lunes, 9 de abril de 2018

Workshops at Corearte Barcelona 2018


This year at Corearte Barcelona we will have the pleasure of having the presence of important maestros who will accompany us during the Festival days, working with extremely diverse and interesting repertoire.
The experience of learning new music with new friends from other countries is a unique opportunity that we hope to share with all of you.




COMMON SONG -  Requiem Mass in D minor, K 626, W. A. Mozart

Jordi Casas i Bayer – Catalonia, Spain




The common song is a space where all singers make music together. 

On this occasion, we will sing some pieces from Mozart’s Requiem (Requiem Mass in D minor, K 626). 

Participants will sing along with the Coral Cantiga of Barcelona, Studio Vocale Karlsruhe of Germany, and Orquesta Terrassa48.  

Jordi Casas i Bayer will be in charge of the artistic direction, assuring us an unforgettable closing concert for Corearte Barcelona 2018. 

Maestro Jordi Casas i Bayer is internationally recognized for his career and dedication to the field of choral music in particular, also participating in many opportunities as the director of musical ensembles and orchestras at the international level.  

He has also developed as a choral conducting teaching, teaching courses both in Spain and abroad.

“AMERICAN CHORAL MUSIC”

Dr. Trent Brown – United States

Maestro Brown has an extensive background as a director, researcher, and professor for courses on choral literature.  In this workshop, he will share some works from some of the most resonant composers from the United States, a repertoire full of material to work on, with a lot to learn, and above all, beautiful music to sing.   


Repertoire:
·         Best of All Possible Worlds (Candide) - Leonard Bernstein
·         Seal Lullaby - Eric Whitacre
·         Non nobis Domine - Rosephanye Powell
·         Let Everything that Hath Breath - Jeffery Ames


“MUSIC FROM VIOLETA PARRA AND VÍCTOR JARA”


Víctor Alarcón - Chile


Violeta Parra and Víctor Jara are symbols of Chilean music.  They are well-known singer-songwriters, diffusers of their country’s culture who have made immense contributions to folklore by bringing Chilean popular music to the world. 

They also have served as inspiration to other artists; their works are not only moving for their artistic richness, but also for their impact on the social and revolutionary struggle. 

Repertoire:
·         Arriba quemando el Sol  -  Violeta Parra, arr. Winston Moya
·         La Jardinera - Violeta Parra, arr. William Child
·         Run-Run se fue pal norte - Violeta Parra, arr. William Child
·         Manifiesto - Víctor Jara, arr. William Child
·         Luchín - Víctor Jara, arr. William Child


“MUSIC FOR CHILDREN’S AND YOUTH CHOIRS”


Oriol Castanyer – Catalonia, Spain



Children’s and youth choirs are spaces where not only repertoire and concerts are shared, but also some of the most diverse learning. 

Children’s voices and youth choirs have the ability to sound uniquely, and maestro Castanyer will bring us to this wonderful world with beautiful works from the universal repertoire. 

Repertoire:
The repertoire will be determined by maestro Castanyer in the coming weeks






viernes, 6 de abril de 2018

Talleres en Corearte Barcelona


Este año en Corearte Barcelona tendremos el placer de contar con la presencia de importantes maestros que nos acompañarán en los días de Festival, trabajando repertorio sumamente diverso e interesante.

La experiencia de aprender nuevas músicas con nuevos compañeros cantantes, de otros países, otras edades, de la mano de artistas como los que presentaremos a continuación, es una oportunidad única que esperamos compartir con todos ustedes.



CANTO COMÚN -  Misa de Réquiem en re menor, K 626, W. A. Mozart

Jordi Casas i Bayer – España



El canto común es un espacio donde todos los cantantes hacen música juntos. En esta oportunidad cantaremos algunas piezas del Réquiem de Mozart (Misa de Réquiem en re menor, K 626). Los participantes cantarán junto a la Coral Cantiga de Barcelona, al Studio Vocale Karlsruhe  de Alemania y la Orquesta Terrassa48. La dirección artística estará a cargo del maestro Jordi Casas i Bayer, asegurándonos un inolvidable concierto de clausura Corearte Barcelona 2018.

