Theodora Pavlovitch, conductor and professor

Psychological processes represent a basic category of phenomena, or in other words, a sequence of changes of the mental activity upon certain interactions between a human and the world. They are dynamic forms of reflecting reality, which according to their nature are differentiated as:

1. Cognitive psychological processes – sensations, perceptions, thinking, memory, imagination;
2. Emotional processes – sensations, active and passive experiences;
3. Processes of will – will, resolution, effort, performance[1].

Studying the specificity of cognitive processes in the course of performing an activity so complex and diverse as conducting will help us reveal an important part of the relevant psychological characteristics.

 

1. SENSATIONS, PERCEPTIONS AND CONCEPTS

А.) Sensations

Sensations are the most elementary cognitive processes. They reflect the individual properties of the objects and the phenomena from the internal and external world upon their immediate impact on analytical data. Their function is to secure more complex cognitive processes. According to the nature of the reflection and location of the receptors, sensations are divided into three groups:

1) exteroceptive (“external”), which reflect the properties of the objects and the phenomena of the external environment, through receptors, located on the body surface; this group includes visual, aural, olfactory, temperature and tactile senses;

2) interoceptive (“internal”), which reflect the status of internal organs, through receptors in the internal organs and tissues; this group includes all organic sensations, including the sense of pain and balance, etc.;

3) proprioceptive, which provides information about the position and movement of the body through receptors located in the muscles and tendons[2].

Aural sensations are of major significance to the first group,  exteroceptive sensations, as well as to all types of music-related activities. Visual sensations are also important as they allow the conductor to get information from the music score as well as about the activities of the performers’ staff during the performance.

The role of interoceptive sensations is not basic but they are important for the general physical condition of the conductor. Therefore, they have an impact on the level of higher psychological processes such as emotional, will, memory, imagination, etc. A specific example in this regard would be the words of Karajan who said in an interview: “My joy from conducting is much higher and maybe the audience feels that. The orchestra positively feels it. My joy from conducting has acquired new dimensions since I got rid of the severe pain I experienced for a full eight years”[3].

Concurrently this practice has proven that the intensive functions of consciousness and subconsciousness in the creative process may neutralize interoceptive sensations. Further Karajan said: “Once during a concert, I passed a kidney stone and I noticed it after that. Usually, this is a pain that makes you roll on the floor”[4].

With regard to proprioceptive sensations, which were highlighted in the previous chapter, kinaesthetic senses are highly important in conductions, as they give information about the position and the movements of the body and its individual parts. This shall also include sensations from the vestibular apparatus regarding body balance in a certain space. Kinaesthetic sensations allow conducts to perform specific, purposeful and efficient movements when there is a sufficient degree of self-control. Many conductors by way of self-monitoring come to conclusions about the need for muscle “freedom”. Lorin Maazel said: “Muscle tension is the hardest to overcome. Once I got into music, not only did my arm and shoulder muscles strain but so did my back and leg muscles. One day I told myself: You have to learn how to relax…”[5].

In this regard, interesting thoughts are found in the Handbook of conducting by Hermann Scherchen: “There is a law – the intense mental energy comes in the form of intense physical energy. However, physical energy is anti-musical on its own: Music is an art of the spirit and spiritual tension, it does not stand the physical energy, which has an end in itself”[6].

The conclusions of K.S. Stanislavski, resulting from his observations on the actor’s work, are very valuable: “As long as there is physical tension, there can be no proper, sensual feeling and normal spiritual life. So, before he begins creating, one must prepare his muscles, so that they do not limit the freedom of movement”[7].

The problem of muscle freedom has a largely individual character – many conductors achieve this freedom in a natural way, without needing special care. On the other hand, as we saw in the citations, even the most famous conductors have had difficulties in overcoming muscle tension during their career. It is important in this case to teach young conductors about proper muscle movement, i.e. activating kinaesthetic sensations and conscious self-control to remove all types of unnecessary tension.

This issue has been thoroughly studied in the scientific work of A. Sivizianov “The issue of muscular freedom of the choir conductor.” Here the author develops a comprehensive theory for the way to achieve motor freedom in the process of conducting based on many scientific studies.

As previously mentioned, kinaesthetic sensations are directly connected with musical-aural perceptions during conducting. In order to reveal the mechanism for creating these perceptions, it is necessary to look at the role of aural sensations and perceptions.

According to basic qualities of tone such as acoustic events, 4 types of sensations are revealed: Height of pitch, strength, timbre, rhythm [8]. This differentiation has a pure scientific value, as in practice the four features of tone are fully connected and constantly overlap with each other. Reviewing them separately is required for a deeper analysis. Before that, we must clarify that due to the complexity of the processes in the sound analyser, scientific literature uses the term “sense” more often, which more so encompasses the psychological, rather than the physiological part of the phenomenon. And so, without stopping on the psycho-physical mechanism, we will track the role of the various components of musical sense in conductor activity.

PITCH HEIGHT SENSE: this tone sense is considered essential for musical capabilities[9]. It has been proven that it may be improved with training, which certain scientists have argued in favour for. Further, it is underlined that this sense is important but not absolutely sufficient for musicality.

Tone sense has great significance in the practice of conducting due to the need to control and indirectly invoke corrections of the tone of multiple sound-producing objects (instruments, voices). In this case, descriptive ability is of great importance as it allows sensing even the smallest change in the height of pitch.

On the other hand, the theory of the zoning nature of human hearing clarifies the ability to perceive deviations from a tone only above specific values at the rate of 20-30 cents[10]. It is exactly this specificity of hearing that explains the “choir effect”, which is typical for all kinds of performing ensembles. Due to the inability for multiple performers to reproduce a tone with absolutely the same pitch in ensemble performances, combined tones are produced, the height of which corresponds to a narrower or wider zone of sound frequencies. The purpose of the conductor is to greatly control the width of that zone and to ask the performers to make relevant tone corrections if there are deviations exceeding a specific value or when the combined tone is not perceived as a whole. A specific case in this regard is playing or singing a wrong tone (due to the performer’s mistake or an error in the sheet music) and the conductor has to exercise tone control. To carry out this task, the conductor should possess and develop their sense of tone allowing them to perceive and respond adequately to the occurring tone deviations.

TONE STRENGTH SENSE is important for conducting due to the primary significance of the dynamics for the musical interpretation. Dynamic sense appears early on and is easily controlled. The high degree of development of this sense is another compulsory condition for conducting work due to the need for a high distinguishing ability with regard to the different degrees of dynamics. An extraordinary example in this regard is part II of the composition Inori of Karlheinz Stockhausen where the conductor, as instructed by the author, must achieve 60 different degrees of dynamics.

One of the biggest problems of dynamic sense upon conducting is the effect of masking or deafening, i.e. “hiding” one tone behind another which especially occurs in tones with close pitch. This specificity clearly also shows the direct interrelation between tone sense and dynamic sense. In addition, dynamic sense is directly connected with timbre sense where the human ear perceives some timbres as “stronger” than others due to their spectral characteristics. A good example of this is that of two of the Ten Golden Rules for the Album of a Young Conductor by R. Strauss. He says: “5. But never let the horns and woodwinds out of your sight. If you can hear them at all they are still too strong; 6. If you think that the brass is now blowing hard enough, tone it down another shade or two”[11].

The dynamic sense of the conductor is of great importance for ensuring the dynamic balance of the performing staff, which represents an essential component of the overall choir or orchestra sound.

The lack of aural control caused by weak dynamic sense would cause significant damage to the structure of the musical interpretation.

TIMBRE SENSE is also of great significance in the practice of conducting. Due to the specifics of their work, a conductor must be able to perceive and indirectly impact multiple different timbres. According to the research of the Russian psychologist B. Teplov, three groups of signs are used to specify timbres:

• light features: Light, dark, glossy, matt, etc.;
• Sensory features: Soft, rough, sharp, dry, etc.;
• Spatial – volumetric features: Full, empty, wide, solid, etc.[12].

These features and any other similar ones are used often in conducting. The special importance of timbre and dynamic sense is due to the fact that they are of great significance for building the structure of music interpretation by having a detailed attitude to the dynamic and timbre components of sound.

RHYTHM SENSE is based on the conditional reflexes of time, which are fundamental for the central nervous system. The aural and the kinetic senses are combined for all types of musical activities (composition, performance, listening). Due to the important role of the locomotor apparatus for conducting, this combination is of primary significance. However, it is necessary to examine the more complex structure of rhythm sense, which is connected with the higher cognitive processes, separately.

As we already noted, the complex action of the listed types of sensations forms musical perception.

B.) Musical perception

Perception is determined as a basic mental process of subjective reflection of the objects and the phenomena from the reality in the totality of their properties and parts upon their immediate impact on the sensory organs[13]. Therefore, perception gives information about the integrity of individual aspects of objects and phenomena, unlike sensations, which give consciousness information about them. Concurrently “normal perception” is not a purely passive, meditative act, but also an active reflection. Eyes, ears and other body parts don’t perceive in isolation, but as part of a specific human being with a particular attitude to the perception who has needs, interests, pursuits, desires and feelings. Perception is not a mechanical sum of individual sensations but a brand new step of sensory knowledge with its specific features”[14]. Due to the complex structure of perception, differentiating its distinct types is carried out depending on the prevailing active analyser. On this basis, perception is divided into categories such as visual, aural, etc.

1. AURAL PERCEPTION: in addition to the combination of different types of aural sensations, aural perception possesses a brand-new level of features, among which the following are of great significance for conducting:

• The perception of the melody as a complete musical thought, most often a carrier of the basic musical content or “melodic hearing”. Aside from external signs – height, durability, timbre and strength of the individual tones, an individual perceives melody in its entirety and the emotional information it carries. Melody cannot be perceived as just a physiological agitator; in this connection, B. Teplov states that such “absolute non-musicality is impossible for the regular psyche”[15].

When conducting, melodic hearing has an important function due to the fact that melody is one of the main forms of expression and its active perception (resp.  modelling) is a significant element of the creative process. It is important for the conductor to perceive and, based on their perception, to influence the process of musical interpretation on forming the structural components of melody (intonation, rhythm, mode relations). At the same time, emotional perception and the experience of these components in their connection is also an important part of this process.

• The perception of harmony or harmonic hearing expresses itself as the “ability to perceive multi-voice music”[16]. As a result of multiple studies, it has been proven that this is the last developed ability of Man (in an ontogenetic and phylogenetic meaning)[17].

The significance of harmonic hearing in a conductor’s activity is undeniable. We can claim that the work of the conductor is impossible without properly developing this complex perception. Given that the conductor “operates” with multi-voice music in all its forms, he could not execute the creative process without the active perception of the “vertical”.

One of the main specifics of conducting for performing groups, including human voices (choirs, vocal-instrumental and vocal ensembles), is the presence of lyrics, which complicates perception even more, as they add lyrical information systems to the musical structures. With them, the mechanism for perception is connected to other brain centres (in particular, the speech centre). Therefore, we can assume that the whole process of perception is further complicated. In this mechanism, four levels of perception can be differentiated: phonetic – tone – phoneme level, morphological – motive-word level, syntactic – phrase – sentence–level and logic – composition,  regarding the complete musical form and according to the meaning and text structure.

