Faure's Requiem

Way back on April 5, CPG 'n me appeared with ASU Choral Union (and the ASU symphony) (and the Barrett  College Choir) in a performance of Gabriel Faure's Requiem.

For obvious reason, the Requiem liturgy is a great source for composers, and we have benefited from participating in several:  Brahms; Verdi (here and here); and Durufle.

My thoughts on the work are in the emails copied below.  I like Faure's stuff in general.  I very much like this particular work.

We appreciated an extra-fine turnout of our fans, including Patrick (visiting for the weekend primarily for his mother's birthday but showing up for the concert as well), Nicole (who arranged things so she would get back from a CA business trip on time); PJr; Tom & Kim; Ray; MB, Thomas and Amy; and #1 fan PJ.  Made our way over to La Bocca afterward for a nice after-gathering.

Did not arrange photos or videos (my bad); though PJ did snag a few minutes at the outset of the concert before her phone's battery expired (movement 1 plus a snippet of movement 2, below).  You might (unlikely, I know) think it's not worth watching (or at least listening to) because CPG 'n me are pretty much unfindable; that would be a mistake.

Another most fine evening.

From: Paul Gales
Sent: Thursday, April 04, 2013 11:24 PM
Subject: RE: Faure's requiem

Back from tonight’s rehearsal with the orchestra – very encouraging, this will be quite beautiful. 

Specifics I’d listen for in the seven movements (a more general overview is in the email below):

1. Introit and Kyrie – opening theme – you will hear this reappear late in movement 5.  After the first few lines, Faure starts featuring individual sections of the chorus – you will notice this right away, he continues this approach pretty much throughout.  Starts with tenor/baritone section.

2. Offertory – CPG pretty much identified right away that this is probably the most interesting movement.  You’ll notice that Faure starts here with two lines – the alto section, and the tenor/baritone section – they criss-cross occasionally, quite beautiful (and a cappella for awhile).  Baritone soloist joins.  The last section – with full chorus – a favorite part.

3. Sanctus – this and movement five are the most beautiful of all, I think (though it’s not an easy call).  Here, listen for the sopranos and the tenor/baritone sections passing the melody line back and forth, with a beautiful, simple accompaniment pattern from the orchestra running below.  I find this delightful.

4. Pie Jesu – performed entirely by soprano soloist – and it’s just wonderful – you may recognize the melody as it’s performed separately from the Requiem in soprano recitals (and I think some movie soundtracks).  Pie Jesu (sweet/blessed Jesus) . . . dona eis requiem sempiternem (grant them eternal rest).  “Of all these [Pie Jesu settings], by far the best known is the Pie Jesu from Fauré's Requiem; Camille Saint-Saëns said of it, "just as Mozart's is the only Ave verum corpus, this is the only Pie Jesu".”  Can’t disagree.  (Even better, the student soloist is actually pretty good.) 

5. Agnus Dei – if you only remember one thing to listen for:  please remember to pay attention to the orchestral lead-in to movement five – then listen how Faure reworks it underneath another beautiful melody line in the chorus (again featuring tenor/baritone section).  Probably my favorite movement, if I had to pick just one.  The movement ends with a short reprise of the opening theme from movement one, then a reprise of that wondrous orchestral lead-in.

6. Libera Me – baritone soloist does first part – then full chorus – this is the closest Faure comes to a fire/brimstone feel (and it’s not very close at all).

7. In Paradisum - chances are you will recognize this melody (if for no other reason than it’s used in soundtracks such as 28 Days Later (yes, the recent apocalyptic movie) and The Thin Red Line.   If I do enter a heaven anything like what was taught in 1960s grade school, I only hope that the music of the angels will sound like this.  Mostly led by the soprano section.  Quiet, hopeful finish; consistent with the old liturgy, where this was more part of the burial than the funeral mass.  Chorus angelorum te suscipiat (choirs of angels sing you to your rest); et cum Lazaro quondam paupere aeternam habeas requiem (with Lazarus, once a poor man, may you have eternal rest).  Etc.  Wow.

Still working out our after-get-together but we plan to find something right in Tempe.  Much looking forward to this one.

From: Paul Gales 

Sent: Saturday, March 30, 2013 6:11 PM
Subject: Faure's requiem

Reminder that CPG ‘n me are appearing in a performance of Gabriel Faure’s Requiem at Gammage Auditorium on Friday, April 5 at 7:30p (free admission on this one).

The major composers seem to love working with the “Requiem” concept – many of you have already heard us do versions by Durufle, Verdi, and Brahms.  Faure’s is quite different – beautiful; lighter; ethereal almost; belle époque French; he doesn’t go for the fire and brimstone approach; often showcasing exposed lines from individual sections of the orchestra and the chorus.  Also quite compact, coming in at 40 minutes or less for the seven movements.

