. . . the organ at St. Anne's Episcopal church in Annapolis, Maryland sounds forth loud and clear "O Come all Ye Faithful". . . on Christmas morning around 12 a.m. THEN, and only then, is it Christmas.
I am doubly blessed - possibly triply blessed - probably infinitely blessed. I have the privilige of being allowed to sing with several outstanding groups of people. Each group differs in many ways - none of them is less than the others.
First, as most of this blog is devoted, is Live Arts Maryland - the Annapolis Chorale. Several versions of that group: The Annapolis Chorale, The Chamber Chorus of the Annapolis Chorale, and one little pick up group - referred to either as "The Bag Ladies" or, as my favorite trumpet player suggested - "The Chamber Maids". I kind of like that last one :)
These groups are an amazing synergy of people who are devoted to music, orchestra players equally devoted, and led by a supremely devoted Maestro (no one really has a clue how devoted - but when you think he goes regularly from the Kennedy Center gig to us and still smiles about it - you know he wouldn't waste his time on something he didn't love). Each person brings the offering they have. It's the contrast between the widows mite and the Pharisees. . .she gave all she had. Some of us have more to bring than others - and the value of what we bring is valuable indeed. My Christmas season usually begins some time in November when I start rehearsing Messiah and various other Christmas items. . .and it's good - it's really good. I always try to step back and understand what is happening around me. Especially when we sing our last strains of Messiah into our carols. I look around me and I marvel that I get the privilege of participating. They do not need me - but I really need them.
The other group with which I sing is the St. Anne's choir. Weekly - through spring, summer, winter and fall - they show up. They sing music that typical church choirs that I have heard might not be able to tackle. They vary in age from people in their mid 30's to as old as in late 70's. Again - think about the widows mite - they each bring what they have and offer it to the Lord on a regular basis. None of them are perfect. Each of them show up faithfully to perform their service to the Lord. Not all of us can be acolytes or ushers or deacons - but the contribution we make to worship is valuable beyond count. People often show up at our church simply because of the music.
At Christmas they go beyond the call because they know they contribute to the worship experience of the congregation. They do a fantastic job. They are there because Jesus was born and it's their privilege to proclaim it in song. Never forget that the reason we all sing is because of the birth of our Lord. There is nothing more beautiful than seeing a woman in her 70's glow with Christmas joy because our director thinks enough of people to not put them out to pasture to create the "perfect" product. I think it is perfect - a perfect blend of people who are somewhat more well heeled, professionals, and those whom we love simply because we love them. They sing because they must sing to welcome the birth of our Lord.
And Christmas is with those people, in a crowded choir loft, singing hymns, worshipping, and forgetting my own ego and the troubles of the world and rejoicing in the simple gift of music, friendship, and salvation.
And THAT is Christmas. . .
Wednesday, December 23, 2009
Thursday, December 17, 2009
Messiah Bullet Points
I like singing Handel's Messiah every year. Since it is a yearly event, I am able to mark the passing of time, the turning of years, and changes in my life and perspective. This will be my 6th year singing Messiah with the Chorale. So that I don't forget each year...here is a list of my Messiah experiences over the last 6 years:
- 2004 - "OMG Messiah" - OMG for many reasons...the first being that I had to learn the soprano part after having primarily sung the piece as an alto. Also, OMG because I had no idea a performance could be so moving...with a fabulous orchestra, good chorus, and in such a special space (St. Anne's Church). Oh, and OMG, my parents are here and I just moved away from everything that is comfortable in SC to everything that is uncomfortable in Annapolis!
- 2005 - "Adjusted Messiah" - I was beginning to make friends in the Chorale and get to know people. Little did I know that we were about to embark on the Florida version of the "Leap of Faith" Carmina Burana tour. This was also the year that I realized how comfortably Messiah lies in my color/tone vocally. It was comforting to sing something I already knew pretty well.
- 2006 - "Snarky Messiah" - I was in a horrible spot on the crowded altar this year. Horrible because I could barely move, and because I had a few..shall we say...under-pitch folks around me. It was literally almost impossible to sing. A few other friends were in rough spots too...and I think all we did was complain about it all weekend. That made it a tough experience...and I've vowed to just suck it up and put myself where I want to go ever since. Usually, if we are singing in a mixed configuration, I head for the tall back row in between two basses. Hey, it works for me...
