Just a quick post on this quiet Saturday afternoon, to wish everyone a most happy, restful, peaceful, and relaxing holidays.
I hope are are all able to take a few days off to relax, and look back on the past few busy weeks with a sense of accomplishment, and look forward to the coming year with excited anticipation.
If you are wondering "Is it Christmas yet?", perhaps that link will help you.
All the best for 2008!
Saturday, December 22, 2007
Friday, December 21, 2007
Stop the bells?
We are now just five days from Christmas, most of my Christmas shopping is done now, good thing too, as it is the busiest shopping weekend of the year. I've just one last stocking stuffer to get - I just hope what I'm looking for is available at the local Dollar Store.
As I was shopping this year however, I did notice a lack of Salvation Army "bells". Now I'm not a great fan of hand bell choirs. I've only conducted a hand bell choir once (well, twice if you ask my Mom. She is only to ready to tell the story of my first conducting gig, where I stood in front of the Christmas tree at around eleven years old, conducting the musical chimes that were hung on the tree, even occasionally chastising them for being out of tune). However, this article I found on CBC today which explains the reasons behind the lack of ringing in the shopping malls, to me is just another example of the ridiculous bureaucratic decisions we are plagued with in today's society.
Excuse me ... but if I have to put up with the horrible "muzak" that is piped through shopping malls at this time of year, you'd think that the bells which draw our attention to donate to the Sally Ann would be a welcome relief.
This line in the article caught me the most though:
Anyhow, follow my lead - I'm going to go to my church to pick up a few hand bells, and then I'm going to stand in the middle of a shopping mall and ring like mad!
(If you don't see a post in a few days, please start a bail fund for me)
As I was shopping this year however, I did notice a lack of Salvation Army "bells". Now I'm not a great fan of hand bell choirs. I've only conducted a hand bell choir once (well, twice if you ask my Mom. She is only to ready to tell the story of my first conducting gig, where I stood in front of the Christmas tree at around eleven years old, conducting the musical chimes that were hung on the tree, even occasionally chastising them for being out of tune). However, this article I found on CBC today which explains the reasons behind the lack of ringing in the shopping malls, to me is just another example of the ridiculous bureaucratic decisions we are plagued with in today's society.
Excuse me ... but if I have to put up with the horrible "muzak" that is piped through shopping malls at this time of year, you'd think that the bells which draw our attention to donate to the Sally Ann would be a welcome relief.
This line in the article caught me the most though:
"In Ottawa, some parents are upset that their local school tried to change the words to the Christmas song "Silver Bells" to make them, well, less Christmasy."Are you kidding me? I mean I know all about the secularization trends in the school system, and for the most part, I can understand, but Silver Bells? I think I'll save the rant of "changing words to songs to make them inclusive" for another day.
Anyhow, follow my lead - I'm going to go to my church to pick up a few hand bells, and then I'm going to stand in the middle of a shopping mall and ring like mad!
(If you don't see a post in a few days, please start a bail fund for me)
Wednesday, December 19, 2007
fifty minutes of my life that I can't get back
Last night, while channel surfing, my Wife and I came across the newest in reality TV viewer-vote-in talent contest Clash of the Choirs on NBC.
The whole thing reminded me of a story that was relayed to me by a friend many years ago who was trying to come up with a reason for why we just can't seem to turn our heads away from something that we just don't want to watch. Imagine someone coming up to you and saying "Hey, there's a dead body over by the train tracks, wanna come and see it?" Of course, your instinct tells you that you don't want to see this, but there's that voice inside you that says "I've never seen a dead body before, maybe I'll just go and take a peek". Well, Clash of the Choirs is something like this kind of temptation. After seeing the previews for it, there was little doubt that I didn't need to watch this show, for just from watching the preview I knew it first of all had nothing to do with "Choirs" and watching Michael Bolton trying to resurrect his career by teaching a "choir" how to "sing" didn't really sit well with me.
My wife and I watched the whole show, well, the last fifty minutes of it, as we did tune in late - (just not late enough unfortunately).
Here are my observations:
1) there is nothing about this show that demonstrates "choral singing" as it is traditionally defined. It is more about a few lead singers, and a bunch of back-up singers. It should be "Clash of the Back-up singers", "Clash of the Gospel Groups" or even "Clash of the pretty good Karaoke stars" (more on this in #3).
2) Stage presence and song selection makes up about 95% of the attraction of the contest. The other 5% is the popularity of the "choir conductor" The winning "choir" will likely not be the best musically, but the most attractive, .
3) Sorry if this deflates all the preconceived notions of the business of televised live-music shows, but the performances, with the possible exception of the leads (and even that's in question in my mind) are pre-recorded. Yes, the mics on the stage are just props. Don't believe me? You try running around on stage in formations, turning your head away from the mics, jumping up and down, and produce a seamless steady volume of sound. Some are obviously not even singing because they are so out of breath from the movements they have to make. The band is miles away from the "choir", lead singers and "conductors" wear ear monitors, allowing them to sync themselves to the click track, the choir is set up in formations across the stage which makes singing close harmonies correctly pretty much impossible. By the way - 90% of all music productions you see on TV are pre-recorded, this includes most late-night show music guests, the majority of super-bowl style half-time shows, and just about all live music telethons. Anything that can reduce the margin of error on timing of a show, or preventing possible technical goof-ups will be done now a days. My father was in this industry for many years - Every live telecast they did was just another air-band contest, with the exception of complicated live instrumental solos, and most of the vocal leads.