It’s quite wonderful, actually.

Let us know if you can attend; we’ll happily buy a round after, likely somewhere right in Tempe. . .

Ein deutsches Requiem (Johannes Brahms, composed 1865-68) (our performance April 20, 2012)

As mentioned in previous post, Chris and I (with ASU Choral Union) were part of a performance of Brahms' German Requiem on April 20, 2012.  The music was delightful, and we much appreciated the nice turn-out.

before performance; CPG and I are patiently waiting for soloists and conductor to take the stage . . .

I had sent around some thoughts on the work via email on the morning of the concert; have copied the email below (at bottom of this post) since it stands as a useful description of things from my perspective.

I have this image of a devout Brahms studying his Bible nightly and coming up with a very personal requiem - based on Scriptural passages that he selected, rather than the traditional liturgical text.



Movement five sticks with me the most (of the seven movements).  The interplay among soloist, orchestra, choir - extraordinary, I think.  PJr took some good video clips, here's most of movement five.  I like how it builds to the passages from around 3:10 - 4:15, that was fun to be in.  Per email copied below, I liked the lyrics (einen seine Mutter . . . )  

From movement V (please don't share any of the youtube links, they are privately posted . . .):



Movement two - part of this evokes graveyard procession - here's the build-up to the fourth time the main theme comes around (chorus enters around 1:15 after the build, tympani leading in) - I liked this portion -



Movement six - as mentioned in email below, this ends with a compelling, rather upbeat fugue - though one needs to listen to the earlier part of the movement for context - in the clip below, the fugue starts at around 5:34 - I like how each of the four voice parts expresses the theme in order; then I really like how the orchestra sound takes on a "shimmer" (for want of a better description) at 6:10 as the bass section of the chorus repeats the theme, that sounded really wonderful from our vantage point (the "shimmer" effect appears again at around 7:00).  From movement six:



Movement seven - I wrote a lot about this in the email because I think it's such a delight.  The "selig sind" theme brings the seven movements around full circle, just a fine finish.  (The opening theme that I mention in the email below isn't included in this clip, though you can hear the tenors bring it back at 3:35.)  Here's most of movement seven:




After the performance:  tried a new (by us) place on Mill Ave - "Canteen" - we thought it might be nice because commonly owned with La Boca.  We (Ray & Linda, MB, Amy, CPG, PJr, PJ & me; and Bob S.) were able to sit outside on the patio on a gorgeous evening.  Other than the music getting a bit loud for conversation, the place worked very well for our purposes.  And even the "loud" issue was a good sign - we had been warned that the place became more of a dance club later in the evening but our group had settled in, and was still in place much later than anticipated.  Nice finish to the evening.

Click here for a portion of movement three.

Click here for a portion of movement four.  
_____________________________________________________________

From: Paul Gales
Sent: Friday, April 20, 2012 9:43 AM
Subject: tonight's German Requiem

Hi folks –

CPG ‘n me had our final rehearsal with the orchestra last evening – absolutely delightful.  I’m as excited for this one as anything we’ve performed.  And grateful to have knowledgeable listeners that make the effort to show up.

If you’re interested, below are some thoughts that might (emphasis on “might”) be useful as you listen to the performance.  

In any event, let’s plan to spend a bit of time together after the performance.  We’ll be happy to treat to a round of drinks (and bites if anyone is hungry) – at a restaurant (if we can figure out something that works for a group on a Friday eve), or we can sit and sip around the fire table in our backyard on what should be a lovely evening.  Details to come.

Paul 

-------------------  
 

Things I suggest listening for:

