Europa Cantat
Identifieur interne : 000226 ( Istex/Corpus ); précédent : 000225; suivant : 000227Europa Cantat
Auteurs : Harry CarterSource :
- Music educators journal [ 0027-4321 ] ; 1967-01.
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DOI: 10.2307/3390870
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3390870</article-id><article-id pub-id-type="publisher-id">10.2307_3390870</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Europa Cantat</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Carter</surname><given-names>Harry</given-names></name><aff>The author, Director of Choral Music, Chabot College, Hayward, California, participated in both the 1961 and 1964 Europa Cantats. In 1964 he also arranged for the participation of four other United States choral conductors.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>01</month><year>1967</year></pub-date><volume>53</volume><issue>5</issue><fpage>33</fpage><lpage>35</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> * In those countries of Europe which twice in this century have been the center of a world at war, an exciting and determined effort is being made to further the means of peace through the medium of choral music. The participants in this effort are the choir members and conductors who make up the European Federation of Young Choirs (EFJC), and the most dramatic evidence of their dedication is a unique type of choral festival called Europa Cantat. Although the word “festival” has taken on divergent and sometimes disturbing connotations in relation to the arts, it seems fair to assume that a festive spirit of unselfish cooperation and an irrepressible flurry of musical activity must go hand in hand with artistically exciting performances in order to have a music festival in the best sense of the word. All of these things were certainly a part of Europa Cantat I, which was held during August 1961, in Passau, Germany, and of Europa Cantat II, which was held during the same month of 1964 in Nevers, France. Each of these international meetings brought together over two thousand singers for the purpose of sharing their talents, customs, and traditions in the course of ten days spent intimately involved in joint musical endeavor. As the outward emphasis was on living and singing together, the immediate result was a dazzling display of every conceivable type of choral performance both formal and otherwise. However, underlying all of the musical activity, and sometimes receiving expression in intensely emotional contexts, was the basic belief that this artistic cooperation could nourish a degree of mutual human understanding more valuable than words or treaties in the ultimate pursuit of peace. Perhaps the colorful confusion which resulted from the arrival of about fifty choirs on opening day is a good place to start in describing an Europa Cantat. In addition to the variety provided by the languages and costumes of twelve different countries, it seemed that nearly all ages were represented. The author, Director of Choral Music, Chabot College, Hayward, California, in participated both the 1961 and 1964 In Europa Cantats. 1964 he also arranged for the participation four other United of States choral conductors. 33 One must keep in mind that the structure of the European educational system produces relatively few groups which correspond to the average school or college choir in this country and, as most of the groups represented some sort of community orientation, it was not uncommon to have ages ranging from fourteen to fifty in the same choir. However, the members of each choir all arrived with their own holiday mood to add to the general festive spirit. Nearly everyone was paying his own expenses and for the majority of them the festival would be a large part, if not all, of their highly-prized summer vacation. And yet, the real motivation could only be love of music and the desire to make meaningful acquaintances with people of other nations. The schedule of the festival left little time for sight-seeing or any other non-musical recreation and no ratings or awards of any kind were given. Instead, as one of the planners of the festival put it: “Europa Cantat is a present which the singers are giving themselves.” The festival itself was divided into five days of rehearsals and five days of performances. In applying for participation in the Cantat, each choir had agreed to learn in advance one of the major works (or in some cases, groups of works) which would involve the joint efforts of three or four hundred singers. The compositions which were performed by the various combined groups at Passau included: a program of motets by Bouzignac, Andrea Gabrieli, Lassus, and Scheidt; a presentation of poly-choral works of Buxtehude, Giovanni Gabrieli, Lassus, and Schutz; the Poulenc Stabat Mater and the Stravinsky the Te Deum by Zoltan Kodaly. At Nevers, the massed concerts presented: La fete du soleil by Rameau; motets for double choir, both contemporary and baroque; tata 113“and Magnificat which were presented at the Protestant services. However, rehearsals for the socalled” main“concerts, which would present the above works in the course of the last five days of the festival, accounted for only four hours and thus a small percentage of the activity during the preparation days. There were also rehearsals of the fifty individual choirs for the concerts they would present during the second half of the cantat and two hours each day brought the entire membership of the festival together for an almost incredible experience in community singing. No less a part of the cantat than these official activities' were the impromptu performances which ranged from the breakfast serenades to the cafe counterpoint which often linked one day to another. The actual schedule of the preparation days can be outlined as follows: 7:30-8:20 Breakfast 8:30-9:30 Community Singing 10:00-12:00 Rehearsals for the main concerts 12:15-1:45 Lunch 2:00-3:00 Free time 3:00-6:00 Time for individual choir rehearsals or “for choirs of different nations to meet.” 6:00-7:30 Dinner 8:00-10:00 Rehearsals for the main concerts 10:30-11:00 Community singing describe such moments are as elusive as those required to convey the feeling which built up during the last open sing of the 1961 cantat, when the choir from East Germany' s University of Leipzig sang Innsbruckich muss dich lassen to Mass; the Bach B Minor Mass; and Cantatade la Paix and Cantatades Deux Cites by Darius Milhaud; the Frank Martin Pseaumes; the Johannespassion of Bach; Stravin- by Carl Orff; the Vivaldi Gloria; Dufay' s Mass “se la face” and Handel' s Dixit Dominus, which were performed for the two Catholic worship services; and