2. VISUAL PERCEPTION – based on the conclusions made in chapter four on the role of the visual analyser when conducting, we can determine two types of visual perception:

• visual perception of the musical score, which is directly connected with aural perception and the created musical – aural perceptions:
• visual perception of the performers; also directly connected with aural perception. It ensures additional information when carrying out the creative process.

Weingartner states: “If the conductor is connected to the musical score in such a way that he/she cannot break apart from it for even a minute, to look at the orchestra, then he/she is nothing but a tact measurer, incompetent and has no right to call himself/herself an artist”[18]. In any case, this type of visual perception is directly dependent on the activity of memory, whose particularities during conducting we will look at later.

Both types of visual perception play an important role in the whole psychic process when conducting.

3. THE PERCEPTION OF TIME: this is a “particular form of perception that reflects objective continuity, change and structure of the events that occur in our daily lives”[19]. It has been proven that hearing and motor sensations help for the most appropriate perception of time slots that are determined by rhythmic processes in the human organism i.e. heart rhythm and breathing rhythm. As an art that develops in real-time, the perception of time in music is of utmost importance.

When executing the creative process, time perception has two aspects for the conductor:

1. regarding the sense and resp. perceptions for metro-rhythm through establishing conditional reflexes for time;
2. regarding the perception of tempo, which is one of the most important forms of expression in music. As a main form-creating factor, tempo is of incredible importance for creating musical structure and not coincidentally, almost all great conductors in their written materials have examined the issue of “correct” tempo.

Conductors, from Berlioz, Wagner, Weingartner and Furtwängler to current conductors, constantly examine this question, as they seek objective criteria for determining tempo. Some of them even reach the conclusion that the perception of tempo is largely a psychophysiological problem, which creates a connection between the sense of tempo and the conductor’s temperament. Berlioz, for example, states: “The most dangerous ones are those lacking activity and energy. They cannot handle a faster tempo. As fast the work may start, if left to their care, they will slow it down until the rhythm reaches a certain level of calmness, apparently corresponding to the speed of their blood movement and the overall exhaustion of the organism… There are people in the cusp of their youth with a lymphatic temperament – as if their blood is circulating in a moderato tempo”[20].

Especially attractive, but proving the complexity of tempo perception, are Eugene Ormandy’s quotes, recorded by his orchestra performers during rehearsals: “During every concert, I keep feeling some uncertainty in the tempo. It’s shown clearly, quarter equal to 80, not 69″… “I conduct slowly because I don’t know the tempo”… “I consciously gave you a slower tempo as I don’t know what’s more correct”… “Note that I am conducting faster and slower, faster and slower. Everything is connected to the previous tempo”[21]. In this strange “mosaic” of quotes, Ormandy unconsciously puts the problem of tempo in its pure psychological aspect.

On the other hand, artistic pursuits in the profession of conducting are connected largely to this problem. In this case, it is not just about feeling unsure, complicating the choice of tempo, but more frequently, it is about an aesthetic choice that is directly connected to the issues of artistic thinking.

We see a special interest in tempo and its connection to perception in an interview with Prof. V. Kazandzhiev: “For me, the correct tempo is one that corresponds to the natural pulse of the music, which does not create tension… The musicality has to be normal. Any tension is perceived as nervousness. Gluck and Vivaldi themselves have said that tempo is everything. But when you get up on the conductor’s podium, your pulse increases to 130 beats per minute. You think you’ve hit the right tempo, but it turns out to have been faster under the influence of your own increased pulse… The pulse reflects, above all, on the faster tempos. The more spontaneous a conductor is, the higher the chance for a more spontaneous and correct tempo. There is nothing more annoying than attempts to impose tempos on the artist. Yes, in the common effort of creating, there has to be logic and that comes from the tempos preferred by the conductor as well”[22].

We must note that as a result of everything said so far, that perception of tempo is in direct relation to other cognitive processes such as musical-aural perception, thinking and imagination. It is also highly dependent on the temperament and character of the conductor. But especially strong is the dependency of this perception on the emotional and wilful psychic processes that create one of the most important components of psychological characteristics of the conductor.

In the recent scientific literature focusing on the issues of cognitive psychology, we find conclusions, which to a great extent explain the complexity and compatibility of these processes: “The issue on where to place the boundary between perception and knowledge or even between sense and perception provokes hot debates. Instead, for being more efficient, we have to review these processes as a part of the continuum. Information runs through the system. Different processes address different issues“[23].

In her work “The Musical Audience”, Associate Prof. Irina Haralampieva (PhD), stresses that “[w]e have to note that the musical experience is not only specific but complex. Each moment of perception interweaves senses, emotions, thoughts, memories, associations, etc., which merge into this complex body, spread in the general life experience of the individual and live long after the music has faded away“[24].

C.) Concepts

Concepts characterize a higher level of knowledge and a transition from sensations and perceptions. They represent visual and summarized images of objects and phenomena from the objective world occurring in the brain, which have no impact on senses at a given time. Generally, they are results from processing and summarizing past perceptions[25].

Concepts of different structure and function take part in the creative process of conducting.

Musical-aural concepts are a key component of the creative process of conducting. The main form of expression of these concepts is the internal hearing of the conductor, which Rimsky-Korsakov defines as the “ability for the mental presentation of musical tones and their ratios without the help of an instrument or a voice” [26]. Hermann Scherchen also mentions the significance of internal hearing in his Handbook of Conducting: “The conductor is a presenter of his ideal concepts. The conductor must mentally hear the musical composition in such a clear manner as this music was heard by its creator… This is exactly the perfect internal singing that must create the concept for music in the conductor. If the composition lives in the conductor in its initial form, without being distorted from the material aspect of reproduction, then he/she is worthy of joining the magic of conducting”[27].

Musical-aural concepts appear at the very beginning of the creative process when the conductor reads the musical score. Visual and aural moments are carried out by people with highly developed internal hearing. Then aural perception must immediately provoke corresponding movements and immediately “listen with the eyes”. Robert Schumann says: “Someone said that the good musician, once having heard an orchestra piece as complex as it may be, must see the entire musical score as it is in front of his eyes. This is the highest perfection, which we may imagine”[28].

Upon training the conductor, developing and raising this ability is a paramount task due to the fact that the lack of connection between aural perception and the musical-aural concepts would make it impossible to carry out the creative process. None of the higher mental processes could replace or compensate for such lack of abilities for “hearing’ the musical score.

In addition to the formation of musical – aural concepts, visual perception is the basis for the creation of aural concepts.

In conducting, they are essential in two aspects: first, when conducting without a music score, they may add to the musical-aural concepts preserved in their memory. Depending on the type of memory a conductor has, aural concepts may play a more or less important role.

The second aspect of the appearance of aural concepts in conducting is connected with the use of imagery (visual ideas) created on the basis of the musical content. This process is a result of the connection between different brain centres and the imagination. The occurrence of visual concepts with auditory concepts is an important phenomenon, which is based on the programme music and all genres connected with any form of sound illustration. Rudolf Kan-Schpeier formulates his opinion on this issue as follows: “The fact that the conductor does not usually realize how exactly he/she imagines the content of the composition and how, based on such concept, he/she determines the manner of performance, is also explained with the fact that the essence of such concepts, as a rule, may not be connected with any specific objects… The essence of many compositions, as well as the mental nature of many conductors, is such that the specified concepts of objective nature are not always revealed to them”[29].

The issue for the positive or negative role of the aural – visual associations is too subjective. We cannot and we don’t have to issue “a sentence” – “for” or “against” this phenomenon. The most important thing, in this case, is that it again proves the mutual dependence and the connection between different psychological processes. In particular, we may speak about enriching aural concepts as a result of the complex action of the imagination, the specific – image functions and the emotional sphere, which has an individual and spontaneous nature.

In conclusion, we have to highlight that both visual and musical-aural concepts are in direct correlation with the gained professional experience of the conductor. Prof. Dimitar Hristov writes: “For example, the experienced composer would find the defects of a music sheet even visually, without the help of his/her internal hearing and his/her hand automatically corrects the flow displayed on the music score”[30]. The experienced conductors have the same ability – by gaining knowledge and skills, their musical – aural and visual concepts are enriched, which on its part increases “the palette” of their creative opportunities and the broadness of the mental processes participating in the creative act.

REFERENCES

Berlioz,Hector. Диригентът на оркестъра. ( Chef d’orchestre). In: Изкуството на диригента. (Art of the conductor). Sofia, Music Horisons, 11/ 1979, p.13.

Weingartner, Felix. За дирижирането. (On conducting). In:  Изкуството на диригента. (Art of the conductor). Sofia, Music Horisons, 11/ 1979, p. 85.

Kan-Speyer, Rudolf.  Handbook in conducting.   In:  Дирижерское Исполнительство. (Conducting performing art). Moskow: Music Publishing House,1975, p.247.

Karapetrov, Konstantin. Interview with prof. Vassil Kazandzhiev.  In: Музика, вчера, днес. (Music, yesterday, today) – 6/1994, p.5-6.

Maazel, Lorin. Интервю. (Interview) – IN: Списание ЛИК, LIK 41/1983.

Matheopoulos, Elena. Караян – живот, изкуство, работа. (Karajan – life,art,work.)  In:  Българска музика,( Bulgarian Music) , 2/1988, p.20.

Ormandi, Eugene. Куриозите на репетиционната работа. (Curiosity of rehearsal’s work). In: Музика, вчера, днес (Music, yesterday,today), 1/1999.

Piryov, Gencho, Ljuben Desev. Кратък речник по психология. (Short Dictionary in Psychology). Sofia: Partizdat, 1981.

Sivizianov, Andrey. Проблема мышечной свободы дирижера хора, (Problem about the choral conductor’s muscle’s freedom). Moskow: Music Publ. house,1982. 

Stanislavskii, Konstantin. Работата на актьора над себе си. (Actor’s work). Sofia: East-West PH, 2015. ISBN: 978-619-152-690-1.

Sternberg,Robert.J.Когнитивнапсихология. (Cognitive Psychology). Sofia: East-West PH, 2012. ISBN 978-619-152-014-5.

Teplov, Boris. Психология музыкальных способностей. (Psychology of Music Abilities). Moskow: Academy of Pedagodical Sciences PH, 1947.

Haralampieva, Irina. Музикалната публика.(Music Audience). Sofia: Haini,2014.  ISBN 978-

619-7029-20-8.

Hristov, Dimitar. Хипотеза за полифоничнияс троеж. (Hypothesis on polyphonic building).Sofia: Science and Art,1994.

Hristozov, Hristo. Музикална психология. (Music Psychology). Plovdiv: Makros,1995.

