. You will find more detail in the issue
1/2013 of our magazine, and online at www.
thevoiceproject.eu
With the support of the Culture programme of
the European Union, this publication reflects the
views only of the author, and the Commission
cannot be held responsible for any use which
may be made of the information contained
therein
• What will you do with my data?
The collected data will be used anonymousely
to create statistics. We are abiding by the
German Data Protection Law, so your contact
information will not be used or shared unless
agreed.
information
ECA - EC Event
Festival
&
Choir Competition
Composition
Competition
Event for choral
directors/conductors
Event for individual
singers
Event for choral
managers
Conferences
On the following pages you will find choral events and activities all over Europe
and beyond for choirs and singers, conductors, composers, music teachers and
managers. All events are international and usually open to the participation
of people from all over the world. The European Choral Association - Europa
Cantat does not specifically recommend any of these events, it merely wishes
to offer a platform with information about choral music as a service to its
members and users. Only events marked with the logo of ECA-EC are official
events of our association - further details of these events can also be found
at www.EuropeanChoralAssociation.org -> Events 2012 -> organized by us.
In addition each year we recommend some events for choirs and for conductors
which are not organised by us but which fully agree with our general philosophy. The European Choral Association - Europa Cantat has no responsibility
for the content and organisation of these events which can be found on our
website under the same heading, at the end of each year.
Details on all activities listed below can be found at www.EuropeanChoralAssociation.org -> Events -> Calendar of choral events, where it is also possible
for organisers of international activities to submit their event online so that
it will automatically be added to this list in the ECmagazine.
2nd Singing Week
21st Choralies
Vic, Catalonia, Spain • 22.- 29.07.2013
Vaison-la-Romaine, France • 01.-09.08.2013
Contact: 2a Setmana Cantant de Vic
C/. Torras i Bages, 6 – 08500 Vic
[email protected]
www.setmanacantantvic.cat
Email: [email protected]
Hamar, Norway • 22. - 28.07.2013
Contact: Norges Korforbund, Nedre Vollgate 3
0158 Oslo, Norway, Tel.: +4722396850
Email: [email protected] OR [email protected]
http://www.nordklang.no
11th International Festival of
Choral Art The Singing World
&
St. Petesburg, Russia • 02-7.08.2013
Contact: Centre of International Cooperation Inter
Aspect.
www.interfestplus.ru
The 23th Zimriya. World Assembly of
Choirs in Israel
Old Acre, israel • 11. - 16.08.2013
Mediterranean Voices Conference
Barcelona, Spain • 29.07.-02.08.2013
Contact: Moviment Coral Català / Mediterranean Office for
Choral Singing, Plaça Victor Balaguer 5, 6é
08003 Barcelona
http://www.mcc.cat
World Youth Choir
July / August 2013
Contact:: General info: [email protected]
http://www.worldyouthchoir.org
Conducting Seminar
Freiburg-Littenweiler, Germany • 31.0710.08.2013
Contact: Arbeitskreis Musik in der Jugend, Germany
http://www.amj-musik.de
Contact: Zimriya 16 Hanaziv Street, Tel Aviv 67018, Israel |
Tel 972-3-6041808 | Fax 972-3-6041688
Email: [email protected] http://www.zimriya.org.il
Acapella Open Moscow
Moscow, Russia • 08-10.08.2013
Contact: United Music Festivals of Russia
Filiovsky bul, 16-92, 121601 Moscow, Russia
www.music-festivals.ru/en/77/moscowsingingvillage
International Masterclass
for Choir Conductors
Contact: Muzicki centar Kragujevac, Save Kovacevica 5
34000 Kragujevac, Serbia
http://muzickicentar.r
