Showing posts with label concert. Show all posts
Showing posts with label concert. Show all posts
Wednesday, March 21, 2012
Saturday, May 15, 2010
Great Fun!
The Dance Sing Groove Concert was AWESOME! Congratulations to the MHC Girls' Choir and Children's Choir on a job well done. All of our hard work and preparation paid off in full! The audience loved the concert, I had fun, and all the performers did too!
And here's a special thank you to the band who played the Mamma Mia music, our dance teacher, and to the helpers up in the technician booth who truely saved the evening! This wasn't possible without your contributions!
Have a great summer! See you back at rehearsal on Wednesday, September 15, same time, same place!
And here's a special thank you to the band who played the Mamma Mia music, our dance teacher, and to the helpers up in the technician booth who truely saved the evening! This wasn't possible without your contributions!
Have a great summer! See you back at rehearsal on Wednesday, September 15, same time, same place!
Tuesday, April 27, 2010
Tuesday, April 20, 2010
Friday, April 16, 2010
Looking ahead to Fall 2010
Hello Choirs! This may be a bit premature, but I've started plans for the fall. The MHC Adult Choir, Girls' Choir, and Children's Choir are going to bring Medicine Hat a fantastic 2010/2011 concert season! We are going to start off with a Halloween concert. I know, I know - you're worried. But you shouldn't be. It is going to be light-hearted, accessible, and a ton of fun. Check out the tentative program:
MHC Halloween Concert (please send suggestions for a better title...)
Saturday, October 30, 7 pm (TENTATIVE)
MHC Adult Choir
MHC Halloween Concert (please send suggestions for a better title...)
Saturday, October 30, 7 pm (TENTATIVE)
MHC Adult Choir
- Harvest Hymn - Ryan Taylor - I like the text in this piece. It may be a stretch for a Halloween concert... we'll see...
- A Halloween Quodlibet - Ryan Taylor - this is a piece that will continue teaching us how to have fun with choral music. A quodilbet is a group of songs that can be sung at the same time.
- Ho, Ho, Ho, Dido & Aeneas - Henry Purcell - Purcell is a famous English composer and he just happened to write an opera with a scene full of scary witches, perfect for Halloween. We will do part of a scene from this opera. These are the chorus parts:
- Score 1
- Score 2
- Score 3
- Recording (this recording includes the recitatives, and duets which happen between each chorus part - we will do the entire scene as heard here. If you're interested in seeing the scores for the other sections, click here)
- Deamon Irepit Calidus - Gyorgy Orban
- Recording (the tempo in this recording is quite slow, but it allows for you to hear each part better. We'll go as fast as snot. Check out other youtube videos to see how differently each choir does this song!)
- Score - this piece is relatively new so it is not available in the public domain and therefore I cannot link to it. You'll have to wait until September to see the score for this!
- Translation:
- Daemon irrepit callidus
Allicit cor honoribus;
Daemon ponit fraudes inter laudes, saltus, cantus
Quidquid amabile daemon dat
Cor Jesu minus aestimat.
Cordis aestum non explebunt, non arcebunt, Daemon!
The demon sneaks expertly,
Tempting the honorable heart;
He offers trickery amid praise, dance, and song.
However amiably the demon acts,
it is still counted less than the heart of Jesus.
Poor, passionate, undisciplined demon!
- Old Abram Brown - Benjamin Britten
- Witches Chorus, Macbeth - Giuseppe Verdi
- Score (pages 8-16)
- Recording
- Translation:
- Che faceste? Dite su!
Ho sgozzato un verro!
E tu?
M’è frullata nel pensier
La mogliera d’un nocchier
Al dimòn la mi cacciò
Ma lo sposo che salpò
Col suo legno affogherò
Un rovaio io ti darò
I marosi io leverò
Per le secche lo trarrò
Un tamburo! Che sarà?
Vien Macbetto. Eccolo qua!
Le sorelle vagabonde
van per l'aria, van sull'onde
Sanno un circo lo intrecciare
Che comprende e terra e mar.
