Here is part two of five of my interview with Walter Chapin, director of the Oriana Consort.
Interview with Walter Chapin, 1/30/09, Café Algiers in Harvard Square, Cambridge, 2:00 pm
(continued from Part 1)
A: Now, where did you go to college?
W: Here at Harvard. I joined WHRB, the radio station, which is still in existence, of course. It was all closed-circuit then. And I became, at the end of my freshman year, jazz music director, and so I would organize jazz – oh, there were programs where you would have a series that would be jazz history, or a series that would concentrate on a certain player, or you’d just do Saturday afternoon disc jockey stuff. And so I was in charge of all that, and that was fun. Of course, all this time I’m soaking up classical music at WHRB, because this was being broadcast all the time, as well as jazz. Oh, I didn’t mention, I was also in the Harvard New Jazz Society, as a matter of fact I was president of that. And we would bring in concerts. We brought in the Modern Jazz Quartet. We brought in Lee Konitz, the alto saxophone player, used to be with Stan Kenton. We brought in Dave Brubeck, and he would play for an audience of a hundred people at what was then the Harvard Union, they use it for something else now, it’s the building on the other side of Quincy Street. So all that was great. And now, musical education, this segue ways. So I didn’t immediately major in music at college. I started in the sciences, and that didn’t work. And sophomore year I knew I had to change my major, and I had a musical moment. I was standing in a record store – there were record stores then! Nowadays there aren’t even any CD stores anymore! You have to ---
A: Well, there’s that little one hidden on JFK…
W: A little one, a little one, right. But this was a record store on JFK, it was called Boylston Street then, and these were the days when you could –
A: JFK was called Boylston Street?
W: Boylston Street, yes. This was before the assassination, it was renamed after the assassination.
A: Oh, I didn’t know that.
W: Yes. These were the days when you could take a record off the shelf, go into a booth, and it wasn’t shrink-wrapped, you could just take it out of its folder, put it on the record player, listen to it, and see if you want to buy it. Of course, today you can do that online, which is back to the old system, you can hear it first. So, this was the Harvard Glee Club and Radcliffe Choral Society, they were two separate organizations, but they would always sing combined. Or usually. And I heard them doing Randall Thompson’s “Alleluia.” And I said, “I think I want to major in music. This is drop-dead beautiful.” And something just happened to me. It was that famous place where he’s ending one of the little sections, and I believe the tenors have a descending line that involves an A natural while the sopranos are holding an A sharp. And it makes this incredible dissonance. And my ear, since high school, is always attuned to these sorts of – listen for things that happen in music. And I said -- A natural, G natural in the tenors, against an F-sharp major chord in the upper voices. Maybe it’s in the bass line, I think it’s in the bass line. The tenors are holding
C-sharp, F-sharp and A-sharp, the basses are going A-natural, G-natural, F-sharp. Little things like that happen, this is just incredible, I’ve got to major in music. And so I did pretty well. Not with any academic distinction. I was sort of a timid guy.
A: Now, was anybody there who’s still there now? Like, was Jameson Marvin already there?
W: Short answer is no. Randall Thompson was there. Oh yes, he was on the faculty. I took his course in Renaissance counterpoint, as a matter of fact. Walter Piston was there. Yes.
A: Wow. Very distinguished.
W: Scholars like Arthur Tillman Merritt, and – you had to be on the right side of him to get along with him. I was not on the right side of him. And George Woodworth, who did the Harvard Glee Club. Over time, one faculty member has been replaced with another. And through retirement, or whatever, and sometimes through leaving. You know, it’s like any other faculty, it evolves. Well, now you have people like Christoph Wolff and Shelemay, and Leon Kirshner, for heaven’s sake. And Jim Marvin, who followed F. John Adams, who followed Elliot Forbes who followed George Woodworth. As Glee Club director. So the middle of my sophomore year, I started in taking harmony, Arthur Woodworth’s music history, whatever. And just soaked up classical music all over the place. Still I was not a great scholar, of great academic distinction, but somehow I knew that music would be a career, or semi-career, or something. And still, all through this, no interest in choral conducting. I didn’t even join the Harvard Glee Club. I didn’t think I could sing. And in point of fact, I was not, at the time, a very good singer. I’m still not great, but I’m an adequate singer, and that came later, which I’ll point out. After college, I had no idea what to do. I went in the army, I spent some time working in a record store. Again, soaking up music.
A: How long were you in the army? And were you in the army band, or just the straight-up army?
W: No, no. Well, you know, as a matter of fact I was later. I was –
A: Was this Vietnam-time?
W: Oh, no, no, no, this was before Vietnam. I was lucky enough to be too old for that -- that is, too old for Korea, and too young for Vietnam. No, no. Too young for Korea and too old for Vietnam. I could have gone to Vietnam, but the thing is –
A: Who would want to?
W: Well, I was in the reserves, and later, getting ahead of myself, I was up in Maine, and I was unable to attend reserve meetings, so a discharge came in the mail. I said, “This is nice.” And that was around 1965, when Vietnam started eating up. I suppose I could have, but I escaped. And so finally I said, I’ve got to get this together. I went to New England Conservatory and worked on a second bachelor’s, which took me two years.
A: In what?
W: In Music Ed. And, well, I’ll go teach public school music for a while, and see where to go from there. So here I was, in Lorna de Varon’s NEC Chorus, and this is the first time I’d been in any kind of chorus of any distinction.
A: And how old were you at this point?
W: At that point I was…23.
A: Oh, OK. Oh, so the army and the record store and all that didn’t take very long. That was pretty quick.
W: Yes, right. So, from the first rehearsal, and I may have told you this at one point, that time we went to hear Lorna, from the first rehearsal I was totally blown away. I said, choral music is my thing. And before the fall was out, we were singing with the BSO, we were doing Cantata No. 4 with the BSO, and we did Berlioz, Romeo and Juliet with the BSO in the springtime, and I said, this –
A: Bach to Berlioz; that’s quite a range! Even for the BSO.
W: Yes, oh, yes! Oh, sure. So all this time I’m learning all the instruments and all the transpositions, turned out to be invaluable. Learning all the clefs, which I’ll get to later.
A: And that was because you were in music ed.?
W: Yes. And so I started joining every choir I could. And you weren’t supposed to do that, but I did it anyway. I was in CpM for a year, Chorus pro Musica, and I joined Dan Pinkham’s choir at King’s Chapel. And I’d been in a voice class, where ordinary, not distinguished voices could learn to produce a singing tone well. Not with great artistry, but correctly. Anyone who’s halfway musical can really learn to sing. I’m getting ahead of myself, but people come to audition, and they make a not attractive sound because they have tension in their throat muscles, and I write them a letter, “We can’t take you, but I would suggest that you put your resources not into trying to join another choral group right now, but in going and taking some voice classes.” And I give them some examples of people around here who do that. Go learn to sing. And, as a matter of fact, one teacher wrote me just last night, and sent me an e-mail saying, “I’m so glad you sent so-and-so my way. He seems very focused and he wants to do this, and I think I can help him.” I’ve said that to other people who didn’t take it so kindly. *laughs* So it depends on who you’re talking with. But I caught on that this had implications for people in general. Gee, if I can learn to sing halfway well, then maybe a lot of people can. So then I took a summer course in conducting at Harvard Summer School, and I was absolutely terrified of standing in front of a group, trying to get them to do something. I remember a rather short Josquin motet or something, and trying to get twenty people to sing this. I was not a natural conductor, I was scared to death, and, you know, got through it. And I took Lorna de Varon’s conducting course, and I was a little less terrified, but still basically sort of terrified. I remember taking one NEC chorus rehearsal when Lorna was away, and she assigned her different students to take this rehearsal, take that rehearsal. I thought I did all right. But still it was a scary experience. Life experience as a conductor, this segue ways right in. So I certainly was not someone who comes along and within one year I’m the talk of the town, and oh, this brilliant young conductor. I was the exact opposite. Everything I learned and did happened very slowly and incrementally. A little bit here and a little bit there. Sometimes almost imperceptibly. And with all kinds of mistakes along the way. You name it, you name the mistake, I’ve made it. And hopefully have learned from it. I went up to Maine and spent six years as a director of music for a couple of small towns there, and that was –
A: In the school, like at the high school?
W: Yes, exactly, in the school systems. And I conducted instrumental groups. I started a chorus, there wasn’t one, and it was sort of feeble, but I made an attempt. It was mostly instrumental. And I sang in choruses at Boston University during the summer, because I’d started working on a Masters in music history.
A: So you finished the music ed. degree?
W: Yes. So then, after six years, I said, “All right, I’ve got to leave Maine, I’ve got to finish this darned degree.” So I went back to BU full time, so now I’m about 29 – no, 30. And took Jim Cunningham’s conducting course, and he said, “Well, you know, you’ve got some real potential there.” Well, that encouraged me. Jim was Don Teeters’ predecessor at Boston Cecilia, and as a matter of fact, Jim was leaving Cecilia in the spring of that year, and he accepted a position out at UC Berkeley. So there were auditions for a new director for Cecilia. Well, I knew I didn’t have the experience to make it. I said, “Jim, can I just go through the audition process? That’d be a great experience.” And I did, and Don Teeters was one of the half-a-dozen other people, and Don Teeters got it, and he’s been doing it ever since. But I was no longer terrified at this point, and as a matter of fact, the following year, Bob Gartside, who succeeded Jim at BU as the chorus director, took me as his assistant. So I did a lot of rehearsing of the BU chorus, and that was great. And I had the honor of preparing a chorus for a piece by Samuel Adler that he had just written, and was going to come to BU to do. “From Out of Bondage,” it was an adventurous piece. Almost atonal. And I’m teaching these weird intervals to everybody, everyone’s struggling through it, Samuel Adler is coming, and of course he made magic out of it at the first rehearsal, but at least I had prepared the chorus for him. And I prepared a chorus for Herbert Fromm doing some of his pieces, and that was fun. And at the same time, I’m in Murray Lefkowitz’s Collegium Musicum, where we are pulling Renaissance pieces out of everywhere, and performing them in class, and that’s when you learn to sing from the C-clef, or to play recorder from the C-clef, and to read all kinds of crazy scores that you get in all sorts of crazy Renaissance combinations of voices and instruments. So finally, I took a position as director of a community chorus on the South Shore –
A: What were they called?
W: I’m not going to say, because after two years we didn’t get along well. I had my ideas, and they had theirs, and I’m coming back to that in a minute. But I broke away, took some singers with me, and started my own group.
A: Called Oriana.
W: No, not yet. We called it the Pro Arte Singers.
A: Oh, are they still around?
W: No, they are not, but they evolved into Oriana, we just changed the name one time.
A: Now, did you break away and you were here, and not on the South Shore, or did you break away on the South Shore?
W: On the South Shore, started my own group, and that grew to be forty singers, and we did some credible community-chorus performances of Messiah, and I would hire instrumentalists from BU and things like that. But something was missing, and I didn’t quite know what it was. And that group kind of fell under its own weight. I’d made some mistakes there in organizing people. And a small group broke out of that of about ten people and that became the Pro Arte Consort. And there was a combination of whatever – it was both singers and instrumentalists, there were a lot of recorder players in it, that finally settled, stabilized, as an eight-member group…no, I’m sorry. The eight-member group became the Pro Arte Consort…Here’s the way it went.
A: If you can’t remember, you’re the only one who would ever remember, so…!
W: Right! We had eight singers, one of whom we still had, and that automatically limited our repertory. I said, “Look, if we want to do 20th-century music seriously, and not just Renaissance, we’ve got to expand.” And so there was a gradual expansion, first to twelve and then there was a movement from the South Shore, we centered ourselves here. And we began to rehearse at my house, and we would do little gigs around central Boston. We had done a lot on the South Shore, arts festivals and that sort of thing. And we began to expand in singers, we went to sixteen, and then…so this is all from about 1972 up through the eighties, up through the mid-nineties, and I also worked again as a secondary school teacher. I also got interested in computers, became a programmer pretty much overnight, that’s something I did very, very well, although I never fitted well into the corporate system.
A: So you were working full-time at the same time you were doing all this?
W: Yes, oh, gee whiz.Working full-time, being in Tanglewood Festival Chorus, probably not spending as much time with my dear wife Beth as I should have, in view of
all the support that she gave me; and probably not spending as much time
with our beautiful three daughters as I should have, although now they seem
not to have permanently begrudged me for that, doing music for the Sunday-school program at King’s Chapel. Running my own chorus, being in TFC, and I was in another chorus at the same time for a while. Anyway. So, around 1980, changed my career, changed my primary source of income to computer information systems, design and programming and whatever. And so that was good. (sips coffee)
A: I’m not really giving you a chance to drink anything!
W: Oh, that’s OK, I’m enjoying having a chance to just let everything pour out here. So it was in 1997 that we got to start auditioning.
A: Now, so let me go back. So, Oriana Consort…
W: Oriana Consort in the eighties –
A: Was concentrating on Renaissance and 20th-century?
W: Yes, we were an eight-member group. We did some interesting things. We played at one of the MFA affairs, we would sing for the King’s Chapel Tuesday noon concerts, we sang around public libraries, we did little gigs, we had a lot of fun. But if one member dropped out, you see, we were stuck, because –
A: Right. They did so much.
W: Right. So we had to do – I mean, I wanted to start doing some more contemporary music. Not that I didn’t like Renaissance, which I certainly did. But I wanted the repertory to become a little more eclectic, so let’s expand, and let’s start auditioning. So in ’97 we started auditioning and the quality of the group came up. And we were maybe eighteen people at this time. But I still made some mistakes in auditioning, took some people I shouldn’t have.
(This is the end of the recorded interview. Tomorrow's segment will contain Walter's notes on the history of the Oriana Consort, and information about their upcoming concert.)
Wednesday, February 11, 2009
Tuesday, February 10, 2009
Interview with Walter Chapin, Part I
I decided to follow some excellent advice and split my interview with Walter Chapin up into more manageable chunks. So I modified the original post to just include the introduction and audio, and I will post the transcript of the interview and Walter's notes over the next few days. Here is part one of five of my interview with Walter Chapin, director of the Oriana Consort.
Interview with Walter Chapin, 1/30/09, Café Algiers in Harvard Square, Cambridge, 2:00 pm
A: So, tell me about your childhood!
W: *laughs*
A: I feel like a Freudian psychologist.
W: And how it was musical?
A: Yes – did you take lessons, on what instrument?
W: The big news is I was no child prodigy.
A: Ok. I haven’t met any of those yet, so…
W: I had what I suppose you would call an ordinary childhood for someone who’s musical. Now, my parents weren’t musicians, but they liked music. So what I heard around home kind of rubbed off on me. I remember, since the earliest I can remember, Sunday broadcasts of the NBC symphony orchestra with Arturo Toscanini. Over radio, every Sunday, you would hear live performances. Those were the days. And my parents had a small collection of 78 rpm classical records. And I was interested in classical music, but not avidly, it didn’t grab me. You know, the way it would grab a very gifted young child. They had Broadway musicals. Those were fun. I remember listening to Oklahoma over and over and over again, that’s the original cast recording. There was an album of Burl Ives singing folk songs, and I thought the quality of his voice was very interesting, I would just listen to it over and over again, as a kid. And my mother used to take me to the Minneapolis Symphony orchestra.
A: So you grew up in Minneapolis?
W: We lived in Saint Paul, and I grew up in that city.
A: My parents are from Minneapolis.