Scherchen, Hermann. Учебник дирижирования. (Handbook of conducting). In: Дирижерское исполнительство (Conducting performing art). Moskow: Music PH, Москва: 1975.

Strauss, Richard. Десять золотых правил (Ten golden rules) .In: Дирижерское исполнительство  Conducting performing Art).Moskow: Music PH, 1975.

Schumann, Robert. Quotation in Music Psychology by Hristo Hristozov. Plovdiv: Makros,1994.

 

Theodora Pavlovitch is Professor of Choral Conducting and Head of the Conducting Department at the Bulgarian National Academy of Music. She is also Conductor of the Vassil Arnaoudov Sofia Chamber Choir and the Classic FM Radio Choir (Bulgaria). In 2007/2008 she conducted the World Youth Choir and was honoured by UNESCO with the title Artist for Peace, due to the WYC’s success as a platform for intercultural dialogue through music. Prof. Theodora Pavlovitch is frequently invited as a member of Jury panels to a number of international choral competitions, as conductor and lecturer to prestigious international events in 25 European countries as well as the USA, Japan, Russia, China, Hong Kong, Taiwan, South Korea and Israel. Since 2012, T. Pavlovitch has been a representative for Bulgaria in the World Choral Council. Email: theodora@techno-link.com

 

 

 

Edited by Shanae Ennis-Melhado, UK

[1]Piryov, Gencho. Lyuben Desev. Concise Dictionary in Psychology Sofia: Partizdat, 1981,  page 167-168.

[2]Piryov, Gencho. LyubenDesev. Concise Dictionary in Psychology Sofia: Partizdat, 1981,  page 259.

[3]Mateopulous, Elena. Karajan – life, art, work. – В: Bulgarian Music, No. 2/1988, page 17.

[4] As above, page 20.

[5] Maazel, Lorin. Interview in LIK Magazine, No 41/1983.

[6]Scherchen, Hermann. Handbook of conducting. – В: Conducting performing act. Moscow: Publ. Muzika, 1975, page 222.

[7]Stanislavskiy, Konstantin – The actor’s proper care of himself. Sofia: East-West, ISBN; 978-619-152-690-1, с. 180.

[8]Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 199

[9] The same, page 40-46.

[10] As above, page 41.

[11]Strauss, Richard Ten Golden Rules for the Album of a Young Conductor – В: Conducting performing act. Moscow: Muzika, 1975, page 397.“

[12]Teplov, Boris. Psychology of Music Abilities. Moscow: Academy of Psychological Sciences, 1947, page 68.“

[13]Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 1995, page 11

[14]Piryov, Gencho, Lyuben Desev. Concise Dictionary in Psychology Sofia: Partizdat, 1981, page 36.

[15]Teplov, Boris. Psychology of Music Abilities. Moscow: Publ. Academy of pedagogical sciences,    1947, p. 59.

[16]Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 1995, page 76

[17] As above, page 69.

[18]Weingartner, Felix. On conducting. – В: Art of conducting. Sofia: Musical horizons, issue 11/1979,  p. 85.

[19]Piryov, Gencho. LyubenDesev. Concise Dictionary in Psychology Sofia: Partizdat, 1981,  page 37.

[20]Berlioz, Hector. Orchestra conductor – in: Art of conducting. Sofia: Musical horizons, issue 11/1979, p. 13.

[21]Ormandy, Eugene. Curiosities of rehearsal work.  In: Music, yesterday, today. issue 1/1999, p. 52, 54, 60.

[22]Karapetrov, Konstantin. Interview with prof. Vasil Kazandzhiev. – In: Music, yesterday, today. issue 6/1994, p. 5-6.

[23] Sternberg, Robert. Cognitive Psychology Sofia: Iztok-Zapad, 2012, page106.

[24]Haralampieva, Irina. The Musical Audience Sofia: Haini, 2014, page 63

[25]Piryov, Gencho. LyubenDesev. Concise Dictionary in Psychology Sofia: Partizdat, 1981,  page 150-151.

[26]Rimsky-Korsakov, Nikolay. Quote by Hristozov, Hristo. Musical psychology. Plovdiv. Macros, 1995, page 84

[27]Scherchen, Hermann. Handbook of conducting. – В: Conducting performing act. Moscow: Muzika, 1975, page 209-210.“

[28]Schumann, Robert Quote by Hristozov, Hristo. Musical psychology, page 86

[29] Kan-Schpeier, Rudolf. Handbook on Conducting – In: Conducting performing act. Moscow: Muzika, 1975, page 209.

[30] Hristov, Dimitar. Hypothesis for the polyphonic structure. Sofia: Naukaiizkustvo, page 133

Irregular Meters in South-eastern European Folk Music

By Theodora Pavlovitch, conductor and Professor

South-eastern Europe is a very special region of the Old Continent. Situated at the crossroads between Europe and Asia, it is a cradle of civilizations and has always been one of the most colourful regions of the world. Multicultural exchanges between the ethnic groups, nations and countries in this area have been a perpetual process from Ancient Times until today, and particularly in the field of music, where you can find plenty of phenomenon that are the same or similar.

One of the most prominent examples of the mixture and mutual influence of music traditions is music written by John Koukouzel, also known as Joahnis Koukouzeles (1280 – 1360?) – the most famous Medieval composer, reformer and singer of the region. Born in Durras (Durazzo) in the Eastern Roman Empire, nowadays Albania, to a Bulgarian mother and an unknown father (most probably Albanian), Koukouzel was educated in Constantinople in the best traditions of Byzantine music. It is almost impossible to define his nationality and background; the Bulgarians insist he was Bulgarian because of his mother, the Albanians insist he was Albanian because he was born there, the Greek insist he was Greek because he grew up there and was educated in Constantinople… -an endless discussion!

Another example of strong music influences in the region is Adela Peeva’s 2003 documentary named “Whose is that song?”. She starts the story by saying: “I was in Istanbul with friends from Balkan countries – a Greek, a Macedonian, a Turk, a Serb and me – Bulgarian. There I heard the song I want to tell you about. Immediately after having heard the song, we all started singing in our own languages and everyone insisted it was a song from their country. And so, the discussion started – whose is that song?”. Subsequently she filmed interviews with her camera in all the countries in the region and everyone interviewed was certain that the song belonged to his/her nation. Different texts, different contents and different meaning but with the same melody – that song existed everywhere! This documentary won a dozen of awards from international festivals in different countries in Europe, the USA and Asia.

In folk music traditions, we face the same situation concerning the melodies, the ornaments and mostly the rhythms and meters. Encyclopaedia Britannica describes meters as: “Metre, also spelled Meter, in music, rhythmic pattern constituted by the grouping of basic temporal units, called beats, into regular measures, or bars; in Western notation, each measure is set off from those adjoining it by bar lines. A time (or metre) signature, found at the beginning of a piece of music, indicates the number of beats in a measure and the value of the basic beat. For example, 3/4 metre has three quarter-note beats per measure. The time signature implies that an accent regularly occurs on the first beat of each measure. Simple metres are duple (e.g., 2/2, 2/4), triple (3/4, 3/8), or quadruple (4/4, 4/8). Compound metres are also duple (6/8, 6/16), triple (9/8), or quadruple (12/8) but have time signatures that indicate the number of beats to be a multiple of three. Thus, in 6/8, for example, both beats of the basic duple division are divisible into three subunits, yielding a total of six. Some metres that occur less frequently are neither duple nor triple (5/4, 7/4) but may be considered a combination of duple and triple—such as 2/4+3/4 or 3/4+2/4+2/4.” (https://www.britannica.com/art/metre-music)

We can find a definition of irregular meters in a different source. “Irregular meters (also called asymmetrical meters) establish a regular metric pattern from an asymmetrical sequence of two or more-time signatures. A 5/8-time signature, for example, is usually understood as the sum of two simple meters 3/8 + 2/8 or 2/8 + 3/8. Beat hierarchy in irregular meters, just like in regular meters, is either simple (diving in two equal parts) or compound (diving in three equal parts). The time signature of 15/16, however, corresponds to the compound meter relative of 5/8. Compound meters include only those time signatures whose numerator is a multiple of three.

Used frequently by different folk traditions across the globe, the use of asymmetrical meters is often associated as a stylistic trait of Balkan music, in Southeast Europe. In classical music asymmetrical meters are used sporadically before the twentieth century. The second movement of Tchaikovsky’s Sixth Symphony (1891-93) is commonly referenced as one of the first examples of orchestral music written entirely in an asymmetrical meter (5/4). Irregular meter can be seen represented in different ways. Hungarian composer Bela Bartok (1841-1945), for instance, wrote Six Dances in Bulgarian Rhythm using time signatures, exposing the respective addends, such as, 4+2+3/8, 2+2+3/8, 3+2+3/8 (also called a 4/4 unevenly grouped), 2+2+2+3/8” (http://www.thesoundstew.com/2010/04/irregular-meters-irregular-meters.html)

In scientific literature, you can find the terms: irregular meter, time signatures or additive rhythm, divisive rhythms, uneven beats, asymmetric measures, irregular times – they all concern the same specific phenomenon.

The irregular meters spread in South-eastern Europe are:

5/8 and 5/16:         existing in Bulgaria, Romania and Serbia

7/8 and 7/16:         in Bulgaria, Macedonia and Greece;

8/8 and 8/16:         in Bulgaria and Croatia;

9/8 and 9/16:         in Bulgaria and Serbia;

10/8 and 10/16:     in Bulgaria;

11/8 and 11/16:     in Bulgaria, Serbia and Macedonia;

12/8 and 12/16:     in Bulgaria;

13/8 and 13/16:    in Bulgaria;

15/8 and 15/16:    in Bulgaria;

17/8 and 17/16:     in Bulgaria.

              All these meters exist in different combinations of the metric groups and they are usually combined with corresponding dances. Therefore, most of the meters have been named upon the dances called “horo” in Bulgaria, “kolo” in Serbia and Croatia, “χορός” (horos) in Greece, and “oro” in Macedonia – collective dances deeply grounded on the meters specific for the region.

For instance, the meters 7/8 and 7/16 exist in several combinations of metric groups as follows:

2+2+3: called Rachenitsa, one of the most popular Bulgarian meters and dances;

3+2+2: mostly in Macedonian regions in Greece, Northern Macedonia and Bulgaria (clear influence between the traditions of ethnic groups that were spread throughout different countries due to many historical events).

2+3+2: uncommonly used in Bulgaria.

Some other examples of different combinations are as follows:

5/8     (2+3) or (3+2)

8/8     (3+2+3) or (2+3+3)

9/8      (2+2+2+3), (2+2+3+2),(2+3+2+2), (3+2+2+2)

10/8   (3+2+2+3),(2+2+3+3)

11/8   (2+2+3+2+2), (2+2+2+2+3) , (3+2+2+2+2) – called Kopanitsa.

12/8   (3+2+2+2+3), (3+2+2+3+2), (2+3+2+2+3) – called Petrunino horo.