Bohemia Cantat 2013
Liberec, Czech Republic • 22. - 25.08.2013
Contact: Bohemia Cantat Liberec, Haškova 978,
46006 Liberec, Czech Republic
www.bohemiacantat.cz
2nd Mediterranean Choral Festival
Gibraltar• 21. - 25.08.2013
Contact: Festa Musicale, Olomouc, Czech Republic
http://www.festamusicale.com
Cantat Novi Sad
Novi Sad, Serbia • 25.-31.08.2013
Contact: Vojvodina Choral Association Novi Sad – VOCA
Katolicka porta 2/II,. 21000 Novi Sad, Serbia
http://www.cantatnovisad.org
Vaison-la-Romaine, France • 23. - 28 08.2013
5th KoroFest Istanbul
Contact: Á Cœur Joie, France
Istanbul, Turkey • September 2013
http://www.choralies.org
Eurochoir
Pécs, Hungary • 10.-17.08.2013
http://www.eurochoir2013.hu
Kragujevac, Serbia • 18. - 25.08.2013
http://www.korofest.com
Alpe Adria Cantat
information
Nordic Choir- and Culture Festival
http://www.choralies.org
International Festival of Chamber
Choirs and Vocal Ensembles
Lignano Sabbiadoro, Italy • 01.-08.09.2013
Contact: FENIARCO – Federazione Nazionale Italiana delle
Associazioni Regionali Corali, Via Altan 39, 33078 S. Vito al
Tagliamento (PN), Italy. Tel: +39 434 876724
http://www.feniarco.it
31
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32
Örebro, Sweden • 01.-08.09.2013
International Competition and
Festival ‘Meet Mozart’
Contact: [email protected]
Salzburg, Austria • 10.-13.10.2013
http://www.swicco.se
Contact: MC MusiCultur Travel GmbH, Adenauer Allee 78
53113, Bonn, Germany
http://www.musicultur.com
Urban Youth Choir Festival
Örebro, Sweden • 05.-08.09.2013
&
http://www.swicco.se
Studium Chorale Masterclass for
Choral Conductors 2013
Mountain Song Festival 2013
Wolfsberg, Carintha, Austria • 05.-09.09.2013
MC MusiCultur Travel GmbH, Adenauer Allee 78
53113-Bonn, Germany
http://www.musicultur.co9
European Academy for Conductors
10th Int.Canto sul Garda
Fano, Italy • 08.-15.09.2013
Contact: INTERKULTUR, Am Weingarten 3,
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
http://www.interkultur.com
1st International Copernicus
Choir Festival & Competition
International Choir Festival
Cote d’Âzur 2013
53113-Bonn, Germany
Contact: NTERKULTUR, Am Weingarten 3,
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
chor.com Forum for Choral Music
Dortmund, Germany • 12. - 15.09.2013
Contact: Deutscher Chorverband e.V., Eichendorffstraße 18
Berlin, Germany, Tel.: +49 (30) 84 71 08 9.30
Email: projektbuero@deutscher-ch...
http://www.chorfest.de
Choral Crossroads 2013
Singing the Bridge
Limassol, Cyprus • 27.-30.09.2013
Contact: Cultural Movement of Limassol EPILOGI – Jeunesses Musicales Cyprus - Euro-Arab Youth Music Center
P.O. Box: 58243, 3732 Limassol Cyprus
phone: +357-25580650; mob: +357-99589774
Email: [email protected] OR [email protected]
http://www.choralcrossroads.org
&
Bergen, Noway • 3.-6.10.2013
http://www.griegfestival.no
Berlin, Germany • 19.-22.09.2013
53113-Bonn, Germany
http://www.musicultur.co9
ATKV-Animato Choir Competition
&
Pretoria, Germany • 19.-22.09.2013
Contact: ATKV South Africa
http://www.cultourafrica.co.za
3rd Asia Pacific Choir Games
&
North Sulawesi, Indonesia • 08.-18.10.2013
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Florence, Italy • 01.-03.11.2013
Contact: Florence Choir Festival
Email: director@florencechoirfes...
http://www.florencechoirf...
Adult Festival VoxAround
Cascais, Portugal • 07.-10.11.2013
Contact: VoxLaci, Rua Avelino de Almeida 27
2765-123 - Estoril, Portugal
http://www.voxlaci.com
6th International Folklore
Festival Interfolk in Russia
Aspect 2 linia, 17-28, 199004-St.Petersburg, Russia
http://www.interfestplus.ru
19th International Stasys Šimkus
Cantate Barcelone
&
Barcelone and Costa Brava, Spain •
18.-21.10.2013
Choir competition
53113-Bonn, Germany