- 2007 - "Messiah with the Toy Orchestra and 50 Soloists Across the Bay" - This year, my parents were visiting again...which meant the snow/ice arrived. You think they wouldn't bring that stuff up from SC, but somehow we always get it when they are here! On Saturday night, we had a performance on the Eastern Shore. It was rain/icy for most of the day, but we were still able to get across the bridge for the performance. The hall had ridiculously dry acoustics, though...so it sounded to us like we were all singing solos and the orchestra was playing toy instruments. Weird. The audience seemed to like it, though.
- 2008 - "Exhausted Messiah" - By the time we got to Messiah weekend last year, I was ready to crawl in a hole and hibernate for a month. There had been so many run-outs and concerts that I was physically spent. Add the welcome stress of a new romantic relationship...and I just wanted the weekend to be over! It passed by in a haze, but I do remember enjoying the music. Top row again meant I was in a happy singing spot.
- 2009 - "?" - So, what will the 2009 version of Messiah bring? Let's hope it's not "Blizzard Messiah" or "Messiah where Page finally loses it and hits someone", or "Messiah when Page and Lauren pass out since they ran 22 miles Saturday morning". I'm in a very nice singing spot this year...while not on the back row, it works. Considering the above possibilties, I'd be satisfied for this year to be "Uneventful Messiah". Even better would be "Musically Fulfilling Messiah". But hey, let's not push it!
Saturday, December 12, 2009
Modern Jingling All the Way
I wonder if anyone noticed that our Celebration of Christmas Concert was noticeably different than it has been for the last umpteen years. I haven't even spoken to my conductor about this but it definitely had a different flavor. It was more up, happy, joyous - still with the touches of calm and reflection that are necessary but - overall - I really liked it.
I'm the chorus manager. The resume of a chorus manager goes something like this - listen, evaluate, wait, deliver calmly. I have watched this chorus over a few year -26 - in its various stages. I love these people with all of their failings. Typical night in the life of a chorus manager: meet early with upset chorus member whose feelings were hurt by crotchety old man, listen to the tears, offer reconciliation and try to adjust the seating; answer 10 questions about where the red scarves are; walk the stage to make sure there are no outstanding obstacles in the way; preset music for Jingle Bell work; glasses on/cell phone off; preview again the sits and stands; check with stage manger on times; tell warmer upper when to warm up; interface with stage manager about are we holding or not; line up chorus; issue last minute announcements in even way without putting anyone down - just the facts like, "Don't take off your scarves before you leave the stage." No need to comment on the professional or unprofessional aspects of it. . . rehearse; during the day field 12 phone calls from conductor; read 14 emails from happy/sad people; music off the stage for conductor - oh, and glasses.. .. mostly it's about people.
I spend most of my time interacting with uncomfortable people. People always have complaints. Each person has a reason for complaints. I need to work on being more even with people who should really know better - who should already understand we cannot cause people to be disconcerted before they sing. The last two days alone I've been personally insulted by grumpy old men, cried on, snipped at and otherwise been underappreciated - here's the catch - SO WHAT. I knew that when I took the job back and I'm in a place in my life where it's absolutely okay. I let people own their own problems. People are grumpy, upset, insecure because their lives, at some point, have been upset. I cannot fix that. I fix the moment - the immediate problem. I anticipate and request to be sent out emails about chairs. Next year to add to the list - remember your scarves. I've found a way to stay calm and focused on the music and not get bogged down in the triviality. The most important thing is to put a calm, happy, focused chorus on the stage. Now, go ahead and try to make 170 people happy :) See the problem. So, we shoot for a majority. . . and pray the others are smart enough and intelligent enough to realize it.
I am not an autonomous individual on concert night. There isn't a decision I make that isn't weighed in the light of the staff's philosophy. I have to think like they do. I think people think I have a Napoleon complex - the fact is - I've been given my marching orders and they are easy enough to process. I work hand in glove with the staff to create the evening. Compliment are coming in for our professionalism in dealing with the staff of venues where we perform.