13/8   (2+2+2+2+2+3)

14/8   (2+3+2+2+3), (2+2+3+2+3)

15/8   (2+2+2+2+3+2+2), (2+2+2+2+2+2+3)

                (15/16 is called Buchimish and exists in the Thracian region in South Bulgaria) – https://www.youtube.com/watch?v=xeGgdjY5oXI)

 

Heterometric:

17/8 (2+2+2+2+2+2+2+3) or  17/16  ( Horse-step horo)

18/8 (3+2+2+2+2+3+2+2) or  18/16  (Yovino horo)

22/8 (2+2+2+3+2+2+2+3+2+2)  or  22/16  (Sandansko horo)

25/16 (3+2+2+3+2+2+2+2+3+2+2)   or can be counted as 7+7+11/16  (Sitting

                                                                                                            Donka horo)

This variety and richness of irregular meters is one of the most valuable cultural aspects of the heritage of South-eastern European countries. Nobody can determine when exactly all those songs and dances were created. At the end of the 14^th century, the Turkish armies attacked South-east Europe and it was soon completely taken over by the Ottoman Empire. Terrible damage was caused to national cultures in the 500 years that followed. One of the most important factors that preserved national spirit over the ages of domination was music – rich folk traditions and the old orthodox chants sang in monasteries and nunneries. Unfortunately, as a result of the frequent robberies and fires, most of the rich cultural heritage hidden in them was destroyed. But because of the specific historical conditions, the influence between orthodox and folk songs was very intensive and a great number of anonymous orthodox chants with folk elements can be found in the liturgy even today.

Until the second half of the XIX Century, all music was composed anonymously by unknown, talented people without any music education. Around the middle of the XIX Century, some people started going to different countries and studying music and this was the beginning of the professional music life in the countries of the region. Dozens of people from Bulgaria, Serbia, Greece, etc. travelled to get a high level of music education in Milan, Munich, Prague, Moscow, St. Petersburg and at the National University of Music in Bucharest (established in 1863).                            

The first generations of composers from South–eastern European countries, parallel with creating new compositions with a European style, maintained and developed music traditions by using many irregular meters in their works. They became the first professional composers and conductors in the region and started building the national composing styles in their own countries. New compositions or arrangements of existing folk songs had been a trend in their creativity and most of their pieces are still regularly performed to this day.

Irregular meters and other folk elements have also been intensively used by the next generations of composers who built a higher level of choral music and even in their symphonic pieces. This tendency still exists today, proving the power of creative energy preserved in folk traditions and irregular meters – one of the most spectacular and vivid music phenomenon in the world’s music.

 

 

Theodora Pavlovitch is a Professor of choral conducting and is Head of the Conducting Department at the Bulgarian National Academy of Music. She is also a conductor of the Vassil Arnaoudov Sofia Chamber Choir and the Classic FM Radio Choir (Bulgaria). In 2007/2008 she conducted the World Youth Choir and was honoured by UNESCO with the title Artist for Peace, recognizing the WYC’s success as a platform for intercultural dialogue through music. Prof. Theodora Pavlovitch is frequently invited as a member of Jury panels to a number of international choral competitions, as conductor and lecturer to prestigious international events in 25 European countries, USA, Japan, Russia, China, Hong Kong, Taiwan, South Korea, Israel. Since 2012, T. Pavlovitch has been a representative for Bulgaria in the World Choral Council. Email: theodora@techno-link.com

 

               

Edited by Charlotte Sullivan, UK                     

 

 

 

   

 

Theodora Pavlovitch, choral conductor and professor

 

Lithuania – the biggest of the Baltic countries – is famous for its choral traditions and many Lithuanian choirs, conductors and composers have earned the respect of the world with their artistic achievements.

Looking to the history of the Lithuanian country, we can find many impressive facts about its development and international relationships. The name of the country appeared for the first time in 1009 AD (Edvardas Gudavičius, Lithuanian History: From Ancient Times to the Year 1569, Vilnius, page 28, ISBN 5-420-00723-1). Established in the 13^thcentury, the Grand Duchy of Lithuania was one of the most successful and powerful states on the European continent and in the 15^th century it was the largest state in Europe (the present-day territories of Lithuania, Belarus, Ukraine, and parts of Poland and Russia were at that time territories of the Grand Duchy). Meanwhile, at the beginning of the 14^th century Christianity was adopted as an official religion by the state. The dynastic union with Poland (formed in 1385) led to a strong relationship between the two big states the consequence of which was the Polish-Lithuanian Commonwealth that lasted until 1795. The expansion of the Russian Empire afterwards erased Lithuania from the European map and Lithuanians lived under the Empire’s rule until the beginning of the 20^th century. The Lithuanian state was re-established as independent in 1918 and it remained free until the beginning of World War II, when it was occupied and later absorbed by the Soviet Union. Nearly 120,000 people (5% of the population) were deported and thousands more became political prisoners between 1944 and 1953. Many leading intellectual figures and most Catholic priests were among the deported; many of them returned to Lithuania after 1953. The sovereignty of Lithuania was restored in 1990-1991 with the Act of the Re-Establishment of the State of Lithuania and in 2004 it joined the European Union.

Choral singing has been a significant part of the Lithuanian culture since the end of the 19th  century. The first Lithuanian choir made its debut on 17 February 1895 and its concert was given on the occasion of the 10^th anniversary of the Lithuanian community “Birutė”. In December 1895 the Tilsit Lithuanian Singers’ Community was founded by Vydūnas (Vilius Storosta). The community used to organise concerts, evenings, St. John’s Day festivities in Tilsit, Klaipėda, Gumbinė, Verdainė, Rusnė, Ragainė, Juodkrantė, Smalininkai. Up to one thousand spectators used to gather at the events, so called the winter and summer Lithuanian celebrations, later in 1902 entitled the Song Celebrations. In 1899 composer Juozas Naujalis rallied the singers of his led Kaunas Cathedral Choir and founded the secret “Daina” community.

The democratic changes in Lithuania in the last decade of the 20th century have brought years of transforming society and as a result Lithuanian choral music has received new energy and a new development. The first in the new history, the Lithuanian Song and Dance Celebration was held in 1994 and included Lithuanian emigrants from the USA, Canada, Australia, Argentina, Germany, Poland, Latvia, Ukraine, Russia and Belarus. 1,200 emigrant singers, dancers and musicians performed together with 26,000  Lithuanian performers. In memory of the organisers of the first Song Celebration of 1924 one of the Song Day’s programmes was rendered at the Kaunas Valley of Songs and the composition dedicated to the Lithuanian Song Celebrations was solemnly presented. The event takes place every four years and this year’s Song Celebration took place from 30 June  till 6 July.

Hundreds of choirs are active in Lithuania nowadays and in Vilnius city alone there are three choir laureates at the European Grand Prix for Choral Singing: Mixed Choir ‘Brevis’ (cond. Gintautas Venislovas) in 2003, Jauna Muzika (cond. Vaclovas Augustinas and Romas Skapas) in 1993 and Chamber Choir of the Conservatoire of Vilnius, (cond. Tadas Sumskas) in 1991. The most famous Lithuanian composer and choral conductor Vytautas Miškinis composed over 400 secular and about 150 religious works performed all over the world.

The programme of Lithuania Cantat embraces six big choral events: the International Choir Festival and Competition named after the Lithuanian Music Patriarch Juozas Naujalis, Sacred Music Festival – Kaunas Musica Religiosa, Kaunas Cantat, Siauliai Cantat, Cantate Domino and the newest among them – the First International Festival and Competition Birštonas Cantat that was held in Birštonas – a beautiful resort and spa town of Lithuania  from 17 to 20 May 2018. Choirs and orchestras from Sweden, Poland, Estonia, Russia and Lithuania took part in the event.

The leading person of the programme Lithuania Cantat and founder of the events is Rolandas Daugela – Associate professor in the Music Gimnasuim of Juozas Naujalis and lecturer at the Music Academy of Vytautas Magnus University. Being famous as conductor of ‘Cantate Domino’ Chamber Choir, VMU Academic Choir ‘Vivere Cantus’ and the Junior Choir of ‘Juozas Naujalis’ Music School, he has been also a chief conductor of Kaunas’ and the Lithuanian World Song Celebration. As a member of Jury he has taken part in different choral competitions and festivals in Italy, Poland, Latvia, The Czech republic, Slovakia and Macedonia. In 1992 he set up the events of the programme Lithuania Cantat and has been their Artistic Director since then.

The other important and full of energy person behind the stage of Birštonas Cantat is the Festival’s manager Silvija Prockyte – member of the Youth Committee of the European Choral Association – Europa Cantat and choirmaster of ‘Vivere Cantus’ VMU Academic Choir.

Both of them and their team created the brilliant organisation and wonderful atmosphere of the Birštonas CantatFestival that made all the choirs and orchestras participating in the Festival happy and inspired to show their best qualities in the Festival’s programme.

A special guest choir of the Festival was the famous Sofia Vocal Ensemble (Stockholm, Sweden) conducted by Bengt Ollen. The choir won the European Grand- Prix for Choral Singing in 2012 and was among the choirs invited to perform at the 10^th World Symposium on Choral Music in Seoul, South Korea in 2014. Sofia Vocal Ensemble performed at the Opening Concert of the Birštonas Cantat Festival a wonderful programme under the title ‘Sun, Sea and Hope’ consisting of contemporary and traditional pieces by Swedish and other European composers.

Over the next days of the Festival’s programme the participating choirs and orchestras presented their programmes in the beautiful concert halls of the Birštonas Cultural Centre and Birštonas Kurhaus.

The winners of the Gold awards of the Festival wereas follows:

• Senza Rigore Chamber Choir of the Karol Lipinski Academy of Music in Wroclaw, cond. Jolanta Szybalska-Matczak (Poland) in Categories ‘Musica Sacra a Cappella’ and ‘Youth and student’s choirs’,
• Mixed Choir ‘Tume’, cond. Rudolfs Bacans (Latvia) in Category ‘Adult Choirs’,
• The Vocal Quartet of Juozas Gruodis Conservatory, cond. Raimonda Navickiene and Rasa Ivanauskiene (Lithuania) in Category for ‘Pop- and Jazz’ music;
• Young Symphonists of Saint-Petersburg, cond. Dmitry Vorobjev (Russia) in Category ‘Youth Orchestras’.

• The Police Choir ‘Chorus Menticum’ (Tartu, Estonia) was awarded a special prize for their unique expression and attractive programme.

The goals of the new Festival of preserving the choral traditions, developing new genres in choral music and uniting choirs and youth orchestras from different countries and national cultures have been fulfilled! The organisers of the Birštonas Cantat Festival, 2018, deserve standing ovations for their wonderful team-work, for their enthusiasm and great energy! They have proved how a new choral event can be made very successful by good vision and a high spirit and we are all looking forward to seeing the next editions of the International Festival for Choirs and Orchestras Birštonas Cantat!

