Shchedrin accomplishes his purposeful combination of traditional elements with modern sounds, techniques, and procedures, so smoothly, and so unselfconsciously, that the listener is not jarred or confused by the result-- the music sounds very much of a piece, and unified in its impact.

The performance of great music is like the burning bush-- it burns but does not consume. It makes us better all the time.

I find Shchedrin’s explanations helpful in understanding The Sealed Angel, especially in relation to the music of J.S. Bach, which has been so central to Chicago Chorale's repertoire.

We are beyond happy to be working on this piece again. Singers who were not with us in 2012 are in for a wonderful musical experience.

In addition to Mozart's Requiem, Chorale has chosen to sing three a cappella motets by modern composers, settings of texts appropriate to Holy Week, which have a musical and acoustical character particularly appropriate to St.Benedict’s Catholic Church, the venue for our concert.

Last week I wrote about a conductor’s biggest decision, in planning a performance of Mozart’s Requiem: which edition/completion? But there are other choices to be made, as well.

Why does the “Completed by...” line, following “Composed by W.A.Mozart,” matter so much, when we consider Mozart’s Requiem?

Mozart must always be in control; the singer is the beautiful conduit for Mozart’s voice, not for his or her own.

Last Saturday, Chorale performed for the student body at Chicago’s Merit School of Music, in the west loop. Many music lovers, even in Chicago, don’t know anything about this school; I know I was surprised when I came to their facility and saw what was going on.

Fauré, over the course of his musical life, strove to find the most straight-forward approach to illuminating his carefully chosen texts; and Paulus’ legacy seems to be expressed, as well, in his simplest compositions.

Chorale’s major new project this fall has been learning the Clytus Gottwald a cappella choral arrangement of Gustav Mahler’s famous song, Ich bin der Welt abhanden gekommen.

“In the bag” never means “the bag is closed.” We work all the time to provide our audiences, and our singers, with the best and most uplifting musical experiences possible.

Two literary figures accompany me, one on either shoulder, whispering in my ears, when I make music. One is Seymour’s Fat Lady, from Salinger’s Franny and Zooey; the other is the little boy in The Emperor’s New Clothes.

I work as a strength & conditioning coach, so I’m used to training for, and overcoming, physical challenges. Wednesday nights, during this rehearsal cycle, have become another workout.

A college friend emailed me this morning, asking what I remembered about Martin Luther King’s assassination.

Some of the composers featured in Chorale’s upcoming Arvo Pärt at Eighty concert are veritable rock stars in today’s classical music world.