•••••••• CI ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• INTERVIEWS WITH THE DIRECTORS OF FIvE ENGLISH CHOIRS OF MEN AND BOYS by Ronald R. Sider

HE FOLLOWING British choirs touring under the History and Tradition interviews were conducted auspices of Truckenbrod during July of 1990. The management are: Christ Church, History and tradition surround these five directors included were Oxford (March 1992); Trinity choirs. At St. Paul's Cathedral, selected because they and College, Cambridge (September music spans at least 800 years. The their choirs were scheduled 1992); Clare College, Cambridge earliest written records show a choir to tour the United States in (September 1993); and Canterbury school's existence in the 12th the ensuing several years, Cathedral (April 1994) . Choirs century. At King's College, when the and it was felt that American statutes of the College were choral conductors would .STEPF-IEN'·CEEOBURV'::-'"'' ""'1 laid down in 1445, six welcome information about fN, 'r2C1 0', III, ITT ~":r!R'I' singing men and 15 singing the choirs and their touring If1llUIJ VLll.JLU1...Ii boys were on the list of schedules. ' 'd establishment. St. John's St. John's College Choir, Camh, .n~e College received its charter in under , who 1511, and a chapel choir has has recently retired, com­ .PHILIP MOORE . '1,i sung daily services since that pleted a tour in October of rCYT'Pl1 -u: 1 time. Perhaps most impres- 1990; Choir, YORK.M1IY0.ll...JI:l.lJork . sive is York Minster, which under Philip Moore, toured I has had a functioning choir this past spring. The tour NELL,' III school since 6271 Tradition plans for Westminster -JAMES O'DON' defines and delineates Cathedral Choir, under 'W.ESf.MllYsmR.(JfJJf]5DRALfl function, and consequently J ames O'Donnell, did not 'T X-.nA,, OYJ, : ,Iii the service of is develop. King's College LttJIlU.1 U sung daily in the Anglican Choir, under Stephen cathedral tradition. This Cleobury, is touring the .CEO, RGE GUES,T~ ',Ii continues a practice which United States this month extends back to the begin- (September). Their schedule ST. JOIfN'SCOLLEGE, nings of the English church, is listed on page 12. St. Paul's "n"'d" ''0" ," ',,',' , "I' and earlier. Choral singing Cathedral Choir, under John Camh'" ~\.Jr,~ comprises a major portion of Scott, will tour in April and Evensong (there is usually no May of 1993. Details about '.,'~'",.. ! sermon), with the choir sing- their schedule can be 'J,OH, N SC, G,rr, T, , ing the Magnificat, the Nunc obtained from Phillip ST. PAUES(JfJJf]5DRALf Dimittis, one or two Psalms, Truckenbrod Concert Artists, P.O. Box 270069, West ',LDndQll'''"'''._'_ .. __ ~ .. '' .. ;J ~;~ ~;~~~ ::t~;:;:~u~t least Hartford, CT 06127-0069, or versicles and responses. There by calling (203) 233-5858. Other touring under Karen McFarlane also are other services, concerts, management, who handles King's tours, and recording sessions...... College and St. John's College However, the daily sung Evensong is Sider is Professor of Music at Messiah choirs, include the central pillar in the life and College in Grantham, Pennsylvania. He is also conductor of the Harrisburg (September 1993). Information practice of these choirs. about their tour can be obtained Singers and Grantham Oratorio Society, Professional Choirs and Director of Music at Grace United from Karen McFarlane Artists, P.O. Methodist Church in Harrisburg, Box 18724, Cleveland, OH 44118, The boys in the choirs receive Pennsylvania. or by calling (216) 721-9095. generous scholarships in return for

September 1991 Page9 singing. The men in the collegiate Although the boys have one day Sunday services (often more than choirs are called choral scholars and free each week, in general, each day one), special concerts and choir receive some scholarship assistance. includes two rehearsals. The first, in festivals, recording sessions, and In the cathedrals, the men are the morning, is approximately an tours throughout the world. George established professional singers, often hour long. The other, about 45 Guest estimated that St. John's Choir with flourishing careers in opera and minutes, is immediately before the probably knows about 1,300 pieces. oratorio, and are paid union-scale afternoon service of Evensong. The There is a core repertoire, and some wages. morning rehearsal includes just the repetition, especially during the boys, with the men joining for a full seasons of the year when there are Choir Schools, Training, rehearsal in the afternoon. more services than usual, but the and Schedules Some schools, like St. Paul's choirs are always learning new Cathedral School, educate only the anthems and new settings of the In the choir schools, the boys boys in their choir. Others, such as service. The foundation of the follow a rigorous schedule of classes St. John's and King's, are larger, and repertoire is from the Anglican and rehearsals, receiving thorough open to other students. Almost all choral tradition, but in recent years, academic and music training. The are boarding schools, but a very few, selection of music has become more academic education is highly such as York Minster, operate as day eclectic, extending back earlier into regarded, and is one incentive for schools, showing that an excellent history, moving forward into the parents to send their boys to these choir tradition can be established contemporary era, and including schools. The musical training using talent from the immediate more music from other countries. includes the obvious benefits of an geographic area. The collegiate choirs have led the intensive rehearsal and performance way, but the cathedral choirs also schedule, with the vocal and general Repertoire have been involved. Several directors musical development that goes with mentioned this trend, and said they it. There also are music theory The choirs sing a great deal of hope to continue it. Yet when asked classes, private lessons in piano and music. In addition to daily what they will sing on their overseas one other instrument, and in recent Evensong, or daily Mass at tours, most said they thought their years, private instruction in voice. , there are audiences would expect, for the most part, to hear English music.