W: Ah, right. So, as a kid, I did a fair amount of music, all of no great distinction. I mean, I started piano lessons at age nine, I was in piano competitions that would be for kids, I accompanied my junior high and high school choruses.
A: Oh, you accompanied the choruses?
W: Yes, I was one of – well, there were maybe two or three pianists in our high school who would accompany the choruses.
A: Well, that’s good experience.
W: Well, it was interesting. I don’t know how well I did it. But I was chosen to do it. In my junior high school, I started a six-piece dance band, because I’d become interested in big bands and jazz and that sort of thing.
A: Is this the fifties or sixties?
W: This is the fifties. Mid-fifties. And there were commercial arrangements for any number of horns, trumpets, saxes, trombones, etc. They were expensive, and they never sounded that good, so I wrote my own arrangements. And those were the days when we could sit down and write out a list of -- (pause for ordering drinks with the waitress) – and these were the days where there was great cache in learning tunes. We each know a hundred tunes that we can either play or sing or whatever, and you don’t, the other kids. So it puts you in your own niche at the high school.
A: And you were on the piano in the band?
W: Yes, yes. I wrote arrangements, played piano. It was trumpet, alto sax, trombone, piano, bass and drums. And we played for dances all over the Twin Cities. It was quite lucrative, as a matter of fact. We made all our skiing money that way. So in writing these arrangements, I didn’t know it, but I was teaching myself harmonic theory, and developing my ear. And I had, and still do have, a much greater respect for, let’s say, big band or jazz-derived music of that age and this, because in ordinary pop music, you were then -- this is before the days of rock and roll -- you were basically dealing with three chords, or four chords. And here you were dealing with very complex harmonic structures. You would harmonize a pop tune, you’d find different ways to harmonize it, you’d sort of invent chords, you would compare chords you knew with chords this kid from across town knew. It was quite an exchange of aficionados. Very, very different from the later pop music environment where, oh, 100% of the kids are into pop music, and if you’re not, something is strange, and the music can be sort of simple-minded. So this was complex music, and we prided ourselves on knowing it. And we followed the big bands a lot. We would listen to the old recordings of Benny Goodman, which were old, at that point, twenty or thirty years old, and we heard live bands, Les Brown. I didn’t hear Count Basie until I came to Boston, because he would come to the black dance hall over in Minneapolis. And nobody talked about it, but you just didn’t go there. So you didn’t hear Count Basie. You heard Les Brown, you heard –
A: Did you feel like you couldn’t go there, or you shouldn’t go there…?
W: It never came up.
A: It just wouldn’t have occurred to you?
W: Yes. I listened to Count Basie records. I didn’t think that far. Oh, here’s Count Basie on records, great. Oh yes, you heard he came to the whatever-ballroom-it-was in Minneapolis. It didn’t occur to you – we weren’t prejudiced or anything, quite the opposite. It just didn’t occur to you to go there. However, Jazz at the Philharmonic would come to halls in Minneapolis, and we would go there, and of course that was very integrated. That was way ahead of its time. Norman Granz was the producer, and the musicians and audiences were very integrated. So we would hear Lester Young, Oscar Peterson, Nat Cole when he was still a pianist. He was always a pianist and a singer, but he wasn’t known as being just a singer, singing behind a lush string orchestra. He was a pianist with his own trio, and he played for Jazz at the Phil, so we got to know him that way. So it was a passing but not an avid interest in classical music, and an avid interest in jazz at the time, this was in late high school and maybe first year of college. But what I do remember, which may have been the most important childhood experiences, is what I call musical moments or cathartic moments, moments of catharsis. For example, in second grade, I taught myself to play with one finger on the piano – I guess we had – no, we didn’t have a piano at home. I found a piano somewhere, and taught myself to play “My Coun-try, ‘Tis Of Thee” with one finger. (taps on table) I was in second grade, and I thought that was pretty good. Then there was a talent contest. “Well, I can play “My Country, ‘Tis of Thee” with one finger on the piano!” I was very proud of myself. And I came home – and the principal wrote down “can play “My Country, ‘Tis of Thee” with one finger on the piano.” I came home – “Mom, I’m going to be in the second-grade talent context, and I’m going to play…” and she said, “You’re going to do what? You’re not going to play anything with one finger on the piano!” So I did something else.
A: Now was she a musician?
W: No, no. She liked music, but she was not a musician. So I reluctantly did my magic tricks instead, for the talent show. Anyway. And it seems to me, in retrospect, she should have picked up on that. But it wasn’t until a year later that she started me on piano lessons. So I started piano lessons – I remember it was my ninth birthday – and I came right along in that. I learned fast, but I never became a distinguished pianist as a kid. There were two other kids in my high school who were known as the school pianists. So, musical moments. Teaching myself to do that in second grade was a musical moment. My aunt and uncle had an album of Fats Waller records, playing beautiful Chicago-style jazz on the piano. I remember being fascinated with those as a very young kid, having no idea it was called jazz or anything. Something in the music just grabbed me. Other musical moments: my parents brought home Stravinsky’s Rite of Spring on 12-inch 78 rpm records. You had to play them one at a time – go through part of it, lift it up, put the other one on. And I remember listening to the beginning of that, not being prompted, not “Come, Walter, you should listen to this,” but just putting it on myself, and being totally grabbed by the at-the-fair music that starts the – not Rite of Spring, I’m sorry, Petrushka. The at-the-fair music that begins that. Now I saw the name Stravinsky, I didn’t know who he was, I had no idea he was one of the pioneers of 20th-century music. All I knew was that that beginning of Petrushka absolutely grabbed me, I listened to it over and over again, not knowing that I was hearing the combination of C Major and G-flat Major keys together all the time, but just being grabbed by the music. You sensed that it was very different from Toscanini playing Beethoven on Sunday afternoon, something like that.
A: So Toscanini didn’t do a lot of 20th-century music?
W: No, not a whole lot. However, one exception was, digressing here, it was he who heard Samuel Barber’s string quartet, where I believe it was second movement, he had written an Adagio, and Barber was having trouble writing the third movement. Toscanini said, “Wait a minute. Let me hear that Adagio again.” And he said, “That’s a beautiful piece of quartet writing. I’m going on tour in Europe, I’m taking the NBC Symphony on tour, and I want you to make a string arrangement of that that I can take on tour.” And Barber said, “Sure.”
A: “Whatever you want, Toscanini!”
W: And he did. Absolutely. And so that was the beginning of the famous Adagio for Strings. And that was one case in which Toscanini really did like an American piece, in much greater contrast to Koussevitzky, here in Boston, who just commissioned works from American composers all over the place. “You write, I play,” that was Koussevitzky’s big line. So, another musical moment. My junior high and high school was a boys’ school, and I had never heard a chorus of female voices. Then one time we had a collaboration concert with the girls’ school across town. And I remember walking in, and the girls, young women, were doing something that was going to be for just them, and they were practicing that. And I heard this beautiful sound of female voices. And I said, “That’s fantastic. That’s lovely. That’s wonderful.” So I would have, from time to time, just these moments where music would grab me. Not being prompted by any other party, or whatever. And there were cathartic moments throughout high school, whenever you would discover a new chord, or listen to something interesting by Les Brown playing live ten feet away, that sort of thing. So, coming to college –
A: Now, where did you go to college?
W: Here at Harvard.
(to be continued...)
Interview with Walter Chapin, 1/30/09, Café Algiers in Harvard Square, Cambridge, 2:00 pm
A: So, tell me about your childhood!
W: *laughs*
A: I feel like a Freudian psychologist.
W: And how it was musical?
A: Yes – did you take lessons, on what instrument?
W: The big news is I was no child prodigy.
A: Ok. I haven’t met any of those yet, so…
W: I had what I suppose you would call an ordinary childhood for someone who’s musical. Now, my parents weren’t musicians, but they liked music. So what I heard around home kind of rubbed off on me. I remember, since the earliest I can remember, Sunday broadcasts of the NBC symphony orchestra with Arturo Toscanini. Over radio, every Sunday, you would hear live performances. Those were the days. And my parents had a small collection of 78 rpm classical records. And I was interested in classical music, but not avidly, it didn’t grab me. You know, the way it would grab a very gifted young child. They had Broadway musicals. Those were fun. I remember listening to Oklahoma over and over and over again, that’s the original cast recording. There was an album of Burl Ives singing folk songs, and I thought the quality of his voice was very interesting, I would just listen to it over and over again, as a kid. And my mother used to take me to the Minneapolis Symphony orchestra.
A: So you grew up in Minneapolis?
W: We lived in Saint Paul, and I grew up in that city.
A: My parents are from Minneapolis.
W: Ah, right. So, as a kid, I did a fair amount of music, all of no great distinction. I mean, I started piano lessons at age nine, I was in piano competitions that would be for kids, I accompanied my junior high and high school choruses.
A: Oh, you accompanied the choruses?
W: Yes, I was one of – well, there were maybe two or three pianists in our high school who would accompany the choruses.
A: Well, that’s good experience.
W: Well, it was interesting. I don’t know how well I did it. But I was chosen to do it. In my junior high school, I started a six-piece dance band, because I’d become interested in big bands and jazz and that sort of thing.
A: Is this the fifties or sixties?
W: This is the fifties. Mid-fifties. And there were commercial arrangements for any number of horns, trumpets, saxes, trombones, etc. They were expensive, and they never sounded that good, so I wrote my own arrangements. And those were the days when we could sit down and write out a list of -- (pause for ordering drinks with the waitress) – and these were the days where there was great cache in learning tunes. We each know a hundred tunes that we can either play or sing or whatever, and you don’t, the other kids. So it puts you in your own niche at the high school.
A: And you were on the piano in the band?
W: Yes, yes. I wrote arrangements, played piano. It was trumpet, alto sax, trombone, piano, bass and drums. And we played for dances all over the Twin Cities. It was quite lucrative, as a matter of fact. We made all our skiing money that way. So in writing these arrangements, I didn’t know it, but I was teaching myself harmonic theory, and developing my ear. And I had, and still do have, a much greater respect for, let’s say, big band or jazz-derived music of that age and this, because in ordinary pop music, you were then -- this is before the days of rock and roll -- you were basically dealing with three chords, or four chords. And here you were dealing with very complex harmonic structures. You would harmonize a pop tune, you’d find different ways to harmonize it, you’d sort of invent chords, you would compare chords you knew with chords this kid from across town knew. It was quite an exchange of aficionados. Very, very different from the later pop music environment where, oh, 100% of the kids are into pop music, and if you’re not, something is strange, and the music can be sort of simple-minded. So this was complex music, and we prided ourselves on knowing it. And we followed the big bands a lot. We would listen to the old recordings of Benny Goodman, which were old, at that point, twenty or thirty years old, and we heard live bands, Les Brown. I didn’t hear Count Basie until I came to Boston, because he would come to the black dance hall over in Minneapolis. And nobody talked about it, but you just didn’t go there. So you didn’t hear Count Basie. You heard Les Brown, you heard –
A: Did you feel like you couldn’t go there, or you shouldn’t go there…?
W: It never came up.
A: It just wouldn’t have occurred to you?
W: Yes. I listened to Count Basie records. I didn’t think that far. Oh, here’s Count Basie on records, great. Oh yes, you heard he came to the whatever-ballroom-it-was in Minneapolis. It didn’t occur to you – we weren’t prejudiced or anything, quite the opposite. It just didn’t occur to you to go there. However, Jazz at the Philharmonic would come to halls in Minneapolis, and we would go there, and of course that was very integrated. That was way ahead of its time. Norman Granz was the producer, and the musicians and audiences were very integrated. So we would hear Lester Young, Oscar Peterson, Nat Cole when he was still a pianist. He was always a pianist and a singer, but he wasn’t known as being just a singer, singing behind a lush string orchestra. He was a pianist with his own trio, and he played for Jazz at the Phil, so we got to know him that way. So it was a passing but not an avid interest in classical music, and an avid interest in jazz at the time, this was in late high school and maybe first year of college. But what I do remember, which may have been the most important childhood experiences, is what I call musical moments or cathartic moments, moments of catharsis. For example, in second grade, I taught myself to play with one finger on the piano – I guess we had – no, we didn’t have a piano at home. I found a piano somewhere, and taught myself to play “My Coun-try, ‘Tis Of Thee” with one finger. (taps on table) I was in second grade, and I thought that was pretty good. Then there was a talent contest. “Well, I can play “My Country, ‘Tis of Thee” with one finger on the piano!” I was very proud of myself. And I came home – and the principal wrote down “can play “My Country, ‘Tis of Thee” with one finger on the piano.” I came home – “Mom, I’m going to be in the second-grade talent context, and I’m going to play…” and she said, “You’re going to do what? You’re not going to play anything with one finger on the piano!” So I did something else.
A: Now was she a musician?
W: No, no. She liked music, but she was not a musician. So I reluctantly did my magic tricks instead, for the talent show. Anyway. And it seems to me, in retrospect, she should have picked up on that. But it wasn’t until a year later that she started me on piano lessons. So I started piano lessons – I remember it was my ninth birthday – and I came right along in that. I learned fast, but I never became a distinguished pianist as a kid. There were two other kids in my high school who were known as the school pianists. So, musical moments. Teaching myself to do that in second grade was a musical moment. My aunt and uncle had an album of Fats Waller records, playing beautiful Chicago-style jazz on the piano. I remember being fascinated with those as a very young kid, having no idea it was called jazz or anything. Something in the music just grabbed me. Other musical moments: my parents brought home Stravinsky’s Rite of Spring on 12-inch 78 rpm records. You had to play them one at a time – go through part of it, lift it up, put the other one on. And I remember listening to the beginning of that, not being prompted, not “Come, Walter, you should listen to this,” but just putting it on myself, and being totally grabbed by the at-the-fair music that starts the – not Rite of Spring, I’m sorry, Petrushka. The at-the-fair music that begins that. Now I saw the name Stravinsky, I didn’t know who he was, I had no idea he was one of the pioneers of 20th-century music. All I knew was that that beginning of Petrushka absolutely grabbed me, I listened to it over and over again, not knowing that I was hearing the combination of C Major and G-flat Major keys together all the time, but just being grabbed by the music. You sensed that it was very different from Toscanini playing Beethoven on Sunday afternoon, something like that.
A: So Toscanini didn’t do a lot of 20th-century music?
W: No, not a whole lot. However, one exception was, digressing here, it was he who heard Samuel Barber’s string quartet, where I believe it was second movement, he had written an Adagio, and Barber was having trouble writing the third movement. Toscanini said, “Wait a minute. Let me hear that Adagio again.” And he said, “That’s a beautiful piece of quartet writing. I’m going on tour in Europe, I’m taking the NBC Symphony on tour, and I want you to make a string arrangement of that that I can take on tour.” And Barber said, “Sure.”
A: “Whatever you want, Toscanini!”
W: And he did. Absolutely. And so that was the beginning of the famous Adagio for Strings. And that was one case in which Toscanini really did like an American piece, in much greater contrast to Koussevitzky, here in Boston, who just commissioned works from American composers all over the place. “You write, I play,” that was Koussevitzky’s big line. So, another musical moment. My junior high and high school was a boys’ school, and I had never heard a chorus of female voices. Then one time we had a collaboration concert with the girls’ school across town. And I remember walking in, and the girls, young women, were doing something that was going to be for just them, and they were practicing that. And I heard this beautiful sound of female voices. And I said, “That’s fantastic. That’s lovely. That’s wonderful.” So I would have, from time to time, just these moments where music would grab me. Not being prompted by any other party, or whatever. And there were cathartic moments throughout high school, whenever you would discover a new chord, or listen to something interesting by Les Brown playing live ten feet away, that sort of thing. So, coming to college –
A: Now, where did you go to college?
