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pen Music Festival and School, and Boston Music Proj- Andrew Clark is the director of choral
ect. She believes in the importance of music accessibility activities and senior lecturer on music
for youth, and she enjoys being a champion for equity at Harvard University. He serves as the
through her work at BCC. music director and conductor of the Har-
vard Choruses and teaches courses in
Kenneth Griffi th is a conductor, colla- conducting, choral literature, and disability studies in
borative pianist, music director, and the Department of Music. Clark’s work with the Har-
educator who promotes music for social vard Choral Program empowers individuals and com-
change. He holds a BM from Capital munities through active engagement with choral music:
University Conservatory of Music in fostering compassion, community-building, and joy. As
Vocal Performance and an MM from Bard College an artist-educator devoted to advancing equity, justice,

Conservatory of Music. Griffith assisted in preparation and access to the arts. He earned degrees from Wake
for choruses heard at the Lincoln Center, Carnegie Hall, Forest, Carnegie Mellon, and Boston Universities.
and the Verbier Music Festival in Switzerland. In 2014
he became the director of choral and chamber music at
Brooks School in North Andover, MA, then joined the
Boston Children’s Chorus in 2021 as a conductor for the Metropolitan Chorale
Premier Choir and recruitment manager.

Cambridge Common Voices

Cambridge Common Voices is a community chorus Founded in 1979, the Metropolitan Chorale is a
established in partnership between Harvard College and 100-voice auditioned chorus recognized as one of Met-
the Threshold Program at Lesley University, a transition ro Boston’s premier choral ensembles. The emphasis
program for young adults with diverse learning challeng- on diverse and innovative programming, combined
es. This ensemble strives to create an inclusive musical with excellence in performance, yields a unique artistic
space and practice, affirming individual voices, and ex- contribution to the Boston arts community. The Cho-

plore innovative approaches to music making, including rale has been praised by The Boston Musical Intelligencer
elements of Universal Design for Learning and Empow- for “its fine blend, well-shaped phrasing,” and its per-

ering Song. Cambridge Common Voices positions dis- formance of Leoš Janáček’s 1898 cantata Amarus was
ability not as a deficit, but as a facet of human diversity highlighted by The Intelligencer in their “Critics’ Faves”

worthy of creative exploration and appreciation. for 2019.

10 CHORAL JOURNAL January 2022 Volume 62 Number 5