Schubert and Brahms

Franz Schubert

This month I was able to perform two pieces from the romantic period in one concert with the Winnipeg Symphony Orchestra under the baton of Yuri Klaz.
Klaz is primarily a choral conductor but has conducted the WSO on several occasions. 
It was heartwarming for this chorister to see that the musicians behaved as though they had respect for Yuri's musical ideas and a genuine warmth seemed to emanate between the orchestra and conductor. 
I have seen many conductors mount the podium and gaze out over this orchestra, I have seen more than one wilt and be meekly led by the concert mistress herself.  On the other hand  I have shaken in my boots as tongue lashings occurred from podium to timpani and condescending remarks were hissed out at various instrumental sections.
The rehearsals for this concert had none of that.  Respect for the music and one another was the hallmark of these rehearsals.  Instruction and response seemed natural.
This conductor even handled the union master's annoying penchant for stopping rehearsals at just the wrong time with good humour.

Even if this respectful relationship had not been the case I feel the music would have smoothed over any difficulties. 

The glorious pieces we performed, the we being the Winnipeg Philharmonic Choir, are not that often performed here in Winnipeg, and in fact it was my first time for either piece!  Given my age it may also be the last, which is truly a sad thought!

We sang the Brahms' Nanie and Schubert's Mass in Eflat.  Recordings of the pieces are linked to their titles.  The Brahms piece is a secular piece written for the funeral of a friend.  The text is a Friedrich Schiller poem. (same poet who wrote the Ode to Joy text)   It is written and was performed in the German language but here is the English translation of the text.

Even the beautiful must perish! That which overcomes gods and men

Moves not the armored heart of the Stygian Zeus.

Only once did love come to soften the Lord of the Shadows,

And just at the threshold he sternly took back his gift.

Neither can Aphrodite heal the wounds of the beautiful youth

That the boar had savagely torn in his delicate body.

Nor can the deathless mother rescue the divine hero

When, at the Scaean gate now falling, he fulfills his fate.

But she ascends from the sea with all the daughters of Nereus,

And she raises a plaint here for her glorious son.

Behold! The gods weep, all the goddesses weep,

That the beautiful perishes, that the most perfect passes away.

But a lament on the lips of loved ones is glorious,

For the ignoble goes down to Orcus in silence.

Just reading the text I can hear that it was meant for Brahms!

 

The Schubert mass, his last one, and in fact he died before it was first performed, is much more difficult to sing than his earlier ones.  I was quite surprised when I came to them that the fugues required a fair bit of work and were  trickier than one would expect of Schubert.  This made rehearsals fun, and provided great satisfaction when they appeared light and fresh at performance time - at least I hope so.
Schubert did not write much for the soloists to do.  He gave them only quartet /trio work and usually meshed them into a choral piece.  This meant that neither my voice nor body received much of a rest during performance, as there were no arias where a chorister could rest up!

The Philharmonic choir, most notably the alto section, was very welcoming to associate singers and I appreciate them for it.  I have been singing as an associate with this choir since 1980.  Back then they were known as The Winnipeg Symphony Philharmonic Choir and had their rehearsals at the concert hall with a grand piano.  Now they rehearse in a crowded high school theatre with an electronic keyboard and yet manage to yield good results!  Bravo!

Christmas 2014

   

Ivars Taurins as Handel

      So this Alto is happy to be in full swing rehearsals again!  As mentioned in previous post Ivars is coming back and we have begun Messiah rehearsals so as to be in good form when he arrives. He will conduct a Sing-Along on Dec. 12th in Handel costume and persona and the following day he will come as himself and conduct us in his characteristic exciting performance.  We have markings in most every bar so there is something to do with each and every note and when each chorister manages this you get a brilliant performance.  When he was here in 2012 I heard many positive comments from the audience.  The main sentiment was, "That was the most exciting Messiah I have every heard." 
      The WSO will hopefully remember that they liked him and won't give him their customary cold shoulder at the first rehearsal.
      At the choral rehearsals I have a new seatmate, and if you are a chorister you know how tricky that can be.  Some singers blend beautifully together and some don't.  Some singers lean too heavily on you and some allow you to lean.  I am happy to report that my new partner has a beautiful voice and is 10x the sight reader I am.  She is young and has not sung the Messiah before but this did not stop her from getting every entry and every note right.  I am sure I will learn that she is a professional soloist somewhere and was flown in to help us out.  On the other side of me is my faithful partner of many years.  We are obsessed with sitting together at every rehearsal and live in fear of being separated for performance.  Yup, we are those type.
 
    In the First Mennonite Church Choir we are performing Schubert's Mass in G which I have not sung before and so I am happy to have the opportunity and surprised to learn that I really like it.  This is the link to a good performance of it.  It is so simple but melodious.  That performance is Nov. 30th, 7pm at the church 922 Notre Dame Avenue, if you want to experience it LIVE.  Franz Schubert was but a teenager when he composed this Mass but us old timers will do our best to do it justice.