The Choirs

In most of the choirs, the boys sing EMORY UNIVERSITY soprano, while men sing alto, tenor, GRADUATE STUDIES in MUSIC and bass. The distribution of voices varies from choir to choir, with usually about 15-20 boys and at least MASTER of MUSIC in ORGAN four men on a part for the alto, MASTER of MUSIC in CHORAL CONDUCTING tenor, and bass. The major cathedrals sometimes have larger MASTER of SACRED MUSIC choirs to fill the vast spaces. At St. Timothy Albrecht, University Paul's Cathedral there are 30 boys and 18 men. The men, most of Alfred Calabrese, Director of Choral Music whom have grown up in the system, Don E. Saliers, Director of Master of Sacred Music singing when they were boys, are familiar with the process. Scholarships and generous stipends available d suggested that in an afternoon for promising students. Audition dates include n rehearsal, St. Paul's choir typically 28 October 1991 and 27 January 1992. tlMfb cJ\' has about 30 minutes in which to learn 45 minutes of music. The boys are admitted to the choirs by For information on admissions and financial aid, competitive auditions, and serve for please contact: Ben Arnold an initial period as probationers. Director of Graduate Studies This auditioning procedure is one of Department of Music the subjects discussed in the following interviews. Emory University Atlanta, GA 30322 404/727-6445 FOR CHANGE OF ADDRESS Be sure to notify the Editor at: P.O. Box 6310, Lawton, OK 73506

Page 10 CHORAL JOURNAL we are looking for a general CLEOBURY: Well, each boy learns alertness, a spark. two musical instruments, one of which is piano. Some learn three. SIDER: How many boys do you And each boy also gets instruction in audition for each one you accept? what we call theory and music appreciation. CLEOBURY: It varies very much from year to year, but as a rough guide, I SIDER: How many boys are in the should say eight or nine. school?

CLEOBURY: In the King's College School there are 230 children.

SIDER: How would you characterize The aim I have is for the repertoire you perform? What listeners to hear the percentage of it is outside the Anglican tradition? whole, as it were - the finished result. CLEOBURY: We obviously retain the best of the Anglican tradition. But at -Stephen Cleobury the same time, weve followed Organist and Director of Music ecumenical developments, and King's College, Cambridge increased interest in early music. In addition, we have commissioned new Stephen Cleobury received his compositions, and sometimes we sing early musical training as a chorister complete services of Gregorian at W orchester Cathedral. After SIDER: Do the boys receive formal chant. Also, I may say, we sing some organ study with Christopher vocal training? American music. We are just about Robinson he was named organ to make a recording which will student at St. John's College, CLEOBURY: Yes, they receive that include music of Bernstein, Copland, Cambridge, holding a scholarship from me and from a visiting voice William Schuman, Barber, and post from 1967-1971 and teacher. Sometimes the instruction is Libby Larson. accompanying the St. John's Choir in groups, and sometimes it is under George Guest. After earning individual. SIDER: Are there ways in which his B.A. and Mus.B. degrees at St. King's College Choir is unique or John's, Stephen Cleobury became SIDER: Do they have other music different from other choirs of men Organist of St. Matthew's classes, such as music theory? and boys? Northampton and Conductor of the Northampton Bach Choir. In 1974 he was appointed Sub-Organist of National Conference April 2-5, 1992 Westminster Abbey, leaving four years later to become Master of Music at Westminster Cathedral, the first time an Anglican had been appointed to that position. In 1982 Stephen Cleobury was appointed Director of Music at King's College Cambridge, and Conductor of the University Musical Society.