• As far as “requiems” go – this is the opposite of the Verdi.  Verdi was fire and brimstone.  This is sorrowful, meditative, hopeful, ultimately confident.
• Seven movements.  Conceived as an integrated arc – movements 1 and 7 have similarities, as do movements 2 and 6, as do 3 and 5.
• This effect is most readily heard in movements 1 and 7 – you’ll hear “selig sind . . .” in both of these – “blessed are those who mourn for they shall be comforted”.  Very similar feel between the two.
• Movement 2 – the beginning section evokes a funeral procession, to the graveyard or whatever.  The timpani drives this along, it sounds great with live orchestra.
• Movement 4 stands on its own – closest to God – the main melody has been used as a hymn, so may sound familiar - “how lovely is thy dwelling place”.  Brahms’ original version for full orchestra and chorus is a delight.  Written in 3/4, sometimes feels waltz-ish. 
• Movement 5 – soprano soloist – it may be hard to focus on anything other than the soloist’s melody because it’s so wondrous, I would say “achingly so” in some segments.  But I really like the way Brahms has the orchestra and chorus working their lines underneath the soprano soloist, so listen for this.  When we sing “einen seine Mutter . . .” in complement to the soloist, it just sounds cool – translates to something about “his Mother will comfort . . . “
• Among other charms, movement 6 has a great fugue for its final few minutes – you won’t be able to miss when the alto section starts it off – “Herr du bist wurdig . . .”  - something about “Lord you are worthy to receive glory and honor”.  This is fun to sing as the various parts come in and out of the fugue’s main theme.  Very clear, great finish.
• And what I really like is saved for last – at the end of the fugue that completes movement 6 – it really seems like the entire work would just be over.  But not with Brahms – he adds movement 7 – it leads off with a wondrous soprano line (which the bass/baritone immediately repeat).  (And yes, the words are “selig sind . . . “ just like in movement 1.)  Listen for this soprano line, it’s a perfect way to set off the fugue that just ended movement 6, it brings back the meditative mood.  (And it’s really neat when the line comes back in a tenor section “solo” a few minutes later.)  Movement 7 is a joy – very much “romantic” era feel, just a great finish as it hearkens back to movement 1, but with more.

OK, I got a little over-excited and wrote more than I planned.   Oh well.  Another good strategy would be to ignore all of the above and just listen.

Paul M. Gales

pgales@phoenixlawgroup.com | www.phoenixlawgroup.com

(602) 325-3207 direct | (480) 444-1270 fax

8765 E. Bell Road, Suite 110 | Scottsdale, AZ 85260

April concerts (35 years apart)

Choral Union was part of a performance of Ein deutsches Requiem on Friday, April 20 at Gammage Auditorium.

It is a truly delightful work; we had a great turnout; we had a nice after-event on Mill Avenue; PJr took a break from finals prep and has photos and video; I'll post more on this event once I have access to those materials.

On a tangentially-related note:  Dave Kollar and I performed in a different sort of concert 35 years ago during our junior year at Notre Dame - a piano recital.  I'm trying to write up more of these events from the "old days;" I also am slowly figuring out how to retrieve, and then post, old audio clips (which is more complicated than working with video clips).  (Generally, these "old days" discussions will be found by clicking "PMG look-back" in the box to the right that's headed "My other websites.")

Click anywhere in this sentence to access the details for the 1977 concert.  It was a fine event in its own right.

Choral Union - Mozart performance

ASU Choral Union performed Mozart's "Coronation Mass" at Gammage on December 4.

Mozart wrote this Mass at age 23; it was first performed in 1779.  Not at a coronation, however - I understand it doesn't really have any connection to a coronation but somehow picked up the nickname.

We had the opportunity to perform this three times (one described here) - quite unusual for our group.  That allowed us to be a little better polished than normal, which was nice. Got to know the work well enough where had the luxury to sit back while performing and notice, or feel, the lines moving around between the soloists, the orchestra and the various voice parts within the choir.  So that was fun, if ill-advised from a performance standpoint.




While listening, I kept noticing how much I liked the segment that appears at 1:20 - 1:27 in the video clip.  I think it's really effective - this is the soloists at work - the tenor moves into a minor-sounding mode, then the soprano takes it right back to major-sounding.  This segment recurs in the Agnus Dei.  Lots of nice segments throughout, however.

We have just the snippet of video posted here, as our intrepid videographer (thanks, PJ) seemed to have been interrupted in her task.  Oh well.

I agree that the movie screen on the right side of the picture looks odd, or at least oddly-placed - though I guess it was helpful to the audience that text was projected there.

Similar to my usual reaction:  extremely nice to be able to do a Mozart work like this, with a couple of one's children, wife in audience as always - a fine, fine thing.

Four-page program from 11/21/11 performance follows:

CU 11 21 11

Christmas music . . . it's that time of year . . .

I think this medley is useful if one is looking for that Christmas "spirit" - it's from ASU Choral Union 2007 holiday concert (some photos here).  I like it, especially the "Lo, How a Rose" segment.  

But it's all quite nice, and a good way to get into the season.

Choral Union (year seven)

CPG, PJr and I are in year seven of Choral Union (well, year five for PJr).  Either way, it starts to sound like a long time.

This year's first concert is Sunday, October 30.


I like our program:  Mozart's Coronation Mass; Monteverdi; Gabrieli; di Lasso; even the "I was glad" piece (Hubert Parry) used as processional at the latest royal wedding.

