Friday, May 19 & Saturday, May 20, 2017
at Saint Mark the Evangelist Church, Tampa, FL
The Florida Chapter of the Church Music Association of America (CMAA) is pleased to announce the 9th annual Musica Sacra Florida Gregorian Chant Conference.
The Conference will include:
“Sacred Music in the Secular Sphere: Can Beauty Lead to the Good and the True?”, Mary Jane Ballou, D.S.M.
Scholae for beginning/intermediate (men & women), advanced men, advanced women
Opening Missa cantata in the Extraordinary Form on Friday evening. Music provided by the Schola of Epiphany of Our Lord Roman Catholic Church, Tampa, FL under the direction of Anders Bergmann.
Closing Missa cantata in the Ordinary Form on Saturday evening (anticipated Sunday Mass) with English & Latin chants provided by conference participants.
For all the details about the conference and how to register, visit:
MUSICA SACRA FLORIDA CHANT CONFERENCE PAGE
Michael Alan Anderson, director
The course will balance exposure to the genres and styles of traditional Western plainchant with the study and execution of Renaissance vocal polyphony. Sessions will center not just on performance but also on historical background, notation, and contemporary theory and practice. In a short concert at week’s end, students will present – as an SATB choir – an unpublished sixteenth-century polyphonic Vespers, which incorporates both chant and polyphony. This course is appropriate for church music directors, choral directors, and singers wishing to gain a stronger foundation in early music. The institute takes place in Chicago at St. John Cantius Church, recently named the most beautiful church in the United States and well known for its rich tradition of sacred music.
Participant Concert: A Renaissance Vespers – Friday, June 30 at 7:30 pm., St. John Cantius Church
Singing Gregorian Chant and Renaissance Polyphony – Chicago
Professional Development Hours: 30
$1,550 / 1 credit CRN 18500
$650 / noncredit CRN 18496
To apply for this course: APPLY NOW
The CMAA is proud to present four summer courses for the summer of 2017. All courses will be held concurrently at the Mary Pappert Music School at Duquesne University.
Chant Intensive and Laus in Ecclesia – Level One
Ward Method I – That All May Sing and Ward Method II – Intermediate
The Chant Intensive lives up to its name: though no previous experience with chant is required, beginners and intermediate chanters should be prepared for full immersion from the start. You will learn or review how to read and fully navigate all aspects of traditional Gregorian notation (square notes), as well as an introduction to chironomy (directing chant) with a master teacher.
The course will also address correct Latin pronunciation, the sound and mystery of the eight Church modes, Psalm tones and their applications, questions concerning the rhythm of plainsong, and more. Compline will be sung to allow participants to experience the beauty of a portion of the sung Divine Office. Gregorian repertoire will be used for Divine Office and Mass.
The CMAA Summer Chant Intensive is intended for beginning and continuing students and all who love and appreciate the central role that chant plays as the prayerful song of the Roman Rite–not only at cathedrals and basilicas but in any parish. The conference will inspire and prepare participants to continue the renaissance of sacred music in our time, in both the ordinary and extraordinary forms of the Mass. In the years since the first CMAA Chant Intensive course was taught in 2008, hundreds of students have benefited from this in-depth course in Gregorian chant.
This summer’s course will be taught by instructor Dr. Jennifer Donelson in one section including men and women.
For all the details, including registration and schedule: CHANT INTENSIVE
For the second time, the CMAA is offering a beginning course in the Ward method developed by Justine Bayard Ward (1879 – 1975). This method was developed by Ward for the purpose of providing a basic integrated musical education for children in primary and intermediate grades of Catholic schools. The Ward Method has Gregorian Chant as its basis. Using her method, directors of children’s choirs may work toward the goal that all the children may sing — not just those with the most obvious natural talent.
The CMAA has offered short breakout sessions about the Ward method at Colloquia, but until last summer’s first course, we have not had the time available to provide the needed training for participants to take the methodology home to use with students. This summer’s course will provide training to allow participants to teach groups of children using these tried and true methods, including the planning and conducting of regular Ward lessons to groups of children.
Scott Turkington will again share his training and experience in sharing the Ward method with participants in this course in the hope of preparing new generations of Catholics to sing in choirs, scholas and in actively participating in the parish liturgies as parishioners in the pews.