W: Here at Harvard.
(to be continued...)
Globe review
So, as some of you may know, Schola Cantorum performed last weekend! It was a very fun program to sing (they always are - Fred Jodry, the director is a great programmer) and although (or more accurately because) the program was difficult, it was a very fun and satisfying performance.
And Friday night, a critic from the Boston Globe was there! Here is his review. Overall, it's quite positive.
We are all, of course, incredibly grateful that someone from the Globe came at all. But frankly, from a performer's point of view, it's a pretty unsatisfying review. I mean, there's nothing to tell you whether or not you might want to go hear this group in the future, or even any details of our particular performance. I mean, what song did you like the best? Oh, well. At least we "communicated a lovely human sense of the music." But really, come on, Matthew Guerrieri! You can do better than that. What about "Especially beautiful was the stunning blend and heart-rending mellifluous tone between the lowest alto and one of the tenors, especially during the exposed middle section of the Offertory. Somebody get that woman an agent!" Eh? Eh? (I'll be here all week, try the ham.)
Interesting continuation: I was about to continue this posting by complaining that the Globe never sends its primary reviewer, Jeremy Eichler, to choral concerts. And that there was a rumor around that in fact Eichler refuses to go to concerts in churches at all (which is where most choral concerts are.) So I figured I would go find some data to support this long-held grudge, and what do you suppose his most recent review is? The Cantata Singers latest performance, held in Brookline's All Saints Parish. Oops. And he seems to be making a point of hearing the Cantata Singers, as he reviewed one of their concerts last month, too. Oh, and look, in November, he covered the Boston Secession at First Church Cambridge.
So, Jeremy, I apologize about all the backstage griping I've done when I was wishing you were there! Mea culpa. Now, since you are clearly a vocal music fan, this means you're going to review Anthology's upcoming new music concerts "Songs of Protest and Social Unrest," right? Eight commissions, buddy, meaning eight world premieres! You've gotta be there! You too, Matthew! I'll help you with the review. ;)
And Friday night, a critic from the Boston Globe was there! Here is his review. Overall, it's quite positive.
We are all, of course, incredibly grateful that someone from the Globe came at all. But frankly, from a performer's point of view, it's a pretty unsatisfying review. I mean, there's nothing to tell you whether or not you might want to go hear this group in the future, or even any details of our particular performance. I mean, what song did you like the best? Oh, well. At least we "communicated a lovely human sense of the music." But really, come on, Matthew Guerrieri! You can do better than that. What about "Especially beautiful was the stunning blend and heart-rending mellifluous tone between the lowest alto and one of the tenors, especially during the exposed middle section of the Offertory. Somebody get that woman an agent!" Eh? Eh? (I'll be here all week, try the ham.)
Interesting continuation: I was about to continue this posting by complaining that the Globe never sends its primary reviewer, Jeremy Eichler, to choral concerts. And that there was a rumor around that in fact Eichler refuses to go to concerts in churches at all (which is where most choral concerts are.) So I figured I would go find some data to support this long-held grudge, and what do you suppose his most recent review is? The Cantata Singers latest performance, held in Brookline's All Saints Parish. Oops. And he seems to be making a point of hearing the Cantata Singers, as he reviewed one of their concerts last month, too. Oh, and look, in November, he covered the Boston Secession at First Church Cambridge.
So, Jeremy, I apologize about all the backstage griping I've done when I was wishing you were there! Mea culpa. Now, since you are clearly a vocal music fan, this means you're going to review Anthology's upcoming new music concerts "Songs of Protest and Social Unrest," right? Eight commissions, buddy, meaning eight world premieres! You've gotta be there! You too, Matthew! I'll help you with the review. ;)
Monday, February 09, 2009
Monday links
Composer and conductor Lukas Foss passed away a week and a day ago. Matthew Guerrieri has a great article about him in the Globe.
Sunday, February 08, 2009
Interview with Walter Chapin
Remember my New Year's Resolution to interview a conductor at least once a month? Well, I'm pleased to report that I haven't broken that resolution yet, as I did interview a conductor last month...it just took me a little bit of time to get around to transcribing and posting it.
Walter Chapin is the founder and director of the Oriana Consort, based in Cambridge, MA. They perform primarily music of the Renaissance and the 20th century, but their repertoire is fairly eclectic. I sat down with Walter on Friday, January 30 at the Cafe Algiers to talk about his life history and experiences as a conductor. Unfortunately, my recording device gave up the ghost about 15 minutes before the end of the interview, but luckily Walter had prepared some notes. So you will get the transcript of the interview, followed by his notes on what he had said during the lost fifteen minutes. If you'd like to listen to the audio, click here. I've decided to follow some good advice, and break the interview up into parts, and post the parts over several days. So the transcript and Walter's notes will follow in subsequent posts! (Thank you, Rachel, for that brilliant suggestion!)
Walter Chapin is the founder and director of the Oriana Consort, based in Cambridge, MA. They perform primarily music of the Renaissance and the 20th century, but their repertoire is fairly eclectic. I sat down with Walter on Friday, January 30 at the Cafe Algiers to talk about his life history and experiences as a conductor. Unfortunately, my recording device gave up the ghost about 15 minutes before the end of the interview, but luckily Walter had prepared some notes. So you will get the transcript of the interview, followed by his notes on what he had said during the lost fifteen minutes. If you'd like to listen to the audio, click here. I've decided to follow some good advice, and break the interview up into parts, and post the parts over several days. So the transcript and Walter's notes will follow in subsequent posts! (Thank you, Rachel, for that brilliant suggestion!)
Friday, February 06, 2009
Friday cat post!
Time for your Friday cat post!
Says my brother: "Oomi loves to watch people go to the bathroom, for some reason. Here she is waiting for someone to have to go so she can watch."
Says my brother: "Oomi loves to watch people go to the bathroom, for some reason. Here she is waiting for someone to have to go so she can watch."
Thursday, February 05, 2009
Weekend Concert Calendar, 2/5/09
I heard a rumor that it's actually supposed to be fairly nice this weekend, so you should take advantage of the weather to get out and hear some concerts!
First off, you should come hear me sing with Schola Cantorum on Friday. We'll be doing a program centered around the Renaissance composer Ockeghem. Josquin des Pres wrote a motet upon Ockeghem's death called "Nymphes des Bois" and in it he lists a number of composers that he calls "the sons of Ockeghem." So this concert will feature a piece by every one of those composers that Josquin lists (including Josquin himself) and the second half of the concert we'll sing first "Nymphes des Bois" and then Ockeghem's Requiem. And, most appropriately, tomorrow will be the anniversary of Ockeghem's death! We'll be singing this program tomorrow at St. John's at 35 Bowdoin St. in Boston at 8 pm, and on Saturday at St. Joseph's at 88 Hope St. in Providence, RI, also at 8 pm.
Friday:
Schola Cantorum will perform at 8:00 pm at St. John's Church at 35 Bowdoin St. in Boston. We will sing a concert featuring Ockeghem's Requiem. This program will be repeated on Saturday night in Rhode Island.
Saturday:
The Cantata Singers will perform at 2:00 pm at All Saints Parish, 1773 Beacon St., Brookline. They will be presenting a staged performance of Benjamin Britten's musical pagaent Noye's Fludde. Chances to see this excellent piece are few and far between because of the forces involved, so I suggest you check it out!
Calliope will perform at 7:30 pm at Old West Church, 131 Cambridge St., Boston. This is a benefit concert for the St. Francis House of Boston.
Schola Cantorum will perform at 8:00 pm at St. Joseph's Church at 88 Hope St. in Providence, RI. We will sing a concert featuring Ockeghem's Requiem.
Ladysmith Black Mambazo will be at Sanders Theater at 8 pm. But...it's sold out.
This is not strictly choral, but soprano Dominique Labelle and countertenor Michael Chance will perform music of Handel Purcell, and Pergolesi's Stabat Mater with the Sarasa Chamber Music Ensemble. This will be Saturday at 8:00 pm at the First Congregational Church, 11 Garden St., Cambridge. Brought to you by BEMF.
Sunday:
Voices of Imani, the Boston College Gospel Choir will perform at 3:00 pm at the Brighton-Allston Congregational Church, 404 Washington St., Boston under the direction of Hubert Walters.
Emmanuel Music will present its Schumann Chamber Series, Year 5. On the program will be Frauenliebe und -leben and Spanische Liebeslieder. This will be at 4:00 pm at Emmanuel Church, 15 Newbury St., Boston.
Convivium Musicum, under the direction of Michael Barrett, will present Early Byrd Music of Byrd &Tallis from Cantiones Sacrae, 1575. This will be at 4:00 pm at Grace Episcopal Church, 385 Essex St, Salem.
Belmont Open Sings will be hosting an open reading of Schubert's Mass in G Major at 7:30 pm at the Payson Park Church, 365 Belmont St., Belmont under the direction of Mary Beekman.
First off, you should come hear me sing with Schola Cantorum on Friday. We'll be doing a program centered around the Renaissance composer Ockeghem. Josquin des Pres wrote a motet upon Ockeghem's death called "Nymphes des Bois" and in it he lists a number of composers that he calls "the sons of Ockeghem." So this concert will feature a piece by every one of those composers that Josquin lists (including Josquin himself) and the second half of the concert we'll sing first "Nymphes des Bois" and then Ockeghem's Requiem. And, most appropriately, tomorrow will be the anniversary of Ockeghem's death! We'll be singing this program tomorrow at St. John's at 35 Bowdoin St. in Boston at 8 pm, and on Saturday at St. Joseph's at 88 Hope St. in Providence, RI, also at 8 pm.
Friday:
Schola Cantorum will perform at 8:00 pm at St. John's Church at 35 Bowdoin St. in Boston. We will sing a concert featuring Ockeghem's Requiem. This program will be repeated on Saturday night in Rhode Island.
Saturday:
The Cantata Singers will perform at 2:00 pm at All Saints Parish, 1773 Beacon St., Brookline. They will be presenting a staged performance of Benjamin Britten's musical pagaent Noye's Fludde. Chances to see this excellent piece are few and far between because of the forces involved, so I suggest you check it out!
Calliope will perform at 7:30 pm at Old West Church, 131 Cambridge St., Boston. This is a benefit concert for the St. Francis House of Boston.
Schola Cantorum will perform at 8:00 pm at St. Joseph's Church at 88 Hope St. in Providence, RI. We will sing a concert featuring Ockeghem's Requiem.
Ladysmith Black Mambazo will be at Sanders Theater at 8 pm. But...it's sold out.
This is not strictly choral, but soprano Dominique Labelle and countertenor Michael Chance will perform music of Handel Purcell, and Pergolesi's Stabat Mater with the Sarasa Chamber Music Ensemble. This will be Saturday at 8:00 pm at the First Congregational Church, 11 Garden St., Cambridge. Brought to you by BEMF.
Sunday:
Voices of Imani, the Boston College Gospel Choir will perform at 3:00 pm at the Brighton-Allston Congregational Church, 404 Washington St., Boston under the direction of Hubert Walters.
Emmanuel Music will present its Schumann Chamber Series, Year 5. On the program will be Frauenliebe und -leben and Spanische Liebeslieder. This will be at 4:00 pm at Emmanuel Church, 15 Newbury St., Boston.
Convivium Musicum, under the direction of Michael Barrett, will present Early Byrd Music of Byrd &Tallis from Cantiones Sacrae, 1575. This will be at 4:00 pm at Grace Episcopal Church, 385 Essex St, Salem.
Belmont Open Sings will be hosting an open reading of Schubert's Mass in G Major at 7:30 pm at the Payson Park Church, 365 Belmont St., Belmont under the direction of Mary Beekman.
Wednesday, February 04, 2009
Auditions for Iolanthe!
I am barely posting this in time, but I am the music director for an upcoming production of Iolanthe at MIT, and vocal auditions are tonight and tomorrow! Here are all the details. I am also recruiting for the orchestra, so feel free to get in touch with me if you'd like to play under my baton.
The MIT Gilbert & Sullivan Players Announce Cast Auditions for Iolanthe
Producer: Ethan Tyndall '04 & Virginia Quaney '10
Stage Director: Garry Zacheiss '00 & Ky Lowenhaupt C
Music Director: Allegra Martin
Auditions will take place on the following dates and times in the MIT Student Center in the rooms indicated:
Wednesday, 2/4/2009, 7:00pm - 10:00pm, Twenty Chimneys (W20-306)
Thursday, 2/5/2009, 7:00pm - 10:00pm, Twenty Chimneys (W20-306)
If needed, callbacks will take place on Saturday, 2/7/2009 from 2:00pm - 5:00pm in W20-407.
Please prepare one song in English and bring a copy of the sheet music for the accompanist. You may also bring a copy of the sheet music for your own reference.
Performances will take place on the following dates:
Friday, May 1, 8pm
Saturday, May 2, 8pm
Sunday, May 3, 2pm matinee
Thursday, May 7, 8pm
Friday, May 8, 8pm
Saturday, May 9, 2pm matinee
Auditions are open to all those interested, and do not need to be scheduled in advance. Please note our student casting policy: Any MIT student capable of performing a role shall be given preference over other candidates.
More details about the show and the roles available can be found here:
http://en.wikipedia.org/wiki/Iolanthe
For more information, please visit http://web.mit.edu/gsp or email
iolanthe@mit.edu.
The MIT Gilbert & Sullivan Players Announce Cast Auditions for Iolanthe
Producer: Ethan Tyndall '04 & Virginia Quaney '10
Stage Director: Garry Zacheiss '00 & Ky Lowenhaupt C
Music Director: Allegra Martin
Auditions will take place on the following dates and times in the MIT Student Center in the rooms indicated:
Wednesday, 2/4/2009, 7:00pm - 10:00pm, Twenty Chimneys (W20-306)
Thursday, 2/5/2009, 7:00pm - 10:00pm, Twenty Chimneys (W20-306)
If needed, callbacks will take place on Saturday, 2/7/2009 from 2:00pm - 5:00pm in W20-407.
Please prepare one song in English and bring a copy of the sheet music for the accompanist. You may also bring a copy of the sheet music for your own reference.
Performances will take place on the following dates:
Friday, May 1, 8pm
Saturday, May 2, 8pm
Sunday, May 3, 2pm matinee
Thursday, May 7, 8pm
Friday, May 8, 8pm
Saturday, May 9, 2pm matinee
Auditions are open to all those interested, and do not need to be scheduled in advance. Please note our student casting policy: Any MIT student capable of performing a role shall be given preference over other candidates.
More details about the show and the roles available can be found here:
http://en.wikipedia.org/wiki/
For more information, please visit http://web.mit.edu/gsp or email
iolanthe@mit.edu.
Friday, January 30, 2009
Friday cat post!
Time for your Friday cat post!
My brother says, "Oomi is currently racing around the house, picking up pens, and trying to burrow them under the rug in the living room." I would add that you will probably see a great many paper bags in this series, as Oomi seems to be very fond of them.
My brother says, "Oomi is currently racing around the house, picking up pens, and trying to burrow them under the rug in the living room." I would add that you will probably see a great many paper bags in this series, as Oomi seems to be very fond of them.
Thursday, January 29, 2009
Weekend Concert Calendar, 1/29/09
So...
