User:Andrew Sims: Difference between revisions
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Director of the [http://www.embassysingers.de Embassy Singers, Berlin], and of the [https://www.stgeorgesberlin.de/ choir of St. George's Church, Berlin] | Director of the [http://www.embassysingers.de Embassy Singers, Berlin], and of the [https://www.stgeorgesberlin.de/ choir of St. George's Church, Berlin] | ||
Andrew studied German and Russian and has worked as a simultaneous interpreter for the German Government since 1988. The scores uploaded to CPDL mainly fall into | Andrew studied German and Russian and has worked as a simultaneous interpreter for the German Government since 1988. The scores uploaded to CPDL mainly fall into the following categories: | ||
scores produced for the use of his choirs; | |||
a lockdown project to make all the public-domain hymns in the hymnal used in his church available online; some which cannot be posted on CPDL can be found [https://embassysingers.de/scores/hymns.html here], | |||
a number of descants written for his choirs, | |||
and his series of bar-less Renaissance scores designed to liberate the rhythmic counterpoint. An article explaining the reasoning behind the bar-less scores can be found [https://embassysingers.de/scores/barless.html here]. | |||
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[[Category:CPDL Editors]] | [[Category:CPDL Editors]] | ||
Revision as of 11:08, 3 March 2021
General information
Country of origin: Germany
Contributor since: 2015-08-14
Works with editions by this editor: 1438 (see list)
Contact information
e-mail: andrew 
embassysingers.de
Education
Background
Director of the Embassy Singers, Berlin, and of the choir of St. George's Church, Berlin
Andrew studied German and Russian and has worked as a simultaneous interpreter for the German Government since 1988. The scores uploaded to CPDL mainly fall into the following categories: scores produced for the use of his choirs; a lockdown project to make all the public-domain hymns in the hymnal used in his church available online; some which cannot be posted on CPDL can be found here, a number of descants written for his choirs, and his series of bar-less Renaissance scores designed to liberate the rhythmic counterpoint. An article explaining the reasoning behind the bar-less scores can be found here.