For all the details, including registration and schedule: WARD I
For the first time, building on the success of our first Ward course offering in 2016, the CMAA is offering an Intermediate course in the Ward method developed by Justine Bayard Ward (1879 – 1975). This method was developed by Ward for the purpose of providing a basic integrated musical education for children in primary and intermediate grades of Catholic schools. The Ward Method has Gregorian Chant as its basis. Using her method, directors of children’s choirs may work toward the goal that all the children may sing — not just those with the most obvious natural talent.
The CMAA has offered short breakout sessions about the Ward method at Colloquia, but until last summer’s first course, we have not had the time available to provide the needed training for participants to take the methodology home to use with students. This summer’s course will provide training to allow participants to continue in their training to move beyond the first year of Ward instruction with advanced techniques and a continuation of the training needed to continue utilizing the Ward method beyond the first year.
Wilko Brouwers will share his training and experience in sharing the Ward method with participants in this course in the hope of preparing new generations of Catholics to sing in choirs, scholas and in actively participating in the parish liturgies as parishioners in the pews.
For all the details, including registration and schedule: WARD II
Level One: Beginners and members of a Gregorian choir
Level Two: More advanced, which could be described as what is necessary to sing in a schola and to sing the more elaborate chants (Graduale, Alleluia, Offertory).
Level Three: Perfecting the Gregorian skills to enable the student to direct a schola or group
This summer’s course will cover Level One. A book will be provided which contains all the course material. The subject matter covers theory and practice.
In the course of the week, the students will be taken through all 15 lessons of the manual Laus in Ecclesia, level One. Much of the material will be explained, alternated with exercises and examples. Ideally, the manual is meant to provide a whole course with homework assignments at the end of each lesson to be completed and submitted for correction, and an oral practical examination after finishing the course. As it is unlikely that the student will be able to complete all this during the week, these assignments can be completed during the year and an exam can be taken at the next scheduled course, or other arrangements can be made individually.
The book Laus in Ecclesia is the revised edition of the St. Gregoire Schola’s manual. The previous five manuals which provided the teaching matter of the Schola are condensed into three levels with this revision. The first two levels have been published in France (the third is still in process). This course will include the use of the first level, which is newly published in English. This book provides color diagrams and illustrations to accompany the material. Also included is a CD which provides a model for solfeggio and rhythm exercises. These same tracks will also be available at the Laus in Ecclesia website (still in process, but planned for completion prior to the course in June).
Br. Mark Bachmann, choirmaster for Clear Creek Monastery will teach this course, sharing his many years of experience with class participants.
For all the details, including registration and schedule: LAUS IN ECCLESIA
Designed especially for directors of music, gain valuable resources and training with an outstanding faculty.
All Symposium events will take place at: St. Therese in Alhambra (1100 E Alhambra Rd, Alhambra, CA 91801). However, on the final day, participants will be taken by bus to sing a Solemn High Mass in the historic SAN FERNANDO MISSION CHURCH and given an opportunity to visit the museum.
For the schedule of events and all the details, visit their site here: CORPUS CHRISTI WATERSHED SYMPOSIUM. If you have interest in participating, please make contact with them to reserve a space by 2/14/17.
Join Raymond Leo Cardinal Burke, Archbishop Alexander K. Sample and Bishop Robert F. Vasa in Southern Oregon for a three-day immersion in the Church’s sacred liturgy and its living musical heritage. The theme of this 5th annual conference is “The Voice of the Bridegroom” and will focus on sacred liturgy, Church history and the role of Gregorian chant.
The conference will include eight important and informative lectures, five chant workshops, four sung liturgies, and plenty of time for fellowship. His Eminence Cardinal Burke will give a lecture and celebrate an Extraordinary Form Solemn Pontifical High Mass assisted by priests of the Priestly Fraternity of Saint Peter. Archbishop Sample will give a lecture and celebrate a Pontifical Mass in the Ordinary Form. Additional faculty will include Bishop Vasa, Rev. Gerard Saguto, FSSP, Rev. Vincent Kelber, O.P., Rev. Timothy Furlow, Dr. Lynne Bissonnette-Pitre and Dr. Francisco Romero.
