tag:blogger.com,1999:blog-86210035165980312502024-02-22T02:25:40.430-08:00Messiah in a YearA small church choir will sing the entire oratorio,
in small bits,
throughout the liturgical year.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.comBlogger35125tag:blogger.com,1999:blog-8621003516598031250.post-39437789918674278882009-06-10T09:25:00.000-07:002009-12-29T09:41:59.837-08:00Unfinished movementsHere are the movements that we did not accomplish, and the plans I had envisioned:<br /><br />#26 chorus: <em>All We Like Sheep. </em>I had hoped to sing this very difficult chorus with a quartet, including two professional guest soloists during one of the summer services. Alas, our schedules are not cooperating.<br /><br />#34 recit:<em> Unto Which of the Angels.</em> This brief recitative leads to <em>Let All the Angels of God Worship Him,</em> which we played as a string quartet. <br /><br />#41-43<em>: Let Us Break Their Bonds Asunder </em>(chorus), <em>He That Dwelleth in Heaven </em>(tenor recit), <em>Thou Shalt Break Them</em> (tenor aria). These often omitted movements were difficult to program. I had hoped to have the recit and aria done during the summer by a professional tenor, but was again thwarted by the schedule. The chorus was difficult and hard to program liturgically. Does the fact that we did #44 three times make up for these lapses? :)<br /><br />#49-50 : <em>Then Shall Be Brought to Pass </em>(alto recit) and <em>O Death, Where is thy Sting? </em>(alto/tenor duet). My original plan was to present these two on May 3rd- when a bluegrass band was here to play for worship. The big idea was that they band would do Ralph Stanley's <em>O Death</em> and then we would follow with the Handel<em> O Death, Where is thy Sting? </em>Events of May 3rd did not go as planned.<br /><br />#51: <em>But Thanks be to God </em>(chorus). As noted previously, we scheduled this one for Christ the King Sunday, but found ourselves too busy to learn it completely.<br /><br />#52a: <em>Amen </em>(chorus). The majestic final chorus of <em>Messiah</em> was scheduled for the close of the school year- June 14 or 21 - but with our recent losses, it will be too much for the choir to tackle. <br /><em></em>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-77113244703077655222009-06-03T08:29:00.000-07:002009-12-29T09:25:31.153-08:00throwing in the towelAt this point, I can foresee that we will not complete the entire project. There are a few more weeks of the school year, with a full choir, and then five weeks of summer services with soloists providing music. <br />The number of singers decreases as the summer draws closer... and we are still dealing with the loss of strongest tenor. One of our strongest basses will be graduating and leaving for college soon. The choir has responded very well to this long project, but I think they are tired and might not appreciate one final push. These final Sundays of the school year are also jammed full of special events- church school Sunday, teacher recognition, graduation, confirmation, etc.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-30875267273934016212009-05-30T08:18:00.000-07:002009-12-29T08:29:14.833-08:00eleven: Ascension Sunday, #36Joanna Hawkins Nannestad, alto. Karen Tucker, organ.<br /><br /><br /><br />six weeks after Easter Sunday, we celebrate the Ascension of Christ. Aria #38 (Thou Art Gone Up On High) is one of the more obscure solo movements of <em>Messiah.</em> It features some florid, Italienate lines, in the style of "Rejoice Greatly" but much simpler. Once again, Handel created several version for different singers. We selected version I for alto in d minor, and featured my lovely wife as the soloist. It was a logistical bonus, because Ascension Sunday fell on the Memorial Day Weekend, and my choir was largely on vacation.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-29419136395528975342009-05-26T08:00:00.000-07:002009-12-29T08:18:46.018-08:00ten: pastoral installation #37-38Joanna Hawkins Nannestad, alto. Karen Tucker, organist. FP Choir.<br /><br /><br /><br />A rare occasion to include in the project: the installation of our new pastor. These two movements were immediately appropriate: the chorus #37 (The Lord Gave the Word; Great was the company of the preachers) and the aria #38 (How Beautiful are the Feet of those who Preach the Gospel of Peace.)<br /><br /><br /><br />That aria has several versions- one version is actually a duet with chorus- but we elected to use the soprano g minor aria, which is Version I in the Watkins Shaw edition. There is an alternate c minor version for alto, but Joanna felt it sounded best at about f minor. Really, what's the use of having a Rodgers organ if you don't take advantage of the transposer button?