Coburg listeners cheer in st. Moriz united chore

A lot of daring and in the end a lot of applause – this is the short summary of the program presented by the concert choir coburg in the moriz church. Mozart, bruckner and rutter, as a stylistically colorful triad of composers, mark a musical journey through two centuries.

Cooperation with the "vocalensemble des gymnasiums alexandrinum"
With united vocal forces, the concert in st. Moriz and the day before in the markgrafenkirche seibelsdorf prove it, even ambitious projects can be realized. According to this motto, marius popp, as director of the concert choir, has for years repeatedly relied on collaborations with other vocal ensembles.

The kronach deanery choir is joined in this case by the teachers' choir in BLLV kronach. Many choruses, not only in the region, often urgently want young voices to join them. The traditional concert choir, founded 170 years ago, finds them in its performances in the cooperation with the vocal ensemble of the gymnasium alexandrinum (rehearsal: martin kleiner).

Mozart's "crown mass
Much ventured – this is apparently only conditionally true for the prelude. For mozart's so-called "crown mass it is a pleasing, not too turgid work, which can be performed quite respectably even by amateur choirs. The challenge for the conductor in this case, however, is above all to bring together the many participating choruses, which at all times act with great commitment, in a good tonal and creative way.

Clear gestures
The kronach deanery cantor marius popp succeeds convincingly with clear and always cheering gestures. In addition, popp manages to integrate the vocal soloists, who are mostly required in the ensemble, well into the overall sound. As a vocal quartet, the audience experiences soloists who have already been able to convince several times at the same place. Andrea wurzer (soprano), stefanie schmitt (alto), johannes puchleitner (tenor) and rainer gramer (bass) perform in a pleasingly homogeneous manner – not only during mozart's "crown mass, but also in bruckner's "te deum" and rutters "gloria.

Organ as reinforcement
The instrumental part is taken over by the popp-consortium, in which amateurs perform alongside professionals from the region. Supported by the percussion ensemble of the vocational school for music kronach (rehearsal: gunther peppel), the popp-consortium pleases with committed, tonally mostly balanced music making. Particularly convincing: the brass players often called for in bruckner and rutter's works. The instrumental part gets the necessary fulle, especially in bruckner and rutter, thanks to the discreet reinforcement by the schuke organ (always reliable: sarah stamboltsyan).

A lot of daring – that certainly applies to anton bruckner's powerful "te deum", which is actually conceived for massive sound masses and repeatedly confronts the united choruses with tricky tasks. Here marius popp deliberately relies on flat effects and rough suspense arcs.

Prudent conductor
This ensures that this rendition will have an effect on the audience, especially since johannes puchleitner masters some exposed tenor passages with aplomb in the midst of the quartet of soloists.

A wise choice for the conclusion is john rutter's "gloria" from the year 1974. The work cleverly oscillates between carl orff and film music echoes, has some rhythmically interesting tasks in store, and with its catchy melody is effortlessly comprehensible even when heard for the first time. Here, too, marius popp succeeds at all times in carefully directing the thoroughly rehearsed chorus and orchestra and in building tension curves with well nuanced dynamics. The deserved reward: persistent applause of the audience.

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