This is pretty weird, but I can find almost no choral concerts in Boston this weekend. I mean, there is an almost freakish lack of choral concerts. Does this weekend have some sort of choral pall over it? Even Schola Cantorum (with whom I'm singing) was supposed to have concerts this weekend, but had to reschedule for next weekend because of a dearth of tenors. Well, I can't figure out what those tenors might be doing, because NOTHING is going on, choral-wise. There are a number of fine concerts going on, so there should be plenty to do, but there's not much for me to report on.
Here's what I got:
Sunday:
At 4:00, the Choir of St. Mary, St. Catherine of Siena Parish in Charlestown, MA will give a choral concert under the direction of Leonardo Ciampa. This will be at the St. Mary - St. Catherine of Siena Parish, 55 Warren St., Charlestown.
See what I mean? That's all I got! Comment if you know of any other choral concerts, please!
This is pretty weird, but I can find almost no choral concerts in Boston this weekend. I mean, there is an almost freakish lack of choral concerts. Does this weekend have some sort of choral pall over it? Even Schola Cantorum (with whom I'm singing) was supposed to have concerts this weekend, but had to reschedule for next weekend because of a dearth of tenors. Well, I can't figure out what those tenors might be doing, because NOTHING is going on, choral-wise. There are a number of fine concerts going on, so there should be plenty to do, but there's not much for me to report on.
Here's what I got:
Sunday:
At 4:00, the Choir of St. Mary, St. Catherine of Siena Parish in Charlestown, MA will give a choral concert under the direction of Leonardo Ciampa. This will be at the St. Mary - St. Catherine of Siena Parish, 55 Warren St., Charlestown.
See what I mean? That's all I got! Comment if you know of any other choral concerts, please!
Wednesday, January 28, 2009
Verdi's Otello - still needs men's chorus!
So, one of the many plates I am currently spinning in the air is that of Chorus Master for the Harvard Lowell House Opera's production of Verdi's Otello. Aaaand...we still need men for the chorus. Lots of them. The Lowell House Opera is totally open to the community, and is eager, in fact, to have more community members participate in the production. Details are below - please forward to all the singing men you know!
The Lowell House Opera, the oldest continuously performing opera company in New England, is holding ongoing open CHORUS AUDITIONS for all voice parts for its production of Giuseppe Verdi’s OTELLO in March 2009. The work will be performed in Italian with projected English supertitles, with full costumes and staging, and with full orchestra. The production will include approximately 70 cast members, 120 orchestra members, and 50 technical staff members. Though the Lowell House Opera is based at Harvard University (Cambridge, Massachusetts) and provides valuable opera performance experience to Harvard students, it also includes many students and emerging professionals in the greater Boston area and features professional opera performers from the United States, Canada, and Europe. Channing Yu returns as Music Director and Sarah Eggleston returns as Producer; Anna Fischer makes her LHO debut as Stage Director; Allegra Martin will serve as the Chorus Master. Performances take place in the beautiful Lowell House Dining Hall, which is converted to an opera house for the production run. Rehearsals will take place February 2009. Performances are scheduled for March 4, 6, 7, 8, 11, 13, and 14, 2009. This is an all-volunteer production. No pay/no fee. There is no age limit. For more information, please contact Sarah Eggleston, Producer, at lho@hcs.harvard.edu or 617-620-6077.
The Lowell House Opera, the oldest continuously performing opera company in New England, is holding ongoing open CHORUS AUDITIONS for all voice parts for its production of Giuseppe Verdi’s OTELLO in March 2009. The work will be performed in Italian with projected English supertitles, with full costumes and staging, and with full orchestra. The production will include approximately 70 cast members, 120 orchestra members, and 50 technical staff members. Though the Lowell House Opera is based at Harvard University (Cambridge, Massachusetts) and provides valuable opera performance experience to Harvard students, it also includes many students and emerging professionals in the greater Boston area and features professional opera performers from the United States, Canada, and Europe. Channing Yu returns as Music Director and Sarah Eggleston returns as Producer; Anna Fischer makes her LHO debut as Stage Director; Allegra Martin will serve as the Chorus Master. Performances take place in the beautiful Lowell House Dining Hall, which is converted to an opera house for the production run. Rehearsals will take place February 2009. Performances are scheduled for March 4, 6, 7, 8, 11, 13, and 14, 2009. This is an all-volunteer production. No pay/no fee. There is no age limit. For more information, please contact Sarah Eggleston, Producer, at lho@hcs.harvard.edu or 617-620-6077.
Tuesday, January 27, 2009
Job-hunting: a query
Dear all other conductors in the world,
When you are asked for professional references, who do you list? Often, if you are (for example) the music director at a church, you are the top potato where music is concerned. Who do you cite when you want someone to be able to talk about your conducting skills?
I already somewhat know the answer to this - ask the minister; ask the president of the board of your community choir; ask old professors or if you have been someone's assistant, ask them; but I would like to know what other people have done in the past. A lot of the choirs I've conducted I have founded myself, and they didn't have boards. Or, in one case, a friend who's a composer asked me to conduct a recording session; is it kosher to have close friends give references?
Discuss!
When you are asked for professional references, who do you list? Often, if you are (for example) the music director at a church, you are the top potato where music is concerned. Who do you cite when you want someone to be able to talk about your conducting skills?
I already somewhat know the answer to this - ask the minister; ask the president of the board of your community choir; ask old professors or if you have been someone's assistant, ask them; but I would like to know what other people have done in the past. A lot of the choirs I've conducted I have founded myself, and they didn't have boards. Or, in one case, a friend who's a composer asked me to conduct a recording session; is it kosher to have close friends give references?
Discuss!
Friday, January 23, 2009
Rant
Some of you may have heard of the experiment where Joshua Bell played in a commuter station during rush hour about a year and a half ago. I mentioned it in passing. The experiment was done for an article for the Washington Post, which later won a Pulitzer. And now apparently it is making its way around the internets.
The kicker was that during rush hour, almost no commuters stopped to listen to Bell playing. Although the article explores a number of different directions, the easiest conclusion is one of hand-wringing; oh noes, we are a society unable to appreciate true great art, running around like ants, oh woe for the common masses, unable to be inspired by blah blah blah whatever.
Well, I draw different conclusions.
First of all, and to be fair the article does mention this briefly, I think it shows that context matters. (I commend the mention of Kant in the article. And I never thought I would commend someone's mention of Kant.) In fact, context matters so much that there is no piece of music that is appropriate all the time. Sometimes I love listening to Beethoven; sometimes I just can't take it. Same thing for Josquin. Sometimes I really enjoy Brahms, and sometimes I can't stand Brahms, I really have to go listen to some U2 or Peter Gabriel or Christina Aguilera or Mos Def or Metallica. It all depends.
If it's rush hour, I am not in a place to appreciate some solo Bach violin music. If I try to stand still out of guilt or a sense that I ought to stop and appreciate the art, I will be fidgety, I will be thinking of everything I have to do, I will be wondering how late I'm going to be, and how angry my supervisor might get with me. If I go to the symphony, on the other hand, I've been anticipating it for weeks, I have time to get into the right frame of mind, I know I'm going to set aside some dedicated time for listening, and I will enjoy myself. The same result will not be achieved if someone makes an unprecedented demand on my time early in the morning. And that's OK. It's OK that context matters. It doesn't mean we can't appreciate art. If you have just eaten Thanksgiving dinner, and one of the Iron Chefs knocks on your door and offers you a five-course meal, it's OK to be less enthusiastic than if you only had a small bowl of cereal earlier in the day. We know that with regard to physical activities, our immediate past and the context matters, but it matters just as much with mental or soulful activities. In fact, it's arguable that it means that I value music more highly if I don't think it's appropriate for every time and place, and if I don't consider myself "on call to be appreciative of art" 24-7. It means it's special.
And on the flip side of why context matters, I present you this paper forwarded to me by my brother: "Music as Torture/Music as Weapon." A quick skim of that article should provide ample evidence that context matters a great deal when it comes to music.
The other thing that pisses me off about this article is the classical snobbishness. Nobody would be amazed if some people went by Bob Dylan in the subway. (Well, except that everyone would recognize him.) Same thing with Talib Kweli. It's acceptable to not like folk, or pop, or hip-hop; but if you don't appreciate GREAT CLASSICAL MUSIC then clearly you are a boor, and probably you are not as intelligent as other people and also not as moral and upstanding, and you probably also smell, you member of the unwashed masses, you.
Now, I happen to be a classical musician. I like this music. A lot. I am, in fact, happy devoting 90% of my time to it. And I can be snobbish too. But I'm not really comfortable with that part of myself. And I'm especially uncomfortable with the way that so many people seem to think it's OK to diss other genres of music. Especially country and hip-hop. All genres of music can be done well, and to be done well they require mad skillz. It is not somehow indicative of higher morals to prefer classical music.
Other thoughts from people? (Please leave them on the original blog post and not a feed.) I basically have put off writing this blog post ever since I read the article, because it is so hard to organize my thoughts on this topic. So, I just spewed some out. Stay tuned for a future entry on why Baroque music and country music are so similar.
The kicker was that during rush hour, almost no commuters stopped to listen to Bell playing. Although the article explores a number of different directions, the easiest conclusion is one of hand-wringing; oh noes, we are a society unable to appreciate true great art, running around like ants, oh woe for the common masses, unable to be inspired by blah blah blah whatever.
Well, I draw different conclusions.
First of all, and to be fair the article does mention this briefly, I think it shows that context matters. (I commend the mention of Kant in the article. And I never thought I would commend someone's mention of Kant.) In fact, context matters so much that there is no piece of music that is appropriate all the time. Sometimes I love listening to Beethoven; sometimes I just can't take it. Same thing for Josquin. Sometimes I really enjoy Brahms, and sometimes I can't stand Brahms, I really have to go listen to some U2 or Peter Gabriel or Christina Aguilera or Mos Def or Metallica. It all depends.
If it's rush hour, I am not in a place to appreciate some solo Bach violin music. If I try to stand still out of guilt or a sense that I ought to stop and appreciate the art, I will be fidgety, I will be thinking of everything I have to do, I will be wondering how late I'm going to be, and how angry my supervisor might get with me. If I go to the symphony, on the other hand, I've been anticipating it for weeks, I have time to get into the right frame of mind, I know I'm going to set aside some dedicated time for listening, and I will enjoy myself. The same result will not be achieved if someone makes an unprecedented demand on my time early in the morning. And that's OK. It's OK that context matters. It doesn't mean we can't appreciate art. If you have just eaten Thanksgiving dinner, and one of the Iron Chefs knocks on your door and offers you a five-course meal, it's OK to be less enthusiastic than if you only had a small bowl of cereal earlier in the day. We know that with regard to physical activities, our immediate past and the context matters, but it matters just as much with mental or soulful activities. In fact, it's arguable that it means that I value music more highly if I don't think it's appropriate for every time and place, and if I don't consider myself "on call to be appreciative of art" 24-7. It means it's special.
And on the flip side of why context matters, I present you this paper forwarded to me by my brother: "Music as Torture/Music as Weapon." A quick skim of that article should provide ample evidence that context matters a great deal when it comes to music.
The other thing that pisses me off about this article is the classical snobbishness. Nobody would be amazed if some people went by Bob Dylan in the subway. (Well, except that everyone would recognize him.) Same thing with Talib Kweli. It's acceptable to not like folk, or pop, or hip-hop; but if you don't appreciate GREAT CLASSICAL MUSIC then clearly you are a boor, and probably you are not as intelligent as other people and also not as moral and upstanding, and you probably also smell, you member of the unwashed masses, you.
Now, I happen to be a classical musician. I like this music. A lot. I am, in fact, happy devoting 90% of my time to it. And I can be snobbish too. But I'm not really comfortable with that part of myself. And I'm especially uncomfortable with the way that so many people seem to think it's OK to diss other genres of music. Especially country and hip-hop. All genres of music can be done well, and to be done well they require mad skillz. It is not somehow indicative of higher morals to prefer classical music.
Other thoughts from people? (Please leave them on the original blog post and not a feed.) I basically have put off writing this blog post ever since I read the article, because it is so hard to organize my thoughts on this topic. So, I just spewed some out. Stay tuned for a future entry on why Baroque music and country music are so similar.
Friday cat post!
So my brother has not been so good about providing me up-to-date pictures of his cat. I give you his excuse this week: "Still can't load photos. Oomi peed in the tub so I locked her in the basement and I can hear her smashing things."
I trust even three episodes into our Friday cat posts, you are getting the idea that Oomi is a high holy terror.
Instead, I present you with an Oomi classic from last fall. This great work of internet cat cinema is called "Oomi in a box!" I can't figure out whether I think it's hilarious because I know R, who is the starring human, or if it's just inherently funny. You tell me.
I trust even three episodes into our Friday cat posts, you are getting the idea that Oomi is a high holy terror.
Instead, I present you with an Oomi classic from last fall. This great work of internet cat cinema is called "Oomi in a box!" I can't figure out whether I think it's hilarious because I know R, who is the starring human, or if it's just inherently funny. You tell me.
Thursday, January 22, 2009
Weekend Concert Calendar, 1/22/09
Oh, the weather outside is frightful,
But the choirs are so delightful,
So since we've places to go,
Oh, please don't let it snow!
Luckily, snow is not on the radar (for once) this weekend, so you can enjoy quite a variety of concerts!
Friday:
Exsultemus, directed by Eric Rice, will be performing at 8:00 pm at the First Lutheran Church of Boston, 299 Berkeley Street, Boston. They will be performing sacred music of Tudor England by Tallis, Byrd, Taverner, and Gibbons. Exsultemus is one of Boston's most stellar professional choirs, and if you haven't checked them out yet, you really should. This program will really show them off well. This concert will be repeated on Saturday in Andover and Sunday in Newton.
Handel & Haydn, under the direction of Sir Roger Norrington, will performing at 8:00 pm at Symphony Hall, 301 Mass. Ave, Boston. They will present a concert performance of Haydn's magnificent opera L'anima del filosofo, which is a retelling of the Orfeo and Eurydice story. This concert will be repeated on Sunday.
Saturday:
Convivium Musicum, directed by Michael Barret, will be performing at 7:00 pm at the Cambridge Friends Meeting House, 5 Longfellow Park, Cambridge. They will be singing "Music of Byrd & Tallis from Cantiones Sacrae 1575." One of Anthology's sopranos sings with them, so go check it out! This program will be repeated on Sunday in Newton.
Exsultemus, directed by Eric Rice, will be performing at 7:30 pm at Christ Church Andover, 33 Central Street, Andover. They will be performing sacred music of Tudor England by Tallis, Byrd, Taverner, and Gibbons. Exsultemus is one of Boston's most stellar professional choirs, and if you haven't checked them out yet, you really should. This program will really show them off well. This concert will be repeated Sunday in Newton.
Women Singing OUT!, directed by Claudia Frost, will perform at 7:30 pm at Christ Episcopal Church, 1035 Lafayette Road, Portsmouth, NH. They will be presenting the first of their 10th anniversary concerts, "Broadway or Bust!" a winter spectacular highlighting a century of showtunes. This program will be repeated on Sunday.
This one is not choral, but it is in support of a chorus! The Concord Chorus will present "Broadway and Beyond - Cabaret and Silent Auction." Bidding starts at 7 pm, and the program will start at 8 pm. The entertainment for the evening will be presented by Pamela Enders and Will MacMillan. This will be at 51 Walden St. in Concord.
The Westford Chorus, directed by Daniel Rowntree, will present "A Renaissance Ball" at 8:00 pm at Stony Brook Middle School, 9 Farmer Way (off Rt. 40), Westford.
