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by
Robb Cundick
click on pictures to enlarge
After our stretch
of high profile performances (highlighted by the 2002 Winter Olympics
and the Nauvoo Temple dedication) the Tabernacle Choir enjoyed a
relatively quiet summer. But such was not the case for me; as promised
in the articles about auditioning, (see: Pointing
the Way: What Would It Take to Join the Mormon Tabernacle Choir?
(Part One) and Part
Two) I volunteered to sing with the Temple Square Chorale so
I could continue following the experiences of the 63 people who
survived the Spring 2002 auditions.
The
Frying Pan: Singing Bach in the Temple Square Chorale
As mentioned in the previous
articles, this group was the largest and perhaps highest caliber
body of new members ever to join the choir at once. But before their
entrance there would be in intensive three-month period of training
in the Temple Square Chorale and Choir School.
In addition to the new
singers, each session of the chorale includes a contingent of current
Tabernacle Choir members who take a three-month leave from the choir.
The quarter is spent preparing for a concert performance of a major
work. At 107 singers (28 sopranos, 37 altos, 19 tenors and 23 basses),
this edition of the chorale was the largest ever. The choir school
provides instruction in music theory and vocal technique (I was
only volunteering this time and didn’t participate in that).
Rehearsals were
held Tuesday nights in the Assembly Hall from July to October. Befitting
the new group’s qualifications, the musical work selected
for performance was the most ambitious in the chorale’s three-year
history: Bach’s “Mass in B Minor.” Director Mack
Wilberg expressed his special feeling for the Bach when he first
announced to the Tabernacle Choir that he would like additional
volunteers. He said, “Singing this piece will change your
life.”
The massive forces of
the Mahler:
take what you see here and
multiply by two!
It did not take long
for me to sense that the new singers would add much to the choir.
While the pace in choir rehearsals is rapid, the smaller numbers
and proximity to the conductor make chorale practice even more intense.
Brother Wilberg insisted upon complete concentration, frequently
expressing concern about the difficulty of preparing one of the
most complex works in the choral repertoire – nearly two hours
of music – in a very short period of time (only 13 rehearsals
before combining with the orchestra). But the group did not seem
intimidated; they did remarkably well at sight-singing even the
most difficult sections, and after the first three weeks –
when we had finally been through most of the music for the first
time – prospects started to sound promising.
The most difficult challenge
turned out to be staying together through Bach’s complex canons
and fugues. The choir loft in the Assembly Hall is separated into
two widely- spaced sections. The women occupied one side and the
men the other, which made staying in sync all the more difficult.
To help develop a precise sense of rhythm, Mack instituted what
he called, “the counting machine”. We counted off into
even and odd numbers. Even numbers kept time as we sang by slapping
against their thigh to the quarter note beat; odd numbers counted
twice as fast to the eighth note. At regular intervals the two groups
switched. This became a constant feature of the rehearsals. The
effect was that even when it was discontinued in the final week,
a steady pulse seemed to play on at the back of our minds.
Mack feels that many
people don’t gain an appreciation for Bach because its complexity
begins to sound confused and muddled when not performed with the
requisite precision. The counting machine helped immensely. When
things didn’t sound right he would stop abruptly and say,
“When your Aunt Tillie or Uncle Phil comes to the concert,
they’re going to hear this and say, ‘You know what?
I don’t like Bach!’ Now start tapping on your thigh!
Look over at your neighbor; is your neighbor tapping, too? Raise
your hand if your neighbor isn’t tapping!” (This little
bit of playful blackmail works wonders in getting everyone to participate).
As I think back, I seem to feel a phantom soreness in my thigh;
but I sure know how to sing Bach with an excellent sense of rhythm!
In August the new members
got a preview of singing in Tabernacle Choir as they joined a performance
of Music and the Spoken Word. The chorale sang some selections on
their own and some combined with the choir. I was on vacation and
couldn’t participate, but I saw a repeat broadcast and they
did very well.
September passed
quickly; and as October approached we began to anticipate the 8th
thru 10th when we would finally rehearse with the Orchestra at Temple
Square and the soloists. But most of the chorale still had to pass
through one more stressful event, for choir school finished at the
end of September, and it was time for a last audition. Yes –
even after all they had been through – the new candidates
were not assured a place in the Tabernacle Choir until they passed
this last test; and current choir members serving their official
rotation had to audition, too. But by this point the singers have
been so thoroughly prepared that failing the audition is rare; and
all were successful this time.
Gathered in the basement
of the Assembly Hall,
Mack gives final encouragement before the first concert.
At the beginning of October
we took a break from Bach. It’s certainly not the kind of
thing a normal choir would do, but the Tabernacle Choir has numerous
responsibilities, and the greatest is to sing at General Conference.
It is here that heart and voice are joined most completely. The
strong spiritual presence makes the words of the hymns even more
meaningful. To be in the company of the prophet, apostles and other
leaders while singing praises to the Lord is a soul magnifying experience.
It was especially touching this time to be reminded of the Nauvoo
Temple dedication, as we sang many of the same hymn arrangements
performed there. All members of the chorale were invited to participate,
and the presence of the new singers swelled our ranks so much that
extra seats had to be set up.