SIDER: When you audition a prospective choir boy, what do you look for? K o D A L v CLEOBURY: We look for a bright OAKE Jean Ashworth Bartle, Quilt Exhibition spark. We obviously are looking for Director & Founder of & Raffle a voice we think can develop well, Norman, Oklahoma but we look for even more than that; Chailperson Joy Nelson Toronto Children s Choir Cowboy Hall we look for a musical ear and a SchoolofMllsic Master Classes with Helen ofFame good, quick aural response. Weare University ofOklahoma Kemp & John Langstaff Barbeque Norman, OK 73019 not necessarily looking for academic Dinner brilliance, though it is helpful. But 405-325-2081

September 1991 Page11 ~"""--'~-'-~-' ...... -...... ~~.- ······~~~~~~d6~t;·~~~~d;-·~·-~ ··-·~-~~-~'~~-·~~·~-~l CLEOBURY: Well, I think one thing which stands out here is the S~ephen ·.Cleobury, Director building. Now, it's obvious that I I. North ArIlerican. Tour,SepteIilber; 199.1 there are many wonderful cathedral (. Covenant Preesbytenan Church -Sept.l, 7:30 buildings in , but King's is a 1000 E. Morehead Street, Charlotte NG28201 unique building; it has some qualities and inspiration from which we C ontact:Dr. Richard Peek 7041 333~9071 " . '.': ~, " . . .,~ draw. Equally, I hope that we strive St. Paul's Episcopal Church .,- Sept. 3, 8:00 to maintain the reputation and sryle 305 W. 7th, Chattanooga TN 37402 laid down by my predecessors. This Contact: Mr. Paul. Reynolds 615/266-8195 is not to say that the choir, over the years, has sounded the same. If you Shadyside Presbyterian Church - Sept. 4, 8:00' were to listen to recordings of King's 5121. Westminster Place, PittsburghPA 15232 College Choir under Boris Ord, Contact: Mr; David Hart 412/682A300 David Willcocks, or myself, you College ofWooster - Sept. 5,8:15 would hear differences. Also, the Wooster OH44691 I men in the choir change every third

Contact: Dr. John Russell (Nltisic Dept.) '.I year, and the boys roughly every I fifth year. So, each year is different. ... _....St • ... .1:.Daul's . .: E' pIS''cop; . al." Church . •.....-'- .••...Sept" . . . .; ...7,.. 8'00 . •.. ' ...• .c._...... ,_ .. -,...... :_: "'...... ;.. ... ~ ...... ·.·,·.',1 ... 1361 W: Market, Akron OH44313 I SIDER: Do you spend time working Contact: Mr:Robert Quade216/836~9327j I specifically on sound? St. John's Episcopal Church -Sept. 8, 4:00 i 50 E. Fisher Freeway, DetroitMI 48201 CLEOBURY: Yes and no. One has to Contact:. Fro Richard Kim 313/962-7358 have a sound in mind and work to 1 accomplish it. But any view of that The Cathedral ofSt. Paul, St. PaulMN~ Sept.lq,7:30 , I must be tempered by the nature of Contact: MroPhilip Brunelle 612/870-0712 . the voices with which one works. Plymouth Congregational. Church Conductors have to get their 1900 .Nicollet Avenue, Minneapolis MN 55.403 choristers to realize the potential of St. John's Cathedral Sept. 11,8:00 the sound they can make, and then 1313 Clarkson, Denver CO 80218. conductors have to mold and blend Contact: Mro Don Pearson 303/831.,.7115 that together. So, one shouldn't stand up at the beginning of the 'Th~ Crystal Cathedral - Sept. 13,' 8: 15 rehearsal and say, "Now we are . 12641 Lewis Street, Garden Grove CA.92640 going to spend the first 10 minutes Contact: Mro Frf)derickSwarin714/9'71.,.4l5Q working on sound." However, one The Washington Cathedral Sept. 15, 7:00 ...... should do technical exercises which Massachusetts & Wisconsin Avenues, Washington DC 20016 have sound as one of their aims, and Contact: Ms. Marion Leach 202/966~3423 . one should say things to the choir members in the context of the St. Thomas ChUrch.,- Sept. 17,7:30 rehearsal which are intended to have 1 W; 53rd Street, NYI0019 an effect on the sound they are Contact: Dr. Gerre Hailc6ck 2121757-7013 making. Conductors should be concerned with the shape of a singer's mouth, the position of his tongue, facial expression, and the qualiry of vowels. All of these will The 130 voice Anchorage have a great bearing on the sound. Community Chorus is now accepting applications for a Actually, in rehearsal, one is permanent part time musical constantly fixing all those things, and director and conductor to begin in working in a way that has a bearing the fall of 1992. This part time on them all. position involves music selection, The aim I have is for listeners to conducting rehearsals, directing P.O. BOX 103738 regular and special concerts. Salary ANCHORAGE. ALASKA hear the whole, as it were - the DOE. Application deadline is 99510 finished result, which I hope is January 1, 1992. Send resume, feasible. But I don't just achieve it credentials, references and a tape by magic, and neither do I achieve it of previous performances, if possible to: The Anchorage Community Chorus, Director Search Committee. simply by walking into King's P.O. Box 103738, Anchorage, Alaska 99510. Direct questions to John M. Brower College Chapel. It is achieved by (907) 337·8748 (after 5:00 PM Alaska Std Time) extremely hard work and consistent dedication to the highest level of