Sunday:
The Newton Community Chorus, under the direction of Richard Travers, will perform at 2:00 pm at Our Lady of Help Christians Church, 573 Washington St., Newton. They will sing Poulenc's Gloria and Stabat Mater.
Women Singing OUT!, directed by Claudia Frost, will perform at 2:00 pm at Christ Episcopal Church, 1035 Lafayette Road, Portsmouth, NH. They will be presenting the first of their 10th anniversary concerts, "Broadway or Bust!" a winter spectacular highlighting a century of showtunes.
The Seraphim Singers, directed by Jennifer Lester, will perform at 3:00 pm at St. Paul Catholic Church, Corner of Bow and Arrow Streets, Harvard Square, Cambridge. They will present a program called "Distinctly English: Choral Masterworks from the British Isles." The Seraphim Singers are one of the finest amateur choruses in Boston, and regularly tackle incredibly difficult repertoire, so they are worth a listen!
Exsultemus, directed by Eric Rice, will be performing at 3:00 pm at Parish of the Good Shepherd of Waban, 1671 Beacon Street, Newton. They will be performing sacred music of Tudor England by Tallis, Byrd, Taverner, and Gibbons. Exsultemus is one of Boston's most stellar professional choirs, and if you haven't checked them out yet, you really should. This program will really show them off well.
Handel & Haydn, under the direction of Sir Roger Norrington, will performing at 3:00 pm at Symphony Hall, 301 Mass. Ave, Boston. They will present a concert performance of Haydn's magnificent opera L'anima del filosofo, which is a retelling of the Orfeo and Eurydice story.
The Andover Choral Society, under the direction of Allen Coombs, will perform Mendelssohn's Elijah at 3:00 pm at the Rogers Center for the Arts at Merrimack College in North Andover.
Convivium Musicum, directed by Michael Barret, will be performing at 4:00 pm at the Episcopal Parish of the Messiah, 1900 Commonwealth Ave., Newton. They will be singing "Music of Byrd & Tallis from Cantiones Sacrae 1575." One of Anthology's sopranos sings with them, so go check it out!
But the choirs are so delightful,
So since we've places to go,
Oh, please don't let it snow!
Luckily, snow is not on the radar (for once) this weekend, so you can enjoy quite a variety of concerts!
Friday:
Exsultemus, directed by Eric Rice, will be performing at 8:00 pm at the First Lutheran Church of Boston, 299 Berkeley Street, Boston. They will be performing sacred music of Tudor England by Tallis, Byrd, Taverner, and Gibbons. Exsultemus is one of Boston's most stellar professional choirs, and if you haven't checked them out yet, you really should. This program will really show them off well. This concert will be repeated on Saturday in Andover and Sunday in Newton.
Handel & Haydn, under the direction of Sir Roger Norrington, will performing at 8:00 pm at Symphony Hall, 301 Mass. Ave, Boston. They will present a concert performance of Haydn's magnificent opera L'anima del filosofo, which is a retelling of the Orfeo and Eurydice story. This concert will be repeated on Sunday.
Saturday:
Convivium Musicum, directed by Michael Barret, will be performing at 7:00 pm at the Cambridge Friends Meeting House, 5 Longfellow Park, Cambridge. They will be singing "Music of Byrd & Tallis from Cantiones Sacrae 1575." One of Anthology's sopranos sings with them, so go check it out! This program will be repeated on Sunday in Newton.
Exsultemus, directed by Eric Rice, will be performing at 7:30 pm at Christ Church Andover, 33 Central Street, Andover. They will be performing sacred music of Tudor England by Tallis, Byrd, Taverner, and Gibbons. Exsultemus is one of Boston's most stellar professional choirs, and if you haven't checked them out yet, you really should. This program will really show them off well. This concert will be repeated Sunday in Newton.
Women Singing OUT!, directed by Claudia Frost, will perform at 7:30 pm at Christ Episcopal Church, 1035 Lafayette Road, Portsmouth, NH. They will be presenting the first of their 10th anniversary concerts, "Broadway or Bust!" a winter spectacular highlighting a century of showtunes. This program will be repeated on Sunday.
This one is not choral, but it is in support of a chorus! The Concord Chorus will present "Broadway and Beyond - Cabaret and Silent Auction." Bidding starts at 7 pm, and the program will start at 8 pm. The entertainment for the evening will be presented by Pamela Enders and Will MacMillan. This will be at 51 Walden St. in Concord.
The Westford Chorus, directed by Daniel Rowntree, will present "A Renaissance Ball" at 8:00 pm at Stony Brook Middle School, 9 Farmer Way (off Rt. 40), Westford.
The Newton Community Chorus, under the direction of Richard Travers, will perform at 2:00 pm at Our Lady of Help Christians Church, 573 Washington St., Newton. They will sing Poulenc's Gloria and Stabat Mater.
Women Singing OUT!, directed by Claudia Frost, will perform at 2:00 pm at Christ Episcopal Church, 1035 Lafayette Road, Portsmouth, NH. They will be presenting the first of their 10th anniversary concerts, "Broadway or Bust!" a winter spectacular highlighting a century of showtunes.
The Seraphim Singers, directed by Jennifer Lester, will perform at 3:00 pm at St. Paul Catholic Church, Corner of Bow and Arrow Streets, Harvard Square, Cambridge. They will present a program called "Distinctly English: Choral Masterworks from the British Isles." The Seraphim Singers are one of the finest amateur choruses in Boston, and regularly tackle incredibly difficult repertoire, so they are worth a listen!
Exsultemus, directed by Eric Rice, will be performing at 3:00 pm at Parish of the Good Shepherd of Waban, 1671 Beacon Street, Newton. They will be performing sacred music of Tudor England by Tallis, Byrd, Taverner, and Gibbons. Exsultemus is one of Boston's most stellar professional choirs, and if you haven't checked them out yet, you really should. This program will really show them off well.
Handel & Haydn, under the direction of Sir Roger Norrington, will performing at 3:00 pm at Symphony Hall, 301 Mass. Ave, Boston. They will present a concert performance of Haydn's magnificent opera L'anima del filosofo, which is a retelling of the Orfeo and Eurydice story.
The Andover Choral Society, under the direction of Allen Coombs, will perform Mendelssohn's Elijah at 3:00 pm at the Rogers Center for the Arts at Merrimack College in North Andover.
Convivium Musicum, directed by Michael Barret, will be performing at 4:00 pm at the Episcopal Parish of the Messiah, 1900 Commonwealth Ave., Newton. They will be singing "Music of Byrd & Tallis from Cantiones Sacrae 1575." One of Anthology's sopranos sings with them, so go check it out!
Tuesday, January 20, 2009
Friday, January 16, 2009
Friday cat post!
It's Friday! And that means another picture of my brother's cat Oomi (and, in this case, my brother also makes a special guest-starring appearance.)
In most of the pictures of Oomi that I've seen, her expression is remarkably similar to this one. And no, I don't think they feed her that much catnip...
Wednesday, January 14, 2009
Weekend Concert Calendar, 1/15/09
Happy Martin Luther King, Jr.'s birthday to everyone! In honor of MLK, there are a few pretty awesome-looking concerts this weekend (check out the one on Saturday evening at Sander's Theater) as well as some fine choral music that is not related to MLK. It may be January, but it's a strong choral weekend nonetheless.
Friday:
Of course, you already know that the Cantata Singers are performing Friday night - a number of you have free tickets! They will be presenting at all-Britten program. The performance will be at 8 pm at New England Conservatory's Jordan Hall, 30 Gainsborough Street, Boston.
At 8:00 pm, the Lexington Pops Chorus, under the direction of Robert A. Lague, will present their winter concert. The program includes Haydn's Missa Brevis, Britten's Jubilate Deo, and much more. This will be at Hancock Church (on the green), 1912 Mass. Ave, Lexington. This program will be repeated on Saturday evening.
Saturday:
At 2:00 pm, the Stoughton Senior Serenaders, under the direction of Helyn Hall, will perform gospel songs and tributes to Martin Luther King, Jr. and Harriet Tubman. This will be at the Stoughton Public Library, 84 Park St., Stoughton, MA.
At 7:00 pm, Convivium Musicum, under the direction of Michael Barrett, will be presenting a program which will include Byrd's 8-voice canon Diliges Dominum. This will be at Christ Church, 149 Asbury St., Hamilton, MA.
At 7:30 pm, there will be some Joyful Noise at Sanders Theater at Harvard University! The Harlem Gospel Choir, one of the best in the world, will be featured, along with the Cambridge Rindge and Latin High School Vocal Ensemble, led by Musical Director Gene Kelly, and dance by OrigiNation’s NIA Dance Troupe, led by Musau M. Dibinga, with choreography by Shaumba-Yandje Dibinga. State Representative Byron Rushing will serve as Master of Ceremonies. Sanders Theatre is located at 45 Quincy St., Cambridge, MA.
At 8:00 pm, the Lexington Pops Chorus, under the direction of Robert A. Lague, will present their winter concert. The program includes Haydn's Missa Brevis, Britten's Jubilate Deo, and much more. This will be at Hancock Church (on the green), 1912 Mass. Ave, Lexington.
Sunday:
At 4:00 pm, the Seraphim Singers, under the direction of Robert Barney, will present a program of Choral Masterworks from the British Isles. This will be at Saint Stephen's Episcopal Church, 16 Highland Avenue, Cohasset, MA (right across the street from my church!)
At 4:00 pm, Coro Stella Maris will present "Byrd: Gradualia - Courage and Contemplation Under Duress" under the direction of Amelia LeClair. This will be at Grace Episcopal Church, 384 Essex St., Salem, MA.
Monday, January 12, 2009
Cantata Singers ticket giveaway!
Want a pair of free tickets to the Cantata Singers concert this upcoming Friday?
Lachrymae (Roger Tapping, viola)
Five Flower Songs
Phaedra (Janna Baty, mezzo-soprano)
Serenade for Tenor, Horn and Strings (Michael Slattery, tenor; Michael Thompson, horn)
Rejoice in the Lamb (First Boston performance of Imogen Holst’s orchestration)
The performance will be Friday, January 16, 2009 at 8 pm at New England Conservatory's Jordan Hall, 30 Gainsborough Street, Boston.
From their press release:
"Explore five of Britten’s most colorful, searching and mature works, the products of his most fertile years. His passion for the singing voice shines throughout. The Lachrymae for viola solo and string orchestra, based upon John Dowland’s “If my complaints could passion move,” and the delicate Five Flower Songs showcase Britten’s ability to breathe fresh air into a 19th century medium. His emotional Serenade for Tenor, Horn and Strings, composed for Peter Pears and Dennis Brain, is fed by an inspiration unsurpassed in any other of his music, before or after. Phaedra, a solo cantata composed for the great Janet Baker, and Rejoice in the Lamb for chorus, soloists and organ, round out this rich and varied feast by the composer whom the Daily Telegraph called, in Britten’s obituary, “the truly towering talent of his age.”"
The Cantata Singers contacted me last week, and asked if I would like to host a free ticket giveaway on my blog. To which I of course said yes! So, here is the deal: I have five pairs of free tickets, and they will go to the first five commenters on this post! Leave your full name in the comment, and I will give your name to the Cantata Singers' ticket manager; your tickets will be waiting for you at will-call.
This year the Cantata Singers are concentrating on Britten - there is Britten on every concert, and on Friday, the entire concert will be Britten. They will be performing:
Five Flower Songs
Phaedra (Janna Baty, mezzo-soprano)
Serenade for Tenor, Horn and Strings (Michael Slattery, tenor; Michael Thompson, horn)
Rejoice in the Lamb (First Boston performance of Imogen Holst’s orchestration)
From their press release:
"Explore five of Britten’s most colorful, searching and mature works, the products of his most fertile years. His passion for the singing voice shines throughout. The Lachrymae for viola solo and string orchestra, based upon John Dowland’s “If my complaints could passion move,” and the delicate Five Flower Songs showcase Britten’s ability to breathe fresh air into a 19th century medium. His emotional Serenade for Tenor, Horn and Strings, composed for Peter Pears and Dennis Brain, is fed by an inspiration unsurpassed in any other of his music, before or after. Phaedra, a solo cantata composed for the great Janet Baker, and Rejoice in the Lamb for chorus, soloists and organ, round out this rich and varied feast by the composer whom the Daily Telegraph called, in Britten’s obituary, “the truly towering talent of his age.”"
From me:
Britten is my favorite 20th-century composer. The Cantata Singers are, by any reckoning, in the very top tier of the multitude of choruses in our fair city. And you could hear them for free! Just be one of the first five commenters!
Friday, January 09, 2009
Friday cat post!
So, it is a new year, and like everyone else, I have been thinking about New Year's Resolutions. It's difficult for me to make resolutions, because it always feels like there are three times in the year that qualify as the beginning of the year, not just one: January 1, my birthday in March, and the beginning of the academic year in September. I tend to reevaluate my professional goals in the summer, before September, because musicians are basically on an academic yearly schedule. But I am nevertheless going to make some resolutions now, in January. One is to practice voice five times a week (because my voice teacher is getting annoyed with me.) And I also have some resolutions regarding this blog. I want to make a definite effort to interview a conductor once a month (instead of once every two months, as happened last fall.) And I also want to institute a couple of new features.
Oomi says, "Basement Cat is underneath ur tree, stealin' ur presents."
In particular, I have done some thinking, and I have concluded that there is a very important lack on this blog. There is one common thread that connects great blogs everywhere ranging from Ill Doctrine to Shakesville to PeaceBang. And that is...cute pictures of cats!
Now, sadly, I don't have a cute cat of my own, but my brother does! So every Friday, he has agreed to let me post a picture of his cute cat on my blog. His cat is less than a year old, and is a very rambunctious youngster named Oomi. She likes hiding in bags, and tearing around the house like a crazy thing, and I'm sure we will learn more about her personality as this series progresses.
Oomi says, "Basement Cat is underneath ur tree, stealin' ur presents."Thursday, January 08, 2009
Weekend Concert Calendar, 1/8/09
Happy New Year! There are distinctly fewer concerts in January, since everyone is still recovering from the December holiday music season, but there is still some very good stuff going on this week, although your options are a bit scant.
First of all, I myself am singing with Cappella Clausura on Sunday at 2 pm at Forsyth Chapel (in the Forest Hills Cemetary). This will be a repeat of our October concert, where we presented a contrasting set of motets and madrigals by the same Renaissance composer. Our January concert at Forsyth Chapel tends to fill up, so if you would like to come (and I hope you will!) then don't be late!
Friday:
At 7:30, the Mizero Children of Rwanda stop by the Arlington Regent Theater on their "Forgiveness Tour." The Boston Globe Calendar says, "These young cultural and peace ambassadors take audiences on a journey into the lives of the Rwandan people through music, dance, costumes and drumming." (Click on the link, there's a nifty picture.) The Regent Theater in Arlington is located at 7 Medford St., Arlington.
If you want to go a bit afield, Mermaid Music productions is putting on Amahl and the Night Visitors. This will be on Friday at 8 pm at the Adams Memorial Opera House, 29 West Broadway, Derry, NH, and Sunday at 4 pm at Ste. Marie's Parish, 378 Notre Dame Ave, Manchester, NH.
Saturday:
I got nuthin'. Stay home and bake some cookies. When was the last time you did that, anyways?
Sunday:
At 2:00 pm, Cappella Clausura presents "Before and After the Veil: Works by Aleotti" under the direction of Amelia LeClair. This will be at Forsyth Chapel, 95 Forest Hills Ave, Jamaica Plain.