Bach' s “Can34 sky' s Les Noces; Carmina Burana It was in the periods of community singing that the emphasis on peace and understanding seemed to find its most tangible expression. Here, the choral tutti could completely absorb individual or national differences and there were many thrilling moments brought about by the individual efforts of everyone present to lose his own individuality in a common musical outpouring… an outpouring which would, in the words of Cesar Geoffray, “make man sensitive to the suffering and painful struggles of his fellow man.” As the two thousand singers in Nevers filled the St. Cyr Cathedral with the sounds of Giovanni Gabrieli' s eight-part Jubilate Deo, one of the chorales from the Johannespassion, or the Pacem in terris canon, written for this cantat by Heinz Lau, the parallel between vocal harmony and world accord seemed to become much more than a philosophical abstraction. And yet, words to bid their former fellow countrymen and the rest of Western Europe farewell. Thus ended for these people a brief but poignant period of reunification. The impression should not be given, however, that all of the festive spirit and musical good humor took place in the caf6s. The open sings were also a place where the conductors of the main concert groups could test their abilities of communication with whatever languages or other illustrative powers they could muster. The resulting exchanges were usually impromptu, often hilarious, and had a degree of flexibility that is difficult to imagine. Obviously, a great deal of careful planning was combined with the skill of such conductors as Philippe Caillard (France), Willi Gohl (Switzerland), Hans Grischkat (Germany), Laszlo Heltay (England), Oriol Martorell (Spain), Pierre Peroud (Switzerland), Willi Trader (Germany), and Gotfried Wolters (Germany) in order to expedite the apparent ease and musical sensitivity which characterized the community singing. Another reason for this sensitivity was the fact that most of the singers present already had considerable experience in this particular type of choral singing. The EFJC sponsors a number of similar festivals during the year which, on a slightly smaller scale, bring choirs together at various European locations for what is called a “Singing Week.” The planning of these singing weeks and the communication between the members of the Federation was such that a fairly large body of common repertory was developed before the choirs ever met at the Cantat. Special song-books, which were carefully prepared for each Cantat, also implemented the rapid pace and flexibility of mood in the community singing. Small enough to be carried in pocket or purse and costing the festival members about fifty cents each, these little books included everything from folksongs, quodlibets, and canons to madriMUSIC EDUCATORS JOURNAL I Gottfried Wolters faces five hundred singers from all over Europe on the stage of St. Cyr Cathedral, Nevers, France, while two thousand more await their cue during a rehearsal of Bach' s Johannespassion. The concert was one of sixty presented during the tenday Europa Cantat II in the summer of 1964. Representing twelve European countries, the 2, 500 young singers and instrumentalists who make up the European Federation of Young Choirs sang and played together in the interests of international understanding and art. Gottfried Wolters, one of the prominent choral conductors who attended, is director of the Norddeutscher Singkreis, Hamburg, Germany. gals, motets, and individual movements from larger works. The folk or art music of nearly every European country was at least represented in these collections and a wholehearted effort was usually made to sing everything in its original language. In two instances, the open sings at Nevers also served as rehearsals for main concerts which involved all of the festival participants as performers: the first being in the performance of Rameau' s La Fete du Soleil when everyone joined the group on the stage at the recurrence of the “Hymn to the Sun” and the second when everyone who could possibly jam into the Cathedral for the performance of the Johannespassion sang together all eleven of the chorales. The resulting international blend of consonant sounds and vocal colors simply added one more dimension to the common musical devotion and desire for expression which served to make out of the JANUARY, NINETEEN SIXTY-SEVEN performance an experience that was more than just a concert. If the preparation days seemed full of musical opportunity, the profusion of performances during the last five days encouraged an intensity of activity that occasionally bordered on a delightful sort of madness. After five days of living and singing together, it was now possible for the various choirs to hear what kind of literature and performances were characteristic of each others' individual efforts. The schedule was designed to allow every choir to give an individual concert in addition to its participation in one of the main concerts. The result was that twelve to fourteen concerts took place on each of the “Performing Days.” The various churches and theatres of the festival city became the concert halls for as many as seven concurrent individual concerts. The morning and evening community singing continued, the main concerts occupied the after-dinner hour, and sev- eral special “Serenades” started late enough in the evening to extend even the official activities of one day into the beginning hour of the next. An average of six concerts took place between 10:00-12:00 and 4:00-6:00. It became the common practice to pick the two groups whose programs (or members met during the preceding days) seemed most compelling and then to hope that corresponding intermission times and fleetness of foot would make possible the hearing of at least half of each concert. Even though most of the choirs were examples of musical cooperation at the community level, the make-up, repertory, and degree of choral proficiency were as varied as the many locales and traditions represented. In spite of the fact that government support in some European countries provides radio and television employment for relatively more professional choirs than we CONTINUED ON PAGE 93 35 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Europa Cantat</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Europa Cantat</title></titleInfo><name type="personal"><namePart type="given">Harry</namePart><namePart type="family">Carter</namePart><affiliation>The author, Director of Choral Music, Chabot College, Hayward, California, participated in both the 1961 and 1964 Europa Cantats. 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