after the concert

Singing the Brahms Requiem was draining, but afterward, instead of feeling tired, I was having a bit of an adrenaline rush. I said some thank yous and goodbyes and headed back to my friend CK’s home.

When CK invited me to stay with her, she had graciously offered to have a few friends from our Smith years over after the concert. As it happened, a couple of guests grew to three, then five, then seven, until finally we were a group of ten alums from ’81-’83 with two spouses, one of them CK’s husband who was our co-host.

CK handled everything with aplomb, starting with cheeses, dips, and deviled eggs, moving on to three delicious homemade soups with bread and three salads, and ending with a make-your-own sundae bar featuring four pints of gourmet ice cream from Bart’s, a local company. And there was malted vanilla!

Whenever Smithies get together, there is an instant connection and always lively conversation. Each of us knew someone else there well, but each also was getting know someone for the first time. We talked about music, of course, as we were all choral singers, about Smith, about generations of family, about technology, and more, in various constellations, for hours.

It was a wonderful way to cap an amazing day!

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Singing Brahms at Smith

So, I did do a last-minute score review at the piano before heading to John M. Greene Hall on the Smith College campus. I arrived, registered, and settled into the seats to wait for the rest of the chorus to gather.

Unlike many of the campus buildings, John M. Greene Hall, the traditional site for convocation, all-college meetings, and large public lectures and concerts, has not had an extensive interior renovation since my arrival on campus almost forty years ago; because it houses the largest organ on campus and I both practiced and rehearsed there with Glee Club, I spent more time there than most students. I hope it is on the list to be renovated soon, as it is looking worn.

I was surprised to hear some people complain about the building’s acoustics, though. I remembered being told that John M. Greene was the site of major symphony concerts in the first half of the twentieth century and was a favorite of Serge Koussevitzky’s when he was director of the Boston Symphony Orchestra because the acoustics were so good.

There has been an extension built on the front of the stage, but, even with that, we had such a large chorus and orchestra that we were cramped. Unlike all the other times I have performed Brahms Requiem, we had to rehearse and perform without chairs for the chorus. It was tiring, but we persevered and were strong!

I was shocked to find that the Smith Alumnae Chorus members outnumbered the current students, even though College Choir and Glee Club were combined.  That is less than 20% of the number of choral singers in the combined choirs than during my student years, when there were four large choral groups. Various alumnae speculated on why there are so many fewer student singers now than when we were students ourselves. Some of the possible reasons offered were the decline in music programs in US schools, the increase in the number of international students who may not have been exposed to the Western choral music tradition, the increased prominence of jazz/pop collegiate a cappella groups, the decline in youth church or community choirs, and the emphasis on school/recreational sports whose practices and games tend to conflict with choral rehearsal times.

I had steeled myself for the rush of putting together a major choral work in only a few hours. Because Smith is a women’s college, we often partner with men’s glee clubs to present major choral works for mixed voices. It is always a challenge to sound like a cohesive ensemble when the singers and orchestra have only a couple of days to rehearse and present a concert. Our schedule was a two-hour Friday afternoon rehearsal, a three-hour evening rehearsal, and an early afternoon two-hour warm-up/touch-up rehearsal before our four o’clock concert. A daunting enterprise in the best of circumstances.

And then the nor’easter blew in.

The Penn State Men’s Glee Club was so delayed by the storm that they only caught about fifteen minutes of the afternoon rehearsal. Some of the alumnae were not able to make it to campus at all. Still, we all put our heads down – figuratively, of course, as choral singers ought always to have their heads up – and persevered.

We needed to accomplish the bulk of our preparation on Friday night. One of our biggest challenges was balance. The Penn State men were very well-prepared and strong and we had plenty of altos. We sopranos were outnumbered and had to be careful to open up without pushing and sounding harsh. The chorus was trying to sing at about 70% of performance volume so that we didn’t blow out our voices before the performance, but it was hard to resist the temptation to sing full voice in the loud and exciting parts with the full orchestra in front of us.

There was a wonderful surprise for me at the evening rehearsal. MC, the junior choral director during my last three years at Smith for whom I had accompanied for two years and who then went on to be a long-time choral director and music faculty member at nearby Amherst College, came to rehearsal to take notes for Jonathan Hirsh and Amanda Huntleigh, current Smith conductors. I was thrilled to be able to re-connect with her and try to catch up on 35 years of our lives. We visited after rehearsal until they needed to turn out the lights and lock up the hall and I’m happy to say we are now connected via social media so we won’t lose track of each other.