Page 12 CHORAL JOURNAL discipline - choral and vocal. At composition, and conducting at the made an enormous difference. the same time, it is getting people to Royal College of Music. In addition, Children unconsciously adopt a sort appreciate the discipline, so that it he studied at the Royal College of of sound from the person in front of can be expressed in a natural way, and Durham University. them. If, for instance, I got someone and so that the effect of it can come In 1965 he was appointed Assistant else to conduct Evensong on Sunday, across effortlessly. We're talking here Music Master at Eton College, and the choir would make a slightly about that well-known phrase, "art in 1968 he became Assistant different sound. It's one of those concealing art." In England, as you Organist at . extraordinary things that you can't know, we're very interested in In 1974 he succeeded Barry Rose as really pin down and define. cricket. The great player who has an Organist and Master of the apparently effortless stroke, and Choristers at , strikes the ball to the boundary, and in January of 1983 he succeeded doesn't do it because he wakes up in Dr. Francis Jackson as Organist and I think everyone in the the morning and walks onto the field Master of the Music at York Minster. York Minster Choir inspired. He does it because he's got In addition to his work at York an innate talent, and that talent has Minster, Philip Moore maintains an realizes the purpose oj the been nurtured and developed. My active schedule as an organ recitalist, choir, which is basically to work here at King's is not, as some and devotes considerable energies to people imagine, easy. It involves a composition. lead worship and to say lot of hard work. Whatever success something that words we have doesn't happen because it SIDER: What do you look for when happened before, and we are only as you audition boys for the choir? alone cannot say. good as our last performance. Next - Philip Moore year weve got new, younger boys MOORE: We look for intelligence, a coming in, so our work is never sort of bright-eyed approach to life, finished. Moreover, in our situation and obviously, a voice we think we here, we have many recordings, can do something with. Generally SIDER: What part do acoustics play concerts both here and throughout speaking, we want a fairly clear and in the quality of sound? the United Kingdom, extensive tours pure voice that doesn't seem as if it MOORE: Acoustics play a part in the allover the world - Europe this has any particular vocal problems. amount of power the choir produces. summer, the United States early But mainly, I think, we look for an Because York Minster Cathedral is a this fall, and France in the near alertness. future, - and a musical service very large building, we sometimes find when we go to another building every day. So, I awake knowing that SIDER: Do you work to achieve a we have to sing a lot softer. The at the end of that day I will produce specific sound from the choir? an Evensong. men and boys here are used to projecting sound a long way, and to MOORE: Yes. We try to instill some singing pretty strongly, so adapting sort of vocal technique in the boys. to a smaller building is not always We feel that if they learn a sound technique, without being too self­ easy. conscious about it, then their voices SIDER: Are there other aspects that will, we hope, develop to their full are important in producing a great potential. Now, the basis of a sound choir? technique is, first of all, learning how to breathe. Then, I think it's a MOORE: Obviously, you must get the question of placing the voice as . altos, tenors, and basses right, and forward as possible. Once these basic work to blend these mature voices things are right, a great deal can be with those of the boys. Another accomplished. Of course, the sound thing that makes a great choir is of a choir depends upon the commitment to the ideal of the individual characteristics of each daily, sung service. This is not boy's voice. One particular year you actually a commitment to music, but might have a very strong, slightly to worship. I think choirs in this penetrating singer, and the other country are committed to this boys may learn that sound, or because the material rewards are unconsciously develop it themselves. scant. I think everyone in the York Philip Moore Also, I think the way the Minster Choir, for instance, realizes Organist and Master of the Music choirmaster sings to the choir makes the purpose of the choir, which is York Minster Cathedral, York a lot of difference, and for this basically to lead worship and to say reason, some years ago, I took something that words alone cannot Philip Moore received musical regular voice lessons myself, every say. That's actually the raison d'etre education in organ, piano, week for five years. I think this of our existence.