4) If the group that sang Garth Brooks' "I've got friends in low places" goes on to the next round, it has nothing to do with the performance, as it was horrid, and everything to do with putting the girl with the rather large, um, lung capacity, in the front row.
We'll be testing the "dead body" theory to its fullest tonight, as we are in for the evening - and it runs for a full two hours from 9-11 tonight. And America's Top Model is done.
PLEASE let the writer's strike end soon!
The whole thing reminded me of a story that was relayed to me by a friend many years ago who was trying to come up with a reason for why we just can't seem to turn our heads away from something that we just don't want to watch. Imagine someone coming up to you and saying "Hey, there's a dead body over by the train tracks, wanna come and see it?" Of course, your instinct tells you that you don't want to see this, but there's that voice inside you that says "I've never seen a dead body before, maybe I'll just go and take a peek". Well, Clash of the Choirs is something like this kind of temptation. After seeing the previews for it, there was little doubt that I didn't need to watch this show, for just from watching the preview I knew it first of all had nothing to do with "Choirs" and watching Michael Bolton trying to resurrect his career by teaching a "choir" how to "sing" didn't really sit well with me.
My wife and I watched the whole show, well, the last fifty minutes of it, as we did tune in late - (just not late enough unfortunately).
Here are my observations:
1) there is nothing about this show that demonstrates "choral singing" as it is traditionally defined. It is more about a few lead singers, and a bunch of back-up singers. It should be "Clash of the Back-up singers", "Clash of the Gospel Groups" or even "Clash of the pretty good Karaoke stars" (more on this in #3).
2) Stage presence and song selection makes up about 95% of the attraction of the contest. The other 5% is the popularity of the "choir conductor" The winning "choir" will likely not be the best musically, but the most attractive, .
3) Sorry if this deflates all the preconceived notions of the business of televised live-music shows, but the performances, with the possible exception of the leads (and even that's in question in my mind) are pre-recorded. Yes, the mics on the stage are just props. Don't believe me? You try running around on stage in formations, turning your head away from the mics, jumping up and down, and produce a seamless steady volume of sound. Some are obviously not even singing because they are so out of breath from the movements they have to make. The band is miles away from the "choir", lead singers and "conductors" wear ear monitors, allowing them to sync themselves to the click track, the choir is set up in formations across the stage which makes singing close harmonies correctly pretty much impossible. By the way - 90% of all music productions you see on TV are pre-recorded, this includes most late-night show music guests, the majority of super-bowl style half-time shows, and just about all live music telethons. Anything that can reduce the margin of error on timing of a show, or preventing possible technical goof-ups will be done now a days. My father was in this industry for many years - Every live telecast they did was just another air-band contest, with the exception of complicated live instrumental solos, and most of the vocal leads.
4) If the group that sang Garth Brooks' "I've got friends in low places" goes on to the next round, it has nothing to do with the performance, as it was horrid, and everything to do with putting the girl with the rather large, um, lung capacity, in the front row.
We'll be testing the "dead body" theory to its fullest tonight, as we are in for the evening - and it runs for a full two hours from 9-11 tonight. And America's Top Model is done.
PLEASE let the writer's strike end soon!
Friday, December 14, 2007
Yes, another Messiah post
I've been holding off on posting about Messiah for the last two weeks. But a few recent posts about this work on other blogs, particularly a post which refers to Messiah "as the piece I'm most heartily sick of above all others", I felt compelled to stand up for those of us who are most certainly not sick of the work, and could sing it, conduct it, listen to it any day, any time of year, any time of day.
Now, if there should be someone who is sick of Messiah, you'd think I'd be a good candidate. I've been a part of some kind of Messiah production since I was eight years old, that's almost thirty years. I've sung three of four vocal parts (and I'm sure I know all the notes for all four of them, but just don't have the range to ever be a bass), and I've conducted it a few times (at least one time where I wasn't in my own house, and had to be sober) and rehearsed it countless times. Yet, I never tire from it.
This week on CBC2's morning show Music and Company, the weekly cage match, where the host puts up two works in a "match" and the winner is decided by listeners, has challenged Tchaikovsky's Nutcracker against Handel's Messiah. You can read the CBC2 blog post, and responses here, at the time of this posting, a winner had not been declared yet, and from reading the responses, it's anyone's guess. Responses range from arguing that Messiah is in fact an Easter oratorio, or that Nutcracker just isn't a "great" piece of music. Both arguments are valid, however, based on the music alone, there is no contest in my mind. Messiah is the clear cut winner.
Why is it then that some people, mostly choristers and instrumentalists, are so passionate about their dislike of Messiah? Is it really Handel's fault? Unlikely.
