Don’t miss Ballet Austin’s season opener, Carmina Burana, a collaboration with the Conspirare Symphonic Choir, the Conspirare Youth Choir Kantorei, and the Austin Symphony Orchestra.
Friday and Saturday night with a Sunday matinee, Sept 24-26.
Michael & Susan Dell Hall at the Long Center.
Tickets and info at balletaustin.org
Please follow the link below to read the review by Jeanne Claire van Ryzin of the June 13th Long Center performance of J.S. Bach’s Mass in B Minor.
Austin American-Statesman, 6/16/10, austin360.com.
On Tuesday, May 25th, Performance Today will broadcast a performance by Conspirare from the Long Center concert of October 2008:
Morten Lauridsen: “Sure on This Shining Night”
Conspirare, Craig Hella Johnson, Artistic Director and Conductor
Recorded at Long Center for the Performing Arts, Austin, TX, October 12, 2008
American Public Media’s Performance Today is broadcast on 245 public radio stations across the country and is heard by about 1.3 million people each week. Each station individually decides what time to air the program. To find out where and when Performance Today is broadcast in your area, please visit performancetoday.org.
You may also visit publicradiofan.com, an independent website that can point the way to on-line listening. Many radio stations stream their signal on the internet, so it may be possible for you to tune in to a radio station across the country and hear Performance Today by visiting that station’s website at the time they air it. This Tuesday’s show will be available online for seven days. The Conspirare performance is included in playlist “Hour 1,” and the lead-in to the piece begins at 00:35:41.
“Sure on This Shining Night” by Morten Lauridsen is included on the Grammy® Award-nominated CD A Company of Voices: Conspirare in Concert, available for purchase through the Conspirare office.
The Edison Foundation in Hilversum, The Netherlands, has announced the winners of the 2010 classical Edison Awards. The winners include Austin-based professional choir Conspirare, which will receive the award in the Choral Music category for its CD Requiem.
The Edison Award is the Dutch equivalent of the Grammy®, and the award is Conspirare’s first such honor at the international level. Other 2010 classical Edison winners include the Akademie für Alte Musik Berlin, London Symphony Orchestra, Simón Bolívar Youth Orchestra of Venezuela conducted by Gustavo Dudamel, and many other eminent ensembles and artists. Conspirare is the only North American winner.
Conspirare artistic director Craig Hella Johnson said: “Conspirare is deeply honored to be among the company of so many distinguished Edison winners. This international recognition is a great compliment to our wonderfully talented and dedicated singers who give so much of themselves to Conspirare’s audiences, both in live performances and on our recordings.”
Requiem was first released in the U.S. by the Clarion label in 2006 and garnered two Grammy nominations, for Best Choral Performance and Best Engineered Album, Classical. In 2009 Conspirare’s present label Harmonia Mundi re-issued the disc in the U.S. and released it for the first time in Europe, making it eligible for the Dutch award nomination.
The 2010 awards will be presented during the Edison Ceremony on Friday, June 18 at the Kurhaus in Scheveningen, The Netherlands. The ceremony will be broadcast live on Dutch national television.
The Edison Award, named for the inventor of the phonograph, is the oldest and most prestigious Dutch music prize, presented since 1960. For a full list of winners as posted on the Edison’s Dutch-language website, click http://www.edisons.nl/klassiek/nieuws/winnaars-edison-klassiek-2010.
An English-language winners’ list is available on request. For more information in English about the Edison Award, visit http://en.wikipedia.org/wiki/Edison_Award.
For a new work by Eric Banks
The national service organization Chorus America has announced its 2010 awards and Conspirare is on the list. The Austin-based professional choral organization will receive the Dale Warland Singers Commission Award to support the commission of a new work by Seattle composer Eric Banks. Previous winners of the Warland award, now in its third year, were Anima and Chanticleer. The Conspirare award and its cash prize will be presented June 18 at Chorus America’s annual conference in Atlanta, Georgia.
Ann Meier Baker, President and CEO of Chorus America, said: “Chorus America and our partner, the American Composers Forum, are delighted to present this award to Conspirare. Not only will the award directly support the planned commission from the talented composer Eric Banks, but it also recognizes Conspirare’s commitment to supporting living composers through performing their music. It is a pleasure to watch as choruses like Conspirare carry forward this important standard, one of the greatest legacies of the Dale Warland Singers for which the award is named.”
Banks will compose a work to be entitled This delicate universe, in the form of an a cappella cycle for 16-part chamber chorus, based on five poems by the Greek-Egyptian poet Constantine Cavafy (1863-1933). The piece will be performed in both Greek and English. Many of Banks’s choral compositions are macaronic, that is, composed in multiple languages. He believes that there is particular power when one intones poetry in its original language, and he also recognizes the great value in hearing translations of these texts sung in performance.
Eric Banks said: “My plan for This delicate universe is to set Cavafy’s strophes of Greek text in the background of the choral texture, and to declaim the English translations in the foreground, by a combination of soloists and small ensembles. I will utilize the full potential of Conspirare’s forces to create a choral soundscape that employs both the linguistic variety of modern Greek and the musical vocabulary of maqqam – the scalar system known throughout the Arab world for its ornaments and microtonal variation. I hope that by coupling such diverse sounds – Greek syllables and Arabic melodies – with my English translations, that Cavafy’s work will reach a wider appreciation with American audiences.”