September 1991 Page13 music. He also studied at the Royal quickly he may understand what we College of Music. In 1982 he was are talking about. ThiS shows an appointed Assistant Master of Music aptitude for music, and it shows if a at Westminster Cathedral, and in boy is likely to enjoy the significant 1987 he won the competition for the amount of music he is going to work Royal College of Organists Performer with if he becomes a chorister. We of the Year. In 1988 he was also look for intelligence - boys appointed Master of Music at who are bright. They have to be Westminster Cathedral. He serves on able to cope with a very heavy the Royal College of Organists choral schedule, as well as their Council and is in demand as an academic work, and not be affected organ recitalist and continuo player. by that in any adverse way. A lot of He has performed with the principal boys don't have those particular baroque orchestras of Great Britain, qualities; they haven't got the right and is soon to record the complete stuff, and it wouldn't be kind to organ concertos of Handel for inflict our sort of lifestyle on them. . So we have to be careful about who we take. SIDER: What do you look for when you audition boys? James O'Donnell Master of Music O'DONNELL: Well, we look for a Westminster Cathedral, combination of qualities. We look My ideal here is to think for a boy who is obviously musical, that on a daily basis we James O'Donnell received his who has a good or reasonable voice, formal musical education at Jesus and a good ear. We also look to see can together rise to the College, Cambridge, where he was if a boy can quickly pick up what heights of choral singing and Open Scholar in we play for him, and we notice how in the service of the liturgy of this cathedral. DOES -James O'Donnell YOUR CHOIR LOOK AS GOOD AS IT SOUNDS? SIDER: Do the boys receive formal Your choir's appearance is as vocal training? important as its performance. Collegiate will make your choir O'DONNELL: Yes. The bulk of vocal look its best with custom-tailored training is done in full choir choral apparel. Our distinctive practices. When the boys first arrive designs are available in a wide they are called probationers, and range of beautiful fabrics and spend a period of apprenticeship - popular colors. Each robe is carefully usually a year - during which their crafted for a superb fit. progress is carefully monitored. The And, all Collegiate robes are probationers spend a fair amount of made in the U.S.A. time with the other choristers, but not enough to bewilder them about For a free catalog, material all the new things they are seeing. samples and ordering They get taken out of choir practices information, call by my assistants, and I see them as 1-800,637,1124. well, and they have their own separate training sessions at their own level where they cover basic COLLEGIATE music reading and also vocal CAP & GOWN techniques. So they learn a lot there. Division of Herff Jones, Inc. Also, we have a vocal coach who 1000 North Market St. works privately with the boys. This Champaign, lllinois 61820 is becoming common in English An employee owned company cathedrals now, although it was quite rare until recently.

Page14 CHORAL JOURNAL SIDER: What is the basic singing character. And I think our function sing in a tense way. I like to think schedule of the choir? as a Catholic choir gives subtle this choir sings in a relaxed way, and qualities to our identity and affects it is only when you are relaxed that O'DONNELL: They sing the main the way we sing. It's difficult to put you can really sing well. Mass in the morning, which is a very one's finger on that. Otherwise, I My ideal here, though it sounds a big affair and attended by over a think the acoustical properties of the bit corny, is to think that on a daily thousand people, and then they sing building have an effect on the way basis we can together rise to the Vespers in the afternoon. On major we sing. This is not a major heights of choral singing in the feast days, the choir will also sing influence, because we, like many service of the liturgy of this two services, one after the other. In other choirs, don't just sing in one cathedral. The church is liturgy, addition, they have special concerts building. Also, tradition is somewhat particularly in a great building such throughout the year. I feel that these of a factor. Children are mimics, as this. I would hope that the music concerts are important; they vary the and they tend to sing the way they we sing here is sung as well as diets and the duties, and the choir hear the chap next to them singing. possible. That's the job we have to benefits greatly from the experiences. That, to some extent, determines the do - to make a coherent musical We recently sang in Chicago at the general style of the choir - the instrument. This is not to say that personal invitation of Sir George singing gets passed on by that it's blended into a sort of bland, Solti, who came here for a visit and method. But it has to be controlled unified whole, homogenized, if you obviously liked what he heard. Next and regulated. I try to encourage the like. I think the choir should have a term we have a visit to Spain, where boys to sing as well as they can. character in each line. The trebles, we will do three concerts. Also, the Then I help the sound to cohere, altos, tenors, and basses should each boys sing in the Proms in September. overall. I encourage them to sing have a distinct character, each Beyond this, we make two or three correctly, to breathe well, to produce complementing each other, and all recordings a year. a certain vowel in a particular way, cohering. The choir should sing We are proud of our musical but I don't start with some detached precisely, but with elasticity, tradition here. Not many people idea of how I want the choir to flexibility, and expressivity. It should know, for example, that the famous sound and then make the choir sound as if it means what it is Vaughan Williams Mass in G Minor practice until I achieve that sound. singing. That's very important. Also, was given its first liturgical It doesn't work like that. On the it should be able to make sense of performance here. And there's a other hand, I think that the general music. A really good choir, like a large roster of composers such as style of the choirmaster and his good orchestra, can tackle and make Benjamin Britten, , assistants will have an effect on the sense of anything. It's about Stanford, and others, who have way the choir sings. I mean, if you musiCianship. A good choir will written music for us. are a very jerky person and speak in phrase naturally. You shouldn't have a tense way, then your choir will to tell a good choir how to phrase,