Plus, PJ has arranged a nice after-party.  It will be a fun day.  (Even though our #2 loyal fan is stuck over in Santa Monica.)

Choral Union spring 2011

CPG 'n me finished year six in ASU Choral Union. More of a mixture of performance opportunities this spring than in most prior semesters. So that was nice.

April 29 - combined choirs - we did three songs on our own and then "Make our Garden Grow" from Candide with the combined choirs . . . cell phone video of this last number here (courtesy PJr) (be patient, the music starts at about 0:24). Nice crowd, live space, good. PJ and MB also attended, we had a bite at Village Tavern after. The concert was fun. We typically are involved with bigger works - which is certainly my preference - but it was a nice change of pace to do these pieces.



April 20 - CU had a bit role in a concert with the ASU Sinfonietta - themed "The Art of War" - we did the choral part of the 1812 Overture. Interesting concept - student art works in the lobby, martial arts demonstrations, ROTC presence, music all themed to war. It was fun to be onstage for the overture.

April 8 - we performed "Belshazzar's Feast" (combined ASU choirs). The work (described here) is mostly built around the story line from the Book of Daniel that involves the "handwriting on the wall" . . . which appeared as Belshazzar et al profaned the cups Nebuchadnezzar had heisted from the temple. Rembrandt's version here was on the cover of our music.

This was a bit of a challenge to learn, let's say. Barb, Dan, Emily, Allison visited our March 22nd rehearsal when in town for NMG-POC wedding . . . probably were thinking we'd never pull off the performance. But it did come together reasonably well, was very much fun to perform, I hope to have another opportunity in some future year.

2010 holiday concert notes (ASU Choral Union) (December 3, 4 and 5, 2010)

A few more notes about the holiday concert we (ASU Choral Union) performed with the Phoenix Symphony Orchestra . . .

1. It definitely was a pops concert. Lots of variety: traditional, solemn, and playful carols; a sing-along; soprano soloist; dancers; youth choir; a humorous duet performed by the conductor and the soprano soloist.

2. The conductor was very effective at communicating with the audience, keeping the pace moving along, etc. All of this resulted in a very engaged audience, which was nice.

3. Some local dance company had put together dance performance items for several of the songs. Including a Nativity scene during one of the Enigma variations, plus some basic leg kicks etc. during a more upbeat portion. This worked (some trepidation at the rehearsal).

4. It was nice to have the opportunity to do a program more than once. Needless to say, the performance can improve with repetition.

5. Performances were Friday evening; Saturday afternoon; Saturday evening; Sunday afternoon. This gave us the opportunity to explore some downtown places. Went to Majerle's after the Saturday afternoon performance (Winterhook = good); also had dinner at Pasta Bar before the evening performance. Went to Hanny's for dinner on Sunday - but since it didn't open until 5, we ended up filling the time by having a drink at some other place down the street. This all was quite fun.

6. We appreciated that Laurel and Virgil (visiting AZ from IA per their typical winter pattern) made the trip downtown for the Sunday afternoon concert. We had a nice chat outside Symphony Hall (per photo).

7. Though all of this is incredibly nice, in the end it's about the music. For me in recent years, it feels like the Christmas season doesn't launch until the holiday concert rehearsal with the orchestra. Then I'm ready to go.

Snapshot (ASU Choral Union, Christmas 2010)

I will post a bit more about this year's Christmas performance - which was a very fine experience - in the near future. Something new (for CPG and me, but not for Choral Union): we performed with the Phoenix Symphony Orchestra. (As much as we like working with the ASU orchestra and look forward to doing it in the future - yes, there is a difference with professionals.) (Plus we hit four different downtown restaurants or bars in the space of 25 hours between, before or after (but never during) performances, so that also was fun.)

There were lots of great moments throughout. For tonight I'm wondering: how much of the particular snapshot described below can I retain in memory? (And for how long?)

The first half of the concert included the enduring "Alleluia" from Mozart's "Exultate, jubilate" (there are tons of versions on Youtube, here's a link to a Joan Sutherland version). Everybody knows the song, perhaps to the point of treating it (most incorrectly) as a cliche; the piece is included on a gazillion Christmas albums.

