Eric Holtan


Christmas With True Concord: Carols in the American Voice

Far In The Heavens | True Concord Voices & Orchestra

Far In The Heavens

Eric Holtan launched his professional music career at age 12 as a church organist. A native of Minnesota, he studied organ, voice and conducting at Gustavus Adolphus College. He earned a master’s degree in choral conducting at the University of Iowa, where he was assistant director of Camerata Singers, and the doctor of musical arts degree in choral and orchestra conducting at the University of Arizona, where he was the UA Opera Theater’s chorus master. His research focused on the role of the chorale form in Mendelssohn’s oratorios and symphonies as reflection of the musical and religious influences on Mendelssohn.

Eric has held several conducting positions in secondary and higher education, churches and community and professional organizations. He served as associate conductor of the Southern Arizona Symphony Orchestra, and for many years was the assistant director of the Tucson Symphony Orchestra Chorus, where he assisted in the preparation of numerous works, including Verdi’s Requiem,Beethoven’s Symphony No. 9 and Missa Solemnis, Orff’s Carmina Burana and Handel’s Messiah. Eric continues his work in church music as minister of music, art and liturgy at Dove of Peace Lutheran Church.…

Eric Holtan Reviews:

“True Concord Voices and its conductor Eric Holtan truly had a special relationship with Stephen Paulus and his music, and one couldn’t ask for more authoritative, caring, or musically refined advocates. Anyone wishing to get to know–or to know better–this very fine and sorely missed composer should be sure not to miss this.” —David Vernier, ClassicsToday

“… abundantly lyric, soothingly consonant works…True Concord’s…vocal blend gilds the unaccompanied works especially with a halo of resonance.” —Alexander Coghlan, Gramophone

“Mr. Holton led with total commitment, his gestures seemingly coaxing the utmost from his ensemble in a performance that held this listener’s complete attention for the work’s entire thirty-five plus minutes.” —Jeffrey Williams, New York Concert Review