SIDER: How is this choir unique, or different from the Anglican cathedral choirs? Study with O'DONNELL: I would say there are Composer-Conduct or-Educator two aspects. One is that our men are professional singers, and in that we ALICE PARKER are similar to St. Paul's Cathedral JANUARY IN NEW YORK and Westminster Abbey. These (January 7-30, 1992) professional singers, who don't work in other ways - outside music - A four-week seminar for talented musicians, exploring the for a living, give us a very high inter-relationships of composition, arranging, performance standard of men's singing. Also, we and score-study. have boy altos in this choir. We combine them with adult SYMPOSIUM on POETRY, MUSIC and the CHURCH countertenors - a tradition fm keen (April30-May 3,1992) to continue. This gives the choir a A gathering of poets, composers, clergy, liturgists and lovers of slightly different sound, one that has sacred music to hear and discuss new texts, tunes and patterns been described as a continental of worship. sound. For some time now, the boys have had a fairly strident, resonant, For information, contact: hard-edged sound, which is very suitable both for our extremely large MELODIOUS ACCORD INC. building and also for the music we 801 WEST END AVENUE, #9D • NEW YORK, NY 10025 sing. It's hard to describe, but I TEL 212-663-1165 think our sound has a great

September 1991 Page 15 unless things are not clear or could 1956-1982 he was Lecturer in Music SIDER: Are there ways in which St. be done in different ways. A choir is and University Organist at John's Choir is unique? a coherent musical instrument, but Cambridge University, served as with the personality of the people in president of both the Royal College GUEST: Well, it's difficult to say, it. It's an immensely complicated of Organists and the Association of because every year so much varies. thing. Cathedral Organists, and was However, we have a lot of Director of the Berkshire Boy Choir advantages here. Money isn't a in the United States in 1967 and problem, and we have a very good 1970. choir school. Consequently, parents and the boys themselves are attracted SIDER: Could you give us some to us. Also, we do a lot of touring: details concerning the choir Australia a couple of times, Brazil in schedule? the near future, the United States on a number of occasions, Canada this GUEST: The boys rehearse from 8:30 past August, and many European to 9:30am five days a week, countries such as Greece and excluding Thursdays and Sundays. Sweden. So, that is an attraction. These are boys-only rehearsals. The 16 choristers rehearse in one place, and the four very little boys, the probationers, in another. We also have a full rehearsal with the Singing is a mixture of 16 choristers and the 14 choral scholars - six basses, four tenors, technique and emotion. and four altos - three-quarters of You can't have one an hour - rather more during the hundred percent of each. George Guest weekend - before each choral service. The men are expected to -George Guest Organist and Choirmaster learn the music on their own, so full St. John's College, Cambridge rehearsals consist entirely of shaping the music.

George Guest, born in Bangor, SIDER: Do you work on vocal Also, Cambridge is quite a nice North Wales, began his musical technique in your rehearsals? place, and we have produced many studies as a chorister at Bangor and recordings. I've lost count, but there Chester Cathedrals. He subsequently GUEST: Not a lot, because the are something over a hundred. As became Sub-Organist at Chester. In repertoire, which consists of about far as singing itself goes, I suppose 1947, after service in the Royal Air 1,300 items, is so large. We give the one could approach it this way: Force, he was appointed Organ boys a decent technique of singing singing is a mixture of technique and Scholar at St. John's College, when they are probationers; this they emotion. You can't have one Cambridge. In 1951 he became keep with them. The boys' rehearsals hundred percent of each. It's an Organist and Choirmaster, a position are very largely given over to impossibility, and the maddening he held until his retirement this past learning, shaping, and discussing the thing is, the more you have of one, summer (1991). In addition, from music. the less you tend to have of the other. For obvious reasons, if you work too much on technique, you take all spontaneity out of the performance. And if, on the other hand, your performance is Henriette completely spontaneous, you are likely to go out of tune, or not have a good balance, or something. So I Schellenberg think, myself, that the difference between choirs lies in the relative "exquisite poise and pun't;y iftone" emphasis placed on these two LOS ANGELES TIMES elements. At St.' John's, we tend to go for decent technique, but we are Colwell more uninhibited, therefore more ARTS MANAGEMENT exciting than many other choirs. Other choirs tend to close up, rather, and take the stiff, upper-lip Englishman approach, which I,