 

Theodora Pavlovitch is Professor of choral conducting and Head of the Conducting Department of the Bulgarian National Academy of Music. Conductor of the Vassil Arnaoudov Sofia Chamber Choir and the Classic FM Radio Choir (Bulgaria). In 2007/2008 she conducted the World Youth Choir, honoured by UNESCO with the title Artist for Peace, recognizing the WYC’s success as a platform for intercultural dialogue through music. Prof. Theodora Pavlovitch is frequently invited as a member of Jury panels to a number of international choral competitions, as conductor and lecturer to prestigious international events in 25 European countries, USA, Japan, Russia, China, Hong Kong, Taiwan, South Korea, Israel. Since 2012, T. Pavlovitch has been a representative for Bulgaria in the World Choral Council. Email: theodora@techno-link.com

 

Edited by Katy Harris, UK

Fifth IFCM Multicultural & Ethnic Choral Conference, Girona, 2013

 

Theodora Pavlovitch

IFCM Vice President, choral conductor & teacher

 

Mare Nostrum (our sea) – this is what the Mediterranean Sea has been called for centuries. This Roman term has always expressed people’s fondness for the beautiful, colourful, unusual area full of contrasts. “For three quarters of the globe, the Mediterranean Sea is similarly the uniting element and the centre of World History.” (Georg Wilhelm Friedrich Hegel, The Philosophy of History, p. 87, Dover Publications Inc., 1956.)  The unique position surrounding three continents: Europe, Africa and Asia (Middle East), the mild climate and luxuriant land around it, have made the Mediterranean Sea a cradle of different civilizations, a meeting point of rich cultures and an important route for trade and cultural exchange between the peoples of the region. The cultural and musical traditions of this geographical area are crucial to understanding the origins and development of many cultural phenomena and it was no wonder that this very specific region was chosen as the venue for the fifth IFCM Multicultural & Ethnic Conference. Once its original musical and scientific concept was established, the event received excellent financial support from the European Union Culture Programme and also from the Department of Culture of the Government of Catalonia (Generalitat de Catalunya) thanks to the efforts of the European Choral Association – Europa Cantat (a founding member of IFCM), from Moviment Coral Català (the ‘umbrella’ choral organization of Catalonia, a host of the Conference) and the Mediterranean Office for Choral Singing.

The Conference programme was planned to embrace as many musical cultures as possible. With 22 countries from three continents, three major religious groups (Christians, Muslims and Jews) and their branches, and with the huge economic and political differences and immense cultural diversity in the region, it was quite a challenge to establish the structure of this unique event. The result however was quite amazing: in the four days of the event, the participants and official guests were able to attend nine concerts, seven plenary sessions, three sessions under the title ‘Discovering Mediterranean repertoire,’ and three Documentary screening sessions (prepared by Dolf Rabus, Director of Musica Sacra International Festival and member of the MVC Artistic Committee).

The concert programme of the event presented the diversity of singing practices and traditions in this unusual region. At the beginning there was a magic sound ‘painting’, The Voice of the Bells, by the composer Llorenc Barber – splendid and miraculous music performed by all the church bells in Girona. It brought a sparkling sense of festivity and joy to the participants in the event, citizens and tourists alike. Under the title ‘Balcony to the Sea’, the first evening concert started with wonderful performances from two choirs from Girona: Cor de Cambra de la Deputacio de Girona (conductor Pablo Larazz) and Claudefaula Youth Choir (conductor Quim Bonal) – a welcome gift from the host city followed by Fayha Choir (conductor Barkev Taslakian) from Lebanon – a choir that performed throughout the Conference. Uniting Muslim and Christian singers, this choir is significant not only for its specific repertoire and high quality of singing, but also for its spiritual and human concept. Coming from a country where choirs did not exist until just a few years ago, Fayha is not just a choir: it is a message to the nations, to different ethnic and religious groups – a message for peace and mutual understanding. The conductor Barkev Taslakian has managed to do something that generations of diplomats and politicians still can not achieve.

 

 

A pinnacle of the concert programme and a big surprise was Cor Jove Nacional de Catalunya – the brand new National Youth Choir of Catalonia established just few weeks ago. Its ‘parents’ Moviment Coral Català and De Corals Joves de Catalunya (the Catalan Youth Choral Federation) announced: “The Cor Jove Nacional de Catalunya has a dual aim: to offer young choir singers and singing students the chance to work on a pedagogic project in a high level choral music environment and with the best conductors in Europe. The second objective is to give our country a new and useful tool that will help to improve the situation and the prestige of choirs and choral singing amongst young people and adults, and also to all the choirs of Catalonia”. Two world-class conductors have been selected to work with the choir: Vytautas Miskinis (Lithuania) and Xavier Puig (Catalonia, Spain). They had prepared an exciting and high-quality music programme for the choir’s first concert consisting of pieces by Vytautas Miskinis himself for the first part of the concert and a selection of traditional Catalan pieces influenced by Arabian music and arranged by different composers for the second part.

Several more choirs and groups presented their national traditions within the Mediterranean Voices Conference: the amazing Moroccan group, Els mediadors de Deu (conductor Abdelaziz Benabdeljalil), the Israelite Samaritan Choir (conductor Benyamin Tsedaka) from Israel, La Nova Euterpe Vocal Ensemble (conductor Jaume Ayats) from Catalonia and Cant d’Estil group (Valencia) from Spain, Gruppo Spontaneo Trallalero from Liguria (Italy), and Novi Sad Chamber Choir from Serbia (conductor Bogdan Djakovich).                                

A selection of singers provided the opportunity to approach the unique vocal traditions of Spain: Antonio Campos and Juan Antonio Suarez as ‘Cano’ – a duo from Andalusia, Mateu Matas ‘Xuri’ from Mallorca, Josep Antoni Aparicio ‘Apa’ and Josemi Sanchez from Valencia. An emotional concert was followed by a spontaneous singing contest at the end of this concert marathon.

The musicological part of the Mediterranean Voices Conference consisted of seven Plenary Sessions hosted by the Department of Education and Psychology with the University of Girona. The themes ‘Monodic Traditions in Sacred Chant’ presented by Youssef Tannous (Lebanon), Juan Carlos Asensio (Spain) and Fethi Zhgonda (Tunisia) and ‘Multipart Singing in Sacred and Secular Tradition’ by Ignazio Macchiarella (Italy) were followed by  ‘Singing in the Islands’ (Ignazio Macchiarella, Jaume Escandell, Francesc Vicens and Jordi Alsina), ‘Singing for Saying, Improvised Chant’ (Josemi Sanchez and Jaume Ayats), ‘Ressons de l’al-Andalus’ (Xavier Puig and Fethi Zghonda), ‘Singing for Praying’ ( Abdelaziz Benabdejalil and Bogdan Djakovic) and Iberian voices (Jaume Ayats). All the subjects were well prepared and confirmed a high academic level.

 

 

‘Discovering Mediterranean Repertoire’ sessions led the participants through different styles of music  – from pieces by the Catalan masters Carles Gumi  and Lluis Guzman (presented by Xavier Boulies and Montserrat Cadevall – President of Federacio Catalana d’Entitats Corals) to the new arrangements of old unknown Catalan folk songs (president Xell Montserrat) by  composers from different Mediterranean countries: Carlo Pavese (Italy), Edward Torikian (Lebanon) and Thomas Louziotis (Greece) – an original idea of Secretariat de Corals Infantils de Catalunya. In the final session the composers also presented some of their newest pieces and the Fayha Choir performed live music by Edward Torikian and Barkev Taslakian – conductor of the choir.

The conference acted as a window on a variety of traditions and modern trends, as well as on the specific influences and reflections in the vocal cultures of the countries surrounding the Mediterranean Sea. Muchas gracias, Catalunya, Moviment Coral Català, President Marti Ferrer i Bosch and your team, for the warm hospitality, excellent management and fantastic spirit of the event. We hope this will not be the last Voices Conference in this spectacular area. So, see you soon, people of Mare Nostrum…

 

 

 

Theodora Pavlovitch is a Professor in Choral Conducting at the Bulgarian National Academy of Music and at Sofia University. She conducts the Vassil Arnaoudov Sofia Chamber Choir (winner of 22 first and special awards at international competitions) and is a permanent conductor of Classic FM Radio Choir. She was awarded a ‘Golden Lyre’, the highest national prize for music in Bulgaria and she conducted the winter session 2007/2008 of the World Youth Choir. She is a regular member of the jury panels at a number of international choral competitions and a lecturer at various music events in Europe, the USA, Japan, Hong Kong, Taiwan, South Korea and Israel. In 2005, she led a master class in conducting at the seventh World Symposium on Choral Music in Kyoto, Japan. She has been Vice President of the International Federation for Choral Music since 2008 and was elected as a Chair of the WYC Artistic Committee in 2011. Email: theodora@techno-link.com

 

 

 

Edited by Angelica Falcinelli, USA

Theodora Pavlovitch, IFCM Vice-President, choral conductor and teacher

 

        Excellent examples of Spanish Gothic architecture, old fortifications, Benedictine churches and monasteries in early Romanesque style near neo-classical buildings with porches…  These and many other breathtaking historic features rich in Mediterranean spirit can be found  in the amazing city of Girona. Located a hundred kilometres north-west of Barcelona, it is one of the major Catalan cities and was chosen to host the Fifth Meeting of Choir Specialists from the Mediterranean Area , October 12^th – 14^th , 2012. After four very successful events (from 2007 to 2011), the Fifth Meeting had an even more ambitious goal: to start preparation for the Mediterranean Voices Conference ( July 29^th  – August 2^nd  2013).

