Dr. Horst Buchholz, Vice President of the Church Music Association of America, will be directing one of the polyphony choirs at the XXIV Summer Colloquium. He has served on the faculty at several Summer Colloquia and we are pleased to welcome him again. The principal work for his choir will be the Missa pro defunctis (“Requiem”) for four voices, composed by Tomas Luis de Victoria in 1583. He will also be conducting a variety of motets, ranging from Mozart to Bruckner. He will be the organist for the Mass for the Feast of St. Thomas the Apostle on Thursday, July 3rd, at the Church of St. John Evangelist in Indianapolis.
Horst Buchholz is Director of Sacred Music at the Cathedral Basilica of St. Louis and the Archdiocese of St. Louis, as well as Artistic Director of St. Louis Cathedral Concerts. Prior to coming to St. Louis, Dr. Buchholz had served as Organist and Choirmaster at the Cathedral Basilica of the Immaculate Conception in Denver, Colorado and Trinity Cathedral in Cleveland.
Buchholz studied organ and sacred music in his native Germany at the Berlin College of Church Music and graduated with degrees and diplomas in Church Music and Music Pedagogy from the University of Arts in Berlin. His organ teachers have included Heinz Lohmann, Peter Wackwitz, and Rudolf Heinemann. Among his conducting teachers were Martin Behrmann, Uwe Gronostay, and Erich Bergel. After receiving his teaching certificate in Music Theory and Composition from the University of Arts in Berlin in 1989, Dr. Buchholz continued his post-graduate studies in the United States, where he received his Doctor of Music degree in conducting from the Indiana University School of Music.
As a chorus member and assistant with the Berlin Philharmonic Chorus, he worked with and performed under such eminent maestros as Claudio Abbado, Seiji Ozawa, Kurt Masur, Lorin Maazel, and Herbert von Karajan. Dr. Buchholz’s other accolades and accomplishments include his service as Music Director of the Denver Philharmonic Orchestra, organist and guest conductor appearances with the Colorado Symphony, and Opera Colorado, as well as with orchestras and operas in Mexico, Japan, Korea, and several European countries. He has performed in major cathedrals and concert halls around the world. In 2009, The Denver Philharmonic named him Conductor Laureate.
As a music educator, Dr. Buchholz has served as a member of the organ faculty at Cleveland State University; Associate Professor of Music and Director of Schola Cantorum at St. John Vianney Seminary (Denver); Assistant Professor of Conducting, Director of Orchestral Studies, and faculty member of organ and church music at Lamont School of Music at the University of Denver.
We are very pleased to have Dr. Ann Labounsky on the faculty of CMAA’s Colloquium XXIV. As professor of music and chairman of the Organ and Sacred Music degree programs at Duquesne University, she oversees undergraduate and graduate programs in sacred music.
This year, Ann will be offering two breakout sessions on current-day Solesmes. She will also be the organist for the Colloquium Votive Mass of the Sacred Heart of Jesus at 5:00 p.m. on July 4, 2014 at St. John the Evangelist Church.
Dr. Labounsky is widely known, both in the United States and in Europe, as a virtuoso performer and improviser at the organ and particularly as a leading American disciple of Jean Langlais. From 1962 to 1964 she lived and studied in Paris as a Fulbright scholar. There, as an organ student of André Marchal
The summer of 2014 . . .
marks the 50th anniversary of the founding of the Church Music Association of America and its journal Sacred Music. This will be the focus of celebration at Colloquium XXIV in Indianapolis, June 30–July 6, 2014.
It is not as if this were a new society, even then, far from it. It was an amalgamation of the Society of St. Cecilia (1874) and the Society of St. Gregory (1913). In view of the importance music played in the Constitution on the Sacred Liturgy from the Second Vatican Council, church musicians of the two societies saw the need to join forces to take advantage of the directions the council had indicated for the integration of the treasury of sacred music with substantive participation of the people in the sacred action: the great heritage of Gregorian chant and classical polyphony should enhance the participation of believers in the action of Christ in the Mass, and this should form a precedent for the composition of new sacred music. And so at a meeting in late September 1964, at Boys Town, Nebraska, members of these societies together established the CMAA as a continuation of their groups.
Soon after, new directions in Catholic Church music emerged that were not entirely in accord with the prescriptions of the council: the use of styles borrowed from popular music and so-called “folk music”