Here are the factors I think play a role in the general dislike of Messiah for those who are in the business. These are especially true in "large" choruses. First and foremost are the choir personalities. There's the "I don't need the score - I have it memorized, so I'm not going to write anything down" and thereby get every new marking wrong (like releases). There's the sudden surge of new Christmas Sweaters, ties and flashy broach pins at choir rehearsals which are enough to make anyone a little sick of the commercialism surrounding the whole event. There's the one who complains the whole time because "it's not the way he/she would have done it", or "it's not the way we did it last year". There's the large bass section who just can't seem to "purify" fast enough. Imagine the intimidation factor of being a new chorister to the choir who has never sung Messiah before on that first rehearsal? Wouldn't that be enough to make you want to quit? Then there are the conductors, usually guest conductors, who are trying to make Messiah "new" to them, and the reluctant choristers who won't conform to change. There are the overused scores which are so marked up that you can't tell if the conductor wants a dotted rhythm or not in bar 12 of "Behold the Lamb of God". There's the conductor that year who insists the first chorus "and the Glory" is in three, instead of one to a bar. The list goes on and on.
So, after all this, why is it that I love Messiah, and could never tire from it? Simple - it's a great work. Yes, GREAT work. Once you get past all the stuff in the above paragraph and actually concentrate on the work itself, the incredible writing, the inspiring texts, the work as a whole, it is indisputable that the piece is fantastic! I didn't realize this until a bit later in life though. I was in my mid-twenties, with already about fifteen years of Messiah under my belt, and a colleague of mine suggested I buy a new recording, one by Paul McCreesh with the Gabrieli Consort. It was mid-July, far removed from Christmas, or Easter - definitely not your usual Messiah listening to month. After the great folks at BMG had delivered my copy, I decided to listen to a bit of it. A little over two and a half hours later, I had finished listening to the whole thing. There were moments that I was reduced to tears, moments where I was laughing (the pifa is the fastest "pifa" I've ever heard) and moments was I was so excited by the performance I couldn't sit still (the string playing during "refiners fire" and "all they that see him" is a highlight for sure). It was then that I realized what a great work it truly is, and also the fact that it doesn't require a "season" at all. The meaning of the work spreads its way through the entire season. Part I, yes, Christmas. Part II, for sure, Lent and Easter. But Part III? Redemption, Revelations, the "moral of the story" as it were - there is no season for this - it's the POINT OF TELLING THE WHOLE STORY - worth listening to any day of the year.
Since that moment about ten years ago, I've learned to approach every Messiah performance with a new energy. Finding out new things about it, and new meanings. Meanings which change depending on my current life situation or world situations.
So, if you are in the group of people who detest the work, then ask yourself why it is you do. If it's the over performance factor, then maybe sit out a year or two, revisit it in the middle of the summer with your favourite recording, or buy a new recording which brings out something different for you. But don't "hate it" just because you feel you have to.
Anyhow, I have to get the tree up, I think I'll put on a good recording (I think know which one) and then I have to get ready for tonight. My wife and I are taking our nephew out to see Nutcracker.
Now, if there should be someone who is sick of Messiah, you'd think I'd be a good candidate. I've been a part of some kind of Messiah production since I was eight years old, that's almost thirty years. I've sung three of four vocal parts (and I'm sure I know all the notes for all four of them, but just don't have the range to ever be a bass), and I've conducted it a few times (at least one time where I wasn't in my own house, and had to be sober) and rehearsed it countless times. Yet, I never tire from it.
This week on CBC2's morning show Music and Company, the weekly cage match, where the host puts up two works in a "match" and the winner is decided by listeners, has challenged Tchaikovsky's Nutcracker against Handel's Messiah. You can read the CBC2 blog post, and responses here, at the time of this posting, a winner had not been declared yet, and from reading the responses, it's anyone's guess. Responses range from arguing that Messiah is in fact an Easter oratorio, or that Nutcracker just isn't a "great" piece of music. Both arguments are valid, however, based on the music alone, there is no contest in my mind. Messiah is the clear cut winner.
Why is it then that some people, mostly choristers and instrumentalists, are so passionate about their dislike of Messiah? Is it really Handel's fault? Unlikely.
Here are the factors I think play a role in the general dislike of Messiah for those who are in the business. These are especially true in "large" choruses. First and foremost are the choir personalities. There's the "I don't need the score - I have it memorized, so I'm not going to write anything down" and thereby get every new marking wrong (like releases). There's the sudden surge of new Christmas Sweaters, ties and flashy broach pins at choir rehearsals which are enough to make anyone a little sick of the commercialism surrounding the whole event. There's the one who complains the whole time because "it's not the way he/she would have done it", or "it's not the way we did it last year". There's the large bass section who just can't seem to "purify" fast enough. Imagine the intimidation factor of being a new chorister to the choir who has never sung Messiah before on that first rehearsal? Wouldn't that be enough to make you want to quit? Then there are the conductors, usually guest conductors, who are trying to make Messiah "new" to them, and the reluctant choristers who won't conform to change. There are the overused scores which are so marked up that you can't tell if the conductor wants a dotted rhythm or not in bar 12 of "Behold the Lamb of God". There's the conductor that year who insists the first chorus "and the Glory" is in three, instead of one to a bar. The list goes on and on.