What did you do? Say now!
I’ve slaughtered a boar,
And thou?
To me fluttered in thought
the wife of a sailor
she cast me out to the devil
But the spouse who sailed
with his ship, I’ll drown.
I’ll give thee a north wind
The billows I will raise
I’ll drive him onto the shoalsA drum! What will it be?
Hail now, Macbeth!
The sisters vagabond
go through the air, go on the waves
They know a circle how to weave
- The Fate of Gilbert Gim
- A Tragic Story - Benjamin Britten
Wednesday, April 14, 2010
Tuesday, April 6, 2010
Music of the Americas
MHC Adult Choir Spring Concert
Tuesday, April 13; 7 pm
Fifth Avenue Memorial United Church
This high energy concert features folk songs and spirituals from North and South America and is easily accessible to all audiences. Come be inspired and leave whistling one of these catchy tunes!
Tuesday, April 13; 7 pm
Fifth Avenue Memorial United Church
This high energy concert features folk songs and spirituals from North and South America and is easily accessible to all audiences. Come be inspired and leave whistling one of these catchy tunes!
Sunday, March 29, 2009
Extended Program Notes - Bach's Cantata No. 4
The Cantata and Johann Sebastian Bach
The term cantata originally meant, and literally means “to be sung”. In the beginning, the term encompassed all sorts of vocal music, however, the term now carries much more baggage. A cantata normally contains several movements united by a single thought, or theme. There are cantata di chiesa, church cantatas, and canatata di camera, court (secular) cantatas. Bach was an expert at writing cantatas for the church. In fact, he wrote a different cantata for every Sunday and Festival day for at least three years in a row! Bach themed his cantatas on the scripture readings for each Sunday. These readings, set out in advance by the church at large, allow church-goers to experience the entire passion of Christ throughout the liturgical year. Thus, Bach’s cantatas do the same.
Cantata No. 4 - Christ lag in Todesbanden
Johann Sebastian Bach’s Christ lag in Todesbanden was first performed on an Easter Sunday sometime between 1708 and 1714 in Arnstadt during the early stages of his compositional career. The exact date of composition is not known; however, the text itself proves that the cantata was intended for Easter Sunday.
This work is based solely on a cantus firmus or fixed melody, that is, a tune that is common between all movements. The tune, or cantus firmus of Cantata No. 4 existed well before Bach’s time. It finds its origins in the Gregorian Easter Alleluia Victimae paschali laudes. Martin Luther, often borrowing music from various sources, used this Gregorian chant to invent music for the new Protestant church of the Reformation. To accompany this melody, Luther wrote five verses which he based on Biblical texts, and kept two verses from the original chant. Most importantly, Luther’s text was in German, the language understood by the common people. It was this chorale, titled Christ lag in Todesbanden, that Bach then used as a foundation for this cantata.
The cantata consists of seven verses and an opening sinfonia, all of which contain the cantus firmus. After the sinfonia, the first verse immediately starts with the cantus firmus in the soprano. Verse one then follows a strict development: each line of the cantus firmus is first presented in the Alto, Tenor, and Bass voices. Following that, it is heard soaring above the texture in the Soprano voice. All four voices are not heard together again until verse 4, the center and musical balancing point of the cantata. The final chorus is a simple, four-part harmonization of the chorale melody. The cantata is a good example of Bach’s obsession with math and symmetry, the best example being the cantata’s seven verses that form a symmetrical structure:
SATB - SA - T - SATB - B - ST - SATB
The cantata is littered with musical imagery, word-play, and musical jokes which makes the text inseparable from the music. Although Martin Luther and Bach both believed that church music is intended to be in a language that is widely understood by it’s listeners, singing this music in English would significantly take away from the genius of Bach and his work.
