Occasionally it comes back a little bow and pay attention to try and see how others do things. And in these times, someone like this scribe (who keeps criticizing others as if they knew them by heart) is obliged to recognize that some people do things right. And by the way, learn a little.
days ago, without going any further, I had the opportunity to participate in the Symposium on Choral Conducting from the Repertory developed in the city of La Plata, the organization of Eduardo "Chino" Correa and Laura Dubinsky (Ediciones GCC).
(Note: hereinafter obviaré the title of "master" that should precede proper names to which I will mention, simply because they all have the less that title, and those who should have it).
And during the course of the day, the exhibitors showed, the vast majority who are well aware of his craft.
Since accreditation, the booklet that was given to works that were going to work was of excellent quality. There was, yes, some errors in the transcription of the works, arrangers victims whose cases had to do a "mea culpa" for not doing a thorough review before publishing.
The format of the show was simple: 30 minutes per speaker, which is generally respected enough, and pass the next. In those 30 minutes, the speaker had to drive attendees to read the book from cover to cover (the dream of every director, learn all the notes in half an hour!), And possibly saved some time to discuss some features of their work in front of his / s choir / s. Some chose to save the speeches and show all in practice, or go work in some depth and speak at least possible.
A batch of 6 exhibitors, an hour and a half for lunch, and another batch of 6 exhibitors. Delivery of certificates of attendance to those who wish (of course that, Cholula as I am in these cases, I'm thinking about where to hang my own), and we feel the next day. Simple.
So without further ado I will relate some characteristics of the work of each director. Rest assured, it will take much less than half an hour to read each story, in another selfless service "Lario Choir." VIVIAN
TABBUSH
"Melodia de Arrabal (Tango) - arr. Vivian Tabbush for children chorus 2 voices
It began with a fervent plea for the arrangers to work on the music of Argentina, and stating that he prefers to make arrangements for easy arrival to the people rather than dazzle you with advanced harmonies. Then set about the work itself, emphasizing not to interpret the figures as written, but to respect what the genre offers. View post "Pity bandoneon ..." to understand what I mean.
ANNEL Moroder
"wallflower seedlings (Kaluyo) - arr. Nestor Zadoff for 3-voice mixed choir
was the only woman (ups. .. what happened?) Between exhibitors, and as expected was devoted to emotional aspects of the work, having previously made clear that gender, from the high plains, is distinguished by regret. It was very enjoyable, but not too many details to highlight.
RICARDO BARRERA
"Elf carnival (carnival) - arr. Juanjo Cura for 3-voice mixed choir
not put great emphasis on the work itself, which gave him a pass without elaborating. Then went on to discuss his work with choirs system of pre-teens, and especially to the problems of voice changes in that difficult age. Abused Perhaps a little sense of humor, which at times the audience is a bit scattered. CARAMEL
Fioriti
"You're not my Margarita" (chamarrita) - arr. Carmelo Fioriti for children's choir to 3 voices
In my opinion the first time strong impact. For starters, we did put them all in the situation of children who are learning a piece, that is, without sheet music, and just with a sight. Imagine, all these were adults partituradependientes. From then on, the treatment they gave us was as if we were really children, and the truth is I felt like returning to childhood to lead us this hilarious character with sheep voice (seriously, like a bleating, even when he sang the bass parts).
EDUARDO CORREA
"Why" (cueca) - arr. Eduardo Correa for 3-voice mixed choir
The "Chinese" before, also devoted a good time to discuss characteristics and origins of the genre tackled in the play, then supplementing it with its application in the interpretation of same. As a matter of critical sainetesco work ("what you loved to go, if your old lady does not happen"), falls to mature, the emphasis should be on the comic, and both emphasized with what ... we ran out of time and the work was half-read. A pity, I think most of these are left with the desire to do the whole thing. WALTER
GIMENEZ "This is the song of a young heart" (love song Mapuche) - arr. Rodrigo Dalziel for 4-voice mixed choir
SATB Being the first play of the day, it was logical that he would take more work than before, thus Giménez said little, only briefly reviewed some issues of pronunciation Mapuche (which language beautiful singing, please), and let the work speak for itself. You may have been the song more beautiful than we did, and while we da capo a fine, surely many would have liked to further deepen the understanding for a while.
Well, lunch expected, and that height, the breakfast was only a fuzzy memory. Bravo
What is coming next, since returning, with the ravioli walking the final stretch of the esophagus and acute withdrawal syndrome of sleep, we expected nothing less than ...
ANTONIO RUSSO "At 12 pm" (Carol) - arr. Antonio Russo for children or female choir to 3 voices.