So, after all this, why is it that I love Messiah, and could never tire from it? Simple - it's a great work. Yes, GREAT work. Once you get past all the stuff in the above paragraph and actually concentrate on the work itself, the incredible writing, the inspiring texts, the work as a whole, it is indisputable that the piece is fantastic! I didn't realize this until a bit later in life though. I was in my mid-twenties, with already about fifteen years of Messiah under my belt, and a colleague of mine suggested I buy a new recording, one by Paul McCreesh with the Gabrieli Consort. It was mid-July, far removed from Christmas, or Easter - definitely not your usual Messiah listening to month. After the great folks at BMG had delivered my copy, I decided to listen to a bit of it. A little over two and a half hours later, I had finished listening to the whole thing. There were moments that I was reduced to tears, moments where I was laughing (the pifa is the fastest "pifa" I've ever heard) and moments was I was so excited by the performance I couldn't sit still (the string playing during "refiners fire" and "all they that see him" is a highlight for sure). It was then that I realized what a great work it truly is, and also the fact that it doesn't require a "season" at all. The meaning of the work spreads its way through the entire season. Part I, yes, Christmas. Part II, for sure, Lent and Easter. But Part III? Redemption, Revelations, the "moral of the story" as it were - there is no season for this - it's the POINT OF TELLING THE WHOLE STORY - worth listening to any day of the year.
Since that moment about ten years ago, I've learned to approach every Messiah performance with a new energy. Finding out new things about it, and new meanings. Meanings which change depending on my current life situation or world situations.
So, if you are in the group of people who detest the work, then ask yourself why it is you do. If it's the over performance factor, then maybe sit out a year or two, revisit it in the middle of the summer with your favourite recording, or buy a new recording which brings out something different for you. But don't "hate it" just because you feel you have to.
Anyhow, I have to get the tree up, I think I'll put on a good recording (I think know which one) and then I have to get ready for tonight. My wife and I are taking our nephew out to see Nutcracker.
Tuesday, December 11, 2007
One more reason to add Nintendo Wii to your Christmas wish List
About two years ago my wife and I decided after visiting a friends house and playing their game cube, that we needed a video game system. We did about 4 minutes of research and decided that the XBox was what we needed. About 40 seconds later, the people at Microsoft came out with the XBox 360 making our system obsolete overnight, and the really creative types over at Nintendo came out with the Wii. I had a chance to play with a friend's Wii (did I really just type that?) last Spring, and it was a pretty darn good time I have to say.
WELL, pay attention classical music wannabees, or aspiring conductors! Wii will release Wii Music sometime in 2008, in which you can play various instruments with your Wii controller, and even conduct some of the worlds finest orchestras! Ok, maybe not the finest - actually it's all animated, and electronically produced. Not sure it will be a good practice tool, but I see endless hours of fun!
I wonder where I can trade in a first generation XBox for a Wii?
WELL, pay attention classical music wannabees, or aspiring conductors! Wii will release Wii Music sometime in 2008, in which you can play various instruments with your Wii controller, and even conduct some of the worlds finest orchestras! Ok, maybe not the finest - actually it's all animated, and electronically produced. Not sure it will be a good practice tool, but I see endless hours of fun!
I wonder where I can trade in a first generation XBox for a Wii?
Monday, December 10, 2007
What's your REAL job?
Thanks again to the bloggers at Sticks and Drones for turning me to a recent article in the New York Times which felt it was shedding new light on the fact that "Classical" musicians actually listen to "OTHER" types of music. Both the NYT article and Bill Eddins' reply in his blog are worth the read if you have the time. The article raises the awareness that "classical" musicians don't spend 100% if their time listening, talking about, or going to "classical" music concerts. Eddins' reply is quite funny - taking the article as if it were some sort of revelation to the non-"classical" music world that we actually have a life outside of music (Ok, for some of us, especially this time of year, it might seem that this argument does have a certain amount of validity to it).
I'm not going to comment on either of these articles, but I have a semi-related story which might brighten up your Monday.
About two years ago, after a church service, my assistant organist was wailing away at his postlude with much vigor. We are very lucky at my parish church that music holds such a high place in the hearts of our parishioners and clergy. If there is ever any doubt about this, I just have to look at the years budget and see what percentage goes into our music program. Also, every member of the congregation SITS until the end of the postlude until the very last note, and responds with applause. (I'll save the "should we applaud in church" argument for another day - in short though, if you say "no" ... don't be so snooty, yes we should). So, back to the story - Organist giving his best Keith Emerson impression on a French toccata - people sitting in the pews enjoying every minute of it. The conversation overheard on at the back of the church between our Rector and a parishioner (conversation is not verbatim, it was two years ago after all)
Parishoner: "Wow, he's really talented, he must practice a lot"
Rector: "Yes, and I'm so lucky to be able to listen to him practice everyday from my office"
Parishoner: "I suppose he must take some time to practice music he likes, not just this stuff eh?"
[Dramatic Pause]
Rector: "I think ... he DOES like this music" [under the Rector's breath] "you old coot"
This was the first time I had ever thought that someone might actually think that we don't enjoy what we do as musicians, and it's "just a job". More often than not, I get the opposite reaction. Something like:
Random Person: "What do you do?
Me: "I'm a musician"
Random Person: "Wow, that must be fun - but what's your real job"
I'm not going to comment on either of these articles, but I have a semi-related story which might brighten up your Monday.