The conference is organized by the Director of Schola Cantus Angelorum, Dr. Lynne Bissonnette-Pitre MD, PhD, LGCHS and hosted by Sacred Heart Catholic Church in Medford, Oregon. This Sacred Liturgy Conference promises to be intellectually, liturgically and spiritually enriching.
To find out more specifics about the schedule, accommodations, and how to register for the conference go to www.SacredLiturgyConference.org . You may also call 206-552-3400 or email email@example.com. Don’t delay, as space is limited and registrations will be accepted on a first-come, first-served basis.
Discourses on the Spirituality of Gregorian Chant and Sacred Music
Sung Vespers and Compline
Solemn High Mass for the Second Sunday of Lent.
Both the practical and spiritual aspects of sacred music will be the focus of an upcoming Sacred Music Workshop in March. Already in the planning stages, the intensive two-day program will include spiritual talks given by Institute canons, Gregorian chant instruction including Gregorian Rhythm and an introduction to Chironomy imparted by Canon Wulfran Lebocq, currently serving in Ireland and was the Chant Master at the Seminary for a number of years.
Participants will also experience singing polyphonic repertoire taught by Mr. Nicholas Botkins, Director of Music at St. Francis de Sales Oratory. Starting on Friday evening, March 10, and including High Mass on Sunday, participants will take part in chanting the Office with members of the Institute, attend lectures and rehearsals for both Chant and polyphony.
For the complete schedule and all the details of the event, visit the Institute of Christ the King website here: http://www.institute-christ-king.org/news/386/92/Sacred-Music-Workshop-Register-Now/
Cantores in Ecclesia, JAMES O’DONNELL Guest Director
8:00 PM Monday, February 20th, 2017
St. Mary’s Cathedral, NW 18th Ave. and Couch St., Portland, Oregon
FRANK MARTIN’s Mass for Double choir a cappella was composed in 1922, and it is his only unaccompanied sacred choral work. The music is sincerely felt and deeply personal. The score remained in a drawer for forty years until it was finally performed and published in 1963. In the intimacy of its musical language and emotive intensity evident in every measure, the Mass stands today as one of Martin’s finest creations and one of the greatest a cappella works written in this century. According to Antje Wisseman, in the Preface to the Baerenreiter edition of the Mass, “Today it is one of the most popular works of contemporary a cappella choral music and is found in the repertoires of many ambitious choirs.”
IGOR STRAVINSKY’s Mass for Mixed Chorus and Double Wind Quintet was completed in 1948, towards the end of his neo-classical period. The work is scored for mixed chorus and an ensemble of wind instruments comprising two oboes, English horn, two bassoons, two trumpets, and three trombones. Interestingly, Stravinsky specifies in the score that “children’s voices should be employed” in solo parts in the Gloria and Sanctus. The Mass is the product of Stravinsky’s renewed spirituality, as he himself says of the Credo: “One composes a march to facilitate marching men, so with my Credo I hope to provide an aid to the text. The Credo is the longest movement. There is much to believe.”
James O’Donnell is Organist and Master of the Choristers of Westminster Abbey. Internationally recognized as a conductor and organ recitalist, he has given concerts all over the world, including the United States, Japan, Australia, New Zealand, and throughout Europe, and appeared in the BBC Proms and at many other festivals. His recent engagements have included Poulenc’s Organ Concerto with the LPO under Yannick Nezet Seguin at the Royal Festival Hall, broadcast live on BBC Radio 3 and released on CD on the LPO Live label, and solo recitals in the united States, Germany, Norway, and the Netherlands.
A junion exhibitioner at the Royal College of Music, James O’Donnell studied music as Organ Scholar of Jesus College, Cambridge, and was then appointed Assistant Master of Music at Westminster Cathedral, becoming Master of Music in 1988. Under his direction the Chor of Westminster Cathedral won the Gramophone ‘Record of the Year’ aware (for its Hyperion recording of masses by Martin and Pizzetti in 1998), and a Royal Philharmonic Society aware (1999), both unprecedented for a Cathedral Choir.
In january 2000 James O’Donnell took up his present appointment at Westminster Abbey, where he is responsible for the music at all services and occasions. Among recent notable events, he directed the music for the Wedding of The Duke and Duchess of Cambridge in 2011 and the memorial services for Nelson Mandela and Sir John Tavener. Under his direction the Abbey Choir records every year, broadcasts frequently, and has toured widely, most recently to the United States.
