"Showtime!" Music of Broadway and Hollywood
By Robb Cundick

Mormon Tabernacle Choir Director Craig Jessop has described this hypothetical future scene many times:

We (members of the Choir and Orchestra at Temple Square) have reached our waning years. As we relax in those rest home rockers, our favorite pastime is listening to CD’s ― recordings that we helped to make all those years ago when it was our turn to be a part of these revered organizations. To paraphrase his message: “Let's get it right! Sing so that your voice blends with the fabric of the sound! Let us create something that will bring joy and satisfaction in our ‘golden years!’”

Such exhortations are a frequent occurrence. Craig is an intense and energetic musician. These qualities are immediately apparent in the broad and powerful sweep of his baton from the conductor’s podium and in his contagious enthusiasm for choral music.

Director Craig Jessop is intense and energetic!

That energy and attention to detail is what helps Jessop bring the Mormon Tabernacle Choir and Orchestra at Temple Square to new heights. And it is also central to the quality of the fabulous new recordings that have emerged since the debut of our own Mormon Tabernacle Choir recording label in April of 2003.

The latest offering by the Choir and the Orchestra, “Showtime! Music of Broadway and Hollywood,” which debuts February 13, 2007, is a perfect example. Attention to detail began with the initial planning of the album. Thanks to the convenience of the Internet, the careful process of selecting songs was for the first time able to include input from our listeners. Subscribers to the Choir’s newsletter (a signup is available at www.mormont abernaclechoir.org; click here to subscribe) were invited to submit suggestions.

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The latest album by the Choir and the Orchestra is a perfect illustration of the careful attention that goes into every undertaking.

Inspiration from Broadway

The top vote getters are all included in the album, including “Sunrise, Sunset” from Fiddler on the Roof, “The Impossible Dream” from Man of La Mancha, “Bring Him Home” from Les Miserables, “Who Will Buy” and “Where is Love?” from Oliver, and “You’ll Never Walk Alone” from Carousel.

All of the music chosen for this album is in harmony with the Latter-day Saint belief that "if there is anything virtuous, lovely, or of good report or praiseworthy, we seek after these things."

Heart warming musicals such as The Secret Garden (“Come to My Garden”) and Peter Pan (“Never Never Land”) are natural sources of inspirational music, but sometimes it can be found in a less obvious place. Such is the case with “Not While I’m Around,” a Stephen Sondheim gem from the dark and macabre Sweeny Todd, a musical about ― of all things ― a murderous barber.

Mass of musicians: the sheer number of musicians involved
in a Mormon Tabernacle Choir/Orchestra at Temple Square recording is an impressive sight.

Inspiration from Hollywood

Hollywood, too, is a source of much that is “of good report and praiseworthy,” especially when it comes to the classic movies that have been loved for generations. Two of our selections were winners of an Oscar for best song: “Over the Rainbow” from The Wizard of Oz (which is also the number one song on the Recording Industry of America and the American Film Institute’s centennial lists of songs) and “When You Wish upon a Star” from Walt Disney’s Pinocchio. Another classic is “Fill the World with Love” from the 1969 musical version of Goodbye, Mr. Chips.

But the remaining three selections prove that there is also inspiration to be found in more current fare. “Hymn to the Fallen,” with music by John Williams, is from Saving Private Ryan. “In Dreams” comes from the epic The Lord of the Rings: The Fellowship of the Ring. And topping off the album is the Grammy-winning favorite “Circle of Life” from The Lion King.

This delightful album is one I am most certainly going to cherish in my elderly years! But more about my own impressions later; first I’d like to tell a little about the meticulous process of recording with the Mormon Tabernacle Choir and Orchestra at Temple Square.

"Quiet, please." It's time to record!

The Recording Process

The recording sessions for “Showtime!” took place last May (2006). There was so much labor required just to set things up, and it began before the Choir and Orchestra even arrived.

Since we were unable to record in the Tabernacle during its seismic retrofit, it was necessary to use the Conference Center. However, the Conference Center presents a special challenge due to the great distance between the Choir in the loft and the Orchestra on stage. For this reason, when we record the Choir is moved down to the stage and placed on risers behind the Orchestra. This helps achieve a tighter ensemble between the two groups.

Other improvements included placing a sound shell behind and to the sides of the stage and a set of panels above called an "acoustical cloud." The latter was suspended from the ceiling to keep the sound from quickly dispersing into the vast overhead space.

A sound shell and an "acoustical cloud" help keep the sound from getting lost in the vast reaches of the Conference Center.

Our recording engineers, Bruce Leek and Fred Vogler, are veterans with years of industry experience. They fly out from California for each project. By the time we arrived, they had set up microphones, preamps, cabling, console, converter, storage devices, monitors, and AC power conditioning ― all of which were needed for modern digital recording. But beyond that, the equipment must be fine-tuned, which meant that before we could record, at least an hour was devoted to listening to the entire group as well as various sections of singers and instrumentalists to make sure the microphones were placed just right.

The view from the recording booth: behind the scenes there are many people who help to ensure that the recording will be a success.

Such careful attention to detail was evident everywhere in the sessions. For this recording ― and as is usually the case ― there were six sessions of three hours each. They were held on Tuesday through Friday nights, with an additional two on Saturday. That makes a total of eighteen hours. Given there are fifteen songs on “Showtime!” that computes to a little over an hour for each 3-5 minute song.

We generally started each song with three or four complete takes. Associate Conductor Mack Wilberg sat in the sound booth, listening carefully. His sharp ears caught every nuance, and after each take he told us what needed to be improved. Most often it was shaping our vowels properly and keeping the pitch up. Every Choir has a natural tendency to sag and sing under pitch.