About two years ago, after a church service, my assistant organist was wailing away at his postlude with much vigor. We are very lucky at my parish church that music holds such a high place in the hearts of our parishioners and clergy. If there is ever any doubt about this, I just have to look at the years budget and see what percentage goes into our music program. Also, every member of the congregation SITS until the end of the postlude until the very last note, and responds with applause. (I'll save the "should we applaud in church" argument for another day - in short though, if you say "no" ... don't be so snooty, yes we should). So, back to the story - Organist giving his best Keith Emerson impression on a French toccata - people sitting in the pews enjoying every minute of it. The conversation overheard on at the back of the church between our Rector and a parishioner (conversation is not verbatim, it was two years ago after all)
Parishoner: "Wow, he's really talented, he must practice a lot"
Rector: "Yes, and I'm so lucky to be able to listen to him practice everyday from my office"
Parishoner: "I suppose he must take some time to practice music he likes, not just this stuff eh?"
[Dramatic Pause]
Rector: "I think ... he DOES like this music" [under the Rector's breath] "you old coot"
This was the first time I had ever thought that someone might actually think that we don't enjoy what we do as musicians, and it's "just a job". More often than not, I get the opposite reaction. Something like:
Random Person: "What do you do?
Me: "I'm a musician"
Random Person: "Wow, that must be fun - but what's your real job"
Friday, December 7, 2007
Karlheinz Stockhausen (1928-2007)
One of the most influential, and controversial, composers of the twentieth century has died today.
I think many music sites in the blogesphere will be paying tribute to this composer over the next couple of days, you may read his obituary from The Telegraph here.
I think many music sites in the blogesphere will be paying tribute to this composer over the next couple of days, you may read his obituary from The Telegraph here.
The countdown begins
Tomorrow morning brings the last dress rehearsal, and Sunday the final two performances of the pre-Christmas choral concert season for me. It's a record, first off, I'm NOT performing in the annual Messiah show this year (probably the first year since I was about eight years old that I haven't done at least a sizeable portion of Messiah), and to be done all my concerts by the second week of December is one of the best early Christmas presents I've ever had!
I do have a few odd caroling type engagements here and there though - one for the Mayor and the rest of City Council for their final session before the holidays, and a live-to air province wide hour long radio show on the Friday before Christmas. Of course, as a church musician, things don't settle down there until after the 25th.
I also have a concert New Years Eve. However this one is a volunteer gig with a bunch of close friends who met about ten years ago to sing a whole lot of renaissance music for a colleague's Doctoral recital. Since then, which was to be a one shot concert, we've recorded three CD's, done a national and an international tour, and started this tradition of a local New Years Eve concert, complete with champagne and chocolates at intermission. It's become the most talked about New Years Eve concert in the city - ok, likely the ONLY choral concert on New Years Eve. It does end with a great party, which my wife and I are hosting this year at our house. It is a great time for all of us though, as many of us have moved away from the city, it has become a 4 day rehearsal/family reunion of sorts. We are revisiting some old repertoire on this concert, and presenting much of our "first" concert we did ten years ago Including Dufay's "Nuper Rosarum Flores", which is one of my all time favourites. My, have we grown though. The youngest member at that time was all but eighteen years old. We have a few new "younger" singers in this sixteen voice group and for the most part, we all revert back to our younger lifestyle of drinking wine until 3 AM after rehearsals, listening to great music, and reminiscing of years gone by. I can't imagine spending New Years Eve without these friends anymore.
This year for Christmas, my wife and I have decided to buy a new $1,400 fuel pump for my car (you might remember my post about my car trouble earlier this week .... sigh).
In any event, the cold weather that we've had for what feels like an eternity is expected to break on Sunday, bringing with it sunshine, wet slushy roads, and the removal of our toques. Ah yes, nothing like being Canadian, eh?
I do have a few odd caroling type engagements here and there though - one for the Mayor and the rest of City Council for their final session before the holidays, and a live-to air province wide hour long radio show on the Friday before Christmas. Of course, as a church musician, things don't settle down there until after the 25th.
I also have a concert New Years Eve. However this one is a volunteer gig with a bunch of close friends who met about ten years ago to sing a whole lot of renaissance music for a colleague's Doctoral recital. Since then, which was to be a one shot concert, we've recorded three CD's, done a national and an international tour, and started this tradition of a local New Years Eve concert, complete with champagne and chocolates at intermission. It's become the most talked about New Years Eve concert in the city - ok, likely the ONLY choral concert on New Years Eve. It does end with a great party, which my wife and I are hosting this year at our house. It is a great time for all of us though, as many of us have moved away from the city, it has become a 4 day rehearsal/family reunion of sorts. We are revisiting some old repertoire on this concert, and presenting much of our "first" concert we did ten years ago Including Dufay's "Nuper Rosarum Flores", which is one of my all time favourites. My, have we grown though. The youngest member at that time was all but eighteen years old. We have a few new "younger" singers in this sixteen voice group and for the most part, we all revert back to our younger lifestyle of drinking wine until 3 AM after rehearsals, listening to great music, and reminiscing of years gone by. I can't imagine spending New Years Eve without these friends anymore.
This year for Christmas, my wife and I have decided to buy a new $1,400 fuel pump for my car (you might remember my post about my car trouble earlier this week .... sigh).