El maestro Jordi Casas i Bayer es internacionalmente reconocido por su trayectoria y dedicación al ámbito de la música coral en particular, participando también en muchas oportunidades como director de ensambles instrumentales y orquestas a nivel internacional.  
Se ha desenvuelto también como maestro de dirección coral, impartiendo cursos tanto en España como en el extranjero.

 “MÚSICA CORAL AMERICANA”


Dr. Trent Brown – Estados Unidos

El maestro Brown tiene una extensa trayectoria como director, investigador, y profesor  en asignaturas de literatura coral. Compartirá en este taller algunas obras de los compositores más resonantes de Estados Unidos, un repertorio lleno de material para trabajar, mucho para aprender y sobre todo hermosa música para cantar.




Repertorio:

Best of All Possible Worlds (Candide) - Leonard Bernstein
Seal Lullaby - Eric Whitacre
Non nobis Domine - Rosephanye Powell
Let Everything that Hath Breath - Jeffery Ames


“MÚSICAS DE VIOLETA PARRA Y VÍCTOR JARA”

Víctor Alarcón - Chile


Violeta Parra y Víctor Jara son símbolo de la música chilena. Reconocidos cantautores, difusores de la cultura de su país, han hecho inmensos aportes al folclore acercando la música popular chilena al mundo. Sirvieron también de inspiración a otros artistas, su obra no sólo conmueve por su riqueza artística sino también por su impacto en la lucha social y revolucionaria.

Repertorio:

Arriba quemando el Sol  -  Violeta Parra, arr. Winston Moya
La Jardinera - Violeta Parra, arr. William Child
Run-Run se fue pal norte - Violeta Parra, arr. William Child
Manifiesto - Víctor Jara, arr. William Child

“MÚSICA PARA COROS INFANTILES Y JUVENILES”

Oriol Castanyer - España


Los coros infantiles y juveniles son espacios donde se comparten no solo repertorio y conciertos, si no también aprendizajes de lo más diversos.
Las voces blancas y los coros juveniles tienen la capacidad de sonar de manera única, y el maestro Castanyer nos acercará a este maravilloso mundo con hermosas obras del repertorio universal.

Repertorio:

El repertorio será definido por el maestro Castanyer en las próximas semanas


martes, 20 de marzo de 2018

Talleres y Master Class en Corearte Río de la Plata


En cada edición del Festival la organización de agendas suele ser difícil debido a los numerosos compromisos musicales de nuestros directores invitados, aun así en Corearte Río de la Plata contaremos con reconocidos maestros del ámbito coral.
Cantar otros repertorios con nuevos cantantes y poder ensamblar piezas en pocas horas de ensayo en un coro totalmente nuevo es toda una experiencia.
Te invitamos a descubrirla.

TALLERES
 “INDIANAS”
Santiago Ruiz (Córdoba – Argentina)

La música del compositor argentino Carlos Guastavino, y muy especialmente sus INDIANAS,  representa una síntesis compositiva muy especial dentro del panorama musical latinoamericano: es imposible decidir si se trata de música “popular” o música “académica”.
Tanto su estructura, su armonía, su delicadeza rítmica y su compleja escritura pianística como las finas poesías seleccionadas nos demuestran que se trata de un compositor académico y de gran formación.
Sin embargo, la sencillez expresiva, la lírica de sus melodías, las insinuaciones formales y rítmicas impregnan todos los sonidos de un perfume que únicamente se puede respirar en la tierra donde se escribió la música.