James O’Donnell has worked with many of the country’s leading orchestras and ensembles as soloist and director. He is Music Director of St. James’s Baroque and Visiting Professor of Organ and of Choral Conducting at the Royal Academy of Music. He was President of the Royal College of Organists (2011-13) and is an Honorary Member of the Royal Academy of Music and a Fellow of the Royal College of Music. He is an Honorary Fellow of Jesus College, Cambridge and in 2013 was awarded a Doctorate of Music honoris causa at the University of Aberdeen.
CANTORES IN ECCLESIA
Established over thirty years ago, Cantores in Ecclesia provides Gregorian chant and sacred polyphony in liturgical contxts. The choir has sung in concert and for liturgies at home and abroad. The choir has recorded independently and for the Oregon Catholic Press. For the past nineteen years Cantores in Ecclesiaa has present the internationally acclaimed William Byrd Festival in Portland, Oregon in collaboration with distinguished guest artists from England and the United States. The choir has been featured in print media and online with articles in BBC Music Magazine (August 1997) Brinstorm (February 2004), and The Early Music REview (2008), Cantores has established itself as a leader in liturgical and early music performance, winning loyal supporters at home and top honors in international competitions. The choir is directed by Blake Applegate.
For more information: Dean Applegate 971-227-8740, cantoresinecclesia.org
Tickets: At the door or in advance $20 general admission, $15 seniors & Students. Online at brownpapertickets.com or by phone at 1.800.838.3006.
National Conference: “Gregorian Chant in Pastoral Ministry and Religious Education”
What role does the Church’s treasury of sacred music play in contemporary pastoral ministry and religious education? How does one build a sacred music program of excellence which serves as an integral part of the sacred liturgy and is also effective both in drawing souls to Christ and forming people in the Catholic faith? This national conference will bring together clergy, seminarians, scholars, musicians, teachers, and Catholic school administrators to consider the place of Gregorian chant and excellent choral music in the life of the Catholic Church in America today. The conference seeks to inspire attendees with ideas for starting or continuing to develop sacred music programs of excellence in Catholic parishes and schools. The conference organizers also hope to encourage discussion about the vitality and necessity of beauty and sacred music in the catechesis and formation of Catholics, as well as in the evangelization of non-Catholics and non-practicing Catholics.
This two-day conference will feature:
Presenters include: Dr. Mary Jane Ballou, Dr. Francis Brancaleone, Mary Ann Carr Wilson, Heitor Caballero, Colleen Crafton, Fr. Richard Cipolla, Dr. Jennifer Donelson, Fr. David M. Friel, Raymond Henderson, Dr. Aaron James, Fr. Robert Johansen, Lisa Knutson, Nathan Knutson, Alexis Kutarna, Frs. Robin Kwan and Kevin Mann, SJC, Dr. Ann Labounsky, Nicholas Lemme, Mary Catherine Levri, Dr. Crista Miller, Joel Morehouse, James Monti, Dr. Jared Ostermann, Kurt Poterack, Dr. Ronald Prowse, Laurence Rosania, Jonathan Ryan, Dr. Edward Schaefer, Dr. Samuel A. Schmitt, Fr. Innocent Smith, OP, Students of the Atonement Academy, Dr. Jay Swain, Fr. Jon Tveit, Msgr. Andrew Wadsworth, The Ward Centre of Richmond, Virginia, Nicholas Will, Gustavo Zayas, and Amy Zuberbuler.
You’ll receive a printed copy when you check in to registration in Birmingham, but you can get a look at it here in advance.
There is still time to register for Winter Sacred Music… come and join us in Birmingham in January and make some beautiful music.
WINTER SACRED MUSIC WEBPAGE (for all the details).
Make plans now to join the CMAA in Birmingham, Alabama in the New Year! The Winter Sacred Music program for 2017 will be a great way to start the new year.
Study Gregorian Chant and Renaissance Polyphony with Scott Turkington and Nick Botkins, attend breakout sessions with Dr. William Mahrt, CMAA President.
Wednesday evening features an Early Music concert with the Highland Consort.
For all the details, visit our webpage: WINTER SACRED MUSIC
Early Registration has been extended… so sign up today!