<br /><br /><br /><br />Well, unexpected drama- we don't use that button much, and the organist unknowingly cancelled the transposition when setting the registration for the aria. As soon as the introduction started, I could tell it was in g minor. Joanna rose to the occasion and handled the multiple high Gs... but, if given the choice, would elect a lower key!MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-72502981180314677432009-05-25T15:19:00.000-07:002009-06-11T15:21:02.906-07:00messiah disasterbeware the pushing of buttons!<br /><br /><a href="http://www.btinternet.com/~tim.johnson77/rambler/Messiahorganistoncrack.mp3">http://www.btinternet.com/~tim.johnson77/rambler/Messiahorganistoncrack.mp3</a>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-79407578342020094752009-05-14T17:15:00.000-07:002009-05-14T17:29:36.955-07:00other liturgical occasionsIt has been such a sad week around the church. Funerals and memorials are a regular part of any church musician's load, but when it is a friend and member of the choir, one must <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">hope that</span> the work helps deal with the grief. The unexpected death of one of our tenors (and trumpeter, and arranger, and all around musical impresario) has shaken me and the choir. Jim was also one of the driving forces behind this project- with his strong sense of pitch and adventurous musical sense, I could rest assured that the tenors would keep up, leaders would carry the alto and soprano sections, and I could keep those six basses pointed in the right direction. He was also the trumpeter for #48 "The Trumpet Shall Sound." It will be very difficult to do any of the remaining choruses without him.<br /><br />I did briefly wonder what parts of Messiah might ever be fitting for a memorial service. I think I have heard #44 "I Know That My Redeemer <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Liveth</span>" in such a context; what else? Any ideas? This is a purely rhetorical exercise.<br /><br />For the funeral, the choir sang three anthems: "<span class="blsp-spelling-error" id="SPELLING_ERROR_2">Laudate</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_3">Dominum</span>" from Mozart Solemn Vespers (with a string ensemble), "Balm in Gilead" by William Dawson, and "Sing Me To Heaven" by Daniel <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Gawthrop</span>. The last was a stretch, but the choir practically demanded it, and they distinguished themselves. Th strings played several times (including "Ashokan Farewell" and "Lovers' Waltz" by Ungar) and a brass quintet accompanied the hymns and also played a transcription of "Pie Jesu" from the Faure Requiem.<br /><br />This service will stay with me a long time, but the project continues. In another week we have a pastoral installation!MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-76382777918742834732009-05-14T17:08:00.000-07:002009-05-14T17:14:18.635-07:00nine: Easter two, #45Kathy Davis, soprano. Karen Tucker, organ.<br /><br />"I Know That My Redeemer Liveth". Sung on the second Sunday of Easter by our excellent soprano soloist, accompanied on the organ. How lucky we are to have a soloist capable of this formidable aria! And a good fit for this particular Sunday, as the choir takes a day off to recover from the Holy Week histrionics.<br /><br />I remember now that I taught this aria to a young (college-age) soprano when I was a not-much-older novice voice teacher. She was excited about this piece, but it takes a lot of sensitivity to make it musical, and that was a particularly long slog of a teaching experience. Good thing I don't teach voice lessons any more!MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-60795466695918938102009-04-12T20:15:00.000-07:002009-05-14T17:15:32.608-07:00eight: Easter Sunday, #44, 46-48, 53aThe Lord is Risen indeed!<br /><br /><span class="blsp-spelling-error" id="SPELLING_ERROR_0">FP</span> Choir; William <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Moffett</span>, Joseph <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Moffett</span>, and Jim Anderson, trumpets; your humble narrator, bass; Karen Tucker, organ.<br /><br />#46 "Since By Man Came Death" was at the beginning of the service. I love this chorus on Easter Sunday- as if the first six measures still belong to Good Friday, and suddenly Easter springs forth at letter A. One <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">of</span> our tenors is also an avid trumpeter, and he was slated to do #48 "The Trumpet Shall Sound" with one of my baritones. The baritone has had some vocal issues lately, though, and had to bow out. I survived the aria okay, but I definitely had my mind elsewhere on a busy Sunday morning! We sang #53 "Worthy is the Lamb"- NOT the Amen chorus, only the first section. In fact, we went from #48 to #53 without pause, since they are in the same key. Finally, #44 Hallelujah Chorus was an open sing to conclude the service- about 60 people came up to sing with the choir and two trmpets. And, to top it off, the preacher used the Hallelujah Chorus as a sermon illustration today.