At 3:00 pm, the Nashoba Valley Chorale will present Beethoven's Mass in C, Brahms' Schicksalslied, and several works by Schutz under the direction of Anne Watson Born. This will be at the Congregational Church of Littleton, 330 King St., Littleton.
Monday, January 05, 2009
Monday link
Happy new year to all!
Today's link comes courtesy of friend CH. I give you...
The Faerie's Aire and Death Waltz, words and music by John Stump, arr. by Accident
(You have to look really closely at the score to appreciate it. "Insert peanuts!" "Add bicycle!" "Like a Dirigible!")
Tuesday, December 23, 2008
Obit.
A little over a week ago, Sharon Lee Kelley passed away. I sang with her in Cappella Clausura, and she has also sung with the Tanglewood Festival Chorus, Handel & Haydn, the New World Chorale and Chorus pro Musica at various times, just to name a few. She was a total delight as a colleague - sarcastic, witty, funny, and also kind and twinkly, and also incredibly knowledgeable and a great musician. It has been tough to really come to terms with, not only because this season is so demanding but also because a beloved member of my church choir suffered a bad fall, and is in the hospital in "critical but stable" condiction, and I am incredibly anxious about her. But I know that at the next Cappella Clausura rehearsal I go to, it will probably hit me quite hard. RIP to a great Boston musician.
Saturday, December 20, 2008
Caroling mob
Just a quick note to say that the fifth annual Boston Merry Christmas Caroling Mob is Sunday (probably today, depending on when you are reading this) from 4-6 pm starting at the Stony Brook stop on the Orange line. The group's director, Joel Sindelar, is interviewed in this article from the Globe about Christmas caroling. So if you are not coming to Cappella Clausura's Cohasset concert (which you should, if just for the alliteration) then you might want to check it out!
Friday, December 19, 2008
Calling all singer-martial-artists!
Below is a portion of an e-mail I got recently from Juventas, a new music group in Boston. The crazy-awesome portion is highlighted.
Juventas New Music Ensemble seeks singers in all voice parts for a double-bill of world premiere chamber operas by young composers Matthew Vest and Erin Huelskamp. Performances will be May 7-10 in Boston, MA. Scheduled auditions will be held on January 10 and 11 from 1-6pm at the Boston Conservatory. Callbacks will be held Monday, January 12 from 6-10pm.
The Hourglass by Matthew Vest: The Holocaust as relayed through one man’s fateful letter. Score includes aleotoric and spatial elements, and overlays both sung and spoken text. Production to include multi-media elements.
A new Kung Fu Opera by Erin Huelskamp: Based on a traditional Chinese folk story and inspired by classic Kung movies. Roles will include fight scenes! (Callbacks will have a movement portion.)
I have never really seriously considered trying to be an opera singer - there are other kinds of singing that I think my voice is better suited to - but man, if anything was going to tempt me to go for it, this sure would! Who knew that ten years of taekwondo could ever intersect with my musical career?
No, no, I mustn't! Repeating to self: You are already over-committed. You are already over-committed. You are already over-committed.
Juventas New Music Ensemble seeks singers in all voice parts for a double-bill of world premiere chamber operas by young composers Matthew Vest and Erin Huelskamp. Performances will be May 7-10 in Boston, MA. Scheduled auditions will be held on January 10 and 11 from 1-6pm at the Boston Conservatory. Callbacks will be held Monday, January 12 from 6-10pm.
The Hourglass by Matthew Vest: The Holocaust as relayed through one man’s fateful letter. Score includes aleotoric and spatial elements, and overlays both sung and spoken text. Production to include multi-media elements.
A new Kung Fu Opera by Erin Huelskamp: Based on a traditional Chinese folk story and inspired by classic Kung movies. Roles will include fight scenes! (Callbacks will have a movement portion.)
No, no, I mustn't! Repeating to self: You are already over-committed. You are already over-committed. You are already over-committed.
Update to Weekend Concert Calendar
It is a fairly safe bet that any concert tonight is cancelled.
Not that you need someone to tell you this, I know. You, Gentle Reader, are absolutely possessed of enough common sense to call and check with the group's manager or what-have-you before you would dream of tramping out to a concert tonight. This PSA is for all those other readers. You know, those people. Not you. Absolutely not.
Stay snug, everyone!
Not that you need someone to tell you this, I know. You, Gentle Reader, are absolutely possessed of enough common sense to call and check with the group's manager or what-have-you before you would dream of tramping out to a concert tonight. This PSA is for all those other readers. You know, those people. Not you. Absolutely not.
Stay snug, everyone!
Weekend Concert Calendar, 12/18/08
[Note: So, I started this entry in the afternoon, and then I went to choir practice off in Cohasset, and I just got home and it's bloody-o'clock, so I'm not going to finish. That means this is a sadly incomplete list of what's going on this weekend; I apologize! Around Christmas time these Thursday entries take hours.]
Aaand...the Christmas choral season continues!
Spotlight this weekend is on Cappella Clausura, which will be performing near you no matter where you live. There is a great article about them today in the Boston Globe. They will be presenting "Gloria: A Christmas Pagaent" complete with dancers from Creationdance, costumes, and giant puppets, in Newton on Friday; in Bedford on Saturday afternoon; in Marblehead on Saturday evening; and in Cohasset on Sunday afternoon. The Sunday afternoon performance in Cohasset is at my church, so of course I am especially invested in gathering a big crowd for them. Details are below under the respective dates, and can also be found here.
Friday:
At 7:30 pm, the Wakefield First Parish Congregational Church presents their annual Messiah sing. This will be at 1 Church St, Wakefield, MA. More information is here.
At 8:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at the First Unitarian Society in Newton. This will be at 1326 Washington St, West Newton. More information is here.
At 8:00 pm, Chorus pro Musica, under the direction of guest conductor Betsy Burleigh, will present Benjamin Britten’s Ceremony of Carols together with Conrad Susa’s Carols and Lullabies: Christmas in the Southwest. This will be at Old South Church, 645 Boylston St, Copley Sq., Boston.
At 8:00 pm, Masterworks Chorale presents their annual Messiah Sings under the direction of Steven Karidoyanes. This will be at Cary Hall, 1605 Mass. Avenue, Lexington, MA. More information is here. This will be repeated on Saturday.
At 8:00 pm, Musicians of the Old Post Road present "Christmas in Baroque Europe." This will be at Emmanuel Church, 15 Newbury Street, Boston. This concert will be repeated on Saturday in Worcester.
At 8:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston. This concert will be repeated on Saturday and Sunday.
At 8:00 pm, the Boston Boy Choir will present Britten's Ceremony of Carols, along with music by Biery, Marier, Rutter, and Victoria. This will be at St. Paul Church, Bow and Arrow Streets, Cambridge. This concert will be repeated on Sunday at 3:00 pm.
Saturday:
At 2:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at First Parish in Bedford. This will be at 75 The Great Road, Bedford, On the Common. More information is here.
At 8:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at St. Andrew's Church in Marblehead. This will be at 135 Lafayette St, Marblehead, MA. More information is here.
At 8:00 pm, Blue Heron will present "A French and Franco-Flemish Christmas, 1200/1500." This will be at First Church in Cambridge, 11 Garden Street, Cambridge.
At 8:00 pm, the Back Bay Chorale, under the direction of Scott Allen Jarrett, will present "An 18th-Century Christmas." This will be at Faneuil Hall, 1 Faneuil Hall Market Pl., Boston.
At 8:00 pm, Masterworks Chorale presents their annual Messiah Sings under the direction of Steven Karidoyanes. This will be at Cary Hall, 1605 Mass. Avenue, Lexington, MA. More information is here.
At 8:00 pm, Musicians of the Old Post Road present "Christmas in Baroque Europe." This will be at Trinity Lutheran Church, 73 Lancaster Street, Worcester.
At 8:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston. This concert will be repeated on Sunday.
Sunday:
At 1:30 pm, the Friends of the Performing Arts in Concord (FOPAC) present a Messiah sing under the direction of Alan Yost. This will be at 51 Walden, Concord, MA. More information is here.
At 3:00 pm, the Handel and Haydn Society, under the direction of John Finney, present a festive program of Bach's Christmas music. The concert will include Cantata 191, "Gloria in excelsis Deo"; Cantata 151, "Süßer Trost, mein Jesus kömmt"; and the Magnificat. This will be at NEC's Jordan Hall, 30 Gainsborough Street, Boston.
At 3:00 pm, the Back Bay Chorale, under the direction of Scott Allen Jarrett, will present "An 18th-Century Christmas." This will be at Marsh Chapel, 733 Commonwealth Ave., Boston.
At 3:00 pm, the Boston Boy Choir will present Britten's Ceremony of Carols, along with music by Biery, Marier, Rutter, and Victoria. This will be at St. Paul Church, Bow and Arrow Streets, Cambridge.
At 3:00 pm, the Nashoba Valley Chorale presents its first annual Messiah Sing under the direction of Anne Watson Born. This will be at the Congregational Church of Littleton, MA, 330 King St, Littleton, MA. More information is here.
At 4:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at First Parish Cohasset. This will be at 23 North Main St, Cohasset. More information is here.
At 5:00 pm, the Harvard Unitarian Church (that's Harvard, MA the town, not the university) will host its 43rd annual Messiah sing under the direction of Ted Johnson. This will be at the Harvard Unitarian Universalist Church, on the common of Harvard, MA. More information and directions are here.
At 7:30 pm, there will be a Belmont Open Sings read-through of Messiah (parts 1, 2, and bits of 3) under the direction of Mary Beekman. This will be at the Payson Park Church, 365 Belmont Street, Belmont, MA. More information is here.
At 8:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston.
Aaand...the Christmas choral season continues!
Spotlight this weekend is on Cappella Clausura, which will be performing near you no matter where you live. There is a great article about them today in the Boston Globe. They will be presenting "Gloria: A Christmas Pagaent" complete with dancers from Creationdance, costumes, and giant puppets, in Newton on Friday; in Bedford on Saturday afternoon; in Marblehead on Saturday evening; and in Cohasset on Sunday afternoon. The Sunday afternoon performance in Cohasset is at my church, so of course I am especially invested in gathering a big crowd for them. Details are below under the respective dates, and can also be found here.
Friday:
At 7:30 pm, the Wakefield First Parish Congregational Church presents their annual Messiah sing. This will be at 1 Church St, Wakefield, MA. More information is here.
At 8:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at the First Unitarian Society in Newton. This will be at 1326 Washington St, West Newton. More information is here.
At 8:00 pm, Chorus pro Musica, under the direction of guest conductor Betsy Burleigh, will present Benjamin Britten’s Ceremony of Carols together with Conrad Susa’s Carols and Lullabies: Christmas in the Southwest. This will be at Old South Church, 645 Boylston St, Copley Sq., Boston.
At 8:00 pm, Masterworks Chorale presents their annual Messiah Sings under the direction of Steven Karidoyanes. This will be at Cary Hall, 1605 Mass. Avenue, Lexington, MA. More information is here. This will be repeated on Saturday.
At 8:00 pm, Musicians of the Old Post Road present "Christmas in Baroque Europe." This will be at Emmanuel Church, 15 Newbury Street, Boston. This concert will be repeated on Saturday in Worcester.
At 8:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston. This concert will be repeated on Saturday and Sunday.
At 8:00 pm, the Boston Boy Choir will present Britten's Ceremony of Carols, along with music by Biery, Marier, Rutter, and Victoria. This will be at St. Paul Church, Bow and Arrow Streets, Cambridge. This concert will be repeated on Sunday at 3:00 pm.
Saturday:
At 2:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at First Parish in Bedford. This will be at 75 The Great Road, Bedford, On the Common. More information is here.
At 8:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at St. Andrew's Church in Marblehead. This will be at 135 Lafayette St, Marblehead, MA. More information is here.
At 8:00 pm, Blue Heron will present "A French and Franco-Flemish Christmas, 1200/1500." This will be at First Church in Cambridge, 11 Garden Street, Cambridge.
At 8:00 pm, the Back Bay Chorale, under the direction of Scott Allen Jarrett, will present "An 18th-Century Christmas." This will be at Faneuil Hall, 1 Faneuil Hall Market Pl., Boston.
At 8:00 pm, Masterworks Chorale presents their annual Messiah Sings under the direction of Steven Karidoyanes. This will be at Cary Hall, 1605 Mass. Avenue, Lexington, MA. More information is here.
At 8:00 pm, Musicians of the Old Post Road present "Christmas in Baroque Europe." This will be at Trinity Lutheran Church, 73 Lancaster Street, Worcester.
At 8:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston. This concert will be repeated on Sunday.
Sunday:
At 1:30 pm, the Friends of the Performing Arts in Concord (FOPAC) present a Messiah sing under the direction of Alan Yost. This will be at 51 Walden, Concord, MA. More information is here.
At 3:00 pm, the Handel and Haydn Society, under the direction of John Finney, present a festive program of Bach's Christmas music. The concert will include Cantata 191, "Gloria in excelsis Deo"; Cantata 151, "Süßer Trost, mein Jesus kömmt"; and the Magnificat. This will be at NEC's Jordan Hall, 30 Gainsborough Street, Boston.
At 3:00 pm, the Back Bay Chorale, under the direction of Scott Allen Jarrett, will present "An 18th-Century Christmas." This will be at Marsh Chapel, 733 Commonwealth Ave., Boston.
At 3:00 pm, the Boston Boy Choir will present Britten's Ceremony of Carols, along with music by Biery, Marier, Rutter, and Victoria. This will be at St. Paul Church, Bow and Arrow Streets, Cambridge.
At 3:00 pm, the Nashoba Valley Chorale presents its first annual Messiah Sing under the direction of Anne Watson Born. This will be at the Congregational Church of Littleton, MA, 330 King St, Littleton, MA. More information is here.
At 4:00 pm, Cappella Clausura will present "Gloria: A Christmas Pagaent" at First Parish Cohasset. This will be at 23 North Main St, Cohasset. More information is here.
At 5:00 pm, the Harvard Unitarian Church (that's Harvard, MA the town, not the university) will host its 43rd annual Messiah sing under the direction of Ted Johnson. This will be at the Harvard Unitarian Universalist Church, on the common of Harvard, MA. More information and directions are here.
At 7:30 pm, there will be a Belmont Open Sings read-through of Messiah (parts 1, 2, and bits of 3) under the direction of Mary Beekman. This will be at the Payson Park Church, 365 Belmont Street, Belmont, MA. More information is here.
At 8:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston.
Monday, December 15, 2008
Monday links
It's funny video week! Have a funny video!
The Weather Report, set to Anglican Chant. Hat tip to Osbert.
Have another funny video! I really wish I could see more clearly what the nun on the end is doing.
Nuns Hallelujah Chorus. Hat tip to MH, one of my two church accompanists.
The Weather Report, set to Anglican Chant. Hat tip to Osbert.
Have another funny video! I really wish I could see more clearly what the nun on the end is doing.
Nuns Hallelujah Chorus. Hat tip to MH, one of my two church accompanists.
Thursday, December 11, 2008
Weekend Concert Calendar, 12/11/08
So, I apologize for falling down on the job for the past few weeks; sadly, I missed telling you about some good concerts last week. But never fear, it's December, so there are always more!
