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A reflection on Gregorian chant in relation to other sacred music, chant as an interpretive guide to prayer, and chant and liturgical renewal.Charles Weaver is on the faculty of the Juilliard School, where he teaches historical music theory, historical ear training, plucked-string instruments, and music history. He holds a PhD in music theory from the City University of New York. His research interests include the rhythm of Gregorian chant and the history of the theory of harmony. He serves as editor of the journal Sacred Music, published by the Church Music Association of America, which, as a continuation of the nineteenth-century journal Cecilia, is the longest-running musical periodical in North America. He is organist and choirmaster at St. Mary's Church in Norwalk, Connecticut, where he specializes in the liturgical performance of medieval and renaissance music. He has been assistant conductor for Juilliard Opera and has directed opera productions for Dell’Arte Opera and the Yale Baroque Opera Project. He has also played continuo in opera productions at the University of Maryland, the Cleveland Institute of Music, Princeton University, and the Boston Early Music Festival. As a collaborative musician, he has performed with the Orchestra of St. Luke's, the New York Philharmonic, the Philadelphia Orchestra, the Minnesota Orchestra, and the Virginia Symphony. In addition to being a regular member of the ensemble Quicksilver, his chamber-music projects have included engagements with Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Apollo's Fire, Blue Heron, the Newberry Consort, and Musica Pacifica. He also once arranged Saint-Saëns’s “Swan” for cello and theorbo and accompanied Yo-Yo Ma at a gala performance for Orchestra Lumos.
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