Mawby, Colin (John Beverley), (born 9 May 1936), conductor and composer; Conductor, National Irish Chamber Choir, 1996–2001

2007 ◽  
Keyword(s):  
Chamber Choir

Intragroup processes and teamwork within a successful chamber choir

2016 ◽  
Vol 19 (4) ◽  
pp. 357-370 ◽  
Author(s):  
Melrona Kirrane ◽  
Cliodhna O'Connor ◽  
Ann-Marie Dunne ◽  
Patricia Moriarty
Keyword(s):  
Chamber Choir ◽  
Intragroup Processes

Lucie Brosseau, Music Librarian, Les Violons du Roy (Chamber Orchestra) and La Chapelle de Québec (Chamber Choir)

2022 ◽  
pp. 231-238
Author(s):  
Patrick Lo ◽  
Robert Sutherland ◽  
Wei-En Hsu ◽  
Russ Girsberger
Keyword(s):  
Chamber Orchestra ◽  
Chamber Choir

James Wood's ‘Stoicheia’ and ‘Oreion’

Tempo ◽  
1990 ◽  
pp. 20-25
Author(s):  
John Warnaby
Keyword(s):  
Summer School ◽  
Contemporary Music ◽  
Ancient Greek ◽  
Choral Conductor ◽  
Chamber Choir ◽  
New London

Although James Wood has been in the forefront of contemporary music as both choral conductor and percussionist, directing the New London Chamber Choir in many new works, and organizing the Darmstadt Summer School Percussion Course for several years, his own compositions have little in common with the mainstream of postwar European music. It might be assumed that his interest in ancient Greek rhythms, together with their Indian and Chinese equivalents, stems from his association with the music of Xenakis; but he has never shown any inclination to use complex mathematical formulae, and has probably been less concerned than almost any other contemporary composer with the organization of pitch.

The Music of Richard Allain

Tempo ◽  
2005 ◽  
Vol 59 (234) ◽  
pp. 72-73
Author(s):  
Jill Barlow
Keyword(s):  
Great Britain ◽  
Choral Works ◽  
Chamber Choir ◽  
Youth Choir

RICHARD ALLAIN : ‘When I'm Gone’ – choral works performed by Laudibus (Chamber Choir) and National Youth Choir of Great Britain, c. Mike Brewer. Delphian DCD34026.

scholarly journals THE STANDARD OF CHORAL SOUND IN THE PERFORMANCE INTERPRETATION OF UKRAINIAN SACRED MUSIC

2020 ◽  
pp. 19-25
Author(s):  
Anastasiia Pater
Keyword(s):  
Aesthetic Experience ◽  
Sacred Music ◽  
Spiritual Experiences ◽  
Musical Work ◽  
Living Matter ◽  
Performance Style ◽  
Performance Skills ◽  
Music Making ◽  
Chamber Choir ◽  
Performance Interpretation

The article highlights the issue of achieving a sound standard in the performance interpretation of sacred music by Ukrainian choral groups, which is relevant in the process of understanding the intonation-figurative sphere of performance. We believe that the standard performance version is the performance embodiment of a musical work that corresponds to the sound ideals characteristic of a certain tradition. The sound standard covers a complex of aesthetic and performing means that form a system of physiologically-technological technical-virtuosic, artistic-aesthetic components of the reference sound. Based on the analysis of the choral concert of Maxim Berezovsky "Don't reject me in my old age" in the performance versions of the Lviv state academic men's choral Capella "Dudarik" (conductor – Nikolay Katsal) and the Kiev chamber choir named after B. Lyatoshinsky (conductor – Viktor Ikonnik), the measure of compliance of their performance with the standard parameters of sound is traced.In the performance skills of both groups, the ability to reinterpret a musical work in accordance with its verbal basis can be traced. Depending on the figurative content, a rational reserved approach is used, devoid of emotional sound expression, or, in another situation, the secrets of spiritual experiences are soulfully transmitted. This mobility in the sense of the laws of eternal beauty and the ability to embody them in choral sonority, the combination of properties of the conscious and unconscious, determine the features of performing thinking inherent in the Ukrainian national choral art. The performance of the choral Capella "dudarik" truthfully conveys the performance style of the XVIII century, in which M. Berezovsky created. The combination of high light trebles, timbre- free soft Altos, ringing tenor groups and deep basses creates an impression of directness and sincerity in the transmission of spiritual content. But the choral intonation of the Kiev chamber choir appeals to the Western European style of music making, which is characterized by the most accurate reproduction of the elements of articulation specified in the composer's text – strokes, accents, caesuras, dynamic palette. At the same time, the balance of the single timbre ensemble of the choir with the deep "heart" sound paint characteristic of the Ukrainian tradition is preserved. The interpretation of musical architectonics by both groups brings its own uniqueness to their performing style and image-sound paint – and this is the ability to perceive and report the living matter of the work, to reincarnate the essential meanings of the national spiritual and aesthetic experience. Each of the considered performance versions corresponds to the essential characteristics of the reference sound.

Spectral Aesthetics and ecological listening in the music of Helena Tulve

2021 ◽  
Author(s):  
Amy Bauer
Keyword(s):  
Small Group ◽  
String Quartet ◽  
Ecological Theory ◽  
Compositional Approach ◽  
Chamber Choir ◽  
Orchestral Work ◽  
Vocal Works

This chapter analyzes Estonian composer Helena Tulve's unique timbral process in four works: Sula (1999); L'Équinoxe de l'âme for soprano, triple harp or kannel, and string quartet (2008); Arboles lloran por luvia for voices and nyckelharpa (2006); and I am a River for chamber choir (2009). L'Équinoxe de l'âme (The Equinox of the Soul) is based on a text by the Persian mystic and philosopher Shahab al-Din Suhrawardi on the mythical Persian firebird Simurgh. Rather than portraying dissolving as in the orchestral work ice—Sula means to thaw or melt—the timbral transformations of Équinoxe evoke sparks bursting into flame, as well as a philosophical rumination on existence. The remaining vocal works similarly treat their texts with a programmatic flair that blurs the line between the materiality of the sound and its contemplative mood. Tulve's compositional approach can be considered post-spectral in its influences and attention to timbral detail. However, she is also motivated by ecological concerns, and counts herself among a small group of contemporary Estonian composers devoted to expressing this philosophy through music. Her influences meld in a music that prioritizes “slowness”: a sustained focus on spectral detail that reflects the composer's deep-rooted ecological concerns. The chapter thus draws on ideas from ecological theory, timbral analysis, and speculative aesthetics to show how Tulve's compositions express form through timbre and its expression in space, and reflect an ecological aesthetic of listening.

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