The only fly in my ointment is that people make assumptions for me. . they assume I'm too busy to find. Other people might be sought out - but I am not. I mix with as many people as possible on concert nights to appear egalitarian and supportive of as many people as possible. This apparently means that I'm inaccessible to some. I hope that doesn't stay that way because it's translating into my outside the Chorale life. Sometimes it would be nice to just be asked and for people to understand that I'm just busy and need others to come to me on occasion - especially concert nights. But, again, as I've learned - I cannot make other people do anything. There is no way on earth because people usually do exactly what they want to do - and as much as they protest they really are doing what they intend to do.
That aside - I absolutely had a ball at the concert. The second night was more fun and much more of a spiritual experience for me than the first. I always thank God that I get this opportunity every year. Now,on to next concert and, oh yeah - I'm working props for Oklahoma.
I'm the chorus manager. The resume of a chorus manager goes something like this - listen, evaluate, wait, deliver calmly. I have watched this chorus over a few year -26 - in its various stages. I love these people with all of their failings. Typical night in the life of a chorus manager: meet early with upset chorus member whose feelings were hurt by crotchety old man, listen to the tears, offer reconciliation and try to adjust the seating; answer 10 questions about where the red scarves are; walk the stage to make sure there are no outstanding obstacles in the way; preset music for Jingle Bell work; glasses on/cell phone off; preview again the sits and stands; check with stage manger on times; tell warmer upper when to warm up; interface with stage manager about are we holding or not; line up chorus; issue last minute announcements in even way without putting anyone down - just the facts like, "Don't take off your scarves before you leave the stage." No need to comment on the professional or unprofessional aspects of it. . . rehearse; during the day field 12 phone calls from conductor; read 14 emails from happy/sad people; music off the stage for conductor - oh, and glasses.. .. mostly it's about people.
I spend most of my time interacting with uncomfortable people. People always have complaints. Each person has a reason for complaints. I need to work on being more even with people who should really know better - who should already understand we cannot cause people to be disconcerted before they sing. The last two days alone I've been personally insulted by grumpy old men, cried on, snipped at and otherwise been underappreciated - here's the catch - SO WHAT. I knew that when I took the job back and I'm in a place in my life where it's absolutely okay. I let people own their own problems. People are grumpy, upset, insecure because their lives, at some point, have been upset. I cannot fix that. I fix the moment - the immediate problem. I anticipate and request to be sent out emails about chairs. Next year to add to the list - remember your scarves. I've found a way to stay calm and focused on the music and not get bogged down in the triviality. The most important thing is to put a calm, happy, focused chorus on the stage. Now, go ahead and try to make 170 people happy :) See the problem. So, we shoot for a majority. . . and pray the others are smart enough and intelligent enough to realize it.
I am not an autonomous individual on concert night. There isn't a decision I make that isn't weighed in the light of the staff's philosophy. I have to think like they do. I think people think I have a Napoleon complex - the fact is - I've been given my marching orders and they are easy enough to process. I work hand in glove with the staff to create the evening. Compliment are coming in for our professionalism in dealing with the staff of venues where we perform.
The only fly in my ointment is that people make assumptions for me. . they assume I'm too busy to find. Other people might be sought out - but I am not. I mix with as many people as possible on concert nights to appear egalitarian and supportive of as many people as possible. This apparently means that I'm inaccessible to some. I hope that doesn't stay that way because it's translating into my outside the Chorale life. Sometimes it would be nice to just be asked and for people to understand that I'm just busy and need others to come to me on occasion - especially concert nights. But, again, as I've learned - I cannot make other people do anything. There is no way on earth because people usually do exactly what they want to do - and as much as they protest they really are doing what they intend to do.
That aside - I absolutely had a ball at the concert. The second night was more fun and much more of a spiritual experience for me than the first. I always thank God that I get this opportunity every year. Now,on to next concert and, oh yeah - I'm working props for Oklahoma.
Saturday, December 05, 2009
Full Contact Caroling
Not exactly full contact - but definitely marthon like.
Last night was not a "hit it out of the park" kind of night for any group with whom I sang. First caroling gig - Parole Town Center - it had it's challenges. In my vow to not be critical of any one person. . I will only say that it was a group effort at mediocrity. I'm a member of that group.
Next gig - WBAL Children's Fund concert - better. Only thing that really annoyed me there, and that annoys me at any time - is to lose my "lostness" in the music by someone pointing up with a wise expression at everyone - indicating "you are going flat". As if the group I was with actually had to be told that - those people with whom I was singing - are just fine musicians - and know better. Not to mention the group leader was involved in the singing and didn't even budge to knowingly look at us and point up like. . . okay you guys - it's really important not to go flat - really? I didn't know that.