Sinfonia
The Sinfonia, or instrumental introduction, to this cantata plays a crucial role in establishing several thematic ideas which are repeatedly used by Bach to tie each of the following verses together. The first of these themes is the most important: the Sinfonia introduces the melody, or cantus firmus, that remains constant from verse to verse. Although Bach subsequently alters the cantus firums from verse to verse, the character and essence of the melody remains constant. Over the course of the enitre cantata, we will hear the melody presented eight times: once in each of the seven verses, and once as it is introduced in the sinfonia. And, amazingly, you will never get board from hearing the same tune eight times!
Another theme to note is the reoccurrence of the descending minor second. Often thought of as the most sombre and sad musical interval, Bach wastes no time in setting the mood of the piece by using a series of five descending minor seconds to open the sinfonia. In verse two, Bach again uses a series of descending minor seconds to musically describe the word 'death'. Although this theme effectively communicates sadness, misery, and death to the listener, it is not the most important aspect of the cantata - we have to remember that this is an Easter cantata and it is actually celebrating the resurrection of Christ and not his death. Which brings us the to the last unifying theme of the cantata...
Hallelujah! Although the sinfonia is for instruments only, its purpose is to introduce the cantus firmus in its entirety. Each verse of Luther's text ends in the word Hallelujah, and although Bach treats the word Hallelujah differently in each verse, he successfully uses rhythm, harmony, and repetitions of the word to musically communicate the excitement and joy of Hallelujah. So, even in the opening sinfonia where the listener does not hear the word, the first violin breaks out of the texture for a glorious moment where the word Hallelujah would be sung.
Verse One
It is important to remember that in this work, the cantus firmus rules. Bach structures each verse around the all-important hymn tune. The first thing heard in verse one is the first note of the cantus firmus, sung by the sopranos. Bach considers the cantus firums to be so important that in an attempt to highlight the sopranos' entrance, no other voices or instruments are heard until the sopranos have firmly started the melody. The other voices and instruments join the texture one at a time, until everyone is busy with their own seemingly separate and unrelated lines. Once everyone has entered, the sopranos finally move from their initial pitch and continue with the cantus firmus as it soars above the busy texture underneath them.
From this point on, Bach almost mathematically puts the music together. Each new line of the cantus firmus is presented first in the Tenor, then Alto, and then Bass voices until it stuck in the ear. Then, with the authority of having the highest voices, the sopranos again take the cantus firmus and allow it to soar above the texture.
Of particular interest in verse one, is Bach's setting of the word "fröhlich" which means 'joyful'. In a successful attempt at musically painting the word fröhlich, Bach uses long strings of quick and bouncy notes to communicate this joy!
Also of interest is the final 'Hallelujah' section. As always, the tenor begins with the cantus firmus, and subsequently passes it from voice to voice. However, unlike the previous lines, the soprano joins in the fun, and then all four voices are singing almost in unison for the first time since the beginning of the work. And then, a surprise ending! Suddenly the Tenors take off at double speed in a jubilant "Hallelujah" dance, and then as expected, the other voices join in too. It is then a train-wreck until the end of the piece however in the most positive of senses! Each voice interrupts one another with intercessions of Hallelujah after Hallelujah! Hearing this explosion of joy after the quiet, dry, and sombre 40 days and 40 nights of Lent must have been truly amazing!
Verse Two
The verse about death! The accompanying texture thins for this verse and all we are left with is the basso continuo: the cello and organ. Just as in the opening Sinfonia, the first notes we hear from the cello are the repetitions of the descending minor second, and then the voices come in singing about death on the minor second as well. Multiple repetitions of this motif are heard especially in the 'walking' cello line. Listen how the cello, soprano, and alto all use this two-note figure.
It is unknown whether Bach intended verses two, three, five, and six to be for solo singers or not. Normally Bach clearly indicated his intentions in his manuscripts by using words such as 'aria', 'recitative', or 'duet'. In this case however, those words are not present. It has been left up to conductors and performers to make this judgement call. Sometimes logistical and other factors play a determining role, however, the more people who can sing this fantastic music, the better!
Verse Three
The victory anthem! The violin energetically begins this verse in an almost dance-like fashion. The quicker speed, the energy of the violin, and the unison males’ voices all aid in communicating the text. The forward momentum comes to surprising halt when the men sing the word "nichts" which means 'nothing' and literally nothing is heard for a whole beat until the men sing, very slowly, of Death and its form. The remainder of the verse resumes with the triumph and victory it started with.