The fearsome master of Lower Calabria (bah, what do I know) this time, it showed his character proverbial rotten, and that many-including this writer included, arrived late because of the deluge that fell at that time the city of the end zone.
What we do, are able to forgive those who consider Russo as a hero, I confess it was the only one who was able to rip a yawn. It is true that the agency was calling me a nap urgent, but no less true that the way to work I found it quite outmoded Russo. Not to mention the work itself: the carols arranged by Russo is not exactly my favorites.
Just before starting to arrive to Anthrax stuffed envelopes and packages signed by "Unabomber", says what I say, the followers of Russo will continue counting the thousands, and many of them are characters that I admire. Must have done something. EDUARDO
Ferraudi
"Blue Star" (wayno) - arr. Eduardo Ferraudi for 4-voice mixed choir
This was, I confess, the most anticipated moment for me. If there was someone who had no desire to see in action, that was Ferraudi. So try to be as objective as possible.
To my surprise, we find a fix "easy" Ferraudi, which was settled early on the issue of sight reading. View realize that on that side there would be serious problems, Ferraudi could devote some freedom in interpreting the work. And that those who suffered were the sopranos, of course, because they were carrying the melody for most of the time.
And speaking of time, the 30 minutes achieved in addition to brief them Ferraudi briefly on some characteristics of huayno, and even for us to explain the circumstances under which it was written this particular song, and that will not detail here for reasons of space.
Angel Derman
"Al son del Candombe (Candombe) - Derman original Angel for children's choir to 3 voices
There was much to highlight the performance of this young director looking sixty, beyond the song seemed very nice and very suitable for children's choir, which surely must enjoy it when they sing. Derman took the opportunity to encourage the directors of these choirs to compose his own works instead of making arrangements, an experience he described as very motivating. JAVIER
DAMESON
"I come to offer my heart" (air chacarera) - arr. Gustavo Felice for 4-voice mixed choir
The first reference to what made Damesón was the difficulty of working on a well-known song and performed by artists as varied, the differences that might arise in the heads of the singers on the melody. Therefore, first of all, began to make to sing what was written, and it was not easy. Then came the detail
outgoing finally a director who made us use the body! To achieve a certain effect on the accompanying Damesón showed us a sort of dance steps on which we had to sing the little notes, and I suspect it must have worked, except some logs and the undersigned, for which to make a step dancing and reading notes at the same time as impossible as some motorists drive and look at the mirror at a time. OK, I'll be sexist, but come and tell me I'm wrong.
Well, the thing is, after all this hard work, spent half an hour and not get to see the entire array. Next time. PAUL
CANAVES
"That little star" (vidalita) - Esteban original Mario for 4-voice mixed choir
If there was one director who managed to leave me speechless, without a doubt that this was Paul Canavan. I will explain why. Cánaves
argued that he had received the play with just 3 days in advance (ouch, must have thought someone from the organization), so their reasoning was as follows: Why kill myself trying to analyze in depth a work with so little time? Instead, he preferred Cánaves explore another approach: an analysis of the work at first sight! And explaining to an audience of more than 100 people in real time!
I can guarantee that was truly fascinating to hear how the guy was looking at the work and drawing conclusions with just one reading, finding out what were the hot spots of learning, discovering the core rhythmic and metrical structure of each stanza, and so on.
In short, I could compare it with a spin in the mountains in Russia. I had a barbarian, but if the story is going to look boring. JAVIER
Zentner
"What's inconvenient to visit the Pancha" (polka) - arr. Javier Zentner for 5 voices mixed choir
here also there was a little speech, which was expected given the nature of Zentner. But it was short, so there was plenty of time to work on the play. Moreover, as was the last, I guess the organizers must have gifted him a couple more little minutes.
The song itself, as explained by Zentner, was one of the few genera distinctly European folk roots, and in this case, the arrangement was intended for a solo voice with the rest of mimicking vocal accompaniment. Therefore there was little difficulty in reading, except by the speed of tempo, as the aircraft passed like bars.
The "funny? was that nobody wanted to take over singing the solo part (supposedly for baritone), which was understandable because, having encuenta that the tempo of the work made it difficult to read either black ... Imagine what would be the melody that was in sixteenths. So I had to sing himself Zentner.
And that's all, folks. There was talk (short, thank God) not to know what official of the Province of Buenos Aires, and with that ended the Jornada.
On balance I must say it was an experience I enjoyed it, even without being a director. In the case of those that were, I reckon there must have been two prevailing views: that of which was to observe and learn from the monsters that was there before him, and which went with the idea of \u200b\u200b"what this who think he is. " It seems stupid, but there are always those cases. Worse for them, because not only did not learn anything, but it also must have bored a great time.