Despite the risk of a
step backwards with lost rehearsal time, Conference did not put
us at a disadvantage. What better way to engage a spiritual frame
of mind for our final concerts? And since the presence of the Lord’s
Spirit is the most crucial ingredient of the Tabernacle Choir’s
special sound, this complete charging of our spiritual batteries
gave the new members all the more opportunity to learn what singing
in the choir is all about.
The week of
a major concert is very intense; and these final rehearsals were
critical. There were so many details to be worked out between chorale,
orchestra and a stellar group of five professional soloists. Though
the three nights of three-hour rehearsals were wearing, anticipation
of the weekend concerts provided the additional energy needed to
make it through. After one rehearsal, Mack apologized for having
been what his children call “a total jerk.” I had to
smile because his occasional restrained displays of impatience did
not even approach my definition of true “jerkhood” [apparently
his kids don’t know how good they have it!]. By the final
dress rehearsal, everyone including Mack seemed pleased.
The second Temple Square
Chorale concert was
at the University of Utah’s Libby Gardner Hall.
As I come to write about
the concerts I am concerned I will be tempted to overdo the superlatives.
So rather than going on about how wonderful they were (though I
am certain I would be justified in doing so), let me put it this
way:
Bach was very religious;
in fact, he was so dedicated to glorifying the Lord that he has
been referred to by many as, “The Fifth Evangelist.”
His feelings about music are summed up in the following quote: "The
aim and final reason of all music should be nothing but the Glory
of God and the refreshment of the spirit." I am confident that
had he heard our performance, Brother Bach would have been pleased.
We took all of our learning and hard work, laid it upon the altar,
and then rejoiced as the Holy Spirit magnified it into a glorious
performance.
The Latin text of the
Mass (an English translation was provided in the program) is filled
with expressions of praise to God and His Son. Its “Credo”
section is a declaration of belief – a testimony. Though we
might quibble about a doctrinal point here or there, the spirit
of the work was of love, faith, and praise; the music adding a living
expression of Bach’s convictions. I wish you all could have
been there. The halls were filled on both nights, the audiences
very enthusiastic. While it was good to be finished, there was also
sadness in knowing we may never sing this masterpiece again. It
was indeed a life-changing experience.
The new singers were
finally ready for their entrance into the Tabernacle Choir. Sunday,
October 13, we honored and said goodbye to the latest group to reach
their maximum length of service (20 years or age 60, whichever comes
first). The new singers were introduced and participated in their
first rehearsal on the following Thursday. In another of the cycles
of life, old members faded from view (but not from our hearts),
new ones joined, and the Tabernacle Choir moved forward without
skipping a beat.
The Fire: Singing the Mahler 8th Symphony
At last it was time to
sit back, rest upon our laurels and enjoy the relatively “relaxed”
schedule of only having to prepare a weekly broadcast. But wait…
hold everything: this isn’t some country club; it’s
the Mormon Tabernacle Choir! Still huffing and puffing from the
Bach marathon, the new singers joined us only to be… behind
already. While we were singing Bach, the first rehearsal for a major
concert had already been held; and thus you see the significance
of the title of this article.
Every two years there
is a special free concert pairing the Mormon Tabernacle Choir with
the Utah Symphony. The series began in 1983 with an endowment from
philanthropists Obert C. and Grace A. Tanner and the O.C. Tanner
Company. It is known as the Tanner Gift of Music and is always a
highlight of the Tabernacle Choir experience.
If one piece
of music were chosen as the crowning achievement of 18th century
choral music, it would probably be Bach’s Mass in B Minor.
What a unique opportunity, then, for those of us who sang in the
chorale to jump straight into preparations for what may well be
the crowning achievement of 19th century choral music: Mahler’s
massive Symphony No. 8 in E-flat Major. That word “massive”
is no exaggeration; this work is sometimes known as the “Symphony
of a Thousand” because it calls for such huge forces: an expanded
symphony orchestra, double mixed chorus, children’s choir,
and eight soloists (three sopranos, two altos, tenor, baritone,
and bass).
Tabernacle Choir member
Dee Rich visits
with a member of the Southern Utah University Chorus.
There are not
many works where the Tabernacle Choir needs to be supplemented,
but this is one of them. The 150-voice Utah Symphony Chorus, 70-voice
Southern Utah University Choir, and a combined 150 voices from the
Cathedral of the Madeleine Choir School, International Children’s
Choir, and the Salt Lake Children’s Choir joined us –
over 700 voices in all. Add to that 121 instruments from the Utah
Symphony (expanded from the usual 83), 8 soloists and then count
the 206 ranks of the Tabernacle Organ as a couple of hundred and
we did indeed have our thousand. The Salt Lake Tribune dubbed it,
“Mega Mahler in the Tabernacle.”
Again there was limited
time to get ready; the first rehearsal was just over five weeks
before the mid-November performances. At our first rehearsal with
the Symphony Chorus, I was told there was someone looking for me.