The setting:

• Far enough into the concert so that the audience is fully engaged, looking forward to next item
• Conductor briefly introduces the song and the soloist, turns to the symphony
• Applause as soloist enters
• Soprano soloist = young, talented, beautiful
• Lights are dimming
• The opening bars as played by PSO - so familiar, yet so very different when heard live via professional orchestra
  
• While the applause continues and then starts to fade as the audience settles in
  

Here I am well into my sixth decade; with enough (but, realistically, only just enough) musical ability to be in a choir like this; yet privileged at this moment to sit up on stage and in an instant, absorb the presence of the PSO, the conductor, the soloist, Mozart's 18th century work, a 21st century Christmas concert setting, recollections of Christmas concert performances with the NDGC 30+ years ago, recollections of Christmas caroling on the EJ Gales hill farm or with Clara Bormann's little troupe 40+ years ago, the presence of wife/son/friends/IA visitors in the audience, with one son to my immediate left, lights dimming, applause fading and . . . then the Mozart wondrous-ness just takes off . . .

Not entirely sure why that particular snapshot struck me - our chorus wasn't even involved in this particular piece. But wow.

Perhaps this kind of thing becomes old hat for persons who are in high-level performances all the time; I doubt it, but don't know. I'm certainly not worried that the thrill will ever wear out for me.

Choral Union/Lauridsen (April 19, 2010)

ASU Choral Union (featuring, so to speak, CPG and me) performed back in April, and I'm very belatedly getting around to posting a clip.

Our major work was Morton Lauridsen's Lux Aeterna. Five movements, delightful. I'm a big fan of his stuff, starting with O Magnum Mysterium.

About three minutes below, taken from near the end of the fifth movement.

I sang with Chanticleer . . .

. . . as part of 100+ singers doing a workshop-type event on November 8. Who would ever have thought I would have this opportunity?

It was a unique and memorable event. PJ and MB showed up for the Chanticleer workshop portion (including the performance), which was much appreciated.



I'm posting the video off PJ's phone for the Ave Maria, even though the audio portion is just awful (though how amazing is it that we can capture any video at all off a mobile phone?) It does trigger memories for me, which is what this is all about anyway. I'm grateful she captured it.

This was a pretty unique event. We began with sessions with Charles Bruffy and Brook Larson, all of which was quite fine.

Chanticleer then showed up (they were performing in Wickenburg in a couple days). These guys can just sing. A few elements of interest (at least to me):

1. They talked about how the Ave Maria became one of their signature numbers - became known in the US in the late 70s.

2. They talked about meeting the composer (Franz Biebl, who wrote the piece in 1964) in Berlin - this was recounted by the choir member with by the far most experience, a bass who had been with the group 20+ years. (We had seen him at NAU with the Chaparral folks in ~2000.) A nice story.

3. The musical director was a pretty talented guy; he talked about how the 20th century seemed to need its own Ave Maria, and that the composer was perhaps a transcriber for something coming from outside himself. Nothing hip about those comments, which perhaps is why they struck home.

4. When we got around to singing the Biebl I had to pause during the first run-through. Evocative, to say the least. I first ran into the song at the ND Glee Club reunion in 2000; they had adopted the song sometime after my graduation. (By coincidence, the NDGC reunion was this same weekend and those guys no doubt were singing this same song.)

The WSJ had another article in the past week or so where the author discussed how various folks try to describe in words how/why music works. It was somehow reassuring to see how these attempts don't (and can't, I would say) succeed.

We (Choral Union) had a concert

We performed on Sunday, November 1 at Chaparral Christian Church. I ended up liking the program a lot.

There were three Anton Bruckner compositions. PJ did a nice job recording "Os justi" in particular (posted here) - and it is a delight.


English translation:

The mouth of the righteous utters wisdom,

and his tongue speaks what is just.

The law of his God is in his heart;

and his feet do not falter. Alleluia

I read that for this piece, "Bruckner created an extraordinary motet in the Lydian mode, which achieves striking harmonic effects without ever using a single sharp or flat note." It is the Mass part known as the "Gradual" - which I believe disappeared post Vatican II (i.e. quite awhile ago).

Another highlight was a Te Deum by a contemporary composer - Ron Nelson - this was quite a challenge for a once-a-week choir, one of the more difficult pieces we've taken on. But it was exciting to learn and exciting, if not stressful, to perform.

And the composer even showed up and expressed compliments for our performance, which was nice of him on both counts. CPG 'n me posed with Mr. Nelson.

Choral Union - year five

Much change as year five begins in ASU Choral Union.

1. Conductor is on sabbatical.
2. Rehearsal accompanist left.
3. Perhaps related to #1, quite a bit of turnover in the choir.
4. PJr and Nedda have faded out of the picture, allegedly to study.

So CPG and I continue on. All seems to be going smoothly.

Fall concert is on November 1; we're mostly doing works by Anton Bruckner (Austrian). I always like his works, but didn't realize he was composing in the late 19th century (assumed it was earlier). Info on Bruckner is here.

