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!

Of Cake and Trumpet Jabs

Below I have re-printed the review from the Winnipeg Free Press of my latest completed concert even as my mind is looking towards the Good Friday Concert 7pm at First Mennonite church.  There we present Schubert's Deutsche Messe and Rutter's Requiem. 

 

I thought today I would take you behind the scenes of the Beethoven 9th concert to a view from my spot in the choir.  Like the fact that I was repeatedly being blinded by the baritone soloist's shiny shiny shoes.  The soloists for this performance were unusually placed i.e. they were not in front of the orchestra but rather relegated to stand with us  in the front row of the choir, on a little raised podium in case the shiny shoes and fancy gowns were not enough to let you know they were the soloists.  Mr. Baritone also owned a very nice collection of striped socks. ( His beautiful opening to the 4th movement of the Beethoven's 9th is wrongly credited in the review below to the tenor - which is a sad thing since tenors already receive more attention than is necesssary.) 

During this rehearsal I was disheartened to observe the little respect was given to the Maestro by the players.  Granted he does remind one of Peter Pan but he loves Beethoven and so we should allow him to present the Beethoven he wishes instead of opposing him every way we can. 

During one rehearsal "Unbirthday" cake was served for a returning viola player, the Maestro's baton landed in the cake at downbeat and icing was flung on face for beat 2.  So, yes it may be difficult to take seriously the instructions of a conductor with icing on his face but I was hoping they would at least try.

There was decidedly  much chit-chatting from the brass section during rehearsals, and I thought they would never be able to do this if Andrey Boreyko were still at the helm.  The withering words oozing over one who dared cross him is not a comfortable thing to witness. 

I will not reveal all the antics witnessed from this privileged position as some items are best left on the stage but will reveal one last moment that was quite comical. 

The third movement of the Beethoven's 9th is a beautiful serene piece that requires no trumpets until the very end.  During the performance, as we neared the end of it I see the 2nd trumpet player lifting his instrument from the stand preparing to play, he then suddenly jabs his trumpet into the tuxedoed leg of the principal trumpet player who jerks himself awake picks up his instrument and 3 beats later is playing beautifully.  The trombones and the first row altos shake with laughter as Beethoven goes on.

 

 

WSO brings the spirit of Beethoven to life

Standing ovation for inspired performance

By: Holly Harris

    

There is some music that seems to grow only richer and more resonant every time you hear it -- and particularly when performed live.
Beethoven's Symphony No. 9 in D minor, Op. 125, popularly known as the Chorale, is one of those whose message of universal brotherhood based on Schiller's Ode to Joy has also grown more timely -- and more needed -- than ever.

CONCERT REVIEW
Winnipeg Symphony Orchestra
Masterwork
Beethoven's 9th
Centennial Concert Hall
Friday, March 27
Attendance: 1,234
Four stars out of five

The Winnipeg Symphony Orchestra's latest Masterworks concert held Friday night featured the stirring work with its last performance held in May 2013. The program led by Alexander Mickelthwate included guest soloists: Joni Henson (soprano); Elizabeth Turnbull (mezzo-soprano); John Bellemer (tenor); and Stephen Hegedus (bass-baritone) performing in both the evening's programmed works.
Also showcased were two of this city's busiest and hardest-working choirs this year: the Winnipeg Philharmonic Choir (Yuri Klaz, director) and the Canadian Mennonite Festival Chorus (Rudy Schellenberg and Janet Brenneman, co-directors).
The first of two weekend performances also caps the WSO's 2014-15 series of several concerts informally dedicated to human rights, in turn celebrating last autumn's long-awaited opening of the Canadian Museum for Human Rights.
It's always a pleasure seeing a conductor lead music from his homeland. The German-born maestro approached Beethoven's magnum opus with gusto and conviction, setting a brisk tempo during opening movement Allegro ma non troppo, un poco maestoso.
The following Scherzo: Molto vivace -- Presto hurtled breathlessly to its own double-bar close, including exuberant brass and bone-rattling timpani strikes.
By contrast, the Adagio molto e cantabile presented calmer vistas including mellifluous winds and noble horns evoking the peace of a German countryside. Still, this central movement that provides a measure of repose could have ebbed and flowed even more, before the trumpet fanfare toward the end that signals even greater things to come.
After the low strings' delicious opening statement of the principal theme that launches the finale, Bellemer introduced the chorale with his soaring, recitative evocation to "friends."
The four soloists presented as a remarkably well-blended ensemble throughout, with Bellemer a particular standout with ringing high notes and legato phrasing. Each singer only added to the whole gestalt in a satisfying performance.
It's one of classical music's most thrilling moments when the chorus dramatically rises for their first entry -- and this performance did not disappoint. Hearing the totality of the epic work's four movements unbroken by applause by a clearly enthralled audience would have only heightened its overall, cumulative power.
Nevertheless, those same 1,234 souls leapt to their feet at the end, awarding the maestro, WSO players and the full stage of choristers and soloists a rousing and well-deserved standing ovation.
The first half of the concert also featured Anton Bruckner's Te Deum, another mighty work composed in 1883-84 as a heartfelt hymn of praise and thanksgiving. It's one that isn't heard often in this city, with its last WSO performance in 1987.
Balance between chorus and orchestra is often very tricky with these types of concerts, akin to walking a musical tightrope. The choir's words could be clearly heard during the more lightly scored sections with strings; however they were often obfuscated whenever the brass came in it. They were at their best during the several a cappella sections.
Still, including this equally memorable work with its soaring choruses and "cathedral sound" added to the overall spirit and ethos of the inspired evening.

Republished from the Winnipeg Free Press print edition March 28, 2015 B5

Beethoven's 9th with Alexander Mickelthwate and WSO

The Ode to Joy.  Loud, high joyful.  Fast, screaming beautiful.  Uplifting whirlwind transcending our human problems.  Freude schoener Goetterfunken Tochter aus Elysium.  Freudig wie ein Held zum Siegen!   Powerful and spiritual and so popular it is used my many a comedy sketch.  Seen here if you click on Sesame Street  and of course done here by the hilarious Mr. Bean.
It is monumental and yet  I feel that the we as a choir are oblivious to that fact.  We are doing some monumentally sloppy singing.  Consonants in the wrong places, words pronounced incorrectly notes sung at the wrong time and we have even managed to belt them out at the wrong pitch.  Not sure what is going on, and I am not sure I have ever been in this situation.  That is, where there have been so very many errors by so very many people this close to performance.

Tonight we rehearsed with the orchestra and I really don't think we were heard over all that Beethoven blasting in front of us, which is just as well.    Ironically I did not see too many smiling faces in this Ode to Joy rehearsal - even the man tinkling away on the triangle looked slightly angry.  Alexander gets full points for trying - he smiled as he perched pixie-like on his podium and I felt sorry that we were not giving him much.
We have a dress rehearsal tomorrow and then it is 3 days of performances.  I really hope something or someone will whip us into shape.  Where is Jane Glover's withering gaze when you need her?
In the end it will be Ludwig himself who will rescue us, his writing genius will be able to transcend our inadequacies. (I hope)

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!