Contact: Klaipeda Choir Association „AUKURAS“
K. Donelaicio str. 4, LT 92144 Klaipeda Lithuania
http://www.ssimkus,ku.lt
International Choral Week
International Advent Singing Festival
Vienna 2013
Klaipeda, Lithuania • 21.-24.11.2013
Palma de Mallorca, Spain • 20.-27.10.2013
Contact: Mallorca Chorus Project
Parc Bit - Edificio Orizonia - Crta. Valldemossa Km 7,4
07121- Palma ,Spain. +34 673 090 112
http://www.mallorcachorusproject.org
Canta al mar 2013
International Choral Festival
53113-Bonn, Germany
http://www.musicultur.co
Antwerp, Belgium • 29.11.-30.11.2013
Calella, Catalonia, Spain • 23.10.- 27.10.2013
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Sacred Music Festival
Choir Competition Cantate Domino
&
Contact: Kaunas club “Cantate Domino”
Tel: +370-656-84641 ; +370-650-23868
http:// www.kaunascantat.
International Choral
Competition & Festival Malta
Vienna, Austria • 28.11.-16.12. 2013
Hearts in Harmony Flanders
Kaunas, Lithuania • 24.-27.10.2013
“Song & the City”
Contact: European Choral Association - Europa Cantat
http//:www.EuropeanChoralAssociation.org
St. Petesburg, Russia • 08.-12.11.2013
Nice, France • 17.-20.10.2013
Toru, Poland • 11.-15.09.2013
5th Grieg Int. Choir competition
& NINA Solo Competition
&
Riva del Garda, Italy • 10.-14.10.2013
&
Pécs, Hungary • 08.-10 November 2013
6th Florence Choir Festival
Maastricht, Netherlands • 10.-13.10.2013
Contact: Studium Chorale, Kapittellaan 83, 6229 TT
Maastricht, Netherlands
http://www.studiumchorale.nl
Contact: FENIARCO – Federazione Nazionale Italiana delle
Associazioni Regionali Corali, Via Altan 39, 33078 S. Vito al
Tagliamento (PN), Italy. Tel: +39 434 876724
http://www.feniarco.it
General Assembly
European Choral Association - Europa
Cantat
&
Malta, Europe • 31.10.- 04.11.2013
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Praga Cantat: International
Choir Competition and Choir
Festival 2013
Contact: Koor&Stem vzw, Zirkstraat 36, 2000 Antwerpen,
Belgium, Tel: +32 3 237 96 43, +32 3 248 16 05
http://www.koorenstem.be
Sing`n`joy Manila 2013
Manila, Philippines • 11.12.- 15.12.2013
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Kaunas Advent & Christmas
Choral Festival
Contact: Kaunas Cantat
Email: info(at)kaunascantat.lt
http://www.kaunascantat.l...
Kaunas Musica Religioza
&
Tel: +370-656-84641 ; +370-650-23868
http://www.kaunascantat.lt
information
Masterclass for Conductors
Prague, Czech Republic • 31.10.-03.11.2013
53113-Bonn, Germany
33
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EUROPA CANTAT JUNIOR7
Bergen, Norway
July 30. - August 6. 2014
,*3
'*7
'*7,*3
Festival for young choirs (8-18) Fworkshops Fopen singing F concerts Fstudy tour for composers
Information and application at www.ecjunior.com
34
&
Siauliai Cantat Choir Festival and
&
International choral Festival
Tonen2000
Riva del Garda, Italy • 13.- 17.03.2014
Competition
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Netherlands • 26.-28.09.2014
Tel: +370-656-84641, +370-650-23868
9th European Festival of
Youth Choirs Basel
Barcelona, Catalonia, Spain •
21.-23 November 2014
Young Prague 2014
53113-Bonn, Germany
First World Children-Youth Choral
Championship
&
St. Petesburg, Russia • 02.-06.04.2014
Basel, Switzerland • 28.5.- 1.06.2014
Contact: European Festival of Youth Choirs Basel
Switzerland
Tel: +41 61 401 21 00
http:///www.ejcf.ch
43rd “Florilège Vocal de Tours”
Aspect 2 linia, 17-28, 199004-St.Petersburg, Russia
&
Tours, France • 30.05.-01.06.2014
http://www.interfestplus.ru
Contact: Florilège Vocal de Tours, Tel: +33-2-47216526
Fax: +33-2-47216771
Festival di Verona 2014: International
Days of Choir Music and
Sing’n’joy Vienna 2014 · 2nd Choirfestival & 29th International Franz
Choir Competition