       Having a unique position between three continents: Europe, Africa and Asia (the Middle East the Mediterranean Sea has ), since ancient times been a cradle of  different civilizations, a meeting point of rich cultures and an important route for merchants and travelers permitting trade and cultural exchanges between the peoples of the region. The history of the Mediterranean region is crucial to understanding the origins and development of many modern societies. “For three quarters of the globe, the Mediterranean Sea is similarly the uniting element and the centre of World History.”  (Georg Wilhelm Friedrich Hegel, The Philosophy of History, p. 87, Dover Publications Inc., 1956 )

 

 

         Parallel to all its cultural influences, the Mediterranean Sea also connects millions of people through music, and consequently the subjects in the field of music in this geographical area are endless. After four meetings showing a rich palette of scientific, musical and practical matters, the Fifth Meeting of Choir Specialists from the Mediterranean Area focused attention on several important topics:

1. Strategies and methods for the quantitative and qualitative study of choral practice in Mediterranean countries. The topic included mapping choral life in different countries, giving the opportunity to know the real situation of choral practice in the area. This map will be an essential tool to define goals and choral policies in the short, medium and long term. This tool should also serve to know the dimension of choral life and assert the value of choral and vocal tradition in the countries of the region. It was also a good way to know first hand not only the results but also the methods used in each case.
2. Drafting a Handbook of diplomacy and code of good practice for the organization of choral activities in the Mediterranean area. The concept of this topic was based on the fact that the shores of the Mediterranean Sea are rich in traditions, cultures, customs, beliefs, religions and political systems. This rich diversity was a challenge in organising international events with participants (singers, conductors, musicologists…) from various places. Thanks to the presence of choral specialists from different countries and areas it was possible to define a code of good practice and a manual of diplomacy. This tool, which will remain open for future contributions and clarifications, should be the query tool for all those who organize international choral events in multicultural and multi-religious areas all over the world.
3. Establishing the Mediterranean Choral FORUM was a very important part of the meeting. The FORUM’s general tasks were sharing ideas for innovative projects, looking for partners for specific projects, and promoting future choral activities in an international auditorium. And of course, to start building the general concept of the Mediterranean Voices Conference was the greatest challenge. From July 29^th until August 2^nd, 2013 Girona will be the hotspot, so to speak, for conductors, musicologists, singers, musicians or just lovers of choral music. Seven concerts of star-lights from the Mediterranean Area, twelve conferences, round-table discussions and exhibitions will show the rich diversity of choral and vocal traditions of the region. Partners in organizing this great event are the European Choral Association – Europa Cantat (through its Programme VOICE :Vision On Innovation for Choral music in Europe, supported by the Culture programme of the European Union), Moviment Coral Català – the host organisation –  and the International Federation for Choral Music, patron and organizer of Voices Conferences for many years. Dynamic and intensive, the programme of the Conference will be entirely focused on Mediterranean musical heritage and modern trends, including daily Open Singing with performances of unusual and specific songs from the region. The complete programme will soon be published in the International Choral Bulletin as well as on the websites of the three partners.

 

 

             The excellent organisation (both technical and logistical), the wonderful opportunities for discussion and the high artistic and scientific spirit brought the Fifth Meeting of Choir Specialists from the Mediterranean Area to valuable conclusions and a rich platform for future researches. Working surrounded by masterpieces of Picasso, Matisse, Gauguin, Monet, Rusinol – a part of the fantastic collection exposed in the halls of CaixaForum in Girona – was a great inspiration and an unforgettable experience for all of us, participants in the Fifth Meeting of Choir Specialists from the Mediterranean Area. Moltissimes Gràcies, Moviment Coral Català and the Mediterranean Office for Choral Singing…Adéu…

 

 

Edited by Gillian Forlivesi Heywood, Italy

Theodora Pavlovitch

choral conductor, teacher and IFCM Vice-President

 

The ‘European Choral Grand Prix’ (GPE) competition began in 1988 when four of the oldest international choral competitions in Europe came together to set up this new choral event. The ‘Concorso Polifonico Internazionale Guido d’Arezzo’ (Italy), ‘Concorso e Festival Internazionale Seghizzi’ (Italy), ‘Florilège vocal de Tours’ (France) and ‘Béla Bartók International Choir Competition in Debrecen’ (Hungary) founded together the super cup of choral singing. The year after, the ‘International May Choir Competition Prof. Georgi Dimitrov’ (Varna, Bulgaria) joined and, in 1990, the group was further enlarged with the addition of the ‘Certamen Coral de Tolosa’ (Spain). In 2007, the founders welcomed the ‘International Choral Competition Maribor’, which joined the original six. The following year, the ‘Concorso e Festival Internazionale Seghizzi’ left the GPE Association and six members currently remain.

Over the last 23 years the GPE has provided the stage for many successful performances and set outstanding new trends in choral music. The following list details a history of the winners between 1989 and 2010 by country:

 

• Sweden has won the GPE the most frequently, having clinched four victories with the following choirs: St Jacobs Kammerchör in 1992, The Mats Nilsson Vocal Ensemble in 1994, Lunds Vocal Ensemble in 1999 and Allmänna Sången in 2005.
• Slovenia and Lithuania both have three winners; the former won with APZ Tone Tomšič in 2002 and 2008 and Vokalna akademija Ljubljana in 2010. The latter succeeded with the Chamber Choir of the Conservatoire of Vilnius in 1991, Jauna Muzika in 1993 and Kamerinis Koris Brevis in 2003.
• The USA and Hungary have two winners each: respectively the University of Mississippi Concert Singers in 1998 and The University of Utah Singers in 2006, and Pro Musica Leanykar in 1996 and Magnificat Children’s Choir in 2001.
• The Philippine Madrigal Singers and APZ Tone Tomšič from Slovenia have each won the GPE twice, but with different conductors (1997 and 2007, 2002 and 2008 respectively).
• The following countries have won the GPE once:
• Denmark (Kammerkoret Hymnia in 1989), Japan (Kallos Choir in 1995), Russia (Vesna Children’s Choir in 2000), Latvia (Kamer in 2004) and Argentina (Coro Universitario de Mendoza in 2009).
• One conductor, Stojan Kuret, has won the GPE twice, with Slovenia’s APZ Tone Tomšič in 2002 and Vokalna akademia Ljubljana in 2010.

 

This list clearly highlights the dynamics of international choral life. Interestingly, some of these elite choral groups are still active and successful, whilst others no longer exist. However, some deductions can be made with regard to the future, in order to analyse the GPE’s role on the world choral stage.

The 23^rd GPE took place in Tolosa on 5^th November  2011, a few days after the 43^rd edition of ‘Certamen Coral de Tolosa’. Six choirs – already winners of the six European choral competitions which form the GPE – came to put their artistic skill to the ultimate test. First to take to the stage in the Larunbata Concert Hall was the Coro Città di Roma conducted by Mauro Marchetti, which had won the ‘Grand Prix Varna’ in 2010. Formed in 1979, the Coro Città di Roma represents a new generation of Italian choirs meeting modern technical and artistic criteria, creating a new vision of repertoire and promoting and spreading polyphonic music. The choir has toured in Hungary, Spain, France, Sweden, Belgium and Slovenia, taking part in international festivals and competitions. Their new projects are impressive, involving working with composers Eric Whitacre (2011) and Javier Busto (2012). At the GPE 2011, the choir presented music by Giovanni Maria Trabaci, Hugo Wolf, Eric Whitacre, Sven-David Sandström and Michele Josia.       

 

 

One of the leaders of modern Basque choral art, the mixed choir KUP Taldea, conducted by Gabriel Baltés, took first place three times and won the ‘Florilège vocal de Tours’ Grand Prix in France in 2010. Established in 2003, the choir has had a fantastic career so far, winning prizes at three of the six GPE international competitions (Tolosa, Maribor and Tours). For the 2011 GPE competition, the programme included music by Jacobus Handl Gallus, Heinich Schütz, Felix Mendelssohn-Bartholdy, Johannes Brahms, Gabriel Fauré, Frank Martin and Ko Matsushita. This choir’s excellent professional qualities are sure to attract further international recognition with every future performance on the international stage.

 

 

Another  young choir, founded by its conductor Harald Jers in 2001, also deservingly attracted a lot of attention at the 2011 GPE in Tolosa – the Consono Chamber Choir from Germany. This choir has won more competitions than are involved in the GPE: the German ‘International Chamber Choir Competition, Marktoberdorf’ in 2007 and the ‘Flanders-Maasmechelen International Choir Competition’ also in 2007, the ‘Fleischmann International Trophy Competition’ in Cork (Ireland) in 2008, the ‘Città di Gorizia’ Grand Prix in 2009 and the ‘Béla Bartók International Choir Competition’ Grand Prix in Debrecen which brought them here to compete at the GPE. These are only some of the prestigious awards the ‘Consono Chamber Choir’ has received. The choir’s most unforgettable pieces in Tolosa include Jupiter by Michael Ostrzyga and Morten Lauridsen’s Ov’è, Lass’, Il Bel Viso?

The Cantemus Children’s Choir from Nyíregyháza (Hungary) is one of the testimonials of contemporary Hungarian choral performing arts. Nurtured lovingly by its founder Dénes Szabó, this choir has won a tremendous number of awards at international competitions all over Europe, as well as the ‘Foundation for Hungarian Arts Prize’ in 1989 and the ‘Bartók Bela – Pasztory Ditta Prize’ in 1993. This choir’s evident musical quality and high-level pedagogical work have turned it into a unique school, preparing a number of musicians for their professional careers. These qualities have been displayed on many international stages where the Cantemus Children’s Choir have triumphed. The choir took part in the GPE after winning the ‘Tolosa Grand Prix’ in 2010, and sung works by Cristóbal Morales, Tomás Luis da Victoria, Giovanni Pierluigi da Palestrina, Felix Mendelssohn-Bartholdy and contemporary masters such as Kodály, Orbán, Szymko and the Basque music-genius, Javier Busto. Special attention deserves to be given to the performance of Confitemini Domino, a new piece by the young Hungarian composer, Levente Gyöngyösi, who never ceases to surprise with his creative musical ideas.

 

 

The Svenska Kammarkören, conducted by Simon Phipps, performed at the ‘Concorso Pólifonico Internazionale Guido d’Arezzo’ Grand Prix in 2010 in Tolosa. Founded in 1997, this ensemble has a remarkable concert life in Sweden – even performing for Swedish National Radio – and abroad, taking part in many international festivals and competitions. The choir’s high-level artistic programme included masterpieces by Tomkins, Brahms, Rachmaninov, Berio, Poulenc, Lindberg and Jan Sandström. The choir and conductor’s fine work on a variety of music styles showed true mastery and profound understanding and knowledge. After all these brilliant performances, it is not surprising that this choir was awarded the 2011 GPE, becoming the fifth Swedish winner in its history.

The next GPE will take place in few weeks’ time in Maribor, Slovenia. The expectations are as high as ever; Europe’s champion will soon be revealed. I urge you to wish all the participating choirs, and their conductors, boundless success in the new challenges they face on the great international choral stage.

 

 

Theodora Pavlovitch,

Professor of Choral Conducting at the National Academy of Music Sofia, Bulgaria

 

Theodora Pavlovitch (TP): How would you describe your compositional style?

Rajko Maksimović (RM): Over the course of my life my style has greatly changed. When I graduated, in 1961, I was curious to know what was going on in the world, and during the 1960s I belonged to the so-called avant-garde in Serbia. We used clusters, wrote aleatoric music, explored atonality and so on. These aspects mostly apply to my chamber and orchestral music, but also to Three Haiku, for female choir and ensemble, which was commissioned by and premiered at the Zagreb Biennale, in 1967. In 1963 I wrote a six-movement epic partita When the Living Envied the Dead, for choir and small orchestra, a work that displays the above characteristics, but also – because it uses medieval Serbian texts – reveals just how I was attempting to recreate the atmosphere prevalent at the time. On many occasions the ancient text itself generated appropriate melodic lines. As for the entire fourth movement, ‘Prince Lazar’s Plea/Holy Communion’, it is entirely a cappella, and produced back then quite an astonishing sound, because it sounded like a choir in the Orthodox Church: diatonic, sweet, and harmonically correct.

