The Colgate Maroon-News
"The Passion of Joan of Arc": Silent Film Speaks Volumes
By Alexandra Weimer, December 13, 2018
Professor of Art Lynn Schwarzer commented on the benefits of collaboration between departments along with the experiences that result from them. “Amongst people I talked to it was one of the most significant arts events Colgate has held in maybe...ever,” Schwarzer said. “This event is evidence of the potential for what happens when art departments collaborate, and when a vision comes to full fruition. For myself and the other professors I have talked to, we know we were experiencing the profound.”
“There is a long and noble history of women in medieval Europe who sought to break out of gender norms,” said Lynn Staley, a professor of Medieval and Renaissance Studies. “They were not feminists, in our sense of the term, but their understanding and exploitation of gender roles is every bit as subtle as our own and offer us a historical perspective on the tensions that exist between individual and community,” Staley said. “I’ve never been particularly interested in silent films, but watching “The Passions of Joan of Arc” was truly a powerful experience. The choral and orchestral accompaniments made the movie more engaging, and I was moved by Joan’s struggle to express herself and her beliefs against all odds,” said junior Laura Mucha.
By Alexandra Weimer, December 13, 2018
Professor of Art Lynn Schwarzer commented on the benefits of collaboration between departments along with the experiences that result from them. “Amongst people I talked to it was one of the most significant arts events Colgate has held in maybe...ever,” Schwarzer said. “This event is evidence of the potential for what happens when art departments collaborate, and when a vision comes to full fruition. For myself and the other professors I have talked to, we know we were experiencing the profound.”
“There is a long and noble history of women in medieval Europe who sought to break out of gender norms,” said Lynn Staley, a professor of Medieval and Renaissance Studies. “They were not feminists, in our sense of the term, but their understanding and exploitation of gender roles is every bit as subtle as our own and offer us a historical perspective on the tensions that exist between individual and community,” Staley said. “I’ve never been particularly interested in silent films, but watching “The Passions of Joan of Arc” was truly a powerful experience. The choral and orchestral accompaniments made the movie more engaging, and I was moved by Joan’s struggle to express herself and her beliefs against all odds,” said junior Laura Mucha.
Journal of Music Theory Pedagogy
DiPaolo, Nicole. Review of Music Theory for Beginners
“Music Theory for Beginners is an excellent resource for the amateur or student musician seeking a quick, pedagogically sound review of written music theory basics. Endris’s book taps into a more diverse market with which few music scholars have engaged.”
“Music Theory for Beginners is an excellent resource for the amateur or student musician seeking a quick, pedagogically sound review of written music theory basics. Endris’s book taps into a more diverse market with which few music scholars have engaged.”
Bloomington Herald-Times
A Great Concert
By Patricia Wise, Professor of Voice at Indiana University, September 17, 2012
To the editor:
The Bloomington Interfaith Winter Shelter just got another boost in our community from First Christian Church. On the evening of Sept. 11, a benefit concert was given by a new a cappella singing group, Les voix, led by Dr. R. Ryan Endris, music director of FCC.
The audience was rapt as the beautiful sanctuary was filled with the pristine voices of the choir singing music of Bach and Brahms. The clarity, exquisite phrasing, and vibrancy of these young, well-trained singers were not lost on this listener.
The evening was also a most suitable way to remember all we lost 11 years ago. A wonderful concert; thanks to all who made it possible.
By Patricia Wise, Professor of Voice at Indiana University, September 17, 2012
To the editor:
The Bloomington Interfaith Winter Shelter just got another boost in our community from First Christian Church. On the evening of Sept. 11, a benefit concert was given by a new a cappella singing group, Les voix, led by Dr. R. Ryan Endris, music director of FCC.
The audience was rapt as the beautiful sanctuary was filled with the pristine voices of the choir singing music of Bach and Brahms. The clarity, exquisite phrasing, and vibrancy of these young, well-trained singers were not lost on this listener.
The evening was also a most suitable way to remember all we lost 11 years ago. A wonderful concert; thanks to all who made it possible.