In any event, the cold weather that we've had for what feels like an eternity is expected to break on Sunday, bringing with it sunshine, wet slushy roads, and the removal of our toques. Ah yes, nothing like being Canadian, eh?
Wednesday, December 5, 2007
Are all Choral Conductors poor Orchestral Conductors?
On the ride home last night after our Symphonic Choir's guest appearance with the Symphony in thier "lighter Christmas Classics" concert, my wife and were commenting on the guest conductor, who is one of the conductors of a reputable pops orchestra down south. My wife commented on the fact the he was quite clear, and certainly proved to be both an effective orchestral conductor as well as providing enough attention to the chorus to keep us all happy. The "conducting professor" in me immediately found ways to criticize his tight shoulders, loose wrist, his tendency to subdivide where no subdivisions are necessary, and for the most part, his lack of expression - however, for the most part, I agreed with my wife. He seemed very comfortable in both idioms as an accomplished orchestral conductor, and choral conductor. Not a great conductor, but very capable.
I recently read on a blog somewhere of an orchestral musician complaining about how they disliked performing Messiah, mainly for the number of times that they had to perform it with so many "poor choral conductors" at the helm. My immediate reaction of course was one of defense. (To be fair, the blogger did qualify the statement by saying that not ALL choral conductors were poor). It got me thinking though, about how many times I've complained about singing for orchestral conductors that do not know enough about choirs to effectively conduct a large work for chorus and orchestra. I even remember one of them saying "Don't look for cues from me, my concern is the orchestra." Of all the musicians who actually NEED the cues - choirs should be at the top of the list shouldn't they?
Here are some of my observations of differences between large choruses and orchestras, besides the brutally obvious. Symphonic choirs, most of which are over 100 singers, have such a wide range of abilities - from the skilled music reader right down to the singer who learns everything by rote, and relies on those with more ability around them to help them learn, but once it's learned, it can't be unlearned - to everything in between. Professional orchestral musicians are all extremely accomplished musicians who are the best available players of their instruments. Singers tend to put life and limb in the hands of the conductor. After having dozens of rehearsals with their chorus master for a show, it is a tricky thing for them to adjust to a new conductor, who is not giving them the attention that they were used to (specifically for cues and releases). Remember - most of these singers don't actually count, they are looking for the visual command (heck - it's not uncommon for them to practice mundane things like sitting, standing, lifting music and bowing on cue even - something you don't see in orchestral concerts). They are less concerned about the difference between subdivided two and a four beat pattern then they are about a consonant release or an offbeat entrance.
Orchestral conducting and choral conducting I believe are two very different skill sets, and one is always going to compromise the other when you are faced with both choir and orchestra at the same time. Although my training is predominantly in choral conducting, I was lucky enough to study with our University's orchestra conductor for two terms during my Doctoral studies. I studied at the length about conducting an effective pizzicato, understanding bow markings and the many various articulations associated with each instrument. Yet few orchestral conductors worry themselves of how to conduct a proper release of an "M" consonant, or take any care to learn about diction or proper breath support. I was quite happy, however, to have the experience of conducting Prokofiev, Stravinsky, and Poulenc in a completely orchestral idiom. I feel that I am quite comfortable in front of an orchestra, maybe a little intimidated at first rehearsal, but I've always been told that I am quite clear, and they enjoy playing for me. I'm assuming that they wouldn't tell me this unless it were true.
My question is - how many "great" conductors are there who can work effectively with both Choir and Orchestra? In my experience, I've only met a few great ones. One of which is Yannick Nézet-Séguin - who first studied as conducting as .... a Choral Conductor ... just saying.
I recently read on a blog somewhere of an orchestral musician complaining about how they disliked performing Messiah, mainly for the number of times that they had to perform it with so many "poor choral conductors" at the helm. My immediate reaction of course was one of defense. (To be fair, the blogger did qualify the statement by saying that not ALL choral conductors were poor). It got me thinking though, about how many times I've complained about singing for orchestral conductors that do not know enough about choirs to effectively conduct a large work for chorus and orchestra. I even remember one of them saying "Don't look for cues from me, my concern is the orchestra." Of all the musicians who actually NEED the cues - choirs should be at the top of the list shouldn't they?
Here are some of my observations of differences between large choruses and orchestras, besides the brutally obvious. Symphonic choirs, most of which are over 100 singers, have such a wide range of abilities - from the skilled music reader right down to the singer who learns everything by rote, and relies on those with more ability around them to help them learn, but once it's learned, it can't be unlearned - to everything in between. Professional orchestral musicians are all extremely accomplished musicians who are the best available players of their instruments. Singers tend to put life and limb in the hands of the conductor. After having dozens of rehearsals with their chorus master for a show, it is a tricky thing for them to adjust to a new conductor, who is not giving them the attention that they were used to (specifically for cues and releases). Remember - most of these singers don't actually count, they are looking for the visual command (heck - it's not uncommon for them to practice mundane things like sitting, standing, lifting music and bowing on cue even - something you don't see in orchestral concerts). They are less concerned about the difference between subdivided two and a four beat pattern then they are about a consonant release or an offbeat entrance.
