Who are we? Well, we are the Kórus Spontánusz! That was our answer, unexpected even for us, since we hadn’t thought of a name yet. It happened on a December night in 2001 in Sopron in front of the Dömötöri Patisserie where we sang Christmas carols for ...  moreWho are we? Well, we are the Kórus Spontánusz! That was our answer, unexpected even for us, since we hadn’t thought of a name yet. It happened on a December night in 2001 in Sopron in front of the Dömötöri Patisserie where we sang Christmas carols for the passersby. We didn’t notice being founded, only the joy of polyphonic singing. It was, and still is our experience that making music together strengthens existing friendships and facilitates the development of new ones. We started out with 13 people and our numbers have only been growing ever since, we count 25-35 members on average. We gladly sing anything may that be it religious or secular, Hungarian or from abroad regardless of its period or language if it fits our skills and numbers. We sing in churches, restaurants, museums, the Academy of Music, small villages in Hungary or Austria, at international competitions, libraries – anyplace where we are welcome. Singing in a Choir is a demanding activity; it takes a lot of time, energy, discipline a...    less

Beatus Vir RV 597 Antonio Vivaldi (1678-1741) Coro Academia Concerto Altamiro Bernardes Madrigal Mackenzie Parcival Módolo Catedral Metropolitana de Sorocaba 15 de agosto de 2007

The Lassus Scholars, named after the great Renaissance composer Orlande de Lassus, seek to achieve excellence in expression and interpretation in all musical styles from the 16th century to the present day.

The fundamental connection between music and scenic performance – this will be the intent with which CHOREOS wants to produce a new quality of musical scenic performances. The long-term experience of scenic choreographic work with different Choirs shows ...  moreThe fundamental connection between music and scenic performance – this will be the intent with which CHOREOS wants to produce a new quality of musical scenic performances. The long-term experience of scenic choreographic work with different Choirs shows us that singing or experiencing music is always connected to a primal impulse to movement. This primal impulse is unfolded our production, connect it to space and light and bring it all together in our performance. The result is a new musical work in a physical wholesomeness in which sound and movement do not compete but complement and enhance each other in fruitful ways. We are not interested in creating pictures for the music – we enhance the uncompromising sound to another level of perception, we heighten and amplify the body consciousness of our singing performers. We use the knowledge about the space and the powerful energies therein for our performances of Choir singing. The dialogue between the perception of the inside and outside, the area of tension ...    less

2013.5.20 北歐音畫夏季音樂會 2 大東文化藝術中心演藝廳 指揮: 科勒.漢肯 Kåre Hanken Da pacem Domine - Arvo Pärt 請賜平安 - 佩爾特 愛沙尼亞當代著名作曲家佩爾特（Arvo Pärt, 1935-），1976年起，他創造出以單一和弦支撐全曲結構的作曲手法，如教堂的單一鐘聲般，稱為「鐘」（tintinnabuli）手法，代表作為〈聖母讚主曲〉（Magnificat, 1989）。〈請賜平安〉是2004年受西班牙古樂專家沙瓦爾（J...  more2013.5.20 北歐音畫夏季音樂會 2 大東文化藝術中心演藝廳 指揮: 科勒.漢肯 Kåre Hanken Da pacem Domine - Arvo Pärt 請賜平安 - 佩爾特 愛沙尼亞當代著名作曲家佩爾特（Arvo Pärt, 1935-），1976年起，他創造出以單一和弦支撐全曲結構的作曲手法，如教堂的單一鐘聲般，稱為「鐘」（tintinnabuli）手法，代表作為〈聖母讚主曲〉（Magnificat, 1989）。〈請賜平安〉是2004年受西班牙古樂專家沙瓦爾（Jordi Savall, 1942-）委託而作，他在女中音聲部置入葛利果聖歌素材，其餘聲部尾隨作和聲變化，安靜地呈現樂曲，佩爾特也特別將這首禱詞獻給2004年馬德里車站爆炸案的犧牲者。 Da pacem Domine, in diebus nostris quia non est alius qui pugnet pro nobis nisi tu Deus noster. 主啊！在我們活著的每一天，請賜我們平安 因為除你以外 再沒有誰 會為我們而爭戰  

12th International Chamber Choir Competition Marktoberdorf, Germany, www.modfestivals.org; June 10-15, 2011; Live recording; This is a service of Choral Festival Network www.choralfestivalnetwork.org; Competition Round 1, June 11

A group of vibrant young men and women, poised to uplift souls up to heaven with every effort and opportunity they have, through good Choral music.