Verse Four
The Battle! Most important: the cantus firmus. Who has it? The Altos! All the other voices are caught up in the battle. The tenors begin this verse with a section of the melody, however, before they are done, the sopranos interrupt with a different section of melody. And, yup, you guessed it, the basses want in on the action so they interrupt as well. Thus begins the battle. It all comes to a head when the entire choir begins to sing "Wie ein Tod den andern fraß" which means ' One death devoured another'. The sopranos, tenors, and basses all sing the same material, only at slightly different times, giving the impression of a musical 'black hole'. Each part then gets 'devoured' and stops singing.
Bach then sets the words "Ein Spott" or 'a mockery' with such wit. In the same way a child mocks his peer, Bach sets this text in such a way as to mock the devil. Picture in your mind a child on the playground making fun of another child - what is he singing? "na Nana Nana na!". Can you hear it? Bach certainly did - he uses that childish tune and puts the words "ein spott" with it. The effect? A Mockery - the exact meaning of the words.
Verse Five
The Passover analogy. In this verse Luther's text uses distinct imagery and unfamiliar metaphors to present-day English speakers. Lines such as 'roasted in burning love' leave us somewhat confused. We need to remember however that poetry and culture where much different in Germany 400 years ago!
Listen for four words in this verse:
1) Kreuzes (Cross) - on this word, Bach put notes on the page in such a way that they made the shape of a cross; we therefore hear a small embellishment when the men sing this word.
2) Tode (Death) - Bach sets this word on one of the lowest notes a Bass can sing...
3) Würger (Murderer) - Bach sets this word on a very high pitch, and has the string section play with agitation
4) Nicht (no [more]) - here again, the vocal line suddenly stops when this word is sung
Verse Six
The Celebration! This vocally challenging duet embodies a celebratory feel due to Bach's use of the triplet figure. It dances forward, letting nothing prevent it from reaching the pinnacle Hallelujah section, sealing the message in our minds that Christ has won the battle against sin.
Verse Seven
In Communion. The term 'communion' should be interpreted in two different senses here. The text makes reference to us 'eating...true Easter bread' and certainly the benefit of Christ's death and resurrection is made available to us through the sacrament of Communion. The term also refers to the fact that Bach intended for the listening congregation to join in singing this final verse. The musicians and the listeners join together in song.
Verse seven is a simple, four-part harmonization of Luther's Chorale tune. Although this is the final verse of the cantata, this was likely the starting point for Bach when he decided to write this work.
In the style of a hymn, this chorale presents an odd dilemma to the performing choir. A simple hymn is not an ideal finish to a grand cantata. The addition of the audience or congregation singing would add the necessary energy and sparkle that could make a humble hymn become a grand ending, however concert goers certainly do not expect to be put on the spot and be asked to join in singing the final portion of a concert.
The compromise: a slightly romanticised version of the humble ending. Instead of singing the Chorale in true hymn style, some dramatic pauses and dynamic variances can be added to bring the necessary definitive ending the work deserves.
The term cantata originally meant, and literally means “to be sung”. In the beginning, the term encompassed all sorts of vocal music, however, the term now carries much more baggage. A cantata normally contains several movements united by a single thought, or theme. There are cantata di chiesa, church cantatas, and canatata di camera, court (secular) cantatas. Bach was an expert at writing cantatas for the church. In fact, he wrote a different cantata for every Sunday and Festival day for at least three years in a row! Bach themed his cantatas on the scripture readings for each Sunday. These readings, set out in advance by the church at large, allow church-goers to experience the entire passion of Christ throughout the liturgical year. Thus, Bach’s cantatas do the same.
Cantata No. 4 - Christ lag in Todesbanden
Johann Sebastian Bach’s Christ lag in Todesbanden was first performed on an Easter Sunday sometime between 1708 and 1714 in Arnstadt during the early stages of his compositional career. The exact date of composition is not known; however, the text itself proves that the cantata was intended for Easter Sunday.