Later on, when my music started to be performed more often, and particularly after I had got in touch with the amateur choir Krsmanović, I realized that the most important goal for me is not what critics say in their newspaper reviews, but communication with singers and players who otherwise are singing and playing Mozart, Bach, Verdi, Orff…and who surely know what music really is. I started to adjust my musical ideas in order not only to be sung easily, but also to make it pleasurable for performers. And that happened more and more…Testament and Passion are the best examples of this.

Two years ago I was in Washington with a new friend of mine and during a conversation, all of a sudden, to illustrate something, he precisely sang two bars from my madrigal Then there Was Famine! Just where the basses have the words ‘I ješte že’ [‘And still another’, Ed.]He remembered it from the 1970s, when he was a member of the chorus in the town of Subotica and had sung that madrigal.

I would say that my best, largest and most significant work – The Saint Prince Lazarus Passion – is in a ‘neo-Byzantine’ style. It has diatonic, actuallymodalmelodies, occasionally uses ‘Isson’ [the low bourdon or ‘note tenue’ in Byzantine chant, Ed.], and excludes clarinets and trombones, since these instruments were not in use in mediaeval times.

 

 

TP: Which composers do you find most important for contemporary music in Serbia and how do you see its future?

RM:We have many composers who produce excellent music and are, I think, even better than the previous generation. In my opinion, the bestare Zoran Erić and Milan Mihajlović. But theyonly write instrumental music, I am sorry to say. Each has written only one choral piece to date, as far as I know. With regard to choral composers, I feel the best are Kosta Babić, who died recently, Aleksandar Vujić and Dimitrije Golemović.

I cannot forecast the future, but at the present I am witnessing an excellent type of cooperation between composers and individual players and ensembles. They play our music really enthusiastically. But our State institutions do not recognize the high quality of our players, and conductors and composers, and do not support them adequately. The leader in that sense is the Belgrade Philharmonic. In one season they give 30-40 concerts, but only one or two Serbian conductors or players appear, and these are from abroad, i.e. do not live in Serbia. Also, only three or four Serbian compositions are programmed. That is the reason why we have many excellent players, conductors and composers who no longer actually live in the country.

 

TP: Would you tell us more about your connection with Witold Lutosławski, the great Polish master?

RM: I first met him at the Zagreb Biennale in 1963 when his Trois Poemes Henry Michaut was premiered. I loved that music and I found it highly influential at the time. The same year I went to Warsaw for almost a month. And I attended the festival Warsaw Autumn, where Trois Poemes were performed for the second time. Among other works, Penderecki’s Polimorphia was premiered. But before the festival started, I became friends with some Polish people I had met and – believe it or not – little by little, I started to speak Polish! Certainly, during the 1960s and 1970s I was considered a follower of the Polish School. Considering the avant-garde at that time, I disliked Cage, Kagel, Boulez (as a composer, but I highly respect him as conductor), Stockhausen, Xenakis and others, considering that they only broke down and finally destroyed ‘traditional’ musical language but did not create any real new music. Contrary to that, I stated that “Polish composers have made real new music.” In 1975 Belgrade Television decided to record an interview with Lutosławski and some other Polish composers. I was appointed as the interviewer.

I recorded several interviews in Polish – with Henryk Górecki, Tadeush Baird, Zygmund Krauze, and some others. (Penderecki was in Krakow.) Finally, we met Lutosławski, convening with him over a course of two days – first in the Union of Composers, and later at his private home. We chatted in Polish but did the interview in English, since we were dealing with the most serious of subjects and I did not want to take any risks.

 

TP: Which other composers have influenced you over the years?

RM: During my studies, my idols were Stravinsky, Prokofiev and Bartok. Later on, Lutosławski and Ligeti. But during the 1980s and later on too, I thought I was trying to find my own style, based on mediaeval Serbo-Slavonic language and Byzantine tradition, as well on the masterworks of Bach (my first love), Mozart and Debussy. Besides that, in the late 1970s and subsequently I was engaged in studying the existent modes and was trying to expand existing theories as well as developing my own modes. Lutosławski said that tonality was worn out and I agreed with that. But I stated that it should be replaced with something else, some kind of order and not chaos! More and more I found myself using modes – sometimes medieval ones such as Dorian and Phrygian, but also my own ones (see my website www.rajko-maksimovic.net /Books/ More On Modes, in English).

 

TP: What moments of your artistic life do you consider the most valuable?

RM: There are several: the performance of Saint Prince Lazarus Passion in Tours, France, 1989, with Serbian soloists, Krsmanović choir, Armenian Orchestra and Darinka Matić-Marović conducting; three portrait concerts (1987, 1996, 2006) in the prestigious Kolaratz Hall (almost a full house for each concert); the performance of Testament in St. Petersburg with Choir & Orchestra of Cappella Glinka, Vladislav Chernushenko conducting; the performance of Testament in Burgas (Bulgaria), with a local choir and orchestra under Yordan Dafov; and the performance of the Saint Prince Lazarus Passion in Belgrade, December 2010 (after a gap of 21 years). The latter event was a tremendous success – in spite of challenging circumstances – and the choristers of both choirs were delighted, as too were the soloists, members of the orchestra, and the audience. I am deeply thankful to conductor Boyan Sudjić for what I called the ‘event of my life’.

 

TP: You wrote and published several books: the autobiographical memoir trilogy ‘That’s the Way It Was’ (1998, 2001, 2002) and ‘Speech of Music’ in 2008. How did you find inspiration to write them?

RM: I would say it happened by accident. When my older brother died in 1995, I realized that I had become the oldest member of our large (Maksimović) family. Then I decided to write some 10-20 pages about my parents, grandfather, and uncles – things that I could remember – for our descendants. When I finished, I gave some copies to a couple of friends who knew my family. They suggested independently that I continue to write not only about the dead but also about the living. I agreed, and having no other obligations, I found it easy to write the first book (covering the period up to 1965) and printed it privately (1998). All who had read it were delighted and all 500 copies were sold very soon.

That reaction encouraged me to continue. I started with my trip to America (Fulbright scholarship, 1965/66) and finished with Saint Prince Lazarus Passion (1989). The promotion of the second book happened to coincide with the exact moment when, live on television, the twin towers of the WTC were demolished on 11^th September 2001. Nevertheless, the hall was full, with about 150 people. This was when the text for the third book was more or less finished. I announced the fact and at the same time promised not to write any more books in the future. The third tome was soon available. It is about our struggle against Milošević, and deals with demonstrations, protest walks, my newspaper articles, and many other things. The fourth book you mentioned is actually a kind of interview. In 1991 Miloš Jevtić, a journalist at Radio Belgrade, asked me onto his live radio show. He intended to publish the book, but the general situation in the 1990s prevented him. We met in 2005 or 2006 and we agreed to come up with new questions and answers, and to publish both the previous version and the new one together.

 

TP: What are your latest pieces?

RM: I have just finished a choral work this year, LAMA, setting lyrics by Ogden Nash in a brilliant translation by Dragoslav Andrić. But normally I do not write anything new. I try to find possibilities of performance for earlier works that were proven to be good. Or I make adaptations. I arranged a Suite for Orchestra out of four movements from Passion. Also from the Passion, I completed Suite for Violin & Strings, which had already been performed. I have adapted too Testament, as well as Passion, and they can now be sung in English! I hope thismay help in the future.

 

TP: What would be your final message to readers of the International Choral Bulletin?

RM: I suppose I can draw on quite vast experience, and would say that the meaning and sense of composition itself lies in the performance. If there is no performance, it makes no sense. The score on paper is not yet the music. It is just a hypothetical project. When the performance happens, then it becomes music. As if to prove a point, I do not sell my music. I simply give it away. Today, with the advent of the e-mail, it is very easy indeed: rajkomaksimovic88@gmail.com

 

 

Revised by Cara Tasher

Edited by Graham Lack

Meetings in Hungary – 2011

 

By Theodora Pavlovitch, IFCM ExCom member

 

Share and learn – under this title the International Music Council* held its meeting from March 30^th to April 2^nd in Hungary on the invitation of the Hungarian Music Council. Leaders of the important international music organisations took part in the event followed by a meeting of the IMC Executive Committee. The meetings were an official programme of the Hungarian Presidency of the council of the European Union and were connected to the Budapest conference of the European Festivals Association (EFA) organized by Hungarofest Ltd., the Palace of Arts in Budapest and Budapest Spring Festival in the Ferenc Liszt Year, 2011.

The first part of the event took place in the Hungarian Choral Castle in Pomaz, one of the newest homes for a large variety of music activities. The venue provided wonderful conditions for intensive and fruitful work and the Castle’s Director Gabor Moczar (Vice President of Europa Cantat European Choral Association)  took care of every small detail in order to make the  presentations and discussions efficient. Host of another part of the meetings was the Palace of Culture, a brilliant example of modern architecture in the centre of Budapest, whose teams in the concert and conference halls offered warm hospitality to the participants of the IMC and EFA Conference.

 

 

Leaders and representatives of the International Music Managers’ Forum, the International Federation for Choral Music, the International Association of Music Information Centres, Jeunesses Musicales Internationales, European Association of Conservatories, Académies de Musique and Musikhochschulen, European Conference of Promoters of New Music, European Orchestra Foundation, Europa Cantat European Choral Association and many other important music organisations took part in the meeting.

Among the subjects of the meeting, special attention was given to the problems of music education in schools. Sarah Hennessy – President of the European Association for Music in Schools (in cooperation with ISME) – presented the theme Exchange of good practices expounding researches and good examples for activating music education in schools. “How to reach the public outside the conference room” by Eve O’Kelly (consultant at the International Association of Music Information Centres) was another subject that aroused great interest among the participants. In general, IAMIC showed a very innovative view of music in the twenty-first century and the Association’s Annual Conference “The Future of Music in the digital world” (held in June 2010 in Dublin )  attracted 24.000 people to visit IAMIC’s web-site.

A workshop on fundraising was led in a very attractive way by Philip Speding – a specialist from the British Company ”Arts&Business”. Jeunesses Musicales Internationales and its communications officer Matt Clark presented “The use of social media in cultural NGOs”  – a subject that raised a lot of questions. Sonja Greiner, the Secretary General of Europa Cantat European Choral Association presented the result, the vision and the challenges after the merger (completed in January 2011) of the two big European Choral organizations – Europa Cantat EFYC and AGEC.

A very important additional part of the meeting was the Conference of the European Festivals Association (EFA) held  in the programme of the Hungarofest Conference. Speakers at the Conference were experts such as Balint Odor (Ministry of Foreign Affairs, Hungary), Geza Entz (Ministry of National Resources, Hungary), Franz Patay from the International Music and Media Centre Vienna, and many others who shared their significant experience and high level results. The role of the regional strategies in the EU and the role of culture as a means for regional development was a focus of several different presentations and discussions.

Among the most intensive parts of the Conference was the round table discussion on new initiatives to create inter-regional and intercontinental cultural dialogue. It was clear that in this context the expertise of the International Federation for Choral Music could be very helpful.

A series of concerts in the framework of Budapest Spring Festival were included in the programme of the Conference and the European Union Youth Orchestra presented the event’s Closing Concert.