<br /><span class="blsp-spelling-error" id="SPELLING_ERROR_4">Eastertide</span>....MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-10787546390982330432009-04-11T18:20:00.000-07:002009-04-12T20:29:56.979-07:00seven: Maundy Thursday, #23-25, 27-32...with a reprise of a few of those choruses from Part Two. FP Choir; Kathy Davis, soprano; Joanna Hawkins Nannestad, alto; Karen Tucker, piano/organ.<br /><br />Our church does not normally worship on Good Friday, so Maundy Thursday becomes an interesting hybrid service: footwashing, communion, tenebrae with readings from the elders gahered at the table. Nearly all of Part Two provided the commentary- really, the inexorable march toward Calvary throughout the depiction of Holy Week. The choir distinguished itself with an excellent reading of #28 "He Trusted in God." More on that later. As mentioned previously, we are blessed with a soprano soloists who can really sing Handel and Haydn, and she did very well with #27 and 29-32. That last one (Air: But Thou Didst Not Leave His Soul in Hell) seemed to complete the set of short solo soprano (really tenor) movements. The uplifting tone may have seemed a bit out of place in Tenebrae, but I was glad for its presence in an otherwise exceedingly dark service. Our alto provided a tremendous reading of "He was Despised." It was the musical and spiritual highlight of the evening for me- although I may be biased. It was also an education for some: the da capo aria that almost never ends. The following choral piece was titled "Tis Finished"- which was probably what the congregation was thinking anyway!<br /><br />#28 provided an excellent moment of discovery for the singers. The words (He Trusted in God that he would deliver him; let him deliver him if he delight in him) are rather vague when standing alone. This choir, concerned with the black notes scurrying across the page, had not taken time to imagine meaning or context. When pressed, they weren't sure of what they were singing. Rather than talking about it, we simply started with the soprano recitative (#27: All They That See Him Laugh Him to Scorn.) The tone of scorn and taunting dawned on their faces almost simultaneously. I love when that happens!<br /><br />Easter happens any moment now....MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-50310361426631172732009-03-24T19:16:00.000-07:002009-04-12T20:29:30.075-07:00six: Lent IV, #24 and 25Precluding an all-Handel-all-the-time Lent, two Sundays were turned over to his colleagues <span class="blsp-spelling-error" id="SPELLING_ERROR_0">JS</span> Bach and Thomas <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Tallis</span>. By the Fourth Sunday of Lent, however, we return to the <span class="blsp-spelling-corrected" id="SPELLING_ERROR_2">pilgrimage</span>. We sang #24 "Surely He Has Borne Our Griefs" and #25 "And With His Stripes We Are Healed." I had considered holding "Stripes" until later this year, worried the choir may be overburdened. However, they <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">pleasantly</span> surprised me by demonstrating that this fugue is rather straightforward. Troubles were typical- a tendency to rush the tempo and also to sing every note the same. I believe "plodding" was a word used by one of the altos. However, by the time worship <span class="blsp-spelling-corrected" id="SPELLING_ERROR_4">arrived</span>, it had become a thing of beauty.<br />The final cadence of "Stripes", of course, <span class="blsp-spelling-corrected" id="SPELLING_ERROR_5">provides</span> a dominant to the next movement (#26 "All We <span class="blsp-spelling-corrected" id="SPELLING_ERROR_6">Like</span> Sheep.") The <span class="blsp-spelling-corrected" id="SPELLING_ERROR_7">choir</span> was in NO WAY prepared to sing "Sheep," but its absence felt conspicuous. Are there any other moments of Messiah when three choruses proceed consecutively?MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-24072749207149678002009-03-02T19:11:00.000-08:002009-04-12T20:29:10.246-07:00five: Lent I, #22First Sunday of Lent = first chorus of part Two. "Behold the Lamb of God" was a stirring start to the Lenten Season as well as pointing us toward the Table on this Communion Sunday. The choir sang in an appropriately dramatic fashion-really, Handel makes it impossible to do otherwise- and the pickup notes were (mostly) of the correct duration.