Elijah (ASU Choral Union et al, 04/30/09)

I don't find it easy to rate these things, but this concert certainly was one of the most enjoyable of our now four years of membership in the ASU Choral Union.

Mendelssohn finished this oratorio in 1846. A wonderful mix of choral, soloists, quartets, orchestra. Quite fun for the chorus - lots of songs, various roles. Someone remarked that this was like an opera, just without costumes.

It did have a great story line. The Elijah story (summarized here) is dramatic - the three-year drought; Elijah raises the widow's son from the dead; the never-ending supply of flour and oil during the drought; the contest with the priests of Baal - calling down fire from heaven; Ahab; Jezebel; Obadiah; Elijah taken into heaven on a fiery chariot; "the still small voice" by which Elijah receives God's word; etc. Elijah certainly was big-time among the Old Testament prophets.

Our performance was put together nicely. In addition to the music, arrangements were made to project art works and photos on large screens on each side of the screen - along with the text being sung.

But in the end, it's all about the music. There were many wonderful moments. Some samples below. Video taken by our #2 fan (Patrick); also in attendance was our #1 fan. We had a fun stop at La Bocca for pizza and drinks after. Just a great experience.

Clip #1 is from early in the first half; a great line "His Mercies On Thousands Fall" - I very much like the way the parts roll over one other as the music progresses. Probably the part I liked best overall in the singing?



Clip #2 occurs in the second half; the clip commences with a chorus of angels singing "Holy, Holy' - this was after Elijah heard the "still, small voice" of God and was encouraged to return to his prophet business. The clip shows a bit of the interaction between chorus and small groups; plus an example of the art work and text projection. It ends with the chorus expressing God's injunction to Elijah ("Go, Return Upon Thy Way").



Clip #3 is near the end of the second half - just great choral stuff.

The other song from the fall concert

Here is Hanson's "Song of Democracy." Based on a Walt Whitman poem (printed below) (I think this was from his well-known Leaves of Grass, 1900).

We (ASU Choral Union) performed this on October 24, 2008 along with the Battle Hymn of the Republic (concert described here).

An old man’s thought of School;
An old man, gathering youthful memories and blooms, that youth itself cannot.

Now only do I know you!
O fair auroral skies! O morning dew upon the grass!

And these I see—these sparkling eyes,
These stores of mystic meaning—these young lives,
Building, equipping, like a fleet of ships—immortal ships!
Soon to sail out over the measureless seas,
On the Soul’s voyage.

Only a lot of boys and girls?
Only the tiresome spelling, writing, ciphering classes?
Only a Public School?

Ah more—infinitely more;
(As George Fox rais’d his warning cry, “Is it this pile of brick and
 mortar—these dead floors, windows, rails—you call the church?
Why this is not the church at all—the Church is living, ever living Souls.”)

And you, America,
Cast you the real reckoning for your present?
The lights and shadows of your future—good or evil?
To girlhood, boyhood look—the Teacher and the School.

Choral Union concert (10/24/08)

ASU Choral Union performed with the ASU orchestra at Gammage on Friday, October 24. This primarily was an orchestra concert. We did two songs: "The Song of Democracy" (Howard Hanson setting of a Walt Whitman poem), and Julia Ward Howe's "Battle Hymn of the Republic."

The entire theme of the concert was American and/or patriotic music. I was a bit of a skeptic as to the program, but was wrong again (as happens regularly on programming matters).

I think the inexhaustible, interminable braying by the media and the candidates during this presidential campaign - compounded by the economic goings-on - contributed to the success of the program. Folks seem to recognize that democracy is inherently messy; that insiders and the wealthy can buy their way to favors; that decision making is fragmented; but that no matter what it ultimately remains the best form of government (or maybe it's more accurate to say that all the other forms are much worse). It was a pleasant respite to listen to patriotic music, something of a feeling like performances in the 19th century bandstand in the town square.

The "Battle Hymn of the Republic" has to be at the very top of the list of this type of music. The tune is effective. The lyrics reflect the abolitionist movement and the Civil War, but have aged remarkably well. As I understand it, the abolitionist movement had a heavily religious strain - looking at slavery as a national sin for which a great sacrifice - war deaths, as it turned out - had to be paid in atonement (resonating with the Christian notion of Christ dying to atone for sin). (I hadn't realized how much Lincoln hit on this very theme in his second inaugural address; tried to catch some of this sentiment in a photo posted here.)

Whether or not folks would think of it in those terms these days, it makes the lyrics pretty powerful . . . "as He died to make men holy, let us die to make men free . . . " Biblical phraseology such as "grapes of wrath," "terrible swift sword;" "I have seen him the watch-fires of a hundred circling camps" (the lyrics were written after a visit to a Union camp).

