choral change

Over the years, I have written often about singing with the Binghamton University Chorus, such as this post about rehearsing for our Brahms’ Requiem concert last fall. When I wrote about the retirement party of our director and titled it “end of an era”, I did not realize how true that would be.

The choral program had been headed by our director with the assistance of an adjunct and, frequently, candidates for a master’s in choral conducting. Now, just one person will handle the whole program, necessitating some changes.

The University Chorus, with whom I have sung for 35 years, and which existed for some number of year before that, has always been a group made up of students, University faculty and staff, and community members, which met every semester and performed major works with orchestra, as well as concerts of shorter pieces with piano or small instrumental ensemble.

There was a consistent core of community singers who had been with University Chorus for years. We had become friends and had been through many big life events together. We chatted before and after rehearsal and thoroughly enjoyed singing together.

Unfortunately, in the new choral group organization schema, University Chorus will no longer exist as a separate entity. Instead, University Chorus will act as a supplement to the student choruses when they are in need of larger forces to perform with orchestra. For the fall semester, University Chorus will join with the Women’s Chorus, Harpur Chorale and Chamber Singers to perform works associated with 17th century Venice. I am very excited about this repertoire, as I love singing works from that period and haven’t had the opportunity to for a long time. I am also anxious to sing with the new choral director, Dr. William Culverhouse; last spring, University Chorus had been part of the audition process and I was very impressed with his conducting and rehearsal technique.

However, as we all expected, we would need to audition to be included and, because of the demanding repertoire, a certain level of skill, particularly in sight singing, is required. I quickly became nervous. I have always been a anxious auditioner, a state that was not helped by the fact that the last vocal audition I sang was over 25 years ago. I am very much a choral singer, with a smaller voice without a lot of vibrato, which is useful to help blend within a section, but not necessarily that engaging to listen to on its own. I also have a sharp intonation, which is not ideal, but can be useful in a group because most people who have intonation problems tend to go flat. I am also a soprano and acutely aware that many of the other sopranos have had individual voice instruction, which I have not.  In addition, while I was a music major, our program at the time was very academically based, so I never had a course in solfège and sightsinging. And I was envisioning sight reading that was modal or chromatic or highly syncopated.

I chose to schedule my audition early on in the audition period, on eclipse day. I arrived early and tried to read and take deep breaths to calm myself, which didn’t really work. Dr. Culverhouse was very interactive during the audition and tried to give helpful hints as we went along, but I’m sure I still sounded very shaky. Thankfully, the sightsinging was not tricky, which at least gave me some hope of being accepted.

I sent an email to a couple of friends who were going to audition later in the week to tell them not to be scared about the sightreading, and then I waited for Sunday night, when invitations were due to arrive via email. I actually stayed up late waiting, but finally had to go to bed without any news…

In the morning, I discovered that the email had come in about twenty minutes after I had gone to bed and that it was good news! I was invited to join University Chorus for this semester; I found out later that the friends I had contacted were also accepted. On Monday night, which is our usual rehearsal night, we had a forty minutes Q&A with Dr. Culverhouse, which was enlightening. We aren’t sure about our final number of singers yet, as auditions are still ongoing. Our first rehearsal is September 11th with our concert on December 2nd.

I am thrilled to be able to sing this fall and looking forward to having a bit of structure back after what has been a chaotic summer. I am looking forward to the music, to seeing my friends every week, and to singing on a regular basis again.

I am sad, though, that for this academic year, University Chorus will only meet for the fall semester. For the first time since moving here in 1982, I will not have Monday night rehearsals and a chorus with which to sing. While this is sad in and of itself, it is a particularly daunting thought for 2018. My mother is currently under hospice care and it is impossible to project that many months into the future. It is likely, though, that, early in 2018, our daughter E and granddaughter ABC will leave our home to join our son-in-law L in the UK. ABC’s US and UK passports have already come through and E will probably be able to obtain an appropriate visa early next year. In the face of these personal changes/losses, the thought of not having the support, companionship, and music of University Chorus from December 3rd through September 2018 is heart-breaking.

As fate would have it, there is the possibility that I will have a concert in which to sing on the first weekend in March. Members of the Smith College Alumnae Chorus have been asked to join with the current Smith Glee Club and the Penn State Men’s Glee Club for a concert in Northampton, with the possibility of a late February concert in Philadelphia. Details are still being worked out, but I am hopeful that I will be able to participate.

The piece that we will perform will be Brahms’ Requiem.