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-9686425013277061242009-02-11T06:57:00.000-08:002009-03-07T06:59:12.831-08:00Part the Second: Lent is nighWe had a month away from Handel as we tackled Menotti's "Amahl and the Night Visitors." With that performance concluded, and Lent a few weeks away, we opened our scores to Part Two tonight.<br /><br />Some members of the choir expressed surprise that there was anything between Christmas and the Hallelujah Chorus. I really thought I was in for it.However, tonight's rehearsal turned out pretty well! We started with #22 "Behold the Lamb of God." After one false start, and a little demonstration of the slow tempo and the difference between eight note pickups and sixteenth notes, they dove right in and did well. So well that I moved on to #24 "Surely He Has Borne Our Grief." Again, it took them a moment to acclimate to the rapid dotted figures within the slow tempo. A few measures in, however, they gained confidence.<br /><br />Something I have been thinking about lately (and I said this to the choir at the end of rehearsal...) : Most of these adult singers did not know these choruses. Having lived on Earth for a number of years, they probably heard them a few times, but they do not know them nearly as well as the Christmas choruses. Regardless, these musicians plunged ahead, made mistakes, corrected them on thefly, and obtained a somewhat musical result. My high schoolers, on the other hand, are so terrified of failing that they often bail out- or fail to try to begin with. The students seem to need this womb of security around them all the time, whereas the adults know that trying and failing leads to learning. The high schoolers can be exhausting in this regard- so much energy goes into encouraging them to to take a risk and try even if they are going to make mistakes. It is refreshing that the adult singers will meet me halfway.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-88271200008295816692008-12-24T17:19:00.000-08:002009-04-12T20:28:44.143-07:00four: Christmas Eve, #12-20<p class="MsoNormal" style="TEXT-INDENT: 0.5in">The great irony of this project for me:<span style="font-size:+0;"> </span>Messiah is most often (around here, anyway) regarded as a Christmas work. On the afternoon of our Advent performance, the Handel and Haydn Society in Boston presented its 155th annual rendition of complete Messiah in Advent.<span style="font-size:+0;"> </span>When you get right down to it, though, the "Christmas" portion is relatively small.<span style="font-size:+0;"> </span>We are working these movements into a service of Lessons and Carols- and there is so little for the choir to do, I am adding a few non-Messiah works.<span style="font-size:+0;"> </span><?xml:namespace prefix = o /><o:p></o:p><br /></p><p class="MsoNormal" style="TEXT-INDENT: 0.5in">We are blessed with the presence of Synergy Brass Quintet, a phenomenal professional touring group that used to be based nearby. We are also lucky to have a member of the soprano section that can handle such florid melismas as those in "Rejoice Greatly."<o:p></o:p><br /></p><p class="MsoNormal" style="TEXT-INDENT: 0.5in">Again, the worship geek factor is high.<span style="font-size:+0;"> </span>Be warned. All readings are the traditional Cambridge ones, except for the First, which will be Genesis 1.<o:p></o:p></p><p class="MsoNormal" style="MARGIN-LEFT: 0.5in">Prelude:<span style="font-size:+0;"> </span>Messiah #13 (Pastoral Symphony) for organ solo<o:p></o:p><br />Light Christ Candle<o:p></o:p><br />Hymn:<span style="font-size:+0;"> </span>Once in Royal David's City -with first verse child solo and Willcocks brass parts<o:p></o:p><br />Greeting and Invocation<o:p></o:p><br />Reading 1<span style="font-size:+0;"> </span>/ Hymn: Angels from the Realms of Glory wth brass<span style="font-size:+0;"> </span>REGENT SQUARE<o:p></o:p><br />Reading 2<span style="font-size:+0;"> </span>/ Messiah #17 and 18 He Shall Feed His Flock - adult (soprano) and child (alto) solo<o:p></o:p><br />Reading 3 / Messiah #12 For Unto Us...<span style="font-size:+0;"> </span>choir, organ, and doubling brass<o:p></o:p><br />Hymn:<span style="font-size:+0;"> </span>Lo, Ho a Rose ES IST EIN ROS<o:p></o:p><br />Reading 4 / Climb to the Top of the Highest Mountain- Carolyn Jennings (choir and junior choir)<o:p></o:p><br />Reading 5 / Messiah #16 Rejoice Greatly<span style="font-size:+0;"> </span>solo soprano<o:p></o:p><br />Reading 6 / Hymn:<span style="font-size:+0;"> </span>Away in a Manger AWAY IN A MANGER<o:p></o:p><br />Reading 7 / Messiah #14-15 There were shepherds....<span style="font-size:+0;"> </span>Glory to God!