Back to my same argument which has been repeated over and over and over again in this blog: Get your head out of the music and put your heart into it. Suspend judgment of yourself and others and just do your best - you cannot control other people. Isn't that amazing - you cannot control other people. No matter how well you want them to sing you have absolutely no control over that. So, what does that leave you - well, that leaves you YOU. YOU are the only one you can be responsible for in the long run.
Many people annoy you. Fact. Singing next to everyone isn't the best experience. Fact. Here's another fact - why should I feel so privileged that I expect to always have situations around me perfect? Ain't gonna happen. Perfection has only been achieved by one Being of which I am aware. If someone knows someone else - let me know.
I think you have to examine your motivations. Are you singing to sing with a perfect group? Find another group. Are you singing to sing with a group who is accurate all the time? Find another group. Are you singing to make perfect music? Find another group. I really hurt for people who were raised by the critical and then internalized that critical nature in themselves. Worse, they are also critical of themselves. What is the result - they back off. They never jump over the edge - they always carefully check to see if it's safe, if it's okay, if they can get it back if they make mistakes. Jump people!
I once had someone say that when you sing, you think with your heart and feel with your brain. . . many of us need to get that process in place. Love what you do. . . put everything into it. . invest your heart, soul, and mind into it and realize that there is absolutely NOTHING that you can do about mistakes or flatness around you.
It just frustrates me and, guess what? It frustrates me more than someone singing flat. I really want everyone to have a WONDERFUL time just singing. Do I want you to bring your A game? Darn straight I do. Do I want you to care about it as much as I do? Yep. Do I have any control over that - NOPE. So, what does that leave me - the music and me. And that's what it comes down to - the music and me.
Last night was not a "hit it out of the park" kind of night for any group with whom I sang. First caroling gig - Parole Town Center - it had it's challenges. In my vow to not be critical of any one person. . I will only say that it was a group effort at mediocrity. I'm a member of that group.
Next gig - WBAL Children's Fund concert - better. Only thing that really annoyed me there, and that annoys me at any time - is to lose my "lostness" in the music by someone pointing up with a wise expression at everyone - indicating "you are going flat". As if the group I was with actually had to be told that - those people with whom I was singing - are just fine musicians - and know better. Not to mention the group leader was involved in the singing and didn't even budge to knowingly look at us and point up like. . . okay you guys - it's really important not to go flat - really? I didn't know that.
Back to my same argument which has been repeated over and over and over again in this blog: Get your head out of the music and put your heart into it. Suspend judgment of yourself and others and just do your best - you cannot control other people. Isn't that amazing - you cannot control other people. No matter how well you want them to sing you have absolutely no control over that. So, what does that leave you - well, that leaves you YOU. YOU are the only one you can be responsible for in the long run.
Many people annoy you. Fact. Singing next to everyone isn't the best experience. Fact. Here's another fact - why should I feel so privileged that I expect to always have situations around me perfect? Ain't gonna happen. Perfection has only been achieved by one Being of which I am aware. If someone knows someone else - let me know.
I think you have to examine your motivations. Are you singing to sing with a perfect group? Find another group. Are you singing to sing with a group who is accurate all the time? Find another group. Are you singing to make perfect music? Find another group. I really hurt for people who were raised by the critical and then internalized that critical nature in themselves. Worse, they are also critical of themselves. What is the result - they back off. They never jump over the edge - they always carefully check to see if it's safe, if it's okay, if they can get it back if they make mistakes. Jump people!
I once had someone say that when you sing, you think with your heart and feel with your brain. . . many of us need to get that process in place. Love what you do. . . put everything into it. . invest your heart, soul, and mind into it and realize that there is absolutely NOTHING that you can do about mistakes or flatness around you.
It just frustrates me and, guess what? It frustrates me more than someone singing flat. I really want everyone to have a WONDERFUL time just singing. Do I want you to bring your A game? Darn straight I do. Do I want you to care about it as much as I do? Yep. Do I have any control over that - NOPE. So, what does that leave me - the music and me. And that's what it comes down to - the music and me.
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