We re-assembled on campus for lunch on Saturday. The Smith choir officers had thoughtfully paired alums with Alumnae Chorus members so we could share our thoughts and experiences. It was interesting to hear about life on campus now.

We assembled in John M. Greene Hall after lunch for an hour of warm-up and work with the chorus, followed by another hour including the orchestra. We sang full voice at some points to check balance, but were careful not to tire ourselves out. We had an hour to rest, do wardrobe checks, etc. before the concert. Penn State wore tuxes with tails, which made me a bit jealous. I got to wear tails once when I was playing the piano and it was lots of fun to flip them out of the way to sit on the bench! They looked very sharp in their tuxes. Smithies wore all black, either slacks or skirts, which has been standard in recent decades, although alumnae of my vintage and earlier wore all white when we were in Glee Club.

The chorus sat in the house as the Smith College Orchestra opened the program with Brahms’ Tragic Overture. I admit that I closed my eyes and collected my thoughts as I listened, so that I was calm and ready to sing when we filed onstage.

The performance was amazing! I have sung the Brahms Requiem a number of times over the last forty years and this performance, while not the best on a purely technical level, was one of the two best I have ever sung in terms of interpretative and emotional  impact. Jonathan Hirsh used shadings of tempo and dynamics more dramatically than some of the other conductors with whom I have worked on this piece and the choir was able to respond well, which amazed me given how little time we had to come together as an ensemble.

You could definitely feel the emotion on stage as we performed. I had to collect myself especially in the fourth and fifth movements, which were conducted by Amanda Huntleigh, because they have particular resonance for me. The fourth, translated in English as “How Lovely is Thy Dwelling Place”, is most familiar to people as it is frequently used on its own as an anthem or concert piece. We were, of course, singing in the original German; I hope that this piece will be sung at my funeral, as it is both beautiful and hope-filled. The fifth movement, set for soprano solo and chorus which Brahms added to the score after the death of his mother, meditatively compares the consolation of God to the consolation of a mother for her child. As a mother and new grandmother with my own mom under hospice care, it was difficult to not be overwhelmed, but I managed to pull myself together so I could still sing well.

Although one can feel the emotion of a performance on stage, it can be difficult to gauge how much of that is reaching the audience. The Requiem ends very quietly. We musicians stayed very still until the conductor lowered his hands. There were a few moments of profound silence – and then, an immediate standing ovation. We were so grateful that the message of this glorious music reached our audience through us.

The concert was a memorial to Iva Dee Hiatt, who was a renowned choral director at Smith for decades. The alumnae from the class of 1980 and earlier sang for Iva Dee. When I arrived on campus in fall of 1978, she was conducting from a wheelchair as she struggled against ALS. I remember watching her conduct the Glee Club on stage from my seat with choir Alpha in the gallery of John M. Greene for Christmas Vespers. By fall of 1979, she was living in Smith’s infirmary and we sang songs from our strolling concert outside her window. She died early in 1980 and we sang at the first memorial concert in her memory later that winter.

It felt right that this Brahms Requiem was performed in her memory with some alumnae who sang for her and toured with her back on the stage in John M. Greene, dressed in black rather than the white they had worn all those years ago.

back in Northampton

I shared previously that I would be singing Brahms’ Requiem at Smith this weekend. The plans were all in place – and then the weather forecast took a drastic turn for my planned Friday car trip to get to Northampton. Fortunately, I was able to re-arrange my schedule to travel a day earlier to avoid a long drive in the storm.

This also meant that I had some unexpected free time in Northampton, a welcome bonus. I went to Thorne’s Market when I arrived, buying local maple syrup at Cornucopia and locally made soap at Cedar Chest. I indulged in a chair massage to loosen up my back and shoulders in preparation for a lot of standing, score-holding, and singing over these next two days.

I also visited Herrell’s Ice Cream, which opened around the time I began at Smith, and enjoyed a sampler, because getting a bit of four flavors is so much more fun than a larger serving of just one! They still make malted vanilla, which was always a favorite of mine, so, of course, that made it into my dish.

Next, I walked around campus. My first stop was Helen Hills Hills chapel, where, as an organist, choral singer, and accompanist, I spent many hours in my student days. Sadly, there are no longer regularly scheduled services held there and it still looks strange to me to see chairs instead of the pews. As I climbed the stairs to the gallery, I noticed that the red carpet that had begun to bleach near the stairwell window is now almost entirely golden on those few stairs from the years of sunlight streaming on them.