Well, what else I can say. Repeat,
Johann
days ago, without going any further, I had the opportunity to participate in the Symposium on Choral Conducting from the Repertory developed in the city of La Plata, the organization of Eduardo "Chino" Correa and Laura Dubinsky (Ediciones GCC).
(Note: hereinafter obviaré the title of "master" that should precede proper names to which I will mention, simply because they all have the less that title, and those who should have it).
And during the course of the day, the exhibitors showed, the vast majority who are well aware of his craft.
Since accreditation, the booklet that was given to works that were going to work was of excellent quality. There was, yes, some errors in the transcription of the works, arrangers victims whose cases had to do a "mea culpa" for not doing a thorough review before publishing.
The format of the show was simple: 30 minutes per speaker, which is generally respected enough, and pass the next. In those 30 minutes, the speaker had to drive attendees to read the book from cover to cover (the dream of every director, learn all the notes in half an hour!), And possibly saved some time to discuss some features of their work in front of his / s choir / s. Some chose to save the speeches and show all in practice, or go work in some depth and speak at least possible.
A batch of 6 exhibitors, an hour and a half for lunch, and another batch of 6 exhibitors. Delivery of certificates of attendance to those who wish (of course that, Cholula as I am in these cases, I'm thinking about where to hang my own), and we feel the next day. Simple.
So without further ado I will relate some characteristics of the work of each director. Rest assured, it will take much less than half an hour to read each story, in another selfless service "Lario Choir." VIVIAN
TABBUSH
"Melodia de Arrabal (Tango) - arr. Vivian Tabbush for children chorus 2 voices
It began with a fervent plea for the arrangers to work on the music of Argentina, and stating that he prefers to make arrangements for easy arrival to the people rather than dazzle you with advanced harmonies. Then set about the work itself, emphasizing not to interpret the figures as written, but to respect what the genre offers. View post "Pity bandoneon ..." to understand what I mean.
ANNEL Moroder
"wallflower seedlings (Kaluyo) - arr. Nestor Zadoff for 3-voice mixed choir
was the only woman (ups. .. what happened?) Between exhibitors, and as expected was devoted to emotional aspects of the work, having previously made clear that gender, from the high plains, is distinguished by regret. It was very enjoyable, but not too many details to highlight.
RICARDO BARRERA
"Elf carnival (carnival) - arr. Juanjo Cura for 3-voice mixed choir
not put great emphasis on the work itself, which gave him a pass without elaborating. Then went on to discuss his work with choirs system of pre-teens, and especially to the problems of voice changes in that difficult age. Abused Perhaps a little sense of humor, which at times the audience is a bit scattered. CARAMEL
Fioriti
"You're not my Margarita" (chamarrita) - arr. Carmelo Fioriti for children's choir to 3 voices
In my opinion the first time strong impact. For starters, we did put them all in the situation of children who are learning a piece, that is, without sheet music, and just with a sight. Imagine, all these were adults partituradependientes. From then on, the treatment they gave us was as if we were really children, and the truth is I felt like returning to childhood to lead us this hilarious character with sheep voice (seriously, like a bleating, even when he sang the bass parts).
EDUARDO CORREA
"Why" (cueca) - arr. Eduardo Correa for 3-voice mixed choir
The "Chinese" before, also devoted a good time to discuss characteristics and origins of the genre tackled in the play, then supplementing it with its application in the interpretation of same. As a matter of critical sainetesco work ("what you loved to go, if your old lady does not happen"), falls to mature, the emphasis should be on the comic, and both emphasized with what ... we ran out of time and the work was half-read. A pity, I think most of these are left with the desire to do the whole thing. WALTER GIMENEZ "This is the song of a young heart" (love song Mapuche) - arr. Rodrigo Dalziel for 4-voice mixed choir
SATB Being the first play of the day, it was logical that he would take more work than before, thus Giménez said little, only briefly reviewed some issues of pronunciation Mapuche (which language beautiful singing, please), and let the work speak for itself. You may have been the song more beautiful than we did, and while we da capo a fine, surely many would have liked to further deepen the understanding for a while.
Well, lunch expected, and that height, the breakfast was only a fuzzy memory. Bravo
What is coming next, since returning, with the ravioli walking the final stretch of the esophagus and acute withdrawal syndrome of sleep, we expected nothing less than ...
ANTONIO RUSSO "At 12 pm" (Carol) - arr. Antonio Russo for children or female choir to 3 voices.
The fearsome master of Lower Calabria (bah, what do I know) this time, it showed his character proverbial rotten, and that many-including this writer included, arrived late because of the deluge that fell at that time the city of the end zone.