<span style="font-size:+0;"> </span>(maybe add trumpets)<o:p></o:p><br />Hymn:<span style="font-size:+0;"> </span>Hark! the Herald Angels Sing MENDELSSOHN with Willcocks fanfare for brass<o:p></o:p><br />Reading 8 / Messiah #19 His Yoke is Easy for solo brass quintet (thanks to the arranging of one of my tenors who is a brass player and enthusiast!)<o:p></o:p><br />Reading 9 /<span style="font-size:+0;"> </span>Hymn:<span style="font-size:+0;"> </span>O Come, All Ye Faithful ADESTE FIDELIS with Willcocks brass parts<o:p></o:p><br />Prayer<o:p></o:p><br />Anthem:<span style="font-size:+0;"> </span>Night of Silence- Daniel Kantor<o:p></o:p><br />Hymn:<span style="font-size:+0;"> </span>Silent Night STILLE NACHT<span style="font-size:+0;"> </span>a cappella by candlelight<o:p></o:p><br />Benediction<br />Postlude by the quintet- which will conclude with Messiah #44 Hallelujah!<br /></p><p class="MsoNormal" style="MARGIN-LEFT: 0.5in"><span style="font-size:130%;"><span style="font-size:+0;"></span></span></p>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-34646125850255946412008-12-08T17:16:00.000-08:002009-03-07T07:00:19.771-08:00designing worship: Advent II<p class="MsoNormal" style="TEXT-INDENT: 0.5in">The excerpt we sang timed at around 42 minutes, which made designing worship to include it tricky.<span style="font-size:+0;"> </span>This congregation is accustomed to a 70-minute service.<span style="font-size:+0;"> </span>It was also a Communion Sunday, which meant 1) of course, allowing time for the sacrament, and 2) necessitating a sermon of some type.<span style="font-size:+0;"> </span>(My initial plan was to "let Handel preach the sermon" this morning; our in-house theologians reminded me of the importance of linking word and sacrament.)<?xml:namespace prefix = o /><o:p></o:p></p><p class="MsoNormal" style="TEXT-INDENT: 0.5in">I had already dismissed the interim pastor from preaching duties for Dec. 7th.<span style="font-size:+0;"> </span>Lucky for me I am married to a theologian, and she prepared a short meditation around the text of #6 (who may abide /refiner's fire.)<span style="font-size:+0;"> </span>Many of the congregrants voiced their appreciation of a meditation that was scripturally based, got right to the heart of the matter very quickly, and even brought up unexpected perspective on the liturgical season.<span style="font-size:+0;"> </span>(Are we waiting for the infant Jesus?<span style="font-size:+0;"> </span>Or the returning Messiah?)<o:p></o:p></p><p class="MsoNormal" style="TEXT-INDENT: 0.5in">Anyway, if you are a worship geek like me, here are the details.<span style="font-size:+0;"> </span><o:p></o:p></p><p class="MsoNormal" style="MARGIN-LEFT: 0.5in"><!--[if !supportEmptyParas]--><!--[endif]--> Prelude (Messiah #1)<o:p></o:p><br />Welcome - Call to Worship<o:p></o:p><br />Hymn:<span style="font-size:+0;"> </span>Lift Up Your Heads, O Mighty Gates (TRURO)<span style="font-size:+0;"> </span>- first two verses<o:p></o:p><br />Prayer of Confession - Assurance - Response<o:p></o:p><br />Advent Candle Lighting<o:p></o:p><br />Reading Isaiah 40:1-11<span style="font-size:+0;"> </span>(Comfort, Comfort you my people....)<o:p></o:p><br />Children's Sermon (names for Jesus, including "Messiah")<o:p></o:p><br />Reading Malachai 3:1-4 (WHo may abide?)<o:p></o:p><br />Meditation<o:p></o:p><br />Messiah #2-11, 33<o:p></o:p><br />Offering (#35 played by ensemble)<o:p></o:p><br />Prayer of Dedication - Passing of Peace<o:p></o:p><br />Communion Hymn (two verses of "Let All Mortal Flesh" PICARDY)<o:p></o:p><br />Communion *#41 played during distribution)<o:p></o:p><br />Prayers<o:p></o:p><br />Hymn- final two verses of "Lift Up Your Heads"<o:p></o:p><br />Announcements<o:p></o:p><br />Benediction<o:p></o:p></p><p class="MsoNormal">85 minutes.<span style="font-size:+0;"> </span>Next time, not on a Communion Sunday.</p>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-78278001490723964082008-12-07T17:14:00.000-08:002009-01-03T17:16:34.057-08:00three: Advent II #1-11, 33, 35, and 41<p class="MsoNormal">FP Choir with guest string ensemble:<span style=""> </span>Lidija Peno-Natchev and Oana Lacatus (violins). Alexia Pizziferri (viola), and Chari Peno (bass).<span style=""> </span>Karen Tucker, harpischord/organ (actually Casio keyboard), Kathy Davis (soprano), Pam Kane (alto), Joanna Hawkins Nannestad (alto), Marco Carneiro (tenor), Colin Levin (baritone).<span style=""> </span>Conducted by Joshua Hawkins Nannestad.</p> <p class="MsoNormal" style="text-indent: 0.5in;">The largest and most concerted section of this project was presented on Sunday during worship.<span style=""> </span>We performed much of Part One, creating a distinction between Advent and Christmas texts that is not realized in Handel's three part structure. #1 was played as the prelude to the worship service.