First off, Anthology is presenting our second (and final) Christmas concert Friday! That's probably today, depending on when you are reading this. We will be concentrating on Christmas music of America, although there will also be the occasional side trip to England, France and Spain for some familiar beloved carols, and some new gems. With Christmas music ranging from early American shape-note tunes to George Gershwin, from medieval chant to jazz standards, we will have all the variety you could wish for. 8:00 pm, Dec. 12, 2008 at Third Life Studios, 33 Union Square, Somerville, MA (in the heart of Union Square.) Really. That's the address. I promise. Admission will be $15 for adults and $5 for children.
Aaaand...here's what the rest of our fair choral city will be up to! EVERYONE is singing this weekend. It's quite a list, so the entries will be a bit more brisk than usual - click on any group's name to learn more about their program.
Friday:
At 8:00 pm, Anthology will present a FANTASTIC Christmas concert! 8:00 pm, Dec. 12, 2008 at Third Life Studios, 33 Union Square, Somerville, MA (in the heart of Union Square.) Please come!
At 8:00 pm, the Boston Cecilia and Exsultemus will present a joint Christmas concert called "Christmas in England: Ancient & Modern." This will be at the Church of the Advent, 30
Brimmer St., Boston (in the heart of Beacon Hill.) They will be repeating this concert on Sunday.
At 7:30 pm, Boston Baroque will perform Handel's Messiah. At NEC's Jordan Hall, 30 Gainsborough St., Boston, MA. They will be repeating this performance on Saturday.
At 7:30 pm, the Reading Community Singers will present their holiday concert. At Old South Methodist Church, 6 Salem St., Reading, MA. They will be repeating this concert Saturday afternoon.
At 8:00 pm, the Boston Conservatory will present an evening of new chamber music. Featured works will be by faculty member Rudolf Rojahn and Igor Iwanek. Among the works will be a world premiere of a piece for women's vocal ensemble. At Seully Hall, The Boston Conservatory, 8 The Fenway, Boston.
At 8:00 pm, Chorus North Shore will present a Christmas concert, including Bach's Magnificat. At St Richard’s Church, 90 Forest St., Danvers, MA. They will be repeating this concert on Saturday.
At 8:00 pm, the Boston Camerata will present "The Brotherhood of the Star: A Hispanic Christmas 1300-1700." At Follen Church, 755 Massachusetts Ave, Lexington. They will be repeating this concert on Saturday and Sunday.
At 8:00 pm, Stämbandet will be performing the music of Christmas and the Winter Solstice in Scandinavia. At The Westford Museum, 2-4 Boston Road, Westford, MA. They will be repeating this concert on Sunday.
Saturday:
At 10:30 am and also at 2:00 pm, the Boston Children's Chorus will join the Back Bay Ringers for a free holiday concert in Faneuil Hall, Boston. Fanueil Hall is at...well, come on people. You know where Fanueil Hall is. Just get off the T at Government Center.
At 2:00 pm, the Reading Community Singers will present their holiday concert. At Old South Methodist Church, 6 Salem St., Reading, MA.
At 3:00 pm, the Cambridge Community Chorus will present their holiday concert. At Kresge Auditorium, MIT, 84 Massachusetts Ave, Cambridge, MA.
At 4:00 pm and also at 8:00 pm, the Concord Chorus will present a holiday concert titled "Et incarnatus est." This will be at the Middlesex School Memorial Chapel, 1400 Lowell Rd, Concord, MA.
At 7:30 pm, Boston Baroque will perform Handel's Messiah. At NEC's Jordan Hall, 30 Gainsborough St., Boston, MA.
At 8:00 pm, the Cambridge Chamber Singers will present "A Time for Peace: Music and Poetry of the Season." This will be at Lindsey Chapel in Emmanuel Church, 15 Newbury St., Boston. They will be repeating this concert on Sunday.
At 8:00 pm, the Halalisa Singers will present "Raisins and Honey: Sweet Songs of Celebration." This will be at First Parish Lexington, 7 Harrington Rd, Lexington (right on the town green.) They will be repeating this concert on Sunday.
At 8:00 pm, Musica Sacra will present "A Boy is Born! The Christmas Story told in the Choral Music of Europe." Among other pieces, you will hear Schönberg's "Friede auf Erden" and Arvo Pärt's "Magnificat." This will be at First Church Congregational, 11 Garden St., Cambridge. And if you go, I will see you there!
At 8:00 pm, the Unicorn Singers and the Broad Cove Chorale will present "O Wondrous Night: The Nativity in Word and Song." This will be at the House of Prayer in Hingham, which I think is at 916 Main St, Hingham, MA. This concert will be repeated on Sunday at my church in Cohasset! These concerts benefit the Wellspring Multiservice Center in Hull.
At 8:00 pm, the Newburyport Choral Society & Orchestra will present selections from Rossini's Petite Messe Solennelle, along with music of the season. At the Belleville Congregational Church, 300 High St, Newburyport, MA.
At 8:00 pm, the Boston Camerata will present "The Brotherhood of the Star: A Hispanic Christmas 1300-1700." At First Church in Boston, 66 Marlborough St, Boston. They will be repeating this concert on Sunday.
At 8:00 pm, the Oriana Consort will present “Miracles of Winter: Choral music for Advent, Christmas, and Hanukkah.” Youth Pro Musica will also be featured on this concert. At First Lutheran Church, 299 Berkeley Street, Boston.
At 8:00 pm, Chorus North Shore will present a Christmas concert, including Bach's Magnificat. At Our Lady of Hope Church, Linebrook Rd., Ipswich, MA.
At 8:00 pm, In Choro Novo will present "Celestial Celebration." At Marsh Chapel at Boston University, 735 Commonwealth Ave., Boston.
Sunday:
At 3:00 pm, the Boston Cecilia and Exsultemus will present a joint Christmas concert called "Christmas in England: Ancient & Modern." This will be at All Saints Parish, 1773 Beacon St., Brookline. Two fantastic groups on one concert!
At 1:00 pm, the Arlington Street Church will host its second annual Carol Sing! At the Hunnewell Chapel, 351 Boyleston St, Boston.
At 2:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston, MA.
At 2:30 pm, the Midcoast Symphony of Maine presents a Messiah sing-along. This will be at Orion Performing Arts Center, 66 Republic Ave., Topsham, ME. More information is here.
At 2:30 pm, the Newburyport Choral Society & Orchestra will present selections from Rossini's Petite Messe Solennelle, along with music of the season. At the Belleville Congregational Church, 300 High St, Newburyport, MA.
At 3:00 pm, the Halalisa Singers will present "Raisins and Honey: Sweet Songs of Celebration." This will be at First Parish Sudbury, 327 Concord Rd, Sudbury, MA.
At 3:00 pm, the Boston Boy Choir and St. Paul Men's Schola will present Britten's Ceremony of Carols. At 29 Mount Auburn St., Cambridge, MA.
At 3:00 pm, the Trinity Church Choirs will present Handel's Messiah. At Trinity Church in Copley Square, 206 Clarendon St., Boston, MA.
At 3:00 pm, the Highland Glee Club will present a winter concert featuring various seasonal music. At the War Memorial Auditorium, Newton City Hall, 1000 Commonwealth Avenue, Newton.
At 3:00 pm, the Boston Camerata will present "The Brotherhood of the Star: A Hispanic Christmas 1300-1700." At First Church in Boston, 66 Marlborough St, Boston.
At 3:00 pm, the Paul Madore Chorale will present a holiday concert, joined by the choirs of Regis College and St. Anne Church. At St. Anne Church, 290 Jefferson Ave., Salem, MA.
At 3:00 pm, the Memorial Congregational Church of Sudbury presents its 35th annual Messiah Sing under the direction of Dr. Marjorie Ness. This will be at the Memorial Congregational Church, 26 Concord Rd, Sudbury, MA. More information is here.
At 3:00 pm, the Arlington-Belmont Chorale and Arlington Philharmonic Orchestra will present Handel's Messiah. At First Parish Arlington, 630 Mass Ave., Arlington, MA.
At 3:30 pm, the Assabet Valley Mastersingers present their annual Messiah sing under the direction of Dr. Robert Eaton. This will be at the Evangelical Congregational Church of Westborough, 8 Church St, Westborough, MA. More information is here.
At 4:00 pm, the student choirs at Solomon Schechter Day School will be “Celebrating Miracles” when they perform at a special concert with the Zamir Chorale of Boston. At the Solomon Schechter Day School, 125 Wells Ave, Newton, MA.
At 4:00 pm, Stämbandet will be performing the music of Christmas and the Winter Solstice in Scandinavia. At Emmanuel Lutheran Church, 24 Berwick Street, Norwood, MA.
At 4:00 pm, the Unicorn Singers and the Broad Cove Chorale will present "O Wondrous Night: The Nativity in Word and Song." This will be at First Parish Cohasset, 23 North Main St., Cohasset, MA. This concert, as well as their concert the night before, will benefit the Wellspring Multiservice Center in Hull.
At 4:00 pm, the Master Singers of Lexington will present a Mozart concert to celebrate the chorus's 40th anniversary season. This will be at First Parish Lexington, 7 Harrington Rd, Lexington (right on the town green.)
At 4:00 pm, the Braintree Choral Society will present their holiday concert, featuring selections from Mendelssohn's Saint Paul. At the Thayer Academy Performing Arts Center, 745 Washington St., Braintree, MA.
At 5:00 pm, the choirs of Old North Church will present Part I of Handel's Messiah. At Old North Church, 193 Salem St., Boston, MA.
At 7:00 pm, the Cambridge Chamber Singers will present "A Time for Peace: Music and Poetry of the Season." At St. John's Episcopal Church,74 Pleasant St., Arlington, MA.
At 7:00 pm, the Congregational Church of West Medford presents a Messiah sing-along. This will be at the Congregational Church of West Medford, UCC, 400 High St. (Rte. 60), Medford, MA. More information is here; the church's website is here.
At 7:30 pm, the Quincy Choral Society will present "Music for a Festive Season." At Sacred Heart Church, Hancock Street, N. Quincy, MA.
First off, Anthology is presenting our second (and final) Christmas concert Friday! That's probably today, depending on when you are reading this. We will be concentrating on Christmas music of America, although there will also be the occasional side trip to England, France and Spain for some familiar beloved carols, and some new gems. With Christmas music ranging from early American shape-note tunes to George Gershwin, from medieval chant to jazz standards, we will have all the variety you could wish for. 8:00 pm, Dec. 12, 2008 at Third Life Studios, 33 Union Square, Somerville, MA (in the heart of Union Square.) Really. That's the address. I promise. Admission will be $15 for adults and $5 for children.
Aaaand...here's what the rest of our fair choral city will be up to! EVERYONE is singing this weekend. It's quite a list, so the entries will be a bit more brisk than usual - click on any group's name to learn more about their program.
Friday:
At 8:00 pm, Anthology will present a FANTASTIC Christmas concert! 8:00 pm, Dec. 12, 2008 at Third Life Studios, 33 Union Square, Somerville, MA (in the heart of Union Square.) Please come!
At 8:00 pm, the Boston Cecilia and Exsultemus will present a joint Christmas concert called "Christmas in England: Ancient & Modern." This will be at the Church of the Advent, 30
Brimmer St., Boston (in the heart of Beacon Hill.) They will be repeating this concert on Sunday.
At 7:30 pm, Boston Baroque will perform Handel's Messiah. At NEC's Jordan Hall, 30 Gainsborough St., Boston, MA. They will be repeating this performance on Saturday.
At 7:30 pm, the Quincy Choral Society will present "Music for a Festive Season." At Sacred Heart Church, Hancock Street, N. Quincy, MA. They will be repeating this concert on Sunday.
At 7:30 pm, the Reading Community Singers will present their holiday concert. At Old South Methodist Church, 6 Salem St., Reading, MA. They will be repeating this concert Saturday afternoon.
At 8:00 pm, the Boston Conservatory will present an evening of new chamber music. Featured works will be by faculty member Rudolf Rojahn and Igor Iwanek. Among the works will be a world premiere of a piece for women's vocal ensemble. At Seully Hall, The Boston Conservatory, 8 The Fenway, Boston.
At 8:00 pm, Chorus North Shore will present a Christmas concert, including Bach's Magnificat. At St Richard’s Church, 90 Forest St., Danvers, MA. They will be repeating this concert on Saturday.
At 8:00 pm, the Boston Camerata will present "The Brotherhood of the Star: A Hispanic Christmas 1300-1700." At Follen Church, 755 Massachusetts Ave, Lexington. They will be repeating this concert on Saturday and Sunday.
At 8:00 pm, Stämbandet will be performing the music of Christmas and the Winter Solstice in Scandinavia. At The Westford Museum, 2-4 Boston Road, Westford, MA. They will be repeating this concert on Sunday.
Saturday:
At 10:30 am and also at 2:00 pm, the Boston Children's Chorus will join the Back Bay Ringers for a free holiday concert in Faneuil Hall, Boston. Fanueil Hall is at...well, come on people. You know where Fanueil Hall is. Just get off the T at Government Center.
At 2:00 pm, the Reading Community Singers will present their holiday concert. At Old South Methodist Church, 6 Salem St., Reading, MA.
At 3:00 pm, the Cambridge Community Chorus will present their holiday concert. At Kresge Auditorium, MIT, 84 Massachusetts Ave, Cambridge, MA.
At 4:00 pm and also at 8:00 pm, the Concord Chorus will present a holiday concert titled "Et incarnatus est." This will be at the Middlesex School Memorial Chapel, 1400 Lowell Rd, Concord, MA.
At 7:30 pm, Boston Baroque will perform Handel's Messiah. At NEC's Jordan Hall, 30 Gainsborough St., Boston, MA.
At 8:00 pm, the Cambridge Chamber Singers will present "A Time for Peace: Music and Poetry of the Season." This will be at Lindsey Chapel in Emmanuel Church, 15 Newbury St., Boston. They will be repeating this concert on Sunday.
At 8:00 pm, the Halalisa Singers will present "Raisins and Honey: Sweet Songs of Celebration." This will be at First Parish Lexington, 7 Harrington Rd, Lexington (right on the town green.) They will be repeating this concert on Sunday.
At 8:00 pm, Musica Sacra will present "A Boy is Born! The Christmas Story told in the Choral Music of Europe." Among other pieces, you will hear Schönberg's "Friede auf Erden" and Arvo Pärt's "Magnificat." This will be at First Church Congregational, 11 Garden St., Cambridge. And if you go, I will see you there!
At 8:00 pm, the Unicorn Singers and the Broad Cove Chorale will present "O Wondrous Night: The Nativity in Word and Song." This will be at the House of Prayer in Hingham, which I think is at 916 Main St, Hingham, MA. This concert will be repeated on Sunday at my church in Cohasset! These concerts benefit the Wellspring Multiservice Center in Hull.
At 8:00 pm, the Newburyport Choral Society & Orchestra will present selections from Rossini's Petite Messe Solennelle, along with music of the season. At the Belleville Congregational Church, 300 High St, Newburyport, MA.
At 8:00 pm, the Boston Camerata will present "The Brotherhood of the Star: A Hispanic Christmas 1300-1700." At First Church in Boston, 66 Marlborough St, Boston. They will be repeating this concert on Sunday.
At 8:00 pm, the Oriana Consort will present “Miracles of Winter: Choral music for Advent, Christmas, and Hanukkah.” Youth Pro Musica will also be featured on this concert. At First Lutheran Church, 299 Berkeley Street, Boston.
At 8:00 pm, Chorus North Shore will present a Christmas concert, including Bach's Magnificat. At Our Lady of Hope Church, Linebrook Rd., Ipswich, MA.