What we do, are able to forgive those who consider Russo as a hero, I confess it was the only one who was able to rip a yawn. It is true that the agency was calling me a nap urgent, but no less true that the way to work I found it quite outmoded Russo. Not to mention the work itself: the carols arranged by Russo is not exactly my favorites.
Just before starting to arrive to Anthrax stuffed envelopes and packages signed by "Unabomber", says what I say, the followers of Russo will continue counting the thousands, and many of them are characters that I admire. Must have done something. EDUARDO
Ferraudi
"Blue Star" (wayno) - arr. Eduardo Ferraudi for 4-voice mixed choir
This was, I confess, the most anticipated moment for me. If there was someone who had no desire to see in action, that was Ferraudi. So try to be as objective as possible. To my surprise, we find a fix "easy" Ferraudi, which was settled early on the issue of sight reading. View realize that on that side there would be serious problems, Ferraudi could devote some freedom in interpreting the work. And that those who suffered were the sopranos, of course, because they were carrying the melody for most of the time.
And speaking of time, the 30 minutes achieved in addition to brief them Ferraudi briefly on some characteristics of huayno, and even for us to explain the circumstances under which it was written this particular song, and that will not detail here for reasons of space.
Angel Derman
"Al son del Candombe (Candombe) - Derman original Angel for children's choir to 3 voices
There was much to highlight the performance of this young director looking sixty, beyond the song seemed very nice and very suitable for children's choir, which surely must enjoy it when they sing. Derman took the opportunity to encourage the directors of these choirs to compose his own works instead of making arrangements, an experience he described as very motivating. JAVIER
DAMESON
"I come to offer my heart" (air chacarera) - arr. Gustavo Felice for 4-voice mixed choir
The first reference to what made Damesón was the difficulty of working on a well-known song and performed by artists as varied, the differences that might arise in the heads of the singers on the melody. Therefore, first of all, began to make to sing what was written, and it was not easy. Then came the detail
outgoing finally a director who made us use the body! To achieve a certain effect on the accompanying Damesón showed us a sort of dance steps on which we had to sing the little notes, and I suspect it must have worked, except some logs and the undersigned, for which to make a step dancing and reading notes at the same time as impossible as some motorists drive and look at the mirror at a time. OK, I'll be sexist, but come and tell me I'm wrong.
Well, the thing is, after all this hard work, spent half an hour and not get to see the entire array. Next time. PAUL
CANAVES
"That little star" (vidalita) - Esteban original Mario for 4-voice mixed choir
If there was one director who managed to leave me speechless, without a doubt that this was Paul Canavan. I will explain why. Cánaves
argued that he had received the play with just 3 days in advance (ouch, must have thought someone from the organization), so their reasoning was as follows: Why kill myself trying to analyze in depth a work with so little time? Instead, he preferred Cánaves explore another approach: an analysis of the work at first sight! And explaining to an audience of more than 100 people in real time!
I can guarantee that was truly fascinating to hear how the guy was looking at the work and drawing conclusions with just one reading, finding out what were the hot spots of learning, discovering the core rhythmic and metrical structure of each stanza, and so on.
In short, I could compare it with a spin in the mountains in Russia. I had a barbarian, but if the story is going to look boring. JAVIER
Zentner
"What's inconvenient to visit the Pancha" (polka) - arr. Javier Zentner for 5 voices mixed choir
here also there was a little speech, which was expected given the nature of Zentner. But it was short, so there was plenty of time to work on the play. Moreover, as was the last, I guess the organizers must have gifted him a couple more little minutes. The song itself, as explained by Zentner, was one of the few genera distinctly European folk roots, and in this case, the arrangement was intended for a solo voice with the rest of mimicking vocal accompaniment. Therefore there was little difficulty in reading, except by the speed of tempo, as the aircraft passed like bars.
The "funny? was that nobody wanted to take over singing the solo part (supposedly for baritone), which was understandable because, having encuenta that the tempo of the work made it difficult to read either black ... Imagine what would be the melody that was in sixteenths. So I had to sing himself Zentner.
And that's all, folks. There was talk (short, thank God) not to know what official of the Province of Buenos Aires, and with that ended the Jornada.
On balance I must say it was an experience I enjoyed it, even without being a director. In the case of those that were, I reckon there must have been two prevailing views: that of which was to observe and learn from the monsters that was there before him, and which went with the idea of \u200b\u200b"what this who think he is. " It seems stupid, but there are always those cases. Worse for them, because not only did not learn anything, but it also must have bored a great time.
Well, what else I can say. Repeat,
Johann 