I sat on the organ bench briefly, touched each of the three manuals, and looked over the once-familiar stop knobs. It’s been so long since I have been able to play that I sometimes have to remind myself that I ever could. I wonder how many organ students there are now; I think, perhaps, there are three, judging from the organ shoes on the rack in the corner of the gallery.

I noticed a few cracks in the panes of glass in the gallery windows and some dust in the corners, which makes me sad.

I went down to the basement to visit the Bodman Lounge, which has not changed very much. I had memories of being there dressing for my wedding, which took place a few weeks after my commencement. I called my mom, who was awake and alert. My sister had arrived safely and will be there for the weekend while I am gone.

Next, I went to Wright Hall to visit the Poetry Center, which is celebrating its 20th anniversary. There is a case with poetry books written by alumnae. I made a point to find the books by Anne Harding Woodworth, whom I met through the Alumnae Chorus. She will be returning to campus to sing Brahms and I’m looking forward to seeing her.

Central campus is sort of a pit right now – literally. The main library is being mostly demolished and the foundation being constructed for the new building. There is a large area cut off by construction fencing with some lookout posts carved out to view the progress.

Some of the bulbs on the hillside between Chapin House and Wright Hall are already starting to come up.

There are some fantastic large rocks on display near the science center. I want there to be signs near them as there are with the trees and plantings, telling what they are and where they came from.

I wandered around in Sage Hall, which is the music building. There have been extensive renovations since I was there, including in the concert hall. I found the office of a professor who taught me music history by the Berlioz postings near his door. I actually got to see one of the soon-to-retire members of the voice faculty who started teaching at Smith the first year I was a student. My roommate studied with her and they still keep in touch.

I walked up the hill by Paradise Pond and through the relatively newly opened President’s garden on the way back to my car.

A friend from Smith who lives in the area graciously offered to house me for the weekend – and even more graciously offered to accommodate my arrival a day early. She made a lovely risotto for supper and we had some time to chat and catch up.

The storm blew in here overnight, mostly rain, but with a bit of snow mixed in, and very windy. I hope everyone will be able to get here in time for our first rehearsal at 4:00.

I’m very grateful to be tucked in here at my friend’s home, cozy and warm, rather than trying to drive in the snow and wind to the west.

Next on the agenda, some time seated at her piano, spot checking a few places in the Requiem before rehearsal…

 

last concert for a long time

Earlier this month, the Binghamton University Chorus, with whom I am singing for my 36th year, sang a concert of music related to St. Mark’s in Venice. That means that most of the choral works were written for multiple choruses, so we needed lots of singers to present the music. We were joined by the Women’s Chorus and the Harpur Chorale and Chamber Singers and the University Symphony Orchestra.

I appreciated the opportunity to sing pieces by Gabrieli, Monteverdi, Schütz, and Rossi. I love singing late Renaissance/early Baroque music, but hadn’t had much opportunity since I was in college myself. My voice is well-suited to this repertoire and I learned a lot of new vocal techniques from our new director, Dr. Culverhouse.

Our performing forces only had the opportunity to rehearse together in the last week, which was stressful, but the concert itself went very well. Daughters E and T attended, while spouse B and six-month-old ABC listened from the lobby so as not to take the chance of disturbing other patrons. It was also nice to see our director emeritus and former University Chorus members in attendance. Dr. Culverhouse graciously acknowledged our former director and thanked all of us from the stage, which was very sweet.

But now the difficult part…

As I wrote in a prior post, in the reorganization of the choral program, University Chorus has been revamped. We used to be an independent entity composed of community members along with some students and faculty/staff. We are now a supplemental group of mostly community members who will only meet in semesters when the student ensembles need additional voices to sing major works or pieces that require more singers.

So, in January, instead of beginning several months of Monday night rehearsals leading to a spring concert, I’ll be without a chorus to sing with for the first time in decades. In March, I will be singing Brahms’ Requiem at Smith, when some members of the Alumnae Chorus join with the Glee Club and the Penn State Men’s Glee Club. Ironically, we alumnae will be fulfilling a role similar to what University Chorus has become, although without the opportunity to rehearse until the day before the performance. Fortunately, I know the piece very well, so my individual preparation at home will be easy, but the performance weekend will be intense.

It also turns out that one Monday evening per month, I will be able to attend an educational  poetry event at the Broome County Arts Council. Additional skill building and writing time is always good.

