Building the excitement

I enjoyed hearing all the music for the concert last night. The tunes got stuck in my head, and I am still singing the pieces to myself even now! We are making some beautiful musical moments, and I look forward to next week when we can really polish our program and achieve that last 10% or so of the musicality and expression. There was also a lot of buzz and excitement in the room last night as well. Part of that was the cheesecakes, I know, but I think part of it was that we have a great program to present to our audience. I truly hope that you will share that excitement with as many others as you are able and invite them to be a part of the concert with us. Let's make it a memorable and enjoyable evening for all! Keep singing, and see you on Monday!

After cheescakes...

Nice rehearsal last night! We are learning notes while singing musically - I love it! I know you are all busy with long days and hectic schedules, so I hope our musical time together is a time for you to refresh and relax while we prepare for our concert. Speaking of preparation, here's what's on for next week:
Rabbit Skunk (always!)
Johnny O
A Carol for All Children
Through Their Eyes - No. 3
An Easy Decision
Calling My Children Home
See you then!

Back to September

It was good to see and hear you all after a two-week hiatus for Labor Day. Welcome one and all, returning and new singers. This is going to be a great year of music!
Also, thanks for sharing about what is happening in your busy lives with us as we enjoy social times during the breaks. We are a singing community, and it's great to be able to get to know you better while we sing together.
We should focus on the following for next week:
Rabbit Skunk - second half
Jenny Rebecca - second half
Through Their Eyes - numbers 2 and 3
Johnny O - work backwards
Carol for All Children

I heard a couple of people say afterwards last night, "Good rehearsal!" And it
was. We got a considerable amount of music rehearsed, and I felt a couple of
poignant moments when the music really seemed to "hit home" as you sang. If
that's already happening at rehearsal, we are going to have a great concert!
Thanks for being a part of this exciting music-making. Here's what we need to
work on at our next rehearsal on September 12: * Jenny Rebecca
* Prayer of the Children
* Through Their Eyes
* Rabbit Skunk
* Johnny O
* Easy Decision
We'll keep plugging away at the harder parts and on the sections less
rehearsed. Remember, you promised to not forget what we've already done! :)
Have a wonderful Labor Day weekend!

Tonight's rehearsal

Getting ready for our second rehearsal tonight at St. Luke's. Many more auditions are scheduled tonight than were last week, so I will look forward to talking with many of the singers one on one which is a treat! I hope we don't get too bogged down in our note-learning tonight, but it needs done on some of the harder pieces. Here's to more confidence in the music by knowing it better after tonight - see you there!

Return to Rehearsal

I had so much fun at rehearsal on Monday. I'm still enjoying hearing the music sung, a wonderful balance from the group and great enthusiasm for the year ahead. Thanks to all of you for being a part of this special group. Here's to a great year ahead!

May happenings

May is just a busy month. Spring, end of school, getting ready for summer. This year, we are appreciating Moms with a concert called The Language of Love. The poetry and the music by Lauridsen, Brahms and others is stunning and full of emotion. Last night's rehearsal was really good, and I am excited about presenting this program over the weekend. Below, I included a preview of what were are singing and a little background for each piece as well. Don't forget to participate in our poll to determine when we will be traveling to Washington, DC in 2012, and sing with the group attending the Relay for Life in Alpharetta on May 20. If you attend our concert, write and let me know your thoughts about the music. I would love to hear from you. Have a great spring!

Morten Lauridsen (b. 1943) composer-in-residence of the Los Angeles Master Chorale from 1994-2001 and professor of composition at the University of Southern California Thornton School of Music for more than thirty years, occupies a permanent place in the standard vocal repertoire of the Twentieth Century. His seven vocal cycles including Les Chansons des Roses, Nocturnes, and Lux Aeterna -- and his series of sacred a cappella motets are featured regularly in concert by distinguished ensembles throughout the world. Lauridsen himself says of this Roses cycle:

In addition to his vast output of German poetry, Rainer Maria Rilke (1875-1926) wrote nearly 400 poems in French. His poems on roses struck me as especially charming, filled with gorgeous lyricism, deftly crafted and elegant in their imagery. These exquisite poems are primarily light, joyous and playful, and the musical settings are designed to enhance these characteristics and capture their delicate beauty and sensuousness. Distinct melodic and harmonic materials recur throughout the cycle, especially between Rilke's poignant Contre Qui, Rose (set as a wistful nocturne) and his moving La Rose Complete. The final piece, Dirait-on, is composed as a tuneful chanson populaire, or folksong, that weaves together two melodic ideas first heard in fragmentary form in preceding movements.

