For me, Palestrina’s music is like a balm for the senses and the soul. Regardless of whether I’m singing, playing or conducting, a few clean chords or an intensely shaped line can touch me, sweep me away and bring me a unique form of happiness. I’m always impressed by the ingenious combination of tonal beauty, spiritual depth and musical/textual clarity in his work.
A conversation with Gabriella Biagi Ravenni and Virgilio Bernardoni about the “Edizione Nazionale delle Opere di Giacomo Puccini” – on challenges, achievements and their very personal view of the composer.
What is Choral TIES and how has it helped in creating the “Chorleitungsschule” and the “Conductor’s Coach”? Read their press release.
How do we get as close as possible to the 1724 version of the St. John Passion in 2024? What performance material is needed? Here you will find some practical performance thoughts, also on the 1725 version, from chief editor Dr. Uwe Wolf.
Tobias Brommann has compiled his requiem highlights from our program, including lesser-known works by Biber, Lachner, and Jommelli. Have fun discovering!
Chief editor Uwe Wolf gives his program recommendation for a Christmas concert 300 years after Bach’s first cantata year in Leipzig.
Klaus Brecht is a passionate choir director, voice coach, and adjudicator. We asked him for tips from the Carus “Crossover” program – exciting discoveries await!
After taking up his post in Leipzig in May 2023, J.S. Bach composed at least one cantata every week. Kay Johannsen gives recommendations that celebrate this extraordinary creative period in Bach’s career 300 years later.
The feast of Epiphany is one of the oldest church festivals and a popular day for concerts. Frank Höndgen gives his suggestion for a Bach concert programme for this day.
Brahms’s Deutsches Requiem (German Requiem): you only need to mention this work, and many choral singers spontaneously sigh with pleasure. It is one of those works in the magnificent canon of choral literature which everyone wants to sing at some point. At least once. But what about the many short, choral-symphonic works by Brahms, for example the Schicksalslied (Song of Destiny) or Nänie? These pieces are no less magnificent, but they present choral directors with the challenge of how to find suitable works to program with them. Tobias Brommann, Choral director at Berlin Cathedral, gives some tips.
© Sven Cichowicz
(c) Sven Cichowicz
(c) Landesakademie Ochsenhausen