<span style=""> </span>Following a brief meditation on "refiner's fire," we started with #2 and went straight through to the bass aria (The People That Walked in Darkness).<span style=""> </span>Then we leapt to #33 (Lift up your heads), a chorus with trio, which served as a fitting conclusion to this portion, and also referenced the hymn of the day (Lift up your heads, O mighty gates). During Communion, the instrumental ensemble played #35 (Let all the angles of God worship Thee) and #41 (Let us break their bonds asunder).<span style=""> </span>Now we've got these difficult choruses covered, just in case the choir doesn't get them by the end of the year!<o:p></o:p></p> <p class="MsoNormal" style="text-indent: 0.5in;">The sound was rich and full: the presence of the entire choir at one time (save for one alto) was a rarity, plus the men's sections were bulked up with our two guest soloists.<span style=""> </span>The tenor was a former student of mine who is studying vocal performance in conservatory now; what a treat for me as a teacher!<span style=""> </span>The baritone I hired on recommendation, as he is originally from the area and free on this particular date.<span style=""> </span>He displayed excellent technique, tone, and diction.<o:p></o:p></p>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-62462602363921145662008-12-04T18:04:00.000-08:002008-12-14T18:59:46.272-08:00Advent rehearsal<p class="MsoNormal" style="text-indent: 0.5in;">We just completed the final rehearsal for the Advent portion.<span style=""> </span>I have hired strings to join us for this portion: two violins, viola, and bass.<span style=""> </span>The bassist provided the means of transport for both the violinists. so I chose him instead of the more traditional cellist.<span style=""> </span>I feared the unusual instrumentation might be distracting- but after the first minutes, I forgot about it.<span style=""> </span>Continuo is continuo, and he is a very good player. (This makes me think of our scheme to teach bassoon to our daughter- so that she will be valuable to her school bands and orchestras, and more importantly, she will be able to play unorthodox continuo in church for us on the weekends!)</p> <p class="MsoNormal" style="text-indent: 0.5in;">The rehearsal went pretty well- I am exhausted!<span style=""> </span>Physically worn.<span style=""> </span>Surely a combination of nervous energy and worry about creating the right rehearsal environment: s<span style=""></span>etting up the performance space, hoping the electric heat would rise to the occasion, worrying about soloists who may or may not be fully prepared, designing the worship service of which this music is the central portion, dealing with the chorister who has not rehearsed for a month and doesn't seem to have a Messiah score... and, oh yeah, trying to conduct clearly and efficiently. </p> <p class="MsoNormal" style="text-indent: 0.5in;">Choir was hesitant at first, but grew more confident and began really singing well at the halfway point of the rehearsal.<span style=""> </span>Hearing the polyphony from four separate string instruments- rather than four voices on a single keyboard- really helps them hear their own part and its interplay with the others.</p> <p class="MsoNormal" style="text-indent: 0.5in;">Just this week, I was reading this <a href="http://currentconductor.blogspot.com/2008/11/interview-with-donald-teeters.html">interview </a>with a prominent conductor.<span style=""> </span>A snippet:<span style=""> </span>"I don't think I've ever worked harder than trying to conduct a great Handel oratorio, or one of the Bach Passions, or, as is happening just this week, the B Minor Mass." </p> <p class="MsoNormal" style="text-indent: 0.5in;">That interview also has some passing discussion of Messiah, touching on how Handel adapted his work to suit the specific performing forces he had on hand- something I will be doing a lot of this year.</p> <span style="font-size: 12pt; font-family: "Times New Roman";"></span>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-25065228118345303862008-11-27T18:03:00.000-08:002008-12-14T18:04:28.083-08:00two: Christ the King Sunday fail<div>Our planned second outing did not happen. As much as I love Christ the King Sunday, it often seems to fall right before Advent! I had hoped to sing #51 (Thanks be to God) on Nov. 23rd. This church doesn't seem to notice Christ the King Sunday, but the chorus neatly encompasses Thanksgiving as well (Thanks Be to God, who giveth us the victory, through our Lord Jesus Christ.) We tried, but there was just not enough time. Preparing Advent and Christmas sections, as well as "Amahl and the Night Visitors" for Epiphany, just didn't leave enough energy in rehearsal. We will come back to this one during Eastertide.