René Clausen (b. 1953) has served as conductor of The Concordia Choir of Concordia College, Moorhead, Minnesota since 1986. Additionally, he is the artistic director of the award-winning Concordia Christmas Concerts, which are frequently featured by PBS stations throughout the nation. He is a well-known composer, and his compositional style is varied and eclectic, ranging from works appropriate for high school and church choirs to more technically-demanding compositions for college and professional choirs. "Set Me As a Seal" is the most frequently excerpted movement from Clausen's cantata, A New Creation in which he uses Latin and English texts on various religious subjects to express those aspects of one's relationship to God. The text for the piece heard today is taken from Song of Solomon 8:6-7 and is used frequently at both weddings and funerals because of its description of sure and unfailing love.

"My Beloved Spake" by Henry Purcell (1659-1695) was also composed upon text from Song of Solomon 2:10-13,16 which embodies a different aspect of love and uses imagery of spring and nature to reflect the beauty and joy of those truly in love. Since it was originally scored for strings and organ, we can assume that this piece was written for the Chapel Royal at St. James' Palace in London. Purcell was music director and organist there for a time as was, perhaps most famously, George Frederic Handel. It is a traditional English anthem from the Baroque period, and is also originally scored for men and boys' voices. Today, it will be sung with mixed voices and accompanied by organ, and the brightness of the tempi reflect the buoyant mood of the text.

Adolphus Hailstork (b. 1941) is Professor of Music and Composer-in-Residence at Norfolk State University in Virginia. He received his doctorate in composition from Michigan State University, where he was a student of H. Owen Reed. Dr. Hailstork has written numerous works for chorus, solo voice, various chamber ensembles, band, and orchestra. In “Nocturne,” he calls upon a lover to contemplate and appreciate the simple beauties of the night. The text of the poem by Jim Curtis is at first carried by the soprano, while the other parts provide an atmospheric background. Following a middle section in which all parts work over the poem, the conclusion returns to the atmosphere of the beginning. This is the second of his set of Five Short Choral Works embodying similar programmatic themes.

The Liebeslieder Walzer (Lovesong Waltzes) are what brought Johannes Brahms (1833-1897) to prominence in his career. Brahms had not yet produced anything of great acclaim in the public eye -- not even the German Requiem had had much effect in the previous year. But, thanks to fellow composer Robert Schumann's rave reviews, it was the Liebeslieder that first convinced the public that Schumann was right about Brahms all along, and it immediately paved the way for public acceptance of Brahms' greater and weightier masterpieces. There are a total of 18 brief waltzes in this Opus 52 written for chorus and piano duet with texts from George Friedrich Daumer's Polydora. Brahms' Liebeslieder represent the mingling of the folk music of northern Germany (the composer's former homeland) and the waltzes and Ländler of Upper Austria (his new homeland). In effect, these are stylized Viennese waltzes. Nearly all of Daumer's poems are pastoral verses on both the positive and negative attributes of love. Today, we will be singing some of our favorite excerpts from this beautiful set of pieces.

I know you are all thinking, "The Choral Guild's next concert on Sunday, March 6 at 4 pm at the Northside Drive Baptist Church is going to be opera and Broadway music. They even have an interesting title for the program called 'A Chorus Line Up.' But, what does that mean? Why should I come to the concert?"

Well, first of all, several of the singers have brought in arias and solos that they are interested in singing as part of the program, and there are some very talented vocalists in the group who are going to impress you with their versions of favorites by Mozart, Rodgers, Delibes, Verdi and Arlen. Also, I have copied the program notes below from our website to pique your interest in the pieces to be sung by the full chorus.