What is even more special is that several other long-time community members of University Chorus plan to get together for some Monday evening dinners. After decades of singing together, we don’t want to wait until next fall to see each other again.

We will try to restrain ourselves from breaking into song at the restaurant…

 

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.

Smith 35th!

On Thursday afternoon, I arrived in Northampton, Massachusetts for my 35th reunion at Smith College.

Thursday is light on scheduled activities, as many participants can’t arrive until later in the weekend, but it gives those of us who do have the opportunity to get started on heavy-duty reminiscing, as well as catching up on our current lives and loves. We spent hours chatting at our headquarters and over dinner at the Cutter-Ziskind House dining room. We reflected in a special way on the classmates we have lost over the years; our class memorial chairs thoughtfully prepared a compendium of our deceased classmates which brought each of them to mind for us.

Friday presented us with a number of options for presentations and reflections. In the morning, I chose to attend a faculty presentation by Ellen Doré Watson, entitled “How Poems Mean.” It was held at the Poetry Center, of which she is the current director. We filled the room with women (and one spouse of the male persuasion) and read and discussed poems from a thick packet that Ellen had compiled for us, illustrating how poets convey meaning to readers/listeners. After the presentation, I perused the collection of poetry books and journals, spending the most time with the shelves devoted to alumnae poets. I was especially excited to see the books of Anne Harding Woodworth ’65, with whom I have sung with the Smith College Alumnae Chorus. Anne is one of my poetry godmothers, who has always been generous in giving encouragement and advice. I was pleased to have a bit of time to speak with Ellen personally after the gathering had dispersed. I hope to meet her again, perhaps for manuscript review through the Colrain conferences or when I return to campus.

After lunch, a classmate and I walked around campus, enjoying the exercise, our surroundings, and conversation. We were able to visit Haven House, where I lived all four years. It has had extensive renovations since then, so it was interesting to see what had changed – which is nearly everything. I was touched, though, that our wooden mailboxes remain in place, even though students now receive mail through boxes at the Student Center. Even more amazing was that our napkin boxes are still there. In our student days, Haven had its own kitchen and dining room for our residents and those of our sister-house Wesley. We each had our own cloth napkin, which was kept in a labelled cubby near the dining room entrance, taken out and returned there for each meal. The college laundered them every week. Now, dining is concentrated in fewer locations with recycled paper napkins available, but I admit to feeling nostalgic for our student days with homestyle serving most evenings – and candlelight on Thursdays.

Later in the afternoon, I helped to host the Alumnae Chorus reception, along with other Alumnae Chorus members from the class of ’82. We are always on the lookout for other singing alums to join us for events, on campus, in the US, and abroad. We were excited to have Alice Parker ’47 join us, along with a number of her classmates! While we were students, we sang her works, including a commission for the 25th anniversary of Helen Hills Hills chapel. The Alumnae Chorus was honored to sing in a tribute concert for and with her in 2014. Alumnae Chorus will be doing a US event in 2018 and another international tour in 2019, so we have a lot to look forward to!

SCAC reunion reception w/Alice Parker
Alice Parker ’47 with Smith alums

Next was a class dinner, which President Kathleen McCartney visited. This is our first reunion since she became president. I was so impressed with her warmth and Smith-spirit! Smith is lucky to have her at the helm.

After dinner, we returned to our class headquarters for “A Night of Passion” in which classmates shared what they are passionate about. Language, music, nature, quilting and fabric art, writing, and more – each presentation uniquely fascinating.  I participated by reading an excerpt from this blog post about meeting up with Smith friends and two Smith related poems, including “Lessons from Mahler”. I so appreciated the warm reception from my classmates, most of whom remember me, if they do at all, as the organist I was in our campus days. It was so affirming to my current poet-identity to have them react so positively to my poems.

When I fell into my dorm-bed in my room overlooking the lawn where the diploma circle was held after commencement last Sunday, I felt content – and really, really tired. I’m not used to being on the fourth floor…

Radio segment on Alice Parker

In September of 2014, The Smith College Alumnae Chorus (SCAC) had a choral homecoming event with composer/conductor/choral arranger/champion of choral singing Alice Parker ’47.

I was pleased to take part and to blog about it here and here, with related posts here and here.

Yesterday, the SCAC posted this link: http://nepr.net/news/2015/12/15/at-90-its-still-all-about-the-melody-for-hawleys-famed-alice-parker/ on Facebook from the local NPR affiliate, featuring interviews with Parker and other musicians and clips of her work, all in under five minutes.

Alice will soon turn 90 and the celebration is on!