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Hi everyone,
I'm writing on sunny Thursday afternoon with blinding snow on the ground, oh so grateful that our temporary weather emergency came later than expected. Wasn't it originally predicted for Tuesday night?
On Tuesday we had another very productive rehearsal, making me feel more confident about having the time to learn "Psalm of Life." Singers who have performed that piece on tour have lobbied for its inclusion, and certainly having people singing this term who know it should make things go a bit more smoothly. The jury's still out, though.
Here's what will make all the difference: all of you making a concerted effort to bring your eyes out of the score whenever possible, so that I can move into the most exciting phase of our preparation, which is to build in MUSICALITY. We're doing pretty well on the MUSICIANSHIP phase, i.e., being more able to perform notes, rhythms, and articulations. Those are basic skills that really do have to come first in our learning process; but for a memorable performance that communicates with the audience, we absolutely cannot leave the music there! If musicianship were the sum total of what we want to accomplish, then we might as well program some robots to do the things that MUSICIANSHIP requires.
No, we (I) want to move into the creative phase, the oh-so-satisfying MUSICALITY element. That's when phrases are shaped to bring out the importance of certain syllables, and the tempo stretches or moves forward to slow the buildup or add intensity, thus serving the musical language. I'm ready to bring that in and make it a natural part of each piece, but please believe me, it cannot happen at all if eyes are buried in scores! Last Tuesday we began to feel the difference when I was able to shape crucial phrases in "Alway Something Sings." I know you felt it, because there was palpable intensity and excitement!
Certainly this will now need to happen in Stories, since in some places the music just needs to stretch and slow into a transition, or to move forward—but there aren't always markings to show that. We'll learn and rehearse such nuances, but it will never be static or exactly the same. It requires me to show that, and for you to watch, so that you can come with me. Some of Stories IS somewhat mechanical, as in the first movement when the statistical facts are being reported, but the entire work must certainly not be delivered that way: we'd lose the audience to boredom!
The other work that absolutely demands you to be right with me is "We Beheld Once Again the Stars," since the choirs are in conversation with each other. Everyone in both choirs must be with my expressive gestures in the slow portions, and be strictly metronomic in the faster, rhythmic portion. Remember, it's very dangerous to rely on hearing the other choir—every one of you must be with my beat. And as you can see at a glance, the dialogue in that section requires the rests to be strictly observed: when your choir has a rest, the other choir is singing. It's really exciting, as you could tell last Tuesday. But none of that precision is possible if several singers aren't watching. We'll be drilling that back-and-forth next week, slowly at first and then closer to tempo. Lifting your scores will make it possible to see both the music and me. It turns out that your eyes are designed to swivel! Who knew? (Rehearsing with your scores up also trains your arms to be up in performance. It's not smart to wait until the performance to try to build that habit.)
Now don't worry, we'll still be checking into and improving the hard places. I'm not expecting that every one of you has mastered every phrase. My point is that our goal from here on is to become ever more musical.
Here's a phrase that I made up, or at least that I have never heard uttered before: Conducting is unique in the world of music-making, since the conductor's only instrument is other people's brains. I made that a core concept of the conducting courses that I taught at the college level. Yes, you can only read what I'm "saying" by watching me—but then the onus is on me to be clear. I'll do my very best to communicate clearly...if you will give me your eyes! I can't do a thing without them.
See you next Tuesday,
Solveig
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