</div> <div> By the way, the John Eliot Gardiner performance of #51 is a revelation! Not at all like I first heard it in my head!</div>MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-31900069196434760382008-11-26T16:05:00.000-08:002008-11-26T16:12:29.290-08:00first messiah sing<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbhpbmGgcJesrKc49K7Nc3kIr7dswXn7i-NFjmWU4lO1kYaZcxUH2ZIlXW7-Ps9Edv4-6sCYwnwTGJJ3aw3PijP0bCw1A0buTy_DM1oNieV-p5D_sg2D_iVsaLJP41evgAb4wfKFIRTKQ/s1600-h/m+sing.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbhpbmGgcJesrKc49K7Nc3kIr7dswXn7i-NFjmWU4lO1kYaZcxUH2ZIlXW7-Ps9Edv4-6sCYwnwTGJJ3aw3PijP0bCw1A0buTy_DM1oNieV-p5D_sg2D_iVsaLJP41evgAb4wfKFIRTKQ/s320/m+sing.jpg" alt="" id="BLOGGER_PHOTO_ID_5273122445185679938" border="0" /></a>The Messiah Sing is a hallowed tradition in our house. I was just reminded of this picture- From last December, my daughter's first messiah sing, at the age of about nine months. She found it delicious.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-76347293499767832432008-11-26T15:58:00.000-08:002008-11-26T16:02:33.995-08:00MusicTime: booo!Rant: I ordered the <span class="blsp-spelling-error" id="SPELLING_ERROR_0">continuo</span> part (Watkins Shaw edition) many weeks ago. After a few emails, I finally got a call today- my order "cannot be filled. Have a nice day." <br /><br /><span class="blsp-spelling-error" id="SPELLING_ERROR_1">Grrrrrrr</span>, Anyone reading this want to send me this part? Of course I have already put this request up on <span class="blsp-spelling-error" id="SPELLING_ERROR_2">choralist</span>. <br /><br />By the way, chose Watkins Shaw for two reasons: to match the parts (borrowed free from another church) and because I <span class="blsp-spelling-corrected" id="SPELLING_ERROR_3">understand</span> that there are helpful notations for performance with organ or harpsichord. Following the helpful comments from earlier this fall, I purchased the Dover edition to conduct from. Thanks for the insights!MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-61740549809882909142008-10-07T17:31:00.000-07:002008-10-07T17:40:10.819-07:00One: World CommunionThe first salvo of this project has been fired.<br /><br />Sunday, Oct. 5 (World Communion Sunday) #39 and #40 <span class="blsp-spelling-error" id="SPELLING_ERROR_0">FP</span> Choir, Joanna Hawkins <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Nannestad</span> (alto), Karen Tucker (piano).<br /><br />The choir sang "Their Sound is Gone Out" at the beginning of worship. It was vibrant and resounding- the scale passages starting at letter A wanted to rush, but the tenors were able to rein it in. It was an excellent start to world communion worship. The text was reinforced with the reading of Psalm 19 a few minutes later. (Accompanied, by the way, by Haydn's "The Heavens are Telling. We had or very own Handel and Haydn Society this Sunday.)<br /><br />My lovely wife presented an alto rendition of "Why Do the Nations So Furiously Rage Together." For those curious, it was Version II, the shorter version, with a recitative at the end. While we were not prepared to sing the following chorus, I had planned that E cadence to help transition into the Doxology. Oops! We do not sing the Doxology in that spot on Communion Sundays. Ah, well.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-15495620443139018892008-09-27T06:31:00.000-07:002008-10-06T10:54:28.145-07:00Handel and BrahmsI am singing in a performance of Brahms "German Requiem" this weekend. With several hours between rehearsal and performance, and steady pounding rain, I took refuge in a bookstore and found this:<br /><br />"As a sacred, <span class="blsp-spelling-error" id="SPELLING_ERROR_0">nonliturgical</span> text for music, A German Requiem has but one peer, and that is the <b style="FONT-WEIGHT: bold"><span class="blsp-spelling-error" id="SPELLING_ERROR_1">Jennens</span></b><span style="FONT-WEIGHT: bold">-</span><b style="FONT-WEIGHT: bold">Handel</b><span style="FONT-WEIGHT: bold"> </span>Messiah. Like <b>Handel</b>, <b>Brahms</b> knew his Bible well. ... "<br />from Michael <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Steinberg</span>: Choral Masterworks: A Listener's Guide (<span class="blsp-spelling-error" id="SPELLING_ERROR_3">OUP</span>, 2005)<br /><br />The text selection is so vital to these works- in some cases pairing snippets from far distant Biblical sections to present a unified concept in a musical movement.