What program activities can a dedicated amateur church choir in Mondseeland, located so far at the outskirts of Upper Austria that some believe the area is part of Salzburg , develop to optimally benefit this region? This choir is fortunate to be directed by a professional musician who by day, in his role of Vice Chancellor at the Mozarteum University, painstakingly prepares a foundation enabling people under given circumstances to perform the best possible music which he regards to be the purpose of this work.

When Gottfried Holzer-Graf, M. A. took the church choir over in 1991, the new name “Kantorei Mondsee” was definitely an expression of reformation; it was evident that the musical activities would not be limited to liturgy.  While involving various musical resources in Mondseeland and in the nearby city of Salzburg , the intent was to also give regular public performances. In the domain of liturgical as well as concertante music, the prevalent effort remains to operate effectively in an economical manner. Thus, performers should preferably come from a close circle of people, “close” not merely to be interpreted as “close-by.” The music at one’s disposition should have a relation to the cultural circle -- for instance, links to the former Monastery Mondsee, to liturgy, and to the musical traditions of the “region” in a broader sense. Naturally, this results in an affinity to Salzburg ’s famous exponents Mozart and Michael Haydn and to music of the Viennese Classic. Working with (even largely unknown) cloistral Choir music comes naturally in this setting and periodically receives intense attention. In doing so, it enriches the routine work of the choir. The fact that the organ at the parish church Mondsee is a unique jewel in the French art of organ building allows especially literature of French composers to be “connected.” Hence, music by Grigny or Clérambault is often performed in addition to works of Bach and composers of the Southern German region.

While at first sight it is difficult to find the connection described, within the context of this perception, a well conceived purpose becomes apparent. It is an attractive task for us, worthwhile to focus the abilities of many participants – and depending on the task – of varying numbers of participants to provide Mondseeland and its residents with the many pieces of its former and still prevailing musical identity.

OBJECTIVES