Conspirare expects to premiere the new work within two years.
For more about the Chorus America awards, click here. For more about composer Eric Banks, click here.
Conspirare appreciates all 225 attendees (a new record) at our spring fundraiser “Hidden Music V.” Our generous table sponsors, single ticket buyers, auction bidders, and “Paddles Up” donors raised $108,000 to support Conspirare’s worldclass concerts, recordings, and educational activities. Many thanks!
Austin-based, five-time Grammy®-nominated professional choir Conspirare has received yet another prestigious nomination, this time for an Edison Award in the category Choral Music for its CD Requiem. The Edison Award is the Netherlands’ equivalent of the Grammy, and the nomination is Conspirare’s first such nod at the international level.
Requiem was first released in the U.S. by the Clarion label in 2006 and garnered Conspirare’s first two Grammy nominations, for Best Choral Performance and Best Engineered Album, Classical. In 2009 Conspirare’s present label Harmonia Mundi re-issued the disc in the U.S. and released it for the first time in Europe, making it eligible for the Dutch award nomination. The 2010 winners will be announced on June 18.
The Edison Award, named for the inventor of the phonograph, is the oldest and most prestigious Dutch music prize, presented since 1960. For more information about the Edison Award, visit http://en.wikipedia.org/wiki/Edison_Award. For a direct link to the Edison Award’s Dutch-language website, click http://tinyurl.com/26tnley.
Please follow the link below to read a review of this month’s concert series, “A New Year’s Conspirare Classic”:
by Robert Faires, Austin Chronicle, 1/15/10.
Austin Chronicle, Jan. 15, 2010
Whenever we cross into a new year, we tend to focus on 12-month spans: the one just behind us, the one right ahead. But as I listened to Conspirare’s first concert of the new year,
I found myself being nudged beyond those immediate turnings of the calendar toward something broader, something grander.
It began the moment the 42 voices of the chorus launched into song: Max Reger’s “Der Mensch lebt und bestehet eine kleine Zeit” takes the measure of a man’s lifetime and finds it meager beside that of the Almighty. Within that sobering comparison lay the vastness of eternity, the awe-inspiring nature of it underscored by the reverence of Conspirare’s delivery. And as the ensemble worked its way through four more of the composer’s Acht Geistliche Gesänge (Eight Spiritual Songs), the singers built on our sense of this Being of boundless power and majesty, their hushed wonder at the sacrifice upon the cross occasionally swelling with passion as they smoothly ascended the scales. Reger’s 20th century evocation of Bach then gave way to the real thing: Johann Sebastian’s “Singet dem Herrn ein neues Lied,” a jubilant call for praising God that got the entire choir worked up in a way that I don’t recall seeing before. From one end of the ensemble to the other, shoulders were rising and falling and black folders bobbing up and down. The music’s joyousness had everyone bouncing as if on springs.
When the songs weren’t invoking the Creator, they were invoking his creation and in ways that accentuated its monumental scope. Robert Schumann’s “An die Sterne” addressed itself to the “stars in heaven’s distant realm,” and you could feel their far remove through the singers’ voices pitched ethereally high and clustered so tightly as to strike the ears like ringing crystal. The only work of the evening not by a German composer, Samuel Barber’s “Sure on This Shining Night,” also looked toward those bright wanderers through the infinite, illuminating an Earth where, as James Agee’s text has it, “all is healed, all is health.” The song’s image of a planet at peace, set with that elegiac tenderness so characteristic of Barber, was caressed by the company of voices in a manner that pierced the heart. Schumann’s “Zigeunerleben,” vividly describing night in a gypsy camp, and the pieces from Brahms’ “Liebeslieder Waltzes,” dancing through the various joys and sorrows of love, limned the earthly realm in copious detail – blazing fires, rushing streams, trembling bushes, malicious lime-twigs – which Conspirare attacked with a cheery gusto.
In all the evening, however, there was no greater sense of expansiveness, of opening up to the fullness of creation, than in the “Deutsche Motette,” by Richard Strauss. It is built into the work, in the narrator’s appeal to the sun and stars to awaken him and in the vocal parts, which divide and divide and divide again, into nearly two dozen parts of dizzying range and staggering complexity. As the choir performed the motet, individual voices would break out of the choral whole like single dreamers rising from the common bed of night, all with the same cry but expressed in beautifully varied ways. The solo voices soared and dipped and wove in and around one another with astounding elegance and then fused together again, as if all those separate dreamers had recognized their shared entreaty and joined hands. It is part of the wonder of Conspirare that it can take works which are so formidable, so exacting, and render them with such grace that their difficulty isn’t apparent. With the Strauss, what you were aware of was not how hard the singers were working but how sumptuous and gorgeous and heavenly were their sounds, how they expanded your senses, put you in touch with earth and sky and stars.
Opening us up, connecting us to the greater world – that’s what Artistic Director Craig Hella Johnson and Conspirare do and do so well. And they did it here, just as the program’s title promised, in “classic” fashion. When I stepped out of St. Martin’s Church into a shining night of the new year, the calendar had fallen away, and I was feeling the timeless benediction of the stars and listening to the music of the spheres.
Please follow the links below to read reviews of this past weekend’s concerts, “A New Year’s Conspirare Classic”:
by Jeanne Claire van Ryzin, Austin American-Statesman, 1/11/10.
by Preston Kirk, A-Team Member, Greater Austin Creative Alliance.