Congratulations and thank you for the remarkable event! This we would like to address to Frans de Ruiter (President), Beata Schanda (Vice President) and Silja Fisher, Secretary General of the International Music Council for their efforts and  vision about the headlines and future of the music world! The best demonstration  of this is the next big event of IMC: its 4th IMC World Forum on Music and 34th General Assembly in Tallinn, Estonia, September 26 – October 1 2011 under the title “Music and Social Change”.

Liveliness of presentations and discussions, active participation of everyone taking part and important conclusions – these were the main values of the meetings of the International Music Council organized and hosted by Hungary. We believe that the rich experience and good practices of the International Federation for Choral Music in the field of inter-cultural dialogue could serve as an example for many other music organisations, members of the International Music Council.

In such a way our work will be even better recognized and esteemed by the world music society. Let’s share and learn!

 

• The International Music Council (IMC), founded in 1949 by UNESCO, is the world’s largest network of organizations, institutions and individuals working in the field of music. The International Music Council promotes musical diversity, access to culture for all and unites organizations in some 150 countries worldwide in building peace and understanding among peoples of all cultures and heritage.

 

Edited by Gillian Forlivesi Heywood, Italy

By Theodora Pavlovitch, IFCM Executive Committee member

 

Old and new music, traditional and modern genres, a new view on the diversity of choral culture of our time – this is what the Festival “La Fabbrica Del Canto” brings to the international choral stage. To find the basis of its concept, we should have a look at the history of the event. In 1992 the Choral Association Jubilate based in Legnano (Italy) founded this festival with the general idea of offering a platform to the most innovative choirs, and of presenting different musical cultures. The competitive spirit, so typical for many events, has acquired an unusual dimension here. The choirs and ensembles gladly sing next to each other and exchange their musical experience, the conductors discuss and explore  new ideas instead of competing for awards.  

The name “La Fabbrica del Canto” (which could be roughly translated as “Melody Factory”), cuts the ties with all-too binding territorial references and describes in a synthetic and effective way the nature of the event. The term “Factory”, apart from reflecting the creativity and the commitment that are specific to any form of art, combines tradition with modernity, referring at the same time to past environments like “laboratory”, “atelier”, “workshop”, and touching upon a social dimension which is both contemporary and familiar to the local population. In this way a territorial reference is maintained and at the same time a trait that is peculiar to choral singing is underlined, namely the rootedness of its contemporary results in a centuries-long tradition.

This description gives us a sign about the general concept of the event.  The idea of cultural diversity is the foundation on which “La Fabbrica del Canto” has been built. Discovering the richness of contemporary choral art is what makes the event so colorful and dynamic. Here even the most knowledgeable people will be surprised by something new and unknown. From Medieval and early Renaissance music to most attractive new genres – all epochs, different fields and styles of singing can be found in the programme of the event.

And most importantly: apart from its cultural aspect, the festival is also developing  the idea of uniting music and solidarity. This year “La Fabbrica del Canto” has donated an amount of 13.000 Euro to the Educational Centre San Maximilian in Dar Es Salaam, Tanzania for its educational programmes.

Over the nineteen years of its existence “La Fabbrica del Canto” has welcomed 86 leading choirs and ensembles from Europe, Africa, Asia and America. Their names listed in the festival’s booklet give a clear indication of the high quality of the event.

Participants in this year’s edition of “La Fabbrica del Canto” were choirs and ensembles from eight different countries on four continents. Africa was represented by the Nelson Mandela Metropolitan University Choir conducted by Junita Van Dijk. The Tokyo Ladies Consort Sayaka conducted by Ko Matsushita brought the spirit of Japan. Coro da Camera Coralina and their conductor Alina Orraca (well known to the festival’s audience from their participation last year) again supplied a wonderful exposition of Latin American music in parallel with European developments. Europe itself was represented by five different choirs and ensembles: the Ellerhein Choir from Estonia (cond. Tiia Ester Loitme), Mikrokosmos from France (cond. Loic Pierre), SPD Jedinstvo, a mixed choir from Bosnia Herzegovina (cond. Nemanja Savic) and, last but not least, two famous vocal ensembles: Talla from Finland and Vocaldente from Germany.

More than 50 concerts in different towns in Northern Italy over the period  3 June– 1 July,  two Choral Marathon Days in Milano (12–13 June) – these in brief are the statistics of  the festival’s programme. At the end of the event the host choir Jubilate performed Vespro della Beata Vergine by Claudio Monteverdi in Legnano, Brescia and Caravaggio. Their partners in the performances were the soloists from Singer Pur vocal ensemble and Gruppo Instrumentale Jubilate under the baton of Paolo Alli, the founder conductor of Jubilate choir.

An amazing choral feast with valuable music and a large perspective – this is “La Fabbrica del Canto”. The vision of Paolo Alli and the Jubilate Choir Association will bring us to the future editions of the festival and will make their dream, a big choral event within the framework of EXPO–2015 in Milano, come true.

 

            Avanti, cari amici!

 

 

E-mail: theodora@techno-link.com

By Prof. Theodora Pavlovitch, conductor and teacher
Edited by Hayley Smith, UK/Italy

 

When you look at a map of Bulgaria, you find the Thracian region in the centre, situated beside the river Tundja (formerly known as Tonzos) that once was a cradle of civilization in this area. One of the most important towns on the river is Yambol, and only a few kilometres away you find an amazing ancient Thracian city – Kabyle (2000 B.C.). The people here consider themselves to be the repositories of the Thracian culture and they are very proud of their heritage.

The region and the town itself have a long-standing choral tradition: the first choir in Yambol was established in 1898 and, later on, fifteen new choirs were set up. In 1967 the music teacher Stefka Pastarmadjieva put together a children’s choir which very soon became one of the best in Bulgaria. It won many prizes at international competitions and was named after Georgi Dimitrov, the founder of the Bulgarian Choir Conductor’s School, as recognition of its artistic achievements. On the basis of this children’s choir in Yambol, a large choral association, also called ‘Prof. Georgi Dimitrov’, was also set up. More than six thousand singers have taken part in the different choirs that make up the association over the last forty-seven years and it has become one of the leading cultural structures in the town.

The democratic changes in Bulgaria have brought years of social transformation and the cultural institutes in the whole country have faced dramatic challenges, both organisational and financial. Unfortunately, support for the preservation and development of Bulgarian choral music drastically diminished and saving the choirs was left to conductors or, in some cases, to regional authorities, which do not always have a good overview of needs or enough resources to help.

The leaders of the Georgi Dimitrov Choral Association had the brilliant idea of looking for partners and they created the first Bulgarian cultural society on the basis of a public-private partnership. The three members of the Society are the Municipality of Yambol and two NGOs – the Georgi Dimitrov Choral Association and the Yambol branch of the Union of Scientific and Technical workers. The goals of the new structure were to preserve the choral tradition of the region and offer specific cultural services to society. As a part of its activities, in 2006 the Society set up a new choral event – the Thracian Choir Festival which was held every subsequent year with great success.

The good image of the Georgi Dimitrov Choral Association and the enthusiasm of the organisers have attracted many of the best Bulgarian choirs – more than sixty of them have taken part in the Festival. In addition, the Festival invited some high-level international choirs such as The Radio and TV Children’s Choir from Bucharest, Romania (conducted by Voicu Popescu) and Camerata Musica Limburg, Germany (conductor Jan Schumacher), among others.

As part of the Thracian International Choir Festival, there was also a round-table discussion focused on the problems of choir management. In the previous Festivals, the international expertise on this subject was presented by Sonja Greiner, Secretary General of the European Choral Association, Europa Cantat, and Pierfranco Semeraro, Vice President of FENIARCO, the Italian choral umbrella organisation, as well as by the Presidents of the leading Bulgarian music organisations: the Bulgarian Choir Union, the Bulgarian Choir Conductors’ Association and the Union of Bulgarian Composers.

Everything was going quite well at the Festival when suddenly the Municipality of Yambol, during the worst period of economic crisis in Bulgaria (2011), decided to suspend its participation in the public-private partnership and withdraw its financial support for the event. That decision brought the Festival to a total standstill.

In order to keep the Festival, and itself, alive, the Yambol Choral Association created a new public cultural institution, a specific Bulgarian form of cultural house called Chitalishte. This type of institution had been set up from the middle of the nineteenth century all over the country and they have been the main centres for preserving the Bulgarian spirit and culture for more than 150 years. Today, these institutions are supported by the Bulgarian Ministry of Culture and they are eligible for a State subsidy after proving the success of their work. The new Cultural House in Yambol was called ‘Thracian Lyre’ and, after two years of intense volunteer work, in 2013 it was recognised and supported by the Ministry of Culture. The small subsidy helped both the Choral Association and the Festival to survive.

In 2013, the Thracian Festival was reconstructed with the help of the new Cultural House and the two NGOs, plus some private sponsors. The choirs then paid small participation fees and a new element was added to its programme – an evening with authentic folk singing. The organisers started building the new image of the Festival, embracing the rich Bulgarian folk traditions.

Children’s Choir, Yambol, Bulgaria

The seventh Thracian Choir Festival took place in the Town Hall of Yambol on 17-19 October. The first concert at the Festival presented some authentic Bulgarian folk singing groups from the Thracian region. The second day of the event was dedicated to modern trends in folk music: arrangements, new polyphonic compositions based on folk themes, and even some jazz arrangements were presented by the youth choirs of the New Bulgarian University (conducted by Georgi Petkov) and the Academic Folk Choir of the Plovdiv Academy of Music and Arts (conducted by Prof. Kostadin Buradjiev). The third concert presented a panorama of contemporary choral music in the country: ‘Vocal Ensemble Spectrum’, a brilliant example of the abilities of the new-generation singers in Bulgaria, performed attractive arrangements in different styles, including modern pieces based on folklore, followed by the Choir of Medical Specialists (Sofia, conducted by Maia Vassileva) and the Mixed Choir ‘Ave Musica’ (Sofia, conducted by Tania Nikleva-Vladeva). At the end of this concert, the last two choirs performed the famous Misa Criolla by Ariel Ramirez together, accompanied by the ensemble Art Libitum with authentic instruments.

The organisers of the Thracian Choir Festival, encouraged by the audience, believe in the successful future of the event and hope to attract even more support from different partners. The leading team for the event ( Vessela Pastarmadjieva, Artistic Director of the Festival and conductor of the Georgi Dimitrov Choir Association; Dr Angel Angelov, Director of the new ‘Thracian Lyre’ Cultural House; and Milen Alexandrov, Secretary and PR Manager for the event) deserve standing ovations for their wonderful teamwork, enthusiasm and great energy. They have proved how a choral event can be saved and developed, even in a very difficult situation, by having a solid vision and keeping up morale. They believe singing can unite people all around the world and cordially invite more choirs and ensembles to join the Thracian Choir Festival. You are all very welcome in Yambol, Bulgaria!