Orchestral conducting and choral conducting I believe are two very different skill sets, and one is always going to compromise the other when you are faced with both choir and orchestra at the same time. Although my training is predominantly in choral conducting, I was lucky enough to study with our University's orchestra conductor for two terms during my Doctoral studies. I studied at the length about conducting an effective pizzicato, understanding bow markings and the many various articulations associated with each instrument. Yet few orchestral conductors worry themselves of how to conduct a proper release of an "M" consonant, or take any care to learn about diction or proper breath support. I was quite happy, however, to have the experience of conducting Prokofiev, Stravinsky, and Poulenc in a completely orchestral idiom. I feel that I am quite comfortable in front of an orchestra, maybe a little intimidated at first rehearsal, but I've always been told that I am quite clear, and they enjoy playing for me. I'm assuming that they wouldn't tell me this unless it were true.
My question is - how many "great" conductors are there who can work effectively with both Choir and Orchestra? In my experience, I've only met a few great ones. One of which is Yannick Nézet-Séguin - who first studied as conducting as .... a Choral Conductor ... just saying.
Tuesday, December 4, 2007
Busy week off to a "won't start"
How nice is it to wake up on Monday morning and say "OK, here we go - two dress rehearsal, and three concerts, on top of the usual rehearsals through the week, then by Sunday night, ALL my Christmas concert are essentially OVER.
The weather right now in the thriving northern metropolis is, in a word, COLD. How cold you ask? Right now, 10:38 am, with the wind chill it feels like -25 celcius (-13 in Fahrenheit, 248 above absolute zero Kelvin ... you get the idea - it's cold) Oh, and it's snowing, not heavily, but off and on since Sunday night. My wife and I left our house at around 5:30 in order to make it to rehearsal #1 of the evening, complete in full concert dress for a photo shoot at the start of rehearsal #2 (at least they were in the same building). At around 10:00, when all rehearsals were over, the temperature had dropped to something just below "I can't feel my toes" but above "I can still walk, talk and think". I was happy I had found parking spot close to the back stage door - and my car, ever reliable through the last five winters, was covered in a film of fresh snow, but at least looked eager to go. I started it, took out the snow brush to wipe it down, it sputtered, and stopped. "Not good" I thought.
I waited... restarted .. sputter .. stopped.
I waited... restarted .. REVVVVED .. sputtered ... stopped.
I waited... restarted .. nothing, eventually battery failure.
Not the start, or "no start" of the week I wanted. Luckily my wife's emergency road plan sent a crew out (far sooner than the four hour estimate). He also could not start the car, and a tow truck has taken my dead car to my garage. I just hope I'm not without it for too long - as much of my music is still in the back seat (oops).
The weather right now in the thriving northern metropolis is, in a word, COLD. How cold you ask? Right now, 10:38 am, with the wind chill it feels like -25 celcius (-13 in Fahrenheit, 248 above absolute zero Kelvin ... you get the idea - it's cold) Oh, and it's snowing, not heavily, but off and on since Sunday night. My wife and I left our house at around 5:30 in order to make it to rehearsal #1 of the evening, complete in full concert dress for a photo shoot at the start of rehearsal #2 (at least they were in the same building). At around 10:00, when all rehearsals were over, the temperature had dropped to something just below "I can't feel my toes" but above "I can still walk, talk and think". I was happy I had found parking spot close to the back stage door - and my car, ever reliable through the last five winters, was covered in a film of fresh snow, but at least looked eager to go. I started it, took out the snow brush to wipe it down, it sputtered, and stopped. "Not good" I thought.
I waited... restarted .. sputter .. stopped.
I waited... restarted .. REVVVVED .. sputtered ... stopped.
I waited... restarted .. nothing, eventually battery failure.
Not the start, or "no start" of the week I wanted. Luckily my wife's emergency road plan sent a crew out (far sooner than the four hour estimate). He also could not start the car, and a tow truck has taken my dead car to my garage. I just hope I'm not without it for too long - as much of my music is still in the back seat (oops).
Saturday, December 1, 2007
Can you change your "taste" to like classical music?
In a recent post on Sticks and Drones titled "Yo!!..We put the ASS back in clASSical", Ron Spigelman, Artistic Director of the Springfield Missouri Symphony Orchestra rants on the current trends to attract a younger audience to the concert hall.
A few of the tricks I've seen used out west are memberships to an exclusive club for those who are under 25 years old, which include less-expensive tickets, and free pizza and pop during intermission. There was also an attempt made by our local opera company for people to "Come see opera in your Jeans". Spigleman writes of billboards that try to appeal to a younger generation "Try a few "bars" tonight" and "Ear Candy", and the examples go on, and are present in just about every "fine" arts organizations, and probably come up at every annual general meeting of all symphonies, choirs, art galleries, and theatre groups. The main flaw, essentially, as Spigleman points out is that the "product" does not change - once you have them in their seats, full of pizza and pop, it isn't going to make them suddenly love Tchaikovsky! Or as Spigleman says:
"not everyone likes caviar either, so does that make them unsophisticated? NO, IT MEANS THEY DON'T LIKE CAVIAR!!!!! "
Most people would say "How do you know you don't like it, when was the last time you've tried it?" I don't like Caviar, and I probably never will, and there are no billboards or "caviar tasting" programs out there that will probably turn my mind otherwise. I know this, because I've tried. However, there are many things that I didn't like, or more precisely wasn't interested in, that I am interested in now.