Bloomington Herald-Times
University Chorale joins with orchestra to give highly satisfying concert
By Peter Jacobi, H-T Reviewer, February 20, 2012
The hour or so of beauteous sound could make one forget all the strife and silliness in the news outside. One heard music in late Romantic era bloom, glowing and on the wing in Ralph Vaughan Williams’ rhapsodic “The Lark Ascending,” healing and gently grand in Gabriel Faure’s Requiem.
The reportorial choices were those of R. Ryan Endris, a doctoral candidate in choral conducting in Indiana University’s Jacobs School. He had gathered and rehearsed the University Chorale and Conductors’ Orchestra, along with needed soloists, for what turned out to be a highly satisfying concert that attracted a good-sized audience to Auer Hall on Saturday evening.
One of the needed soloists, very needed, was violinist Sophie Bird, who applied refinement of technique and sweet warbling to generate the joyful flight of the lark in Vaughan Williams lovely serenade. Young Bird’s beautifully shaped performance prompted this listener to close his eyes and imagine what the composer sought to produce: a sylvan scene — verdant meadow, lush trees, blue sky, and the lark free and soaring — a happy, dreamy sight.
The Faure Requiem delivers a very different aura than the mighty ones of Berlioz and Verdi. There’s no anger in its outlook, no attempted build-up of fear. The “Dies Irae,” expressing breathing judgment and wrath, is absent from this Requiem. Instead, the music engenders warmth. It offers comfort. Grieve not, the score seems to preach. Grieve not because, for the departed, peace and rest are the rewards.
At the work’s center is a “Pie Jesu,” unique to Faure’s Requiem, built on a prayer-like melody given to the soprano soloist. “Merciful Lord Jesus, grant them rest, everlasting,” Audrey Escots sang movingly. The aria is oft used at funeral services for the solace it was meant by the composer to give.
Conductor Endris not only recognized the concept and the interpretive voice required to release it but had the ability to imbue his vocal and instrumental forces with his view of the music’s assuaging spirit. Soprano Escots caught the intended essence, as did baritone soloist Zachary Coates, the splendid Bruce Neswick on the organ, a pliant Conductors’ Orchestra, and, very much so, the University Chorale.
Endris had the chorus singing with fervor and reverence, with clarity and purity of sound. The whispers in the opening “Kyrie,” the uplifting lyricism of the “Agnus Dei,” and the angelic “In Paradisum” were skillfully intoned for maximum impact, an impact not intended for show but message.
By Peter Jacobi, H-T Reviewer, February 20, 2012
The hour or so of beauteous sound could make one forget all the strife and silliness in the news outside. One heard music in late Romantic era bloom, glowing and on the wing in Ralph Vaughan Williams’ rhapsodic “The Lark Ascending,” healing and gently grand in Gabriel Faure’s Requiem.
The reportorial choices were those of R. Ryan Endris, a doctoral candidate in choral conducting in Indiana University’s Jacobs School. He had gathered and rehearsed the University Chorale and Conductors’ Orchestra, along with needed soloists, for what turned out to be a highly satisfying concert that attracted a good-sized audience to Auer Hall on Saturday evening.
One of the needed soloists, very needed, was violinist Sophie Bird, who applied refinement of technique and sweet warbling to generate the joyful flight of the lark in Vaughan Williams lovely serenade. Young Bird’s beautifully shaped performance prompted this listener to close his eyes and imagine what the composer sought to produce: a sylvan scene — verdant meadow, lush trees, blue sky, and the lark free and soaring — a happy, dreamy sight.
The Faure Requiem delivers a very different aura than the mighty ones of Berlioz and Verdi. There’s no anger in its outlook, no attempted build-up of fear. The “Dies Irae,” expressing breathing judgment and wrath, is absent from this Requiem. Instead, the music engenders warmth. It offers comfort. Grieve not, the score seems to preach. Grieve not because, for the departed, peace and rest are the rewards.