“Comedy Tonight” Medley - Stephen Sondheim (b.1930), arr. Robert Page
“Comedy Tonight” from A Funny Thing Happened on the Way to the Forum
“The Little Things You Do Together” from Company
“Send in the Clowns” from A Little Night Music
“Old Friends” from Merrily We Roll Along
Stephen Sondheim is widely acknowledged as the most innovative, most influential and most important composer and lyricist in modern Broadway history. Robert Page expertly arranges four familiar Sondheim melodies around the “comedy” theme in this enjoyable collection, including one of Sondheim’s most enduring songs “Send in the Clowns.”

“Chorus of Wedding Guests” from Lucia di Lammermoor - Gaetano Donizetti (1797-1848)
This chorus celebrates the marriage of Lucia to Enrico who tricks her into marrying him instead of her true love, Edgaro. The story is based on the novel written by Sir Walter Scott. This is a high-spirited chorus that offers a moment of brightness before tragedy ensues.

“Habanera” from Carmen - Georges Bizet (1838-1875)
The enticing aria and accompanying chorus is sung by the gypsy Carmen in an effort to seduce the corporal Don José. The story is based on a short novel by Prosper Mérimée. Bizet adapted the descending, chromatic melody from the Spanish song “El Arreglito” by composer Iradier.

“Anvil Chorus” from Il Trovatore - Giuseppe Verdi (1813-1901)
Another opera set in Spain, this one is based on a play by Antonio Garcia Guitiérrez. The heavy accents suggest the striking of anvils by the gypsies earning their living as tinkers as they sing about the new day – along with various pleasures including work, wine and women.

“Chorus of the Hebrew Slaves” from Nabucco - Verdi
This is arguably Verdi’s most famous melody and was adapted by the Italians as a song of patriotism shortly after its premier at La Scala opera house in Milan. The words are a paraphrase of Psalm 137, when the Israelites lament the loss of their homeland as part of the story of the Jews living in Babylonian exile in 586 B.C.

“Dido’s Lament and Final Chorus” from Dido and Aeneas - Henry Purcell (1659-1695)
Using a ground bass and the interval of a descending fourth as traditional musical features of Italian laments, Purcell recreates the drama of the heartbroken Dido as she mourns the loss of her beloved Aeneas through the trickery of a sorceress.

“Bridal Chorus” from Lohengrin - Richard Wagner (1813-1883)
Weddings seem to always attract trouble in opera, and this chorus, ironically used frequently in modern wedding ceremonies, is no exception. The happy couple, Elsa and Lohengrin, is being escorted into their bridal chamber immediately following their nuptials, which represents the most joyous period of their ill-fated marriage.

“Brindisi” from La Traviata - Verdi
The duet between lovers Alfredo and Violetta, along with accompanying chorus, may first appear to be nothing more than a coarse drinking song, but as they pledge their love to each other, the piece develops into a tribute to youth, beauty and pleasure. The story is based on the novel La Dame aux Camélias by Alexandre Dumas..

“Neighbors’ Chorus” from La Jolie Parfumese - Jacques Offenbach (1819-1880)
In Offenbach's comic opera, the original Neighbors’ Chorus is a raucous morning-after song to a bride and groom. The singing neighbors are waking up the honeymooning couple and teasing the groom about whether or not his bride fulfilled her wifely duty. The English version was deliberately re-written for performance choirs to portray the woman as a prospective girlfriend who breaks a date.

“The Best of All Possible Worlds” from Candide - Leonard Bernstein (1918-1990), arr. Robert Page
This excerpt from the musical based on the French satirical novella, Candide or The Optimist by Voltaire, describes a scene where the young man, Candide, is being given a lesson on blind optimism by his instructor, Pangloss. The use of tongue-in-cheek, nonsensical explanations for the hardships of the world was a political commentary of the time. We hear in this portion the over-simplified reasoning that “all is for the best in the best of all possible worlds.”

I know, if you've read this far, you are interested in at least ONE of the pieces above. So, make plans now to join us!