Repertorio:  Indianas  - Carlos Guastavino

Gala del día
Quién fuera como el jazmín
Chañarcito, chañarcito
Viento Norte
Al tribunal de tu pecho
Una de dos

“TRES COMPOSITORES URUGUAYOS” 
Esteban Louise  (Montevideo – Uruguay)

En Uruguay, durante los primeros años del siglo XX surge el nacionalismo musical donde es indispensable la obra del compositor  Eduardo Fabini (Lavalleja 1882- Montevideo 1950) quien lleva la música nacional  a los principales teatros del mundo.
En este taller sobre tres compositores uruguayos  también  trabajaremos obras de Luis Cluzeau Mortet (Montevideo 1889-1957) y Héctor Tosar (Montevideo 1923-2002).
Todo un placer adentrarnos en la obra de tres excelentes compositores de música uruguaya del siglo XX.
Repertorio:
El Arroyo  - Eduardo Fabini
China Malvada  -  Luis Cluzeau Mortet
Tú estabas como un cedro  -  Héctor Tosar



“MÚSICA PARA COROS INFANTILES”
Voicu Popescu (Bucarest – Rumanía)

Los coros infantiles son espacios donde los niños comparten no solo repertorio y conciertos, si no también aprendizajes de lo más diversos.
Aprenden a leer nuevos idiomas, a ser sensibles a su entorno, a percibir las sutilezas, a jugar con sonidos, a encontrarse con nuevas culturas.

Acercar estas posibilidades a los niños es invitarlos a descubrir mundos nuevos, y el maestro Popescu será quién los acompañe en este viaje.

Repertorio:
El repertorio será definido por el maestro Popescu en próximas semanas

“SELECCIÓN DE SPIRITUALS” 
 María Guinand (Caracas – Venezuela)

La música de los Spirituals surgida en el período de esclavitud de las personas afroamericanas en los Estados Unidos, son cantos que nacen en una comunidad que necesita expresarse.

Los textos cristianos cantados por trabajadores esclavizados son protesta, son manera de expresar su fe, son formas de compartir la alegría, de compartir la tristeza.

La maestra María Guinand nos acerca un repertorio muy interesante para acercarnos a esta música que en su esencia existe como canto colectivo, como canto coral.
Repertorio:
Shenandoah – arr. James Erb
Didn’t my Lord deliver Daniel? – arr. Moses Hogan
Gede Nibo - popular Haitiana  - arr. Sten Källman
I’m gonna sing ‘til the spirit moves in my heart – Moses Hogan

MASTER CLASSES
En el marco del Festival Corearte,  realizamos por primera vez un concurso que tendrá como jurado a tres destacados directores, que también ofrecerán una master classes para los asistentes al encuentro.
Ellos son:
Cristina García Banegas (Montevideo – Uruguay)
 “Viaje por la música vocal en la América colonial”


La maestra Cristina realizará un viaje desde su propia experiencia de investigación, estudio y viajes presentando los diferentes Virreinatos y sus principales expositores.

Una experiencia inolvidable para todos, con recreación de repertorios, visita a diferentes formas de ver la música vocal en nuestro continente.


Néstor Andrenacci (Buenos Aires – Argentina)
"Consideraciones acerca de posibles repertorios para coro mixto a capella"


El maestro Néstor compartirá su visión sobre como considerar, estudiar y definir un repertorio para coro mixto a capella.
Diferentes compositores, arreglos, estructuras musicales etc. De la elección del repertorio al ensamblaje del concierto.



Josep Prats (Barcelona – España)
“La evolución del Villancico como forma musical”







El maestro Prats tratará la evolución de la forma villancico en la historia de la polifonía española, desde el renacimiento al barroco.
Se compartirán partituras y audios, con una visita guiada para explicar la estructura, el origen literario y la evolución de una de las formas más utilizadas en la música antigua española.
Poesía, instrumentación, ejecución y la importancia de la forma en la educación musical.


 

viernes, 16 de marzo de 2018

Workshops at Corearte Río de la Plata


The organization of schedules is often difficult due to the numerous musical commitments of our invited directors; nevertheless, for Corearte Río de la Plata we will have well-known maestros from the choral field.