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end of an era

On April first, Dr. Bruce Borton conducted his last concert with the Binghamton University Chorus, the town/gown group with which I have sung since 1982. Bruce has been our director for the last twenty-nine years. Fittingly, the featured piece on the program was the Fauré Requiem, a piece that Bruce had known since high school and that had appeared throughout his career but that he had never conducted with our Chorus.

Last night, we gathered for a retirement party at the University. There were many community members from University Chorus and/or the Madrigal Choir of Binghamton, as well as faculty, staff, and alumni from the University. There were reminiscences with Bruce and his wife Nan, who has sung with us and taught piano in the community over the years, as well as among ourselves.

After dinner, there was a program of tributes from colleagues and alumni of the master’s program in choral conducting, some in-person and some recorded. (While the party was not a surprise to Bruce, the content of the program was, which made it all the more fun.)

Of course, there were musical tributes as well. The Madrigal Choir, who welcomed Bruce as their director several years ago and whom he will continue to direct in his retirement, sang a favorite piece of Bruce’s which had been written as a tribute to his college choral director. They then favored us with the Thomas Morley madrigal “Now is the Month of Maying” – with some special added humorous verses honoring Bruce, his music-making, and even his hobby, woodworking.

The women of Harpur Chorale, the select student ensemble, called Bruce up for a rendition of “Chili con Carne” during which they gifted him with the makings for chili, tortilla chips, beer, sunglasses, and a sombrero.

The pièce de résistance, though, was an audio recording of Bruce singing “Howdy There” from PDQ Bach’s Oedipus Tex, which members of the faculty had performed for an April Fool’s Day concert years ago. I had seen the concert and remembered it with fond affection and giggles, so it was fun to hear it again, although the ovation after it caused Bruce to cover his face with his newly-acquired sombrero!

The evening was a wonderful tribute to Bruce and a lot of fun, but, for me, it was also bittersweet. It marks the end of working with a choral director who knew me in my younger years when I was still also active in church music. It was also a reminder of people who were not there to celebrate with us, especially Peter Browne. In a slideshow that was playing during dinner, there was a photo of Bruce and Peter. Peter was the accompanist for University Chorus for many years, as well as music director of Trinity Episcopal in Binghamton. When Bruce’s administrative duties at the music department necessitated his cutting back on the number of choral groups he could conduct, Peter became an adjunct to conduct Harpur Chorale. Peter died unexpectedly two years ago.

Singing our last concert with Bruce was difficult for me. Besides it being my last concert with Bruce conducting, it was just after the first anniversary of my mother-in-law’s death, which made the Requiem especially poignant. On the program, we also sang the stunningly gorgeous Fauré “Cantique de Jean Racine”. It was a piece that I first learned from Peter when I worked for him at Trinity. When I hear the introduction, my mind and heart return to singing it at Trinity Church, with a harpist accompanying and Peter conducting.

Memories are the only connection now to that era.

 

the solace of music

2016 has been stressful, hectic, and, at times, overwhelming. If anything, the last few weeks have seem an acceleration of these trends.

One of the things that has kept me from total meltdown has been music.

My personal background is strongest in church music and it continues to bring solace.  One recent example is watching daughter T cantor for Mass on All Saints’ Day. Her singing truly touched my heart.

One of the things for which I am most grateful is that University Chorus, with whom I am in my 35th year as a singer, is preparing Brahms’ Requiem this semester. Of all the masterworks I have sung over the decades, this is my favorite to sing. Brahms’ selection of texts is thoughtful and the music is crafted exquisitely to its meaning.

Our director notes that Brahms chose to set texts that bring comfort to the living. I need comfort now, not only as we continue to navigate the loss of Grandma but also as we deal with family health issues and the upheaval, dissension, and trauma caused by the recent campaign and election.

I have prepared and performed the Requiem several times in years past. I have sung it before when I was mourning a loss, but this time my emotions are so raw that I wonder if I will get through the December third performance without tearing up. A few weeks ago, when I was having a particularly difficult day, we were rehearsing the central movement of the work, which, translated into English, is called “How Lovely is Thy Dwelling Place.” I started crying and couldn’t stop myself. I managed to keep singing; at least, I know that if it happens in the performance, I will be able to keep going.

If I am still living here when I die, I would like members of University Chorus to come sing that movement at my funeral, in German, of course. I apologize if that sounds morbid, but it is a thing that church musicians tend to do – plan their funeral music…

I do wish that each of you find solace somewhere, whether in music or nature or silence or fellowship or some other means.

We all need it.