Page16 CHORAL JOURNAL being a Welshman, detest. Others week in each. In 1985 he left in the morning and 30 minutes in tend to go for niceties of technique. Southwark to become Sub-Organist the afternoon. It's enough time with It depends on whether you want to and Assistant Director of Music at the boys, but never quite enough admire your music or whether you St. Paul's, where in 1990, he was with the men. On the other hand, want to be moved by what you appointed Organist and Director of we are fortunate in that the adults hear. We take the latter view. Music. In addition to his duties at St. are all fully professional singers. fve been with the St. John'S choir Paul's, he is Assistant Conductor to They undertake a rigorous audition 44 years, which is a long time. Over Sir David Willcocks of the Bach to get into the choir, and great time, therefore, fve put my stamp Choir, and Professor of Organ at the on it. However, I believe my . approach hasn't produced just one sound. Sound varies according to the SIDER: Please tell us about your kind of music being sung. And rehearsal and performance schedule. I think we aim for a furthermore, boys are capable of producing many different kinds of SCOTT: Our schedule is bound up midway sound, basically tone. In this regard, one should pretty much by the pattern of Anglican in its roots, but never refer to a boy's voice. Instead, services we have. St. Paul's, I think reference should be made to boys' fm right in saying, sings more not too hooty or breathy. voices, or a particular aspect of the choral services than any other -John Scott tonal spectrum of a boy's voice. cathedral choir in this country. We sing nine fully choral services a week. This means that Evensong is sung every day, with the boys only on Monday and the gentlemen only emphasis is placed upon sight­ on Thursday. In addition, we sing a reading ability. Consequently, a choral Matins on Saturday morning, rehearsal is almost entirely a matter and Evensong on Saturday. Then, of molding a performance rather there are three services on Sunday - than learning notes. Thank goodness Matins, Communion, and Evensong. we don't have to do that. The men I rehearse the boys every morning are also usually very experienced from 8:00 until 8:55; their school singers. day begins at 9:00. At half past four, We have a curious system, which the boys and men rehearse until we I think is common to all the London sing Evensong at 5:00. So, for choirs, called the deputy system, rehearsal, I have just about an hour whereby singers are allowed to be

CHORAL MUSIC IN PRINT

Musicdata has just published the Choral Music In Print Master Index 1991. With the publication of this volume Musicdata can now offer a complete up-to-date John Scott set of master catalogs of published choral music from around the Organist and Director of Music world. The set includes the 2-volume Sacred Choral Music In Print St. Paul's Cathedral, London base volume published in 1985 and the 2-volume set of Secular Choral Music In Print published in 1987, as well as a Supplement to each base volume, Arranger Indexes and a Master Index. The 3700 John Scott received his earliest page set includes 6 volumes of 145,000 choral listings and 3 volumes musical training as a chorister at of indexes. The set forms a comprehensive reference source for where he later published choral music. served as Assistant Organist. In 1974, after studies at the Royal Choral Music In Print (clothbound) 9 volumes College of Organists, he was 3700 pages $656.00 prepaid appointed Organ Scholar at St. Volumes may be ordered separately or as a set. We would be happy John's College, Cambridge. He was to send you a free brochure. assistant to George Guest at St. Musicdata, Inc. John's for four years. On leaving Dept. A Cambridge, he was appointed P.O. Box 48010 Assistant Organist at London's two Phila., PA 19144, U.S.A. Anglican Cathedrals, St. Paul's and (215) 842-0555 Southwark, playing three days a

September 1991 Page 17 away up to 50 percent of the time. must be fluent readers. This deputy It keeps us from getting stale. Also, This is actually changing. They are system might bethought of as a it's necessary, because the Cathedral now entering a contractual situation drawback in that I don't have the can't pay the adult singers a salary which will entitle us to have a 60 same choir from day to day. In a upon which they can live. The percent commitment. When they are way iUs a drawback. However, rve singers have to make up their income away, they have to provide a become accustomed to the situation by undertaking various other deputy, chosen from an approved and feel that I now work quite activities which can range from deputy list, which is drawn up by happily within it. It keeps me on my private instruction, college or myself. It's quite a large list - about toes, and I think it's good for the university teaching, concertizing as 30 names to each part - and again, choir in a sense - having a soloists, or performing as members of all these people have auditioned, and difference in personality every day. such choirs as the Monteverdi Choir, the Schlitz Choir, etc. There are even more wide-ranging activities­ singing in opera choruses and recording-session work. One chap CELEBRATING YEARS OF MUSIC EDUCATION. 16 has been a member of the backup II. 'QIII '1111111 group for Pink Floyd. SIDER: Would you comment on the vocal training that the boys IIC 111111 , experience?

