FROM LEARNING TO PRACTICE – what does it take to create choral music ?
Looking back and follow-up
Tenso will play a role in furthering three of the ideas that came up during the Berlin meeting:
1. Draw up a pamphlet, defining a must-have skill set for ensemble singers. This pamphlet can be used by Tenso members to engage with conservatoires in discussions how to optimise existing curricula.
2. Motivate members to select ambassadors for choral music in their own countries and engage such ambassadors (such as young people, people of public stature) in their campaigning. A good recent example is the “log book” campaign (link to Youtube) of Tenso member accentus, featuring a young fan of Mozart and conductor Laurence Equilbey who manages to get himself invited at a recording session of Mozart’s Requiem.
3. Develop an engagement programme for young professionals in choral music, which helps Tenso members to stir interest in choral singing.
Anyone interested is invited to help shape the above initiatives. If you would like to be involved as well, drop us a line!
Programme and speakers
The 2014 Tenso Professionals Meeting – moderated by Andrea Thilo – focused on the education of singers, conductors, and composers of choral music.
During the plenary part of the conference, short presentations were given by:
- Eugene Birman (US/LV), composer, participant Tenso Young Composers Workshop
- Zesses Seglias (GR), composer, participant Rautavaara Chamber Choir Composition Workshop
- Jenni Reineke (DE), singer, participant Tenso Europe Chamber Choir
- Florence Guignolet (FR), artistic director of the CRR / département supérieur pour jeunes chanteurs
- Rachel Greaves (UK), General Secretary at the Association of British Choral Directors
- Jörg-Peter Weigle (DE), rector of Hochschule für Musik Hanns Eisler, initiator der Deutsche ChordirigentenpreisThe conference was moderated by Andrea Thilo (DE).
Although the main topic was the education of young artists, the lively discussion quickly led to a wider subject: how to make choral music more attractive, for young artists, audiences and others.
The day ended with group sessions that formulated practical goals; steps to take for artists, ensembles, and music academies, and other recommendations.
(1) Define the skills required for ensemble singing (see the first draft of a profile ensemble singer)
(3) Improve the image of professional choral music
(4) Practical steps to take for ensembles and for the network.
Download the report here
Download the list of participants