Singing other repertoires with new singers and being able to assemble pieces with a few hours of rehearsal in a totally new choir is quite an experience. 
We invite you to discover it for yourself.
More information: www.corearte.es



“INDIANAS”
Santiago Ruiz (Córdoba – Argentina)

The music of Argentinian composer Carlos Guastavino, and especially his INDIANAS, represents a very special compositional synthesis within the Latin American music scene: it is impossible to decide if it is “popular” music or “academic” music. 
Its structure, harmony, rhythmic delicacy, and complex piano technique as well as the fine poems selected demonstrate that he is an academic composer and is well educated. 
However, the expressive simplicity, the lyrics of its melodies, and the formal and rhythmic innuendos permeate all the sounds of a perfume that can only be breathed in the land where the music was written.
Repertoire:  Indianas  - Carlos Guastavino
Gala del día
Quién fuera como el jazmín
Chañarcito, chañarcito
Viento Norte
Al tribunal de tu pecho
Una de dos


THREE URUGUAYAN COMPOSERS” 

Esteban Louise  (Montevideo – Uruguay)

In Uruguay, during the first years of the 20th century, musical nationalism emerged where the work of composer Eduardo Fabini (Lavalleja 1882- Montevideo 1950) is essential, and who brought national music to the top theaters in the world. 
In this workshop about three Uruguayan composers, we will also work on pieces from Luis Cluzeau Mortet (Montevideo 1889-1957) and Héctor Tosar (Montevideo 1923-2002).
It will be a pleasure to get into the work of three excellent composers of 20th century Uruguayan music.
Repertoire:
El Arroyo  - Eduardo Fabini
China Malvada  -  Luis Cluzeau Mortet
Tú estabas como un cedro  -  Héctor Tosar


“MUSIC FOR CHILDREN’S CHOIRS”
Voicu Popescu (Bucharest – Romania)

Children’s choirs are spaces where children share not only repertoire and concerts, but also in learning of all types. 
They learn to read new languages, to be sensitive to their environment, to perceive subtleties, to play with sounds, to meet with new cultures.  Bringing these possibilities to children invites them to discover new worlds, and maestro Popescu will be the one to accompany them on this journey.
Repertoire:
The repertoire will be specified by maestro Popescu in the coming weeks

“SPIRITUALS SELECTION” 
 María Guinand (Caracas – Venezuela)

The music of Spirituals that emerged in the period of slavery of African Americans in the United States is songs that come from a community in need of expressing itself. 
The Christian texts sung by enslaved workers are protest, a way of expressing their faith, ways of sharing joy, of sharing sadness.

Maestra María Guinand brings us a very interesting repertoire to draw us closer to this music which at its essence exists as a collective song, as choral singing.
Repertoire:
I’m gonna sing ‘til the spirit moves in my heart – Moses Hogan
Didn’t my Lord deliver Daniel? – arr. Moses Hogan
Gede Nibo - popular Haitiana  - arr. Sten Källman
Shenandoah – arr. James Erb







sábado, 3 de marzo de 2018

SOME REFLECTIONS ON CHORAL CONTESTS


Río de la Plata Corearte Choral Contest

In September of this year, Coreate will hold the first edition of a choral contest.  This type of event provoked an endless number of questions about its realization, and about the positive and negative aspects of contests for choral activity.
If we compare South America with North America or Europe where the contests are deeply rooted, we see that there is a long way to go and to make singers and directors see that contests have a very positive side for the growth of choirs at the musical and human level. 
We chose the city of Montevideo for the this first edition, where we hope to have an excellent sampling of choral music. 
The maestro Santiago Ruiz de Córdoba – Argentina, brings us his experience in choral competitions in this article which is a very interesting personal vision. 
I invite you to read it.