This work is based solely on a cantus firmus or fixed melody, that is, a tune that is common between all movements. The tune, or cantus firmus of Cantata No. 4 existed well before Bach’s time. It finds its origins in the Gregorian Easter Alleluia Victimae paschali laudes. Martin Luther, often borrowing music from various sources, used this Gregorian chant to invent music for the new Protestant church of the Reformation. To accompany this melody, Luther wrote five verses which he based on Biblical texts, and kept two verses from the original chant. Most importantly, Luther’s text was in German, the language understood by the common people. It was this chorale, titled Christ lag in Todesbanden, that Bach then used as a foundation for this cantata.
The cantata consists of seven verses and an opening sinfonia, all of which contain the cantus firmus. After the sinfonia, the first verse immediately starts with the cantus firmus in the soprano. Verse one then follows a strict development: each line of the cantus firmus is first presented in the Alto, Tenor, and Bass voices. Following that, it is heard soaring above the texture in the Soprano voice. All four voices are not heard together again until verse 4, the center and musical balancing point of the cantata. The final chorus is a simple, four-part harmonization of the chorale melody. The cantata is a good example of Bach’s obsession with math and symmetry, the best example being the cantata’s seven verses that form a symmetrical structure:
SATB - SA - T - SATB - B - ST - SATB
The cantata is littered with musical imagery, word-play, and musical jokes which makes the text inseparable from the music. Although Martin Luther and Bach both believed that church music is intended to be in a language that is widely understood by it’s listeners, singing this music in English would significantly take away from the genius of Bach and his work.
Sinfonia
The Sinfonia, or instrumental introduction, to this cantata plays a crucial role in establishing several thematic ideas which are repeatedly used by Bach to tie each of the following verses together. The first of these themes is the most important: the Sinfonia introduces the melody, or cantus firmus, that remains constant from verse to verse. Although Bach subsequently alters the cantus firums from verse to verse, the character and essence of the melody remains constant. Over the course of the enitre cantata, we will hear the melody presented eight times: once in each of the seven verses, and once as it is introduced in the sinfonia. And, amazingly, you will never get board from hearing the same tune eight times!
Another theme to note is the reoccurrence of the descending minor second. Often thought of as the most sombre and sad musical interval, Bach wastes no time in setting the mood of the piece by using a series of five descending minor seconds to open the sinfonia. In verse two, Bach again uses a series of descending minor seconds to musically describe the word 'death'. Although this theme effectively communicates sadness, misery, and death to the listener, it is not the most important aspect of the cantata - we have to remember that this is an Easter cantata and it is actually celebrating the resurrection of Christ and not his death. Which brings us the to the last unifying theme of the cantata...
Hallelujah! Although the sinfonia is for instruments only, its purpose is to introduce the cantus firmus in its entirety. Each verse of Luther's text ends in the word Hallelujah, and although Bach treats the word Hallelujah differently in each verse, he successfully uses rhythm, harmony, and repetitions of the word to musically communicate the excitement and joy of Hallelujah. So, even in the opening sinfonia where the listener does not hear the word, the first violin breaks out of the texture for a glorious moment where the word Hallelujah would be sung.
Verse One
It is important to remember that in this work, the cantus firmus rules. Bach structures each verse around the all-important hymn tune. The first thing heard in verse one is the first note of the cantus firmus, sung by the sopranos. Bach considers the cantus firums to be so important that in an attempt to highlight the sopranos' entrance, no other voices or instruments are heard until the sopranos have firmly started the melody. The other voices and instruments join the texture one at a time, until everyone is busy with their own seemingly separate and unrelated lines. Once everyone has entered, the sopranos finally move from their initial pitch and continue with the cantus firmus as it soars above the busy texture underneath them.
From this point on, Bach almost mathematically puts the music together. Each new line of the cantus firmus is presented first in the Tenor, then Alto, and then Bass voices until it stuck in the ear. Then, with the authority of having the highest voices, the sopranos again take the cantus firmus and allow it to soar above the texture.