UNDER THE DIRECTION OF THE SCOTT: We work on vocal technique - within the context of the rehearsal, University of Missouri-St. Louis and just this year we started providing individual instruction. We APRIL 24-26,1992 always start rehearsals in the morning with vocal and breathing NEW CHORAL DIVISION: Nineteen choral groups participated in exercises, including having the boys last April's competition, the second year for this division. The positive sing different vowels to get the voice response has created an upbeat event combining serious music placed focused. However, within education with a fun weekend. Call or write for the affordable details. the context of the rehearsal, one is really so much concerned with III CLINIC SESSIONS to enhance your festival experience musical detail and getting the notes III Quality adjudication by widely-known and respected music educators right, it's actually very hard to

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C~~r~~~~~~~~-3093 /IJ£~'~~~ SIDER: Tell us about the repertoire ~\i G4~ ! ,:1 0; you perform. How extensive in ~Qli1. ')~~ ST.lOUIS GATEWAY amount and diversity is it? t4 .....,. MUSIC FESTIVAL •I SCOTT: We certainly perform a great ~&I!.lli!JIVJlL -r . deal of music, trying not to repeat -~~ ;. " specific pieces or works too c/o Discover St. Louis Tours ; ';=ii frequently. There are, however, 7603 Forsyth Blvd. ,~ some settings of the Canticles or St. Louis, MO 63105, ,,' . Mass that are done maybe two or three times a year. But, for the most

Page 18 CHORAL JOURNAL part, anthems tend to be seasonal, a collegiate choir. In addition, we to be direct, bright, well-focused, and done once a year at the most. I tend toward a Romantic style, which and projected. Even if it's very soft, think the cathedral choirs have I think suits the building and the it still has to be projected. I don't followed the lead of the collegiate singers. like a dull, Anglican, breathy, or choirs at Oxford and Cambridge, hooty sound anyway. Perhaps this is and are relatively catholic in their SIDER: What part do acoustics and a result of my St. John's training. I musical tastes. The earliest piece of tradition play in influencing the think we aim for a midway sound, music we sing, as far as I know, is a sound of the choir? basically Anglican in its roots, but setting of what is called the "Royal not too hooty or breathy. I Acclamations," which we sing on SCOTT: I think acoustics certainly encourage the choir to sing in a free, Advent Sunday~ and which dates affect sound; you gear your choir to open, and direct fashion, with care from the pre-Norman conquest. what works best in the building - for ensemble and intonation, and I From this, we range to music which to what will work in eight to 10 try to show the choir that I believe dates from last month. Of course, seconds of reverberation. We have to in what they can offer, and that they the main backbone of our repertoire sing in a very forthright style; it has can offer the best at all times. m is Anglican cathedral music - Byrd, Gibbons, Purcell, Goss, Stainer, Stanford, and Wood, and the Victorian-Edwardian composers onward. In my time, I have tried 1toLLEG1AT very hard to broaden the repertoire to include more continental music, particularly polyphony, and also music like the Bruckner Masses and motets. I have a great commitment to contemporary music, and weve commissioned pieces by composers April2-5, 1992/ Chicago, Illinois such as John Tavener and William Featured performance by Mathias. I also have introduced a lot of recent church music by composers THE NEW YORK VOICES such as Penderecki. • Three Showcase Performance Sessions Vocal Jau Ensemble - 8 groups SIDER: Are there ways in which the choir at St. Paul's is unique or Show Choir - 8 groups different from other English choirs? Soloists - 4 males, 4 females • Guest Artists Showcase SCOTT: Well, one obvious difference is the size of the choir. Since St. • Special Interest Clinics Paul's is a vast building with eight to • "Gold Company," Host Vocal Ensemble 10 seconds reverberation, we have to Western Michigan University have a very large choir (in fact, it's the largest in this country). The size • Audition Tapes due Oct. 16, 1991 of the choir is exactly as specified by • Individual and Group Observer Programs Sir John Stainer in 1872, when he became organist. He said the GUEST ARTISTS building requires 30 choristers, eight probationers, and 18 adult singers - Steve Zegree six altos, six tenors, and six basses. Artistic Director During the week we operate with just 12 men, but on Sundays we April Arabian John Jacobson have the full choir. I think people are frequently overwhelmed by the Gary Fry Fritz Mountford sheer weight of sound that's here. Stevie Rivers The sound is also very professional, Mac Huff Rawlings such as is not heard quite as much in

=3:..3;:. 1 _-:::J~-:::J ___ KEYNOTE ARTS ASSOCIATES To submit articles for the Choral Journal, send five (5) copies to the James E. Dash, Producer P.O. Box 1608/ Kalamazoo, MI 49005/1-800-522-2213 Managing Editor, P.O. Box 6310 Lawton, Oklahoma, 73506.

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