Social Distancing and the Choral Life

This was a requiem season like no other in my choral life.  Due to health directives issued in response to the COVID-19 virus, it was a concert free zone.  That very condition requires a requiem of its' own.  Choirs have attempted ways to carry on in the new environment. I am sure you have seen the laughable attempts to hold a choir rehearsal on Zoom or even sing a simple Happy Birthday.  It doesn't work.
Besides the loss of not being able to rehearse together with others is the loss of concerts I rehearsed for but could not perform. Their dates passing without the requisite concert week marathon rehearsals preceding them and no dressing in performance wear meeting backstage in nervous anticipation.  Among these were Berlioz Messe, Beethoven Mass, Dvorak Te Deum all with the Winnipeg Symphony Orchestra, a collaboration I treasure.  In addition was the much anticipated and so beloved Brahms Requiem with the First Mennonite Church Choir.
Some of these concerts are cancelled, some postponed.

One would think I had used my rehearsal free evenings to look at the scores and prepare for postponed concerts but one would be wrong.  The singing I have done, much too loudly, has been belting out tunes with Elton John and ABBA and I do a pretty good rendition of Brown-Eyed Girl.
My concert scores have remained closed receiving only glares as I pass them by.

Then came the unexpected.  My work-life mandated a Wellness Morning as part of a professional development day.  We were to watch videos sent by our boss, reflect on them, and choose a wellness activity in a mindful purposeful way.  This is easier said than done.  What to do?  Can't go for a manicure or a massage.  Could go for a walk but this is part of my daily routine already.  A helpful sister suggested I watch Judge Judy since hearing her call out, "idiot" can sometimes be as satisfying as a massage.  I realized that I would rather spend my mornings working than relaxing.  I am a work first, then relax sort of person.
In the midst of the stress of deciding how to practice wellness Haydn and Brahms called out to me and I got them off the shelf.  I laid out some of the scores of music I will, hopefully be performing in the next concert season.

Beethoven called out the loudest so he and I headed down to the TV where I pulled up a performance of the Mass in C.  This was not as easy as it sounds.  I am fussy.  I wanted one where I could watch the singers and the conductor, and I wanted them to be good.  Finding none with Herbert van Karajan, my go-to YouTube conductor, I opted for this one out of Germany https://www.youtube.com/watch?v=4UzITmh5BD0  I usually choose European choirs. The reason being they are most likely to sing without score in hand.  This choir, sadly did not.  Nor did the soloists.  Still I didn't want to waste anymore time finding the "just right" sing along choir.  

As the opening Kyrie began I became distracted by the treadmill visible from the corner of my eye, so I got on it and proceeded to sing and walk simultaneously.  The treadmill hummed in the wrong key, loudly, and my huffing and puffing did not allow for breath control required in most movements. This was less than ideal for rehearsal purposes, but since the performance of this will be way in the future it sufficed.  

Some pleasant surprises.  In spite of not rehearsing for weeks my vocal range has not suffered and my memory of the piece was solid.  Coming across my various pencil  markings made me smile and I took heed of them:  "tempo" "torturned soul"  "NN" (there are 2 n's in Osanna), the circle around the time signature 12/8 of the Agnus Dei and the ever present arrow pointing up indicating to not sing flat. ( Oh dear, the cardinal sin that requires a blogpost of its own.)  When at last we reached the Dona Nobis pacem, the anguished demands and cries for peace, my soul was moved.  Beethoven was writing this during the Napoleonic wars therefore his cries have gravitas.

After the applause and the soloists and conductor had taken their bows I got off the treadmill feeling grateful to Beethoven and all performers who have kept his music alive over the years.

Did I derive meaning from choral music without my choir?  yes.  Is it enough?  No.  I yearn to gather with fellow choristers and look forward to the first post COVID-19 rehearsal.  What a day of rejoicing that will be!

Fear of Judgement

Rehearsing the Beethoven Mass in C Major with the First Mennonite Church Choir has not gone as well as expected.  There seem to be many trouble spots.  This is surprising since this choir has mastered more difficult works, like Bach's St. John's Passion and Brahms Requiem better than this. 

I have had my own pet difficult spot and it has been the syncopated entry of the word Judicare which occurs in the Credo movement.  One look at my score will show you the trouble I have had.  First there is the circled note which I marked early on telling me to please look at this area.  Then there is the marked counting from the two bars preceding the entry.  I don't recall having had trouble with this entry last time I sang it so I must have had stronger counters sitting near me that just led me along.  
It seems the more pencil marks I make the more anxiety I get as this section approaches.  The more I count the more confused I am.

Last rehearsal my conductor saved me. Yuri put down his baton and said, "Just stop counting.  Listen to the orchestra and when they are done their 3 chords, gasp in fear of judgement and sing"  He demonstrated this with a loud quick breath and eyes open wide.   Now, Judicare means judgment and it appears Beethoven deliberately placed the word in this syncopated style where the judgement comes upon us unexpectedly.   Since I also live in fear of judgement at this point in the movement it is easy for me now to listen to the orchestra, gasp out my fear by a quick sharp intake of breath and sing out "judicare".  After our conductor's demonstration the choir tried again, and lo and behold we all came in at the correct time.  It seems a fear of judgement is something we can relate to.

I am sure this is not a problem for most choirs but for us Mennonites syncopation is unnatural.  We can sing out a Bach Choral in the steady style of kneading bread but ask as to venture into an area that might lead to dancing and we just can't do it.  Maybe that's why I didn't have a problem with it the last time I sang this.  That choir didn't have the word Mennonite in its name. 

Beethoven, Mass in C Major

Ah Ludwig!  That most ironic of men.  A great Deaf Composer, who conducted his own 9th symphony without hearing a thing, nor the applause that erupted afterwards. 

The Mass in C Major, however, did not receive applause from the man for whom it was composed.
Prince Nikolaus Esterhazy is said to have approached Beethoven after the performance asking, "My Dear Beethoven, what is it you have done here?"  It seems that ever since then it has been an underperformed work, but I am happy to say that I am in the midst of rehearsing it.   I stand apart from Prince Nikolaus in that I find the Mass, simply beautiful.  Although a much easier sing than the later composed Missa Solemnis, it is still absolutely divine in beauty.  The opening of the quiet awe-filled sanctus can put me in tears.  It is not dramatic but has a melodious orchestral beginning and then a few bars of acapella choir - gorgeous!  The  Kyrie eleison sets a beautiful tone in the call for mercy arranged for both choir and soloists.
The Mass is much more singable than the 9th Symphony, which I love to perform based on the sheer thrill of the performance but vocally it is very high and very fast for all voice parts; feeling like a scream fest much of the time.  In the 9th Beethoven appears to be more of instrumental composer than a friend of the singer.  In the Mass in C, the alto will feel none of that, however, I have heard the sopranos complaining about spending too much time sitting on their G's and A's.  Do I feel sorry for them?  Not a chance, they are sopranos after all, and if they aren't enjoying those high moments then what are they there for?
I will be performing this work with the First Mennonite Church Choir in Winnipeg on November 27th. Rehearsals until this point have been quite slow going, with much note pounding, but we are approaching the time where the conductor can spend time colouring and shaping our lines and I look forward to that!