At the work’s center is a “Pie Jesu,” unique to Faure’s Requiem, built on a prayer-like melody given to the soprano soloist. “Merciful Lord Jesus, grant them rest, everlasting,” Audrey Escots sang movingly. The aria is oft used at funeral services for the solace it was meant by the composer to give.
Conductor Endris not only recognized the concept and the interpretive voice required to release it but had the ability to imbue his vocal and instrumental forces with his view of the music’s assuaging spirit. Soprano Escots caught the intended essence, as did baritone soloist Zachary Coates, the splendid Bruce Neswick on the organ, a pliant Conductors’ Orchestra, and, very much so, the University Chorale.
Endris had the chorus singing with fervor and reverence, with clarity and purity of sound. The whispers in the opening “Kyrie,” the uplifting lyricism of the “Agnus Dei,” and the angelic “In Paradisum” were skillfully intoned for maximum impact, an impact not intended for show but message.
Nuvo Weekly
Broadway Boys
By Rita Kohn, NUVO Weekly, November 24, 2008
Visually exciting and aurally pleasing, this closing concert of the [Indianapolis Men's Chorus's] 17th season featured members of the dance troupe IndyVisible and the Chicago Men’s Chorus in a thematic sweep of 20th century Broadway show tunes. The outstanding arrangements by Patrick Sinozich, artistic director of Chicago Men’s Chorus, showcase the 40 members in a unified voice akin to Tabernacle Choir and Fred Waring. Their musical choices demonstrate who they are emotionally as individuals and as a group, from “Gee But It’s Good to Be Here” from Happy Hunting, to “Family” from Dreamgirls. Equally strong are R. Ryan Endris’ arrangements, interim artistic director for the Indianapolis group, along with arrangements by David Lehman and Dennis Coleman. The Indy Chorus features parts singing with soloists and ensembles. Both groups paid tribute to the 100th birthday of Cole Porter. Throughout, the choreography and singing sparkled, with special mention for Oklahoma! and Chorus Line. The band delivered masterfully with noteworthy coloration and solos. Indy Chorus accompanist Greg Sanders provided a lush piano prelude for West Side Story and Chicago Chorus accompanist Paul Blievernicht was nimble despite an initial loss of lighting.
By Rita Kohn, NUVO Weekly, November 24, 2008
Visually exciting and aurally pleasing, this closing concert of the [Indianapolis Men's Chorus's] 17th season featured members of the dance troupe IndyVisible and the Chicago Men’s Chorus in a thematic sweep of 20th century Broadway show tunes. The outstanding arrangements by Patrick Sinozich, artistic director of Chicago Men’s Chorus, showcase the 40 members in a unified voice akin to Tabernacle Choir and Fred Waring. Their musical choices demonstrate who they are emotionally as individuals and as a group, from “Gee But It’s Good to Be Here” from Happy Hunting, to “Family” from Dreamgirls. Equally strong are R. Ryan Endris’ arrangements, interim artistic director for the Indianapolis group, along with arrangements by David Lehman and Dennis Coleman. The Indy Chorus features parts singing with soloists and ensembles. Both groups paid tribute to the 100th birthday of Cole Porter. Throughout, the choreography and singing sparkled, with special mention for Oklahoma! and Chorus Line. The band delivered masterfully with noteworthy coloration and solos. Indy Chorus accompanist Greg Sanders provided a lush piano prelude for West Side Story and Chicago Chorus accompanist Paul Blievernicht was nimble despite an initial loss of lighting.
Indiana Daily Student
Singing Hoosiers hold spring concert
By Eric Anderson, Apr 3, 2007
“The [Singing Hoosiers] has achieved the strongest ensemble sound they have had in some years. Its performance of Moses Hogan’s “Elijah Rock,” under the direction of graduate assistant Ryan Endris, exhibited both precision and discipline...”
By Eric Anderson, Apr 3, 2007
“The [Singing Hoosiers] has achieved the strongest ensemble sound they have had in some years. Its performance of Moses Hogan’s “Elijah Rock,” under the direction of graduate assistant Ryan Endris, exhibited both precision and discipline...”