Carlos Sesca





“SOME REFLECTIONS ON CHORAL CONTESTS”

“Competition shows a smiling mask to preside over – at least in music – the crowning of success.  But behind this mask, dark events can occur that make us doubt the value of its validity and even the value of its mere existence”

César Ferreyra,  from “Cuentos Corales”

Although surely no one would doubt how important it is for an athlete to compete, how stimulating the Olympic Games or Children’s Soccer Tournaments are, it is very possible that facing the question of “Would you participate in a Choral Contest?” many choral directors and singers would end up answering: “NO! There is no way.  It doesn’t make sense.

I would prefer a good festival or a nice choir meeting.
Contest results, positive or not, never manage to make up for the effort and exhaustion.  The judges, as respectable as they may be, never will have the truth about what is “the best.”
Competition, on the other hand, is not something that should go along with choral (including artistic) activity.  No one needs choral contests.”

And personally, I would agree with everything stated.  However, on several occasions I have allowed myself to try these occurrences with choral groups.  And in each case, and far beyond the results obtained, the experiences were always of great personal and collective enrichment for each of us who belonged to the choral project. 

I would like to share some reasons why it was not so crazy to participate in a choral contest:

* Artistic Reasons:

Contests are, in and of themselves, one of the best opportunities for the finest and most detailed technical work possible for a choral group.
They are occasions where we can try to “measure” some technical parameters with the most objective tool and compare our own development, establish new, concrete goals, and above all, organize the work in pursuit of the fulfillment of a common objective.  

The majority of choral contests foresee that at some time we will be able to listen to other choirs that will fill us with music and that will allow us to learn many things.  Above all, bearing in mind that in one way or another we are united by an experience: we have all prepared for the same thing.
Often, we have had to prepare even the same imposed work required by the contest, and this means that almost every time there are situations where some or all of the participating choirs sing together at some corner of the meeting with unity that transcends any competition. 

For the directors, especially, it is an opportunity to listen and learn from other types of work from colleagues, and to get to know and contact choirs and directors, and for listening to a lot of repertoire which is generally excellently prepared and often innovative. 

* Human Reasons:

The involvement of a whole group in pursuit of a very specific common objective that will also be judged by third parties at a very special occasion for the groups to come together… or quite the opposite. 
It all depends on the philosophy of the group and its leader, but it is an excellent opportunity for growth. 

Getting to know people who belong to choirs in other places (eventually other nations, continents, totally different cultures) is always an unforgettable and enriching experience.

Traveling as a group (something that obviously can be done without going to contests, but which almost occurs in these cases) is an incredible transformative experience.  Many choir singers leave their province or see the sea or travel by airplane for the first time due to a project with their choir.
And they do it as a group, with their choir travel companions.  Contests are good opportunity for this.

* Economic Reasons:

In several of the contests that we participated in, if we were selected, the organization took charge of part of our group expenses or offered significant discounts on their fees with an extremely convenient amount. 

The existence of cash prizes which allow for part of the investment in the trip made by the group to be recovered.
Although this implies that there is some minimum and dangerous expectation to gain some recognition, it is still a variable to be considered.

Reading these possible reasons might not manage to tip the balance to encourage you to participate in a contest with the group that we have created, but if at any time you did, there is one thing I am sure of: once you decide to participate in a contest, two epic sagas will begin, one logistical and the other artistic. 

The first one exceeds the objective of this text, but I would love to share some possibilities for facing the second one:

In addition to working with joy and commitment, with desire to excel, with great love for music and for our choral activity; with the choir, we use some funny analogies to prepare ourselves:

- A Choral Contest is similar to a 100-meter race:

The runner can only do the best that he can.
It is very unlikely that he will do a time that he has never done before… and if he does, it will surely be by a millisecond, nothing more. 
When it is time for the race, the biggest job has already been done and there will not be many new developments. 
He is not competing against anyone but himself in order to leave everything on the track and to leave his best mark.  Often, he does not know if he will have slower or faster opponents, and that definitely (except at the highest levels) would not make any difference in how he would run. 