It turned out to be Lee West, a former missionary companion. It
was fun to sit together and talk about our families and experiences
together over 30 years ago in Saarbrucken, Germany.
The Southern
Utah University Chorus couldn’t join us until the final week.
Their youthful exuberance was energizing, spread throughout the
choir. Talking to Lee, I had already been reminded of my mission
days, and now came reminders of college as Josh, who sat next to
me, recounted his experiences meeting girls in the big city (he
managed three dates that week – what a fast mover!).
The Southern Utah University
Chorus also
provided quite a contrast in hairstyles!
If putting the final
elements of the Bach together was difficult, can you imagine the
Mahler, including six choirs, a huge orchestra and the Tabernacle
Organ? Utah Symphony conductor Keith Lockhart seemed mostly pleased
and only occasionally became impatient. But to be frank, as we got
down to the wire, this one had me worried. Had we finally arrived
at something the Mormon Tabernacle Choir wasn’t quite up to?
The piece was as hard as the Bach and then some: dissonance and
unfamiliar harmonies made some parts an absolute bear to learn.
A couple of sections were like running full steam into a dense forest;
when I finally emerged on the other side I looked around to find
many singers had run into a tree! They were getting lost and simply
dropping out. I had never before experienced this in the choir.
But fortunately we had
been given special tools to help: two CD’s – one with
a synthesizer highlighting our individual part and the other a performance
recording. I spent hours going over parts where there was so much
happening it was hard to find my individual notes; these were the
places generating “musical casualties.” But in the end
it did come together beyond my highest hopes. Enough people had
finally done their homework to bring the rest along, and as always
the Lord made up the difference. The result was breathtaking!
And what a sight
it was: over 800 singers and instrumentalists, the adult choirs
in black and the children dressed in colorful choir robes. We filled
much more than the choir loft and stage, extending around into the
first section of the balcony. On the first night, though seating
is by assignment, things turned out such that Lee West and I sat
together. How amazed we would have been had someone told us 30 years
ago we would one day sing together in the Tabernacle.
Former missionary companions
Lee West (left) and Robb Cundick, 31 years after pounding the streets
of Saarbrucken, Germany.
The first part of the
piece an outpouring of sound, sometimes so complex it was almost
impossible to digest, but devoted to praising and inviting the presence
of the creator. The second part was a beautiful, serene setting
of the final scene from Goethe’s Faust (how appropriate for
Lee and me to be singing in German). I found its message of personal
redemption to be deeply touching.
The audience roared its
approval after each of the two performances; some individuals almost
beside themselves, yelling “Bravo!” President Hinckley
attended and later sent a message expressing how moved he had been.
Once again it was hard to say goodbye to a piece we had taken so
much effort to learn and which seemed to have become a part of us.
If you ever have the opportunity to hear Mahler’s 8th Symphony,
don’t miss it!
Looking Forward
And so, for the new singers,
it has been a uniquely challenging time to join the Tabernacle Choir.
But having emerged from this they are surely ready to take on just
about anything. The Choir is now larger than it has been for many
years. Until recently it has numbered around 320, but is now at
360 and will remain so.
The schedule
in the coming months will not let up. After the First Presidency
Christmas Devotional comes our annual Christmas Concerts (December
12-14). This year our guest will be former CBS news anchor Walter
Cronkite. [And, by the way, if you missed last years’ concert
with Angela Lansbury, it came out recently on VHS and DVD (see http://deseretbook.com/store/product?product_id=100051220)].
In January and
May we will be producing two new recordings. While the Choir will
continue its relationship with TelArc, these recordings will be
produced on our own label and will be marketed through Deseret Book.
The Easter Concerts, April 18 and 19, will feature Brahms’
Ein Deutches Requiem.
In late June and early
July we will tour the northeastern United States and Canada, performing
for the first time at several major music festivals. A highlight
will be a July 4th performance with the Boston Pops! I will list
the preliminary dates and locations below.
Jumping from the frying
pan to the fire is normally an experience to be avoided. But when
we’re talking about singing, though there is a lot of hard
work, the sacrifices are well worth it. Each of these pieces now
has a special place in our hearts. The challenges have helped us
to grow both individually and collectively. We look forward to new
horizons, ever moving upwards in fulfilling the vision President
Hinckley has set forth for the Mormon Tabernacle Choir, the Orchestra
at Temple Square, and the Temple Square Chorale.
Tabernacle Choir 2003 Northeastern States Tour
June 24
Traverse City, Michigan
Interlochen Festival
June 25
Grand Rapids, Michigan
DeVos Hall
June 26
Toronto, Canada
Roy Thompson Hall
June 28
Chautauqua, New York
Chautauqua Festival
June 30
Newark, New Jersey
Performing Arts Center
July 1
Saratoga, New York
Saratoga Music Hall
July 2
New York City, New York
Lincoln Center
July 4
Boston, Massachusetts
Boston Pops
July 5
Washington, D.C.
Wolftrap Festival
July 7
Philadelphia, Pennsylvania
Mann Theater
July 11
Berkshire Massachusetts
Tanglewood Festival
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