Schubert Choir Competition
&
Verona, Italy • 02.-06.04.2014
53113-Bonn, Germany
&
Venezia in Musica
Venice, Italy • 30.04.- 04.05.2014
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
International Spring Festival
Antwerp 2014
&
http://www.tonen2000.nl
General Assembly
European Choral Association - Europa
Cantat
Contact: European Choral Association - Europa Cantat
http//:www.EuropeanChoralAssociation.org
International Robert Schumann
Choir Competition
Vienna, Austria • 15.- 19.10.2014
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Cote d’Âzur 2014
Vienna, Austria • 05.- 09.06.2014
Nice, France • 16.-19.10.2014
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
53113-Bonn, Germany
17th Alta Pusteria International
Choir Festival
Canta al mar 2014
International Choral Festival
Alto Adige, Südtirol, Italy • 18.- 22.06.2014
Contact: Alta Pusteria festival office, Via E. Albertario 62,
000167 Rome, Tel. +39 06 33652422
http://www.festivalpusteria.org
Calella, Catalonia, Spain • 22.10.- 26.10.2013
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
Sacred Music Festival Choir
Antwerp, Belgium • 01.-05.05.2014
Tuscany Music Festival 2014
53113-Bonn, Germany
Montecatini, Italy • 19.-22.06.2014
Competition Cantate Domino
53113-Bonn, Germany
International Competition for
Chamber Choirs Mosbach 2014
&
Mosbach/Baden, Germany • 02.- 05.05.2014
Contact: International Competition for Chamber Choirs
Mosbach/Baden (Germany). Tel/ /+49 62 61 82 25
Postfach 1162, 74821-Mosbach Germany
http:///www.choral-competition-mosbach.d
&
Kaunas Cantat
Tel: +370-656-84641, +370-650-23868
16. International Cantus Music and Culture Festival & Choir Competition ‘Meet
&
Mozart’
Salzburg Austria • 26.-29.06.2014
53113-Bonn, Germany
Pécs 2015
Pécs, Hungary • 24 July. - 2 August 2015
Budapest, Hungary • 15.- 18.05.2014
&
10th Festival Ave Verum
53113-Bonn, Germany
Information and application at http://www.ecjunior.com
http://www.ifcm.net
35415 Pohlheim, Tel: +49 (0)6403 - 9565-25
EUROPA CANTAT XIX
Sing alone concert in Budapest
Praga Cantat 2014:
Bergen, Norway • 30.07.-06.08.2014
Seoul, Korea • 07. - 14 August 2014
Mountain Song Festival 2014
Wolfsberg, Carintha, Austria • 04.-07.09.2013
&
Tel: +370-656-84641, +370-650-23868
Europa Cantat junior 7
10th World Symposium on Choral
Music
&
Contact: info@europeanchoral association.org
http://www.eca-ec.org
There are more events listed on our website.
Further description for most of the event will be
found with the following link:
http://www.europeanchoralassociation.org/
events/calendar-of-choral-events/searchthe-calendar/
MC MusiCultur Travel GmbH, Adenauer Allee 78
53113-Bonn, Germany
information
Concorso Corale Internazionale
Baden, Austria • 22.-25.05.2014
Contact: Tel. +43 6505312280
http://aveverum.at
35
© Gábor Móczár. IFCM World Choral Summit in Beijing 2012
© Wang Ji Yan Phoenix TV
© Gábor Móczár. IFCM World Choral Summit in Beijing 2012
© ECA-EC
© Anna van Kooij. EC Utrecht 2009
© SCIC
© Jeljer te Wies. EC Utrecht 2009
Theme of the Coming Issue
Singing Men and Boys
Guest Editor: Rainer Held
General Secretariat
Weberstr. 59a
53113 Bonn/Germany
Phone +49(228)9125663
Fax +49(228)9125658
[email protected]
[email protected]
Web www.EuropeanChoralAssociation.org
www.eca-ec.org
Mail
ISSN 1022 - 0755
ww.eca-ec.org/voice
[email protected]

English - European Choral Association

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P1498 DUERMETE MI CORAZON.indd

January 2016 Chimes - St. James by-the-Sea

SECOND COMPETITION CONCERT ВТОР НАТПРЕВАРУВАЧКИ

The American Boychoir

Page 19 - Local choir performs at Carnegie Hall

Inside CRC

Ye Weekly Blurb, October 4, 2015

International Masterclass for Choral Conductors

Concert - Castle Knight Sensations