Excuse me while I go a big off topic - I'll come back again in a minute.
As a younger child, I had no interest of the study of Canadian History or politics. When I was about fourteen or fifteen years old, I had a teacher in high school who was a former city councilor, and member of provincial parliament. Half way through the term, he moved all the desks in the class so that there were two sides to the class room, one side facing the other, with about 5 rows of chairs on either side. He had us vote for the party we wanted to be in - Liberal, Conservative or NDP, our teacher made himself speaker of the House, and then for about a month WERE the House of Commons. I couldn't tear myself away from C-Span (the station which shows the house of commons live) for weeks. All I could talk about was Canadian politics, and how someday I would a Minister in the House. Life has taken me a different direction of course now, so I'm not likely to start my campaign, but an involvement in some kind of city, provincial, or national political cause is not out of the question - and I do believe I owe this to my high school history teacher - even if he WAS a member of the conservative party ... that's another topic all together.
Anyhow, my point is - yes, the efforts to try to persuade viewers with candy, pizza, or snazzy billboards with scantily clothed cellists might have an appealing, short-term effect, but it can't hold them in their seats. Eventually they will figure out that they were "tricked" into it. BUT, a good solid FUN education does wonders. If an understanding of the process of music - the structure, the "reasons" we have music, the history of it (and I emphasis FUN - no memorization of dates and scores - more emphasis on the stories behind the composers and the music), there might be a fighting chance to get most of them inspired in some way.
I'm always amazed at how after two months of teaching music appreciation at the University level, how many students go from "I'm just taking this for an easy grade" to "Do you have free tickets for the next concert, I absolutely loved the last one I went to", or "I can't believe there are so many free concerts on Campus, I'm addicted now", and I think it is mainly because they have a better understanding of the music itself. Why aren't there these educational opportunities at a younger age? Why are we so obsessed at teaching arts in such a clear cut organized manner, without the aspects of "touch" or "feel" to them. Shouldn't those who teach these subjects be excited about it enough to share this passion?
A few of the tricks I've seen used out west are memberships to an exclusive club for those who are under 25 years old, which include less-expensive tickets, and free pizza and pop during intermission. There was also an attempt made by our local opera company for people to "Come see opera in your Jeans". Spigleman writes of billboards that try to appeal to a younger generation "Try a few "bars" tonight" and "Ear Candy", and the examples go on, and are present in just about every "fine" arts organizations, and probably come up at every annual general meeting of all symphonies, choirs, art galleries, and theatre groups. The main flaw, essentially, as Spigleman points out is that the "product" does not change - once you have them in their seats, full of pizza and pop, it isn't going to make them suddenly love Tchaikovsky! Or as Spigleman says:
"not everyone likes caviar either, so does that make them unsophisticated? NO, IT MEANS THEY DON'T LIKE CAVIAR!!!!! "
Most people would say "How do you know you don't like it, when was the last time you've tried it?" I don't like Caviar, and I probably never will, and there are no billboards or "caviar tasting" programs out there that will probably turn my mind otherwise. I know this, because I've tried. However, there are many things that I didn't like, or more precisely wasn't interested in, that I am interested in now.
Excuse me while I go a big off topic - I'll come back again in a minute.
As a younger child, I had no interest of the study of Canadian History or politics. When I was about fourteen or fifteen years old, I had a teacher in high school who was a former city councilor, and member of provincial parliament. Half way through the term, he moved all the desks in the class so that there were two sides to the class room, one side facing the other, with about 5 rows of chairs on either side. He had us vote for the party we wanted to be in - Liberal, Conservative or NDP, our teacher made himself speaker of the House, and then for about a month WERE the House of Commons. I couldn't tear myself away from C-Span (the station which shows the house of commons live) for weeks. All I could talk about was Canadian politics, and how someday I would a Minister in the House. Life has taken me a different direction of course now, so I'm not likely to start my campaign, but an involvement in some kind of city, provincial, or national political cause is not out of the question - and I do believe I owe this to my high school history teacher - even if he WAS a member of the conservative party ... that's another topic all together.
Anyhow, my point is - yes, the efforts to try to persuade viewers with candy, pizza, or snazzy billboards with scantily clothed cellists might have an appealing, short-term effect, but it can't hold them in their seats. Eventually they will figure out that they were "tricked" into it. BUT, a good solid FUN education does wonders. If an understanding of the process of music - the structure, the "reasons" we have music, the history of it (and I emphasis FUN - no memorization of dates and scores - more emphasis on the stories behind the composers and the music), there might be a fighting chance to get most of them inspired in some way.
I'm always amazed at how after two months of teaching music appreciation at the University level, how many students go from "I'm just taking this for an easy grade" to "Do you have free tickets for the next concert, I absolutely loved the last one I went to", or "I can't believe there are so many free concerts on Campus, I'm addicted now", and I think it is mainly because they have a better understanding of the music itself. Why aren't there these educational opportunities at a younger age? Why are we so obsessed at teaching arts in such a clear cut organized manner, without the aspects of "touch" or "feel" to them. Shouldn't those who teach these subjects be excited about it enough to share this passion?
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