Of particular interest in verse one, is Bach's setting of the word "fröhlich" which means 'joyful'. In a successful attempt at musically painting the word fröhlich, Bach uses long strings of quick and bouncy notes to communicate this joy!
Also of interest is the final 'Hallelujah' section. As always, the tenor begins with the cantus firmus, and subsequently passes it from voice to voice. However, unlike the previous lines, the soprano joins in the fun, and then all four voices are singing almost in unison for the first time since the beginning of the work. And then, a surprise ending! Suddenly the Tenors take off at double speed in a jubilant "Hallelujah" dance, and then as expected, the other voices join in too. It is then a train-wreck until the end of the piece however in the most positive of senses! Each voice interrupts one another with intercessions of Hallelujah after Hallelujah! Hearing this explosion of joy after the quiet, dry, and sombre 40 days and 40 nights of Lent must have been truly amazing!
Verse Two
The verse about death! The accompanying texture thins for this verse and all we are left with is the basso continuo: the cello and organ. Just as in the opening Sinfonia, the first notes we hear from the cello are the repetitions of the descending minor second, and then the voices come in singing about death on the minor second as well. Multiple repetitions of this motif are heard especially in the 'walking' cello line. Listen how the cello, soprano, and alto all use this two-note figure.
It is unknown whether Bach intended verses two, three, five, and six to be for solo singers or not. Normally Bach clearly indicated his intentions in his manuscripts by using words such as 'aria', 'recitative', or 'duet'. In this case however, those words are not present. It has been left up to conductors and performers to make this judgement call. Sometimes logistical and other factors play a determining role, however, the more people who can sing this fantastic music, the better!
Verse Three
The victory anthem! The violin energetically begins this verse in an almost dance-like fashion. The quicker speed, the energy of the violin, and the unison males’ voices all aid in communicating the text. The forward momentum comes to surprising halt when the men sing the word "nichts" which means 'nothing' and literally nothing is heard for a whole beat until the men sing, very slowly, of Death and its form. The remainder of the verse resumes with the triumph and victory it started with.
Verse Four
The Battle! Most important: the cantus firmus. Who has it? The Altos! All the other voices are caught up in the battle. The tenors begin this verse with a section of the melody, however, before they are done, the sopranos interrupt with a different section of melody. And, yup, you guessed it, the basses want in on the action so they interrupt as well. Thus begins the battle. It all comes to a head when the entire choir begins to sing "Wie ein Tod den andern fraß" which means ' One death devoured another'. The sopranos, tenors, and basses all sing the same material, only at slightly different times, giving the impression of a musical 'black hole'. Each part then gets 'devoured' and stops singing.
Bach then sets the words "Ein Spott" or 'a mockery' with such wit. In the same way a child mocks his peer, Bach sets this text in such a way as to mock the devil. Picture in your mind a child on the playground making fun of another child - what is he singing? "na Nana Nana na!". Can you hear it? Bach certainly did - he uses that childish tune and puts the words "ein spott" with it. The effect? A Mockery - the exact meaning of the words.
Verse Five
The Passover analogy. In this verse Luther's text uses distinct imagery and unfamiliar metaphors to present-day English speakers. Lines such as 'roasted in burning love' leave us somewhat confused. We need to remember however that poetry and culture where much different in Germany 400 years ago!
Listen for four words in this verse:
1) Kreuzes (Cross) - on this word, Bach put notes on the page in such a way that they made the shape of a cross; we therefore hear a small embellishment when the men sing this word.
2) Tode (Death) - Bach sets this word on one of the lowest notes a Bass can sing...
3) Würger (Murderer) - Bach sets this word on a very high pitch, and has the string section play with agitation
4) Nicht (no [more]) - here again, the vocal line suddenly stops when this word is sung
Verse Six
The Celebration! This vocally challenging duet embodies a celebratory feel due to Bach's use of the triplet figure. It dances forward, letting nothing prevent it from reaching the pinnacle Hallelujah section, sealing the message in our minds that Christ has won the battle against sin.
