What Doth a Good Choral Singer Make?
Many an eminent philosopher has pondered this question. Most have finally admitted defeat and returned to relatively safe areas of enquiry such as the nature of evil and Man’s place in the universe. But how many philosophers took the time to engage in amateur choral singing? Nietzsche and Wittgenstein would have been chewed up and spat out by some of the alto sections I’ve seen in action.
The very nature of The WholeNote “choral canary” issue is a tribute to the multivalent nature of choral singing in this region. There are groups of all sizes, abilities and musical focuses available to join. But among all these choices, the principles of good choral work are (or at least ought to be) a constant, no matter what type of choir is involved. Here are a few observations about the choral experience and the nature of being a good choral citizen.
First, ask yourself what goals you are trying to achieve by joining a choir. Do you want to meet people and enjoy some fun singing? Are you keen to encounter the choral music of the master composers? Is your goal to improve your sight-reading and general musical skills? Do you want to exercise your voice and improve your singing? The goal of most choral aspirants is likely some combination of all these elements. But pinpointing your areas of interest will help you understand your best options in choosing a choir.
Take as an example the goal of improving one’s sight-reading. Sight-reading is a form of rote work that improves with regular practice. Many choirs orient themselves to between two to four concerts a season, and often spend time working through and polishing one concert program over a matter of weeks and months. Any sight-reading that takes place will occur during the first few rehearsals, after which that skill will not be strongly exercised again until the beginning of rehearsals for the next program. So, look at a performance choir’s season; if it has a busy concert schedule and does pick-up jobs on the side, you will likely be sight-reading regularly. Beyond that, a church or synagogue choir that sings new music every week is a good option as well.
Are you looking for a high standard of performance? Be prepared to audition, attend extra sectional rehearsals, practise your notes regularly and even spend time and money to bring your musical skills to the level of the rest of the group. Some choirs re-audition their singers every year.
Be prepared, as well, for the complex group dynamic that is integral to the choral experience. Most choirs contain singers of varied abilities. Leaders and followers often emerge. It’s in this context that the idea of a “good choral citizen” comes into play. There are many ways, subtle and not-so-subtle, that choristers can editorialize on the efforts and skills of their fellow singers; a raised eyebrow, a quick turn of the head, a muttered comment, a pointed question about that last passage that the basses sang.
I don’t mean to pick on basses, but it’s common knowledge that tenors never make mistakes. It’s one of the reasons we are loved and prized above all other singers. Where was I? Oh yes. The extra-musical components that a choir most needs in order to function and flourish – cohesiveness and amity – can be undermined, and even seriously damaged by this kind of behaviour, which is far from uncommon.
As a general rule, don’t correct your fellow singers unless asked to do so. To bring attention to a mistake, address questions or comments to the conductor – it is finally their responsibility to both hear and correct mistakes. Many choirs have section leaders, paid and unpaid, official and de facto. A good section lead has the ability to help draw the group together and cohere on a human as well as on a musical level.
Regarding section leaders, especially those who are paid for their work: no matter what your level of skill or what amount you are paid (or underpaid – a subject for a future column), once you take on the role of a section leader, you are indeed in a different category than the other singers around you. Aside for the added pressure of being the best example of the group dynamic defined above, you have a number of new responsibilities, most of which can be boiled down to two simple rules:
Be on time. Other singers may be allowed to be the bane of any conductor’s existence, and drift in at five minutes past the hour. You should be in place at five minutes to the hour, music ready and pencil in hand.
Know your music. The first rehearsal is to mark out difficult passages. To come back and stumble over the same passages at repeated rehearsals simply defeats the purpose for which the section lead was hired or designated in the first place. If a singer is not able to sight-read the music efficiently after the first or second pass at it, it’s his or her responsibility to take it home and have it learned when next the choir meets.
The combined goal of any choir is to possess both an enjoyable group dynamic and a polished musical sound. The challenge for every ensemble is to ensure that one goal is not subsumed or neglected in pursuit of the other. The conductor must be the strongest musical force in any choir, but the responsibility for the choir’s overall tone and atmosphere is always shared among its members.
I hope that this month you take the time to use The WholeNote Canary Pages Guide in this magazine not only to find out about the ongoing work of well-known groups, but also to acquaint yourself with ensembles, concerts and composers that had not previously caught your attention.
Two Very Special Concerts
I want to make note of two very special concerts. The Toronto Jewish Folk Choir is a living link to the worker’s choruses that were part of a wave of working-class political activism in the first half of the 20th century. Among their many guest performers was legendary bass Paul Robeson. One of the city’s longest running choirs, the TJFC celebrates its 85th spring concert on May 15.
In my opinion, of the generation of Canadian composers born before 1950, Derek Holman seemed best to exemplify the Brittenesque idea that composers were to serve and be a part of their community. He has composed for and collaborated with a who’s-who of Canadian artists, and his music has always seemed to strike the perfect balance between satisfying the audience and challenging the performers. Singing in the premiere of his Night Music while in the Toronto Mendelssohn Youth Choir was one of the highlights of my early choral life.
Night Music is one of several pieces that will be performed on June 1 as part of a concert that celebrate’s Holman’s 80th birthday. This concert really should not be missed by anyone who cares about Canadian choral music and its pioneers, most of whom are thankfully still with us.
Benjamin Stein is a Toronto tenor and theorbist. He can be contacted at choralscene@thewholenote.com.