"A little higher please!" Associate Director Mack Wilberg will never be satisfied with mediocrity.

I know Mack wishes he did not have to remind us so often to sing not only with our hearts, but our brains! The piece was finished by recording in small sections so that detailed corrections could be made. Finally, there was another complete take or two before proceeding to the next song.

Keeping it Fun

Such an intense process can become tedious, but light-hearted banter between musicians and directors helped to keep the atmosphere fun. For example, as we recorded “Circle of Life,” the singers placed a collection of stuffed animals and a pith helmet on the conductor’s podium.

Members of the Choir surprised Craig with an array of stuffed animals while recording "Circle of Life."

And we often find ourselves having fun with the adjectives the conductors come up with to describe each take. Sometimes Craig will get on a streak of using the term “good;” he’ll say, “good-good” or “good-good-good” or sometimes even “good-good-good-good-good!” and we find ourselves wondering, “Hmmm … how may ‘goods’ equal an ‘excellent.’ Is it three? Four, maybe? Five certainly equals a ‘super’!” Anyway, you get the idea ― when there’s so much repetition, you naturally look for ways to keep things from becoming laborious.

But even after the recording sessions were concluded, the work was not yet finished. After Bruce and Fred returned to California, it was time for Craig and Mack to do the traveling ― this time to join the engineers in carefully editing each track until it shines like the star on the cover of our new album.

In the past, our albums have been released as quickly as three months after the recording sessions. But this past October a compilation was released (“The Wonder of Christmas”) that consisted of selections from past Christmas concerts. This cleared some space in the schedule so that the process didn’t need to be so rushed this time. That was a good thing, but given we have been anticipating the release of this album since last May, the wait has seemed interminable. And so I was thrilled when I was able to get a preview copy to hear before preparing this article.

Listening to the Album

All of the releases on the Mormon Tabernacle Choir label have been fantastic, but I think this one may have the broadest appeal of all. I put the album on shortly before a television program I had planned to watch, thinking I would hear the remainder afterwards. But my plans changed quickly. I loved this recording from beginning to end. Once it started I could not resist hearing it all! There is not one track that I did not absolutely love upon first hearing.

I have received permission to share a thirty second snippet from each track, and I’ve carefully picked the portions I think will give you an appreciation for this very moving and inspirational album. I will be very surprised if you can listen to these and not rush to purchase the album!

1. “When You Wish upon a Star.” The beautiful close harmonies of arranger Michael Davis (who Brother Jessop first worked with during his days conducting the Air Force Singing Sergeants) are a treat for the ear. I’ve selected a portion of the climax.
2. “Who Will Buy?” Again, Michael Davis’ beautiful close harmonies provide a rich, pleasing sound. This one really picks up tempo later on but I just had to include a section of the beautiful introduction by the winds of the Orchestra at Temple Square. Unfortunately that means you don’t get to hear much Choir. Choices, choices ― but hopefully after hearing this, YOU will buy and then you’ll get to hear the whole thing!
3. “Where is Love?” That beautiful Davis close harmony again. This one is a cappella (without instrumental accompaniment). This arrangement eloquently captures the longing in Oliver’s plea.
4. “Not While I’m Around." This Davis arrangement features the women of the Choir. Angela Lansbury appeared in Sweeny Todd on Broadway and also performed this song in concert with the Choir.
5. “Sunrise, Sunset.” This classic Arthur Harris arrangement was first recorded by the Choir in 1971 for the album “Climb Every Mountain.” Mr. Harris himself conducted the Columbia Symphony Orchestra. Little did the Choir know then that one day we would have our own superb orchestra!
6. “Bring Him Home.” This classic from Le Miz is far and away my personal favorite. This arrangement by Barlow Bradford for the men of the Choir has been instantly loved by all since its very first performance. For years we have hoped to record it and now here it is at last!
7. “Hymn to the Fallen.” The Choir sings only “ooo’s and ah’s,” but in this case, words are unnecessary. This reverent hymn by John Williams cannot help but bring tears to the eye as one contemplates the sacrifices of those who have died for our freedom.
8. “You’ll Never Walk Alone.” This Arthur Harris arrangement also premiered on the “Climb Every Mountain” album of 1971. For the sample I just had to feature the climax. It’s one of those “Mormon Tabernacle Choir moments” that have been so loved by generations of listeners.
9. “Never Never Land.” Another fantastic arrangement by Mack Wilberg for the women of the Choir. Enough said!
10. “Come to My Garden.” Perhaps a little less well known than many of the selections, this sparkling arrangement by Kurt Bestor turns one's thoughts in a surprising direction: all the way back to Eden!
11. “Over the Rainbow.” Another 1971 Arthur Harris arrangement. Another Mormon Tabernacle Choir classic that will never lose appeal.
12. “Fill the World with Love.” Mack Wilberg arranged this version of the song that was performed by actor Peter O’Toole and a boys' chorus in Goodbye Mr. Chips. The prayer to be “strong and brave and true” is a sentiment that lives in all of our hearts.
13. “The Impossible Dream” is the last of the album’s four classic Arthur Harris arrangements. Another timeless classic. Here’s a clip of the climax. If this doesn’t get you excited about the album, I don’t know what will!
14. “In Dreams.” Even if you are not one of the millions across the world who were drawn to the three Lord of the Rings movies, you will nevertheless be taken by this haunting selection from The Fellowship of the Ring. Soloist is Ryan Tani of the Cathedral of the Madeline Choir School in Salt Lake City.
15. "The Circle of Life." This Grammy-winning song by Elton John is probably about as far into the domain of popular music as the Choir dare go. But who can resist such a joyful tribute to life and our part in