Anyway, click the photo above to enlarge Julia Ward Howe's original wording. The story of her writing the verses is here; she supposedly woke up in the middle of the night with the words in near-final form, and hurriedly jotted them down before they disappeared . . . she was paid five bucks for the song.

I can report that singing this arrangement was a great pleasure. It was nice that the crowd rose to its feet after that song, and again at the conclusion of the concert. Something fun with the arrangement was that the verse starting "in the beauty of the lilies" - which is a fine verse, by the way - was set a capella for four-part men's voices, with the baritone section (including Chris, Paul, me) having a melody line for once. Here is the performance:



By the way, the "Song of Democracy" also was pretty effective - based on a Walt Whitman poem focused on public education and its foundational relationship to effective democracy.

So that was all very nice. Thanks to Patricia for doing the video on this one. Now, back to ignoring the media cynics.

Attendant Hoopla (Verdi weekend)

In addition to the Verdi Requiem fun (described in detail here), I wanted to mention that we had excellent fun with visitors over that same weekend. Kerry and Luis arrived Thursday mid-day; Patrick was moreso a concert time arrival.

On Thursday afternoon, Patricia and I had a bite at Z Tejas with Kerry and Luis after the airport pickup (we were a bit late but that was due to circumstances within our control). And some nice conversation at lunch (if not a bit probing on the part of at least one conversationalist). It was all leisurely and nice.

On Thursday evening, we had a rehearsal with the orchestra and soloists for the Verdi performance. I really enjoy these rehearsals, and we thought the soloists sounded great. Patricia attended per always; we like having her, and it gives her a good window into what the conductor is trying to accomplish, etc. Kerry and Luis also attended, even though we didn't get going until about 11:15 EDT. There were reports that they had trouble staying awake for a bit of the rehearsal (which lasted almost two hours) but I don't believe it for a second, except perhaps in Kerry's case. I was glad they could attend. Then back to the house.

An aside: K&L came into the absolute peak of disarray in connection with our remodeling project. Both Friday and Saturday involved tasks such as the removal of existing tile. It was an impressive and continuous combination of dust and noise, generally commencing at early hours. But they were very good sports, stayed as house guests, and didn't complain (at least to us).

After Friday morning coffee, we did fun things like "pick out the slab" for the countertops, and even went looking for a kitchen sink. Unique vacation activities for our visitors. Kerry has a photo of the slab hunt. (BTW, K&L did most of the photography over the weekend but haven't come clean with copies. Yet. Patricia did take a nice picture of Kerry and Luis after the concert, at least it's nice if you avoid looking at EPG along right border.) After all this hard work, we met up with CPG and had a quite delightful lunch at Richardson's.

The concert was Friday evening along with after-party, all of which is described elsewhere. I include at the top of this post a photo of Linda Prideaux along with some of her Chaparral choir homies (which I believe is the right terminology here) (in the photo Paul Jr. experienced payback for his too-prominent position in the family photo taken at the Ray/Linda wedding).

Saturday: the feature event was a very fine get-together at Mary Beth's place where we celebrated (belatedly) Chris's 26th birthday. Onxcellent meal. Hearts game. General yakking and fun. The young'uns went bowling later.

Sunday - we mostly had the sense that the visit went way too fast. Went for coffee, and pretty much packed and headed for the airport. So it was a v. fun visit. I think I'm unhappy we don't see more of these folks.

Verdi's Requiem! (attendant hoopla to be covered separately)

We (ASU Choral Union plus other ASU choirs, symphony and soloists) performed Verdi's Requiem at Gammage on Friday, April 25. Each time we have one of these performances, I basically just feel lucky to be part of this type of thing.

From all reactions, this particular concert was a big success. All the elements came together, and it pretty clearly was the best-quality performance in our three years. Very large crowd. Symphony = always excellent. Combined choirs - not always easy to put together effectively, but it really worked this time around. And each of the soloists was just delightful. (I was impressed with their resumes - multiple performances in major venues around the world, including lots of operatic roles. These folks were talented and then some.)

Choral Union's conductor - Dr. David Schildkret - typically writes us an email after each performance. This time he was far more effusive than normal, saying "[H]eartiest congratulations to each and all for a truly inspired and inspiring performance of Verdi's Requiem last night. The singing was committed, clean, and deeply moving. I don't know when I've heard a choir sing with a greater range of dynamics and colors. (And it wasn't just me. All our soloists were at pains to say that they had never heard a choir sing this work so well - each of them said it to me, and each said it separately.)" That's nice, because certainly the soloists have been around some high quality choirs.