Verse Seven
In Communion. The term 'communion' should be interpreted in two different senses here. The text makes reference to us 'eating...true Easter bread' and certainly the benefit of Christ's death and resurrection is made available to us through the sacrament of Communion. The term also refers to the fact that Bach intended for the listening congregation to join in singing this final verse. The musicians and the listeners join together in song.
Verse seven is a simple, four-part harmonization of Luther's Chorale tune. Although this is the final verse of the cantata, this was likely the starting point for Bach when he decided to write this work.
In the style of a hymn, this chorale presents an odd dilemma to the performing choir. A simple hymn is not an ideal finish to a grand cantata. The addition of the audience or congregation singing would add the necessary energy and sparkle that could make a humble hymn become a grand ending, however concert goers certainly do not expect to be put on the spot and be asked to join in singing the final portion of a concert.
The compromise: a slightly romanticised version of the humble ending. Instead of singing the Chorale in true hymn style, some dramatic pauses and dynamic variances can be added to bring the necessary definitive ending the work deserves.
Friday, March 13, 2009
Monday, January 26, 2009
Fred Penner!
Fred Penner made a visit to Medicine Hat on January 24, 2009. He teamed up with the Medicine Hat Symphonic Society's Acadamey Orchestra to perform a concert of his well-known children's music.
The orchestra normally performs without a conductor, however, since in this case it was important for the orchestra to stay together both with themselves and with Mr. Penner, I was asked to conduct.
I got the scores, many of which I already knew from growing up watching Fred, and began to prepare. The scores however, were far from ideal. Fred puts on concerts with orchestras all over Canada and even internationally - that means the scores have seen many conductors and many orchestras. The hand-written scores were well used; every conductor from coast to coast has put their own markings in them. Red, blue, green pen, different colored pencils, many post-it notes, and an enormous amount of pencil made each score look more like a children's colouring book than a piece of music.
Challenge number one: decifering the scores! A few hours with each score and I had a pretty good idea of what was going on. I even started to understand many of the marks, post-its, extra pages, and crossed-out sections that previous conductors had added.
I never really thought much about the fact that I was about to meet a celebrity from my childhood; I worked hard on making sure I was prepared. I met Fred at our rehearsal on Friday night - what a great guy! I tried to keep my professionalism and focus on the task at hand, when really I just wanted to talk about his TV show, and how cool his log was (if you don't know about the log, then you've likely not seen his show...).
Rehearsal was challenging but good. There were many instances where I needed to change my gestures and interpretation very quickly in order to keep up with Fred and the way he does things. Challenge number two: making sure the orchestra and Fred start and stop playing together, and making sure what the orchestra had on their pages is actually what Fred was playing. Like Fred said part way through our rehearsal, "I wrote and recorded these songs 20 years ago, they have been done many different ways and there have been many changes since then." So, an extra repeat here and there, an extra bar in some places, a few ritardandos and fermatas, and a little rubato, and we were playing well together.
Unable to keep my excitment under control, I got a picture:
The concert was a success. I had a great time conducting, the orchestra had fun playing (and singing sometimes!), and I think Fred had a good time too.
I am thankful for this opportunity - It was a real learning experience for me! I look forward to doing more of this in the future. It was also quite fun to meet Fred Penner. We sang The Cat Came Back! How cool!!!
The orchestra normally performs without a conductor, however, since in this case it was important for the orchestra to stay together both with themselves and with Mr. Penner, I was asked to conduct.
I got the scores, many of which I already knew from growing up watching Fred, and began to prepare. The scores however, were far from ideal. Fred puts on concerts with orchestras all over Canada and even internationally - that means the scores have seen many conductors and many orchestras. The hand-written scores were well used; every conductor from coast to coast has put their own markings in them. Red, blue, green pen, different colored pencils, many post-it notes, and an enormous amount of pencil made each score look more like a children's colouring book than a piece of music.