<br /><br />Part Three opens with the soprano aria "I Know That My Redeemer <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Liveth</span>." Having heard this a hundred times, I would have assumed that the entire text came from one place- in fact, though <span class="blsp-spelling-error" id="SPELLING_ERROR_5">Jennens</span> and Handel added Job to First <span class="blsp-spelling-corrected" id="SPELLING_ERROR_6">Corinthians</span>! Brahms paired a Beatitude with a Psalm in the first movement- other movements start with Pauline writings but close with a fugue from Revelation. These three- Brahms and <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Jennens</span> and (perhaps) Handel- exhibit a bit of Biblical knowledge similar to Bach's gigantic, all-encompassing mastery of Biblical texts.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-57750149520080048692008-09-09T21:04:00.000-07:002008-09-09T21:07:46.199-07:00A sign?The new <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">batch</span> of <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">kindergartners</span> has arrived. (I teach the little kids, as well as the high <span class="blsp-spelling-error" id="SPELLING_ERROR_2">schoolers</span>.) I have had plenty of students named "Emmanuel" or "Jesus," but this one was new to me. I have a "Messiah!"<br /><br />I hope he behaves well this year.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-90485132398317031242008-09-09T20:50:00.000-07:002008-09-09T21:04:53.576-07:00Oh, We Like Sheep"We Like Sheep, too!" <br /><br />Careful pronunciation required. This chorus, unknown to me when I first sang in those Christmas Messiahs years ago, might be my very favorite now. First of all, it is a RIOT- the vocal lines scattering hither and yon all over the page! We all, of course, learned about voice leading from Papa Bach- and that adjacent voices are not to extend more than an octave from another (the exception is the basses, just because we are so very terrific.) And, clearly, Handel was not subject to training under the strictures of his contemporary. I still imagine, though, that the octave-plus differential between voices (m. 22 and similar) was also intended to show our meandering from the path. Not only disjunct, but truly divergent,<br /><br />The melismas of "we have turned" (m. 11 and similar) are probably the most difficult in all of Messiah. And look how the counterparts to those melismas are exactly opposite: as simple as he could write them.<br /><br />Finally, the jarring change at measure 76. There had been so much merry cavorting and jolly fun, but when this measure arrives we starkly reminded of what we are talking about: "And the Lord hath laid on him the iniquity of us all."MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-31787649822441484352008-09-07T19:48:00.000-07:002008-09-07T19:52:43.057-07:00videoThanks to all who suggested a recording or score. My Dover score arrived last week.<br /><br />I am chasing down more and more recorded performances, but I found something unusual two weeks ago: a DVD performance. Used and cheap, too! Slyvia McNair, Anne Sofie van Otter, Michael Chance, Jerry Hadley, Robert Lloyd, St. Martin in the Fields, Neville Marriner. 1992 performance; Phillips DVD.<br /><br />I have not had the chance to watch and listen yet. With that lineup, though, I imagine I will like it a great deal!MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0tag:blogger.com,1999:blog-8621003516598031250.post-28473958431701766502008-09-07T19:37:00.000-07:002008-09-07T19:48:50.274-07:00Taking stockWe officially started the project today- it was a start of the year party. Before the brats and beers, though, we gathered in a the living room of one of the tenors and sang most of the oratorio. (When I say 'we', I mean about half of the choir- with the strongest leaders in each section present.)<br /><br />We started with the first chorus -"And the Glory of the Lord"- and plowed through. Everyone had sung most of the whole work before. Results were mixed. The easier ones were well done and even a little musical. The melismatic ones - "He Shall Purify" and "For Unto Us a Son is Born"- suffered some. And "All We Like Sheep" was quite the chaotic, disordered affair... even more than it was intended to be! I enjoy how this adult choir is fearless in plowing ahead, despite fatal flaws. When the breeze took the pianist's score away, the choir soon lost pitch, and eventually devolved into a rhythmic reading. My high schoolers, faced with the same problem, would immediately stop singing and crawl into their shell. <br /><br />We tried out "Lift Up Your Heads" from the Second Part. We assigned three women to sing in alternation with the whole chorus; this gave a kind of concerto grosso effect AND saved us from dividing the sopranos. Worked very well, I think I will keep that. <br /><br />We got to laugh and joke and tell Messiah stories (everybody has them!) in between movements. Overall, a light, enjoyable, but fruitful first step.MChttp://www.blogger.com/profile/03084927076367910380noreply@blogger.com0