At 8:00 pm, In Choro Novo will present "Celestial Celebration." At Marsh Chapel at Boston University, 735 Commonwealth Ave., Boston.
Sunday:
At 3:00 pm, the Boston Cecilia and Exsultemus will present a joint Christmas concert called "Christmas in England: Ancient & Modern." This will be at All Saints Parish, 1773 Beacon St., Brookline. Two fantastic groups on one concert!
At 1:00 pm, the Arlington Street Church will host its second annual Carol Sing! At the Hunnewell Chapel, 351 Boyleston St, Boston.
At 2:00 pm, the Boston Gay Men's Chorus will present "Stars: A Holiday Celebration." At NEC's Jordan Hall, 30 Gainsborough St., Boston, MA.
At 2:30 pm, the Midcoast Symphony of Maine presents a Messiah sing-along. This will be at Orion Performing Arts Center, 66 Republic Ave., Topsham, ME. More information is here.
At 2:30 pm, the Newburyport Choral Society & Orchestra will present selections from Rossini's Petite Messe Solennelle, along with music of the season. At the Belleville Congregational Church, 300 High St, Newburyport, MA.
At 3:00 pm, the Halalisa Singers will present "Raisins and Honey: Sweet Songs of Celebration." This will be at First Parish Sudbury, 327 Concord Rd, Sudbury, MA.
At 3:00 pm, the Boston Boy Choir and St. Paul Men's Schola will present Britten's Ceremony of Carols. At 29 Mount Auburn St., Cambridge, MA.
At 3:00 pm, the Trinity Church Choirs will present Handel's Messiah. At Trinity Church in Copley Square, 206 Clarendon St., Boston, MA.
At 3:00 pm, the Highland Glee Club will present a winter concert featuring various seasonal music. At the War Memorial Auditorium, Newton City Hall, 1000 Commonwealth Avenue, Newton.
At 3:00 pm, the Boston Camerata will present "The Brotherhood of the Star: A Hispanic Christmas 1300-1700." At First Church in Boston, 66 Marlborough St, Boston.
At 3:00 pm, the Paul Madore Chorale will present a holiday concert, joined by the choirs of Regis College and St. Anne Church. At St. Anne Church, 290 Jefferson Ave., Salem, MA.
At 3:00 pm, the Memorial Congregational Church of Sudbury presents its 35th annual Messiah Sing under the direction of Dr. Marjorie Ness. This will be at the Memorial Congregational Church, 26 Concord Rd, Sudbury, MA. More information is here.
At 3:00 pm, the Arlington-Belmont Chorale and Arlington Philharmonic Orchestra will present Handel's Messiah. At First Parish Arlington, 630 Mass Ave., Arlington, MA.
At 3:30 pm, the Assabet Valley Mastersingers present their annual Messiah sing under the direction of Dr. Robert Eaton. This will be at the Evangelical Congregational Church of Westborough, 8 Church St, Westborough, MA. More information is here.
At 4:00 pm, the student choirs at Solomon Schechter Day School will be “Celebrating Miracles” when they perform at a special concert with the Zamir Chorale of Boston. At the Solomon Schechter Day School, 125 Wells Ave, Newton, MA.
At 4:00 pm, Stämbandet will be performing the music of Christmas and the Winter Solstice in Scandinavia. At Emmanuel Lutheran Church, 24 Berwick Street, Norwood, MA.
At 4:00 pm, the Unicorn Singers and the Broad Cove Chorale will present "O Wondrous Night: The Nativity in Word and Song." This will be at First Parish Cohasset, 23 North Main St., Cohasset, MA. This concert, as well as their concert the night before, will benefit the Wellspring Multiservice Center in Hull.
At 4:00 pm, the Master Singers of Lexington will present a Mozart concert to celebrate the chorus's 40th anniversary season. This will be at First Parish Lexington, 7 Harrington Rd, Lexington (right on the town green.)
At 4:00 pm, the Braintree Choral Society will present their holiday concert, featuring selections from Mendelssohn's Saint Paul. At the Thayer Academy Performing Arts Center, 745 Washington St., Braintree, MA.
At 5:00 pm, the choirs of Old North Church will present Part I of Handel's Messiah. At Old North Church, 193 Salem St., Boston, MA.
At 7:00 pm, the Cambridge Chamber Singers will present "A Time for Peace: Music and Poetry of the Season." At St. John's Episcopal Church,74 Pleasant St., Arlington, MA.
At 7:00 pm, the Congregational Church of West Medford presents a Messiah sing-along. This will be at the Congregational Church of West Medford, UCC, 400 High St. (Rte. 60), Medford, MA. More information is here; the church's website is here.
At 7:30 pm, the Quincy Choral Society will present "Music for a Festive Season." At Sacred Heart Church, Hancock Street, N. Quincy, MA.
And finally (phew! is anybody still reading this?) on Monday, the Arlington-Belmont Chamber Chorus will present "A Not-Quite-Winter Concert" at 8:00 pm. At Payson Park Congregational, 365 Belmont St., Belmont, MA.
Wednesday, December 10, 2008
Messiah sings!
Here it is, the annual list of Messiah sings in the Boston area! Please leave information about any others in the comments, and as I find out about others, I will add them to the post.
Thursday, December 11 at 8:00 pm (that's either tomorrow or today, depending on when you read this), Harvard's Dunster House presents their 37th annual Messiah sing-along featuring the Mozart Society Orchestra. This will be at Dunster House Dining Hall, 8 Cowperthwaite Street, Cambridge, MA. Admission is free, and scores are provided! For more information, email dmusic@hcs.harvard.edu.
Sunday, December 14 at 2:30 pm, the Midcoast Symphony of Maine presents a Messiah sing-along. This will be at Orion Performing Arts Center, 66 Republic Ave., Topsham, ME. More information is here.
Sunday, December 14 at 3:00 pm, the Memorial Congregational Church of Sudbury presents its 35th annual Messiah Sing under the direction of Dr. Marjorie Ness. This will be at the Memorial Congregational Church, 26 Concord Rd, Sudbury, MA. More information is here.
Sunday, December 14 at 3:30 pm, the Assabet Valley Mastersingers present their annual Messiah sing under the direction of Dr. Robert Eaton. This will be at the Evangelical Congregational Church of Westborough, 8 Church St, Westborough, MA. More information is here.
Sunday, December 14 at 7:00 pm, the Congregational Church of West Medford presents a Messiah sing-along. This will be at the Congregational Church of West Medford, UCC, 400 High St. (Rte. 60), Medford, MA. More information is here; the church's website is here.
Wednesday, December 17 from 12:15 pm to 1:15 pm, the Cathedral Church of St. Paul will hold its annual Messiah Sing-Along at the Cathedral under the direction of Edward Broms. This will be at the Cathedral Church of St. Paul, 138 Tremont Street, Boston, MA. More information is here.
Friday, December 19 at 7:30 pm, the Wakefield First Parish Congregational Church presents their annual Messiah sing. This will be at 1 Church St, Wakefield, MA. More information is here.
Friday, December 19 and Saturday, December 20 at 8:00 pm, Masterworks Chorale presents their annual Messiah Sings under the direction of Steven Karidoyanes. This will be at Cary Hall, 1605 Mass. Avenue, Lexington, MA. More information is here.
Sunday, December 21 at 1:30 pm, the Friends of the Performing Arts in Concord (FOPAC) present a Messiah sing under the direction of Alan Yost. This will be at 51 Walden, Concord, MA. More information is here.
Sunday, December 21 at 3:00 pm, the Nashoba Valley Chorale presents its first annual Messiah Sing under the direction of Anne Watson Born. This will be at the Congregational Church of Littleton, MA, 330 King St, Littleton, MA. More information is here.
Sunday, December 21 at 5:00 pm, the Harvard Unitarian Church (that's Harvard, MA the town, not the university) will host its 43rd annual Messiah sing under the direction of Ted Johnson. This will be at the Harvard Unitarian Universalist Church, on the common of Harvard, MA. More information and directions are here.
Sunday, December 21 at 7:30 pm, there will be a Belmont Open Sings read-through of Messiah (parts 1, 2, and bits of 3) under the direction of Mary Beekman. This will be at the Payson Park Church, 365 Belmont Street, Belmont, MA. More information is here.
And if you just want to hear the Messiah, many groups will oblige you, the most respected of which include Boston Baroque and the Handel & Haydn Society.
Thursday, December 11 at 8:00 pm (that's either tomorrow or today, depending on when you read this), Harvard's Dunster House presents their 37th annual Messiah sing-along featuring the Mozart Society Orchestra. This will be at Dunster House Dining Hall, 8 Cowperthwaite Street, Cambridge, MA. Admission is free, and scores are provided! For more information, email dmusic@hcs.harvard.edu.
Sunday, December 14 at 2:30 pm, the Midcoast Symphony of Maine presents a Messiah sing-along. This will be at Orion Performing Arts Center, 66 Republic Ave., Topsham, ME. More information is here.
Sunday, December 14 at 3:00 pm, the Memorial Congregational Church of Sudbury presents its 35th annual Messiah Sing under the direction of Dr. Marjorie Ness. This will be at the Memorial Congregational Church, 26 Concord Rd, Sudbury, MA. More information is here.
Sunday, December 14 at 3:30 pm, the Assabet Valley Mastersingers present their annual Messiah sing under the direction of Dr. Robert Eaton. This will be at the Evangelical Congregational Church of Westborough, 8 Church St, Westborough, MA. More information is here.
Sunday, December 14 at 7:00 pm, the Congregational Church of West Medford presents a Messiah sing-along. This will be at the Congregational Church of West Medford, UCC, 400 High St. (Rte. 60), Medford, MA. More information is here; the church's website is here.
Wednesday, December 17 from 12:15 pm to 1:15 pm, the Cathedral Church of St. Paul will hold its annual Messiah Sing-Along at the Cathedral under the direction of Edward Broms. This will be at the Cathedral Church of St. Paul, 138 Tremont Street, Boston, MA. More information is here.
Friday, December 19 at 7:30 pm, the Wakefield First Parish Congregational Church presents their annual Messiah sing. This will be at 1 Church St, Wakefield, MA. More information is here.
Friday, December 19 and Saturday, December 20 at 8:00 pm, Masterworks Chorale presents their annual Messiah Sings under the direction of Steven Karidoyanes. This will be at Cary Hall, 1605 Mass. Avenue, Lexington, MA. More information is here.
Sunday, December 21 at 1:30 pm, the Friends of the Performing Arts in Concord (FOPAC) present a Messiah sing under the direction of Alan Yost. This will be at 51 Walden, Concord, MA. More information is here.
Sunday, December 21 at 3:00 pm, the Nashoba Valley Chorale presents its first annual Messiah Sing under the direction of Anne Watson Born. This will be at the Congregational Church of Littleton, MA, 330 King St, Littleton, MA. More information is here.
Sunday, December 21 at 5:00 pm, the Harvard Unitarian Church (that's Harvard, MA the town, not the university) will host its 43rd annual Messiah sing under the direction of Ted Johnson. This will be at the Harvard Unitarian Universalist Church, on the common of Harvard, MA. More information and directions are here.
Sunday, December 21 at 7:30 pm, there will be a Belmont Open Sings read-through of Messiah (parts 1, 2, and bits of 3) under the direction of Mary Beekman. This will be at the Payson Park Church, 365 Belmont Street, Belmont, MA. More information is here.
And if you just want to hear the Messiah, many groups will oblige you, the most respected of which include Boston Baroque and the Handel & Haydn Society.
Monday, December 08, 2008
Monday links
Jeremy Eichler of the Boston Globe has some thoughts on "the missing maestro" of the BSO (which I mentioned previously.) He is more charitable than myself.
Also, have two funny videos!
The Muppets do Carmen.
Prop 8, The Musical! This is priceless. You must watch. And it has tons of awesome super-famous actors in it! Margaret Cho! Alison Janney! Jack Black! And my favorite, Neil Patrick Harris as "A Very Smart Fellow"!
Also, have two funny videos!
The Muppets do Carmen.
Prop 8, The Musical! This is priceless. You must watch. And it has tons of awesome super-famous actors in it! Margaret Cho! Alison Janney! Jack Black! And my favorite, Neil Patrick Harris as "A Very Smart Fellow"!
Thursday, December 04, 2008
Weekend Concert Calendar, 12/4/08
There is so much good music going on this weekend, but I am suffering from a nasty cold, and am unfortunately feeling a bit too wan to tell you about all of it. Instead, you can click here.
However, there is one EXTREMELY important concert coming up tomorrow, Friday, that you definitely must go see...and that is my quartet Anthology! Here are the details:
This Friday Anthology is presenting our first ever Christmas concert! We will be concentrating on Christmas music of America, although there will also be the occasional side trip to England, France and Spain for some familiar beloved carols, and some new gems. With Christmas music ranging from early American shape-note tunes to George Gershwin, from medieval chant to jazz standards, you won't want to miss this concert! This concert will be at 8:00 pm on Friday, Dec. 5, 2008 at First Church in Cambridge, 11 Garden St., Cambridge, MA (in the heart of Harvard Square). Admission will be $15 for adults and $5 for children.
However, there is one EXTREMELY important concert coming up tomorrow, Friday, that you definitely must go see...and that is my quartet Anthology! Here are the details:
This Friday Anthology is presenting our first ever Christmas concert! We will be concentrating on Christmas music of America, although there will also be the occasional side trip to England, France and Spain for some familiar beloved carols, and some new gems. With Christmas music ranging from early American shape-note tunes to George Gershwin, from medieval chant to jazz standards, you won't want to miss this concert! This concert will be at 8:00 pm on Friday, Dec. 5, 2008 at First Church in Cambridge, 11 Garden St., Cambridge, MA (in the heart of Harvard Square). Admission will be $15 for adults and $5 for children.
Monday, December 01, 2008
Monday links
First of all, Anthology is performing TONIGHT at the Arlington Street Church as part of a benefit for World AIDS Day. There's a small note about it in the Boston Globe here.
We will be singing the world premiere of Heaven's Birds: Lament and Song, a new cantata by Steven Serpa written for our group and for this concert. Award-winning poet Jeffery Beam has collaborated with Serpa on the text for this cantata, expressing both words of loss and words of comfort. Also on the program is the Boston premiere of Translucence, a mesmerizing song cycle by British composer Donna McKevitt. This song cycle was hailed by The Times of London as "a new work of unpretentious honesty that captures the mood of the moment." Tickets are $20, and can be purchased at the door. All proceeds from this performance will benefit the AIDS Action Committee. The Arlington Street Church is located at 351 Boylston St, Boston, MA.
In other news, This American Life had a great show a week ago about Music Lessons! I only heard the David Sedaris segment, but it was pretty funny.
We will be singing the world premiere of Heaven's Birds: Lament and Song, a new cantata by Steven Serpa written for our group and for this concert. Award-winning poet Jeffery Beam has collaborated with Serpa on the text for this cantata, expressing both words of loss and words of comfort. Also on the program is the Boston premiere of Translucence, a mesmerizing song cycle by British composer Donna McKevitt. This song cycle was hailed by The Times of London as "a new work of unpretentious honesty that captures the mood of the moment." Tickets are $20, and can be purchased at the door. All proceeds from this performance will benefit the AIDS Action Committee. The Arlington Street Church is located at 351 Boylston St, Boston, MA.
In other news, This American Life had a great show a week ago about Music Lessons! I only heard the David Sedaris segment, but it was pretty funny.
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