Challenge number one: decifering the scores! A few hours with each score and I had a pretty good idea of what was going on. I even started to understand many of the marks, post-its, extra pages, and crossed-out sections that previous conductors had added.
I never really thought much about the fact that I was about to meet a celebrity from my childhood; I worked hard on making sure I was prepared. I met Fred at our rehearsal on Friday night - what a great guy! I tried to keep my professionalism and focus on the task at hand, when really I just wanted to talk about his TV show, and how cool his log was (if you don't know about the log, then you've likely not seen his show...).
Rehearsal was challenging but good. There were many instances where I needed to change my gestures and interpretation very quickly in order to keep up with Fred and the way he does things. Challenge number two: making sure the orchestra and Fred start and stop playing together, and making sure what the orchestra had on their pages is actually what Fred was playing. Like Fred said part way through our rehearsal, "I wrote and recorded these songs 20 years ago, they have been done many different ways and there have been many changes since then." So, an extra repeat here and there, an extra bar in some places, a few ritardandos and fermatas, and a little rubato, and we were playing well together.
Unable to keep my excitment under control, I got a picture:
The concert was a success. I had a great time conducting, the orchestra had fun playing (and singing sometimes!), and I think Fred had a good time too.
I am thankful for this opportunity - It was a real learning experience for me! I look forward to doing more of this in the future. It was also quite fun to meet Fred Penner. We sang The Cat Came Back! How cool!!!
Wednesday, January 14, 2009
Adult Choir Spring Concert
After much discussion, we have found our dates!
Saturday, April 4, 2009, Medicine Hat
Sunday, April 5, 2009, Brooks
Book them off!
Saturday, April 4, 2009, Medicine Hat
Sunday, April 5, 2009, Brooks
Book them off!
Sunday, January 11, 2009
Adult Choir Christmas Concert 2008
Hello Adult Choir! I am glad you enjoyed the recordings so much! Because of your enthusiastic response, I have posted the entire concert recording here on my blog. I am glad you are interested in listening to yourselves! It can be an invaluable educational tool to listen to yourself, and then respond accordingly! Here is the Concert:
- Jubilate Deo
- Our Soul Waits
- E'en So Lord Jesus Quickly Come
- Thou Shalt Know Him When He Comes
- Alle von Saba
- Toccata
- Three Choral Preludes
- Dialogue
- Gloria I
- Gloria II
- Gloria III
Thank you for a fantastic first semester! I am pleased with what we accomplished in such a short time, and am very much looking forward to the winter semester! Bach here we come! (by the way, make sure you check out the other posts on this page - lots of Bach info, and recordings for you to listen to!)
Also, thank you to all the instrumentalists who played! Excellent job! It was great fun to do such a majestic concert with Organ, Timpani, and all the Brass!
Girls', Children's, and Junior Choir Christmas Concert 2008
Hello Choristers! The following tracks were recorded at the Girls' Choir, Children's Choir, and Junior Choir Christmas Concert on Sunday, December 14, 2008 at Fifth Avenue Memorial United Church. Some of you asked if you could re-listen, or listen to specific parts of that night. Please enjoy listening to the sounds that you made!
Carols of the World
- O Come All Ye Faithful
- Orion
- Iroquois Lullaby
- Hand me Down My Silver Trumpet
- Inscription of Hope
- Born This Christmas Day
- Louez le Seingeur
- Three Spanish Carols
- Bring a Torch Jeanette, Isabella
- Russian Candle Carol
- Speaking of Music
- Pat-a-Pan
- Joy to the World / Sing for Joy
I am very happy with the way this concert turned out! All of the performers really stepped up and did their best. I am very proud of all the ensembles that were involved!
Thanks for a fantastic first semester!
Saturday, January 10, 2009
Adult Choir and Mr. Bach
The following seven posts correspond to the seven verses of Christ lag in Todesbanden, Bach's easter cantata. Give them all a listen! I also included some extra information here and there for those who are interested. Keep in mind that the posts are backwards from the way the work is performed. I hope this is helpful! Enjoy!
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