- A Choral Contest is similar to a beauty contest:

In general, all beauty contest participants (as happens with all choirs that are admitted to participate in a contest) have a significant level of beauty.  And it is never unanimous about who should win.  In a similar way, choral contests are filled with subjectivity: even in the analysis of technical parameters such as impasto, intonation, the presence of choir, etc., each judge, and each person in the audience, will fill out “their scoresheet” according to their criteria, their hearing, their taste, and their history. 


- A Choral Contest is similar to a food contest:

These days where competition shows for almost everything are popular, and where also, at the gastronomic level, we can all eat something exotic from another place in the world more or less around the corner (or at home if our grandparents or great-grandparents came from other places and kept their traditions), who could say if Chinese food is more delicious than Arabic or Mexican food?  Could we compare the exquisite dishes from each place, with a proper culinary technique that is totally different in each case, with the best possible ingredients from the region (according to the soil, their raw materials, and possibilities), created with the greatest of loves for the culture of the place, and decide which is best?
Or ask all of the chefs of the world to cook a typical Argentine dish?  Obviously, there are contests that are this complex, and in some way, choral contests are like this.
We must know that whether they “choose our dish” or not, that does not mean much. 
It just expresses the taste and criteria of a group a people among whom, in general, I would not like to be.  To go to a contest, I think that it is essential to be fully prepared not to win any prize or external recognition. 

And finally, if you receive prizes, I recommend that you think of them like candy: they are delicious, sweet, and fun… but no one lives on candy.  The nutritious part of life and art is never there.   

In one of his most valuable “Cuentos Corales,” César Ferreyra says: “What a judge can do is give his opinion on what he likes and what he does not like; give advice on what his own experience has taught him; recommend certain ways of working; suggest resources for improving the expression of choral singing; in short, to accompany the artist on his path, which is much more worthwhile than giving a medal or a diploma, or a small amount of money, which is usually very insufficient.”

For those who ever go to a contest, I would like to share with you a phrase from Gandhi which has accompanied the Cantoría de la Merced (Córdoba – Argentina) since our first adventure:

"SATISFACTION LIES IN THE EFFORT, NOT IN THE ATTAINMENT.  FULL EFFORT IS FULL VICTORY"

…and that is how it has been every time!

Santiago Ruiz

Is a Guitar teacher graduated from the Conservatorio Provincial de Música in Córdoba, has taught at all educational levels and is a full professor of the Choral Singing I, II, and III, and Choral Practice and Directing I at the Facultad de Artes at the National University of Córdoba.
Choral and orchestral director, founder of the Cantoría de la Merced (2004) and in charge of the Orquesta de Cuerdas Municipal of Córdoba since 2014.

Participation in FESTIVAL CANTO JOVEN 2005 (Buenos Aires), receiving the Audience Award with the Coro de Jóvenes del Colegio Santo Tomás

Participation in 5 Choral Contests, 3 in Argentina (2 international) and 2 abroad with the Cantoría de la Merced.

Argentina –Ansilta 2007 Contest     - Second Prize
                                                          - Audience Award
                                                          - New Director Award

Argentina - CIC Trelew 2009           - First Prize for Mixed Choir
                                                          - First Prize for Women’s Choir
                                                          - First Prize for Sacred Music
                                                          - First Prize for Popular Music (shared)
                                                          - Best Choir of the Contest
                                                          - Best Interpretation of an Argentine Work
                                                          - Audience Award

Argentina - Venado Coral 2012        - Second Prize
                                                          - Audience Award

Spain – 35th International Cantonigrós Festival 2017 

                                                          - First Prize for Mixed Choir                                                                                                                                                      - Third Prize for Women’s Choir

Spain – 63rd Habaneras y Polifonía de Torrevieja International Contest 2017                                                            
                                                          - No prize