CANTATE DOMINO Ko Matsushita (Japan) Coro Academia Concerto Altamiro Bernardes Fabio Maciel - piano Igreja da Paz - São Paulo 21 de maio de 2011 Música da Campanha "SING FOR JAPAN" para doações: http://www.theChoirproject.org/sing4japan

The Adlibitum Chorus is the official university Choir of Batangas State University in the Philippines consisting of college students and alumni members. The Adlibitum Chorus is one of the oldest and active Choirs of Batangas dating back from 1980 to present.

2013.5.20 北歐音畫夏季音樂會 2 大東文化藝術中心演藝廳 指揮: 科勒.漢肯 Kåre Hanken Fünf Gesänge, op. 104 - Johannes Brahms 五首歌曲，作品104 - 布拉姆斯 浪漫時期德國作曲家布拉姆斯（Johannes Brahms, 1833-97），在1863年起擔任維也納合唱團（Vienna Singakademie）指揮，開啟他寫作混聲合唱曲的興趣，重要作品有《德意志安魂曲》（Ein deutsches Requiem,...  more2013.5.20 北歐音畫夏季音樂會 2 大東文化藝術中心演藝廳 指揮: 科勒.漢肯 Kåre Hanken Fünf Gesänge, op. 104 - Johannes Brahms 五首歌曲，作品104 - 布拉姆斯 浪漫時期德國作曲家布拉姆斯（Johannes Brahms, 1833-97），在1863年起擔任維也納合唱團（Vienna Singakademie）指揮，開啟他寫作混聲合唱曲的興趣，重要作品有《德意志安魂曲》（Ein deutsches Requiem, 1868）、《愛的華爾茲》（Liebeslieder Waltzes, 1869）等，1888年的《五首歌曲》（Fünf Gesänge, op. 104）是他無伴奏合唱代表作，已經五十五歲的布拉姆斯，挑選五段晦暗的歌詞，悲嘆青春的流逝，六聲部混聲合唱，以厚重的塊狀和弦在複雜的和聲中掙扎：第一、二樂章的歌詞均取自呂克特（Friedrich Rückert, 1788-1866）的詩〈夜哨〉（Nachtwache），第一樂章以B小調極弱的音量開始，營造出全曲陰鬱的基調，徹夜無眠的悲傷；全曲篇幅最短的第二樂章（僅21小節），明亮的降E大調，跳進音型模仿守夜者的號角聲，但安慰與歡愉是短暫的。第三樂章，F小調，歌詞作者是作曲家的好友卡爾貝克（Max Kalbeck, 1850-1921），佈滿休止符的樂句，歌者短促的呼吸就像落葉的凋零，中段轉至F大調描寫陽光灑在薔薇上的喜悅，但希望隨即幻滅，回到F小調作結。第四樂章，D小調，是全曲速度最快的樂章，跳躍的三拍子呈現凡慈（Josef Wenzig, 1807-76）詩作中，青春流逝的剎那。最著名的第五樂章，C小調，一改前四樂章的厚織度六部合唱，是簡約的四聲部，呈現凋零的淒涼，歌詞是全曲最長的葛羅特（Klaus Groth, 1819-99）三段詩詞，緩慢地將無盡愁思帶入死亡，最後轉入C大調，如得到救贖般，安靜地結束全曲。 1. Nachtwache I Leise Töne der Brust, geweckt vom Odem der Liebe, Hauchet zitternd hinaus, ob sich euch öffen' ein Ohr, Öffn' ein liebendes Herz, und wenn sich keines euch öffn...    less