I have two clips. First is the opening movement (Requiem and Kyrie). Definitely one of my favorites. Things I notice/like:

-Very quiet, basically whispered, opening: "requiem"
-0:48 - "ora" (or "pray") by about four women singers - I like the pleading tone here.
-1:06 - "et lux perpetua" - no translation needed.
-Nice a cappella part starts with the bass line at 1:45 and continues through the 3:00 mark (and our choir ended right on pitch, I must point out).
-3:01 - restatement of opening sequence - but with a forceful build right at 4:15, which is a nice moment.
-Then the tenor soloist (who was wonderful) busts out at4:22 (a great moment) , with the rest of the soloists building after. And, in turn, the choir. This part was especially fun to sing. Note the moments at, e.g. 5:10, 6:10. And I remember the soloists giving me a chill at 5:15 - 5:45.

Here is the clip:



The second movement is Verdi's famous "Dies Irae." We have just the opening portions, about 10 minutes worth. "Dies Irae" of course translates to something like "Day of Wrath" - the judgment day, full of terror and retribution for the doomed.

-This begins with the famous opening sequence - some guy pounding on a drum sets a tone along with the choir. (Versions of this sequence are repeated throughout the rest of the Dies Irae, and appear again in the "Libera Me.")
-I personally really enjoyed a section where the brass is featured (beginning around 2:30). Some trumpets were offstage to further the effect. (It took a chunk of practice time to balance this).
-This brass section has a compelling buildup from 2:30 to 3:19 and following. The bass entrance at 3:31 was awesome. ("Tuba mirum spargens sonum," or "Hark the trumpet sounds appalling.") (Interesting that "tuba" translates to "trumpet" in Latin; maybe they didn't have tubas back then?) And the music stays at that level, just better when we get to e.g. 3:51 - 4:15. These couple minutes may have been my overall favorite part though it's hard to say. I rather imagined this might be what that type of Judgment Day might sound like?
-Then the soloists take over for most of what little remains of our clip. EPG does take a shot of the program around 7:10 so you can see our names, if you're interested in that sort of thing. And the chorus is back in action at 9:25 for just a bit more before the tape ran out.

Here's the clip:



After-party was at Paul Jr.'s apartment. Nice turnout, nice conversation, it's always fun to rehash these things in the immediacy of the moment. We're grateful for the folks that show up, including regulars such as #1 fan Patricia, #2 fan and video-meister Patrick, Mary Beth, Ray & Linda, etc. Even better for this performance: Kerry and Luis traveled from DC area and attended both the rehearsal on Thursday and the performance on Friday. Along with much more fun, more info to come shortly on all that.

How fun it is: to sing this caliber of music with a wonderful group (our participants in photo below); and to have a great group of folks that show up to support us (including travelers this time). Looking forward to next year. I'm glad CPG suggested joining this thing back in '05.

Almost time for Verdi's Requiem (and attendant hoopla)

I am so looking forward to this Friday's performance of the "Requiem" by Guiseppe Verdi. The ASU Choral Union will perform along with several other ASU choirs. Also the ASU symphony orchestra, which always sounds great. And four soloists.

Also exciting is that Kerry is flying in from the East Coast for the event, and some visiting in general. And bringing a pal (Luis) along. We hope to make the show worth their trip.

The various "Requiem" Masses are inherently powerful stuff just based on the subject matter (I wrote about this back when we did Maurice Durufle's Requiem in April 2006, see post of April 15 by clicking here). From what's been said during our rehearsals and what I've read (mostly via this link in the latter case), Verdi's version is more operatic and dramatic.

I like the Wikipedia author's reference to "[t]he terrifying (and instantly recognizable) "Dies Irae"." Also in the "Dies Irae," the author notes that the trumpets "surround the stage to produce an inescapable call to Judgement (sic) in the "Tuba mirum" (the resulting combination of brass and choral quadruple-fortissimo markings resulting in some of the loudest unamplified music ever written)." The "Agnus Dei" has wonderful lyrical passages, and the soprano soloist in the "Libera Me" has a haunting melody that stays with the listener. Not to mention that the opening "Requiem and Kyrie" is probably my single favorite movement. This should be really good.

Now if we can just figure out how to be reasonably hospitable to our guests given that the house is increasingly torn up and will get worse before it gets better. Maybe I need to check on the old tent (the one that the wind started blowing around down in Organ Pipe Cactus National Monument in the early 90s).

Photos from Choral Union concert 12 03 07

Some photos taken at the Choral Union concert at Camelback Bible Church on the evening of December 3, 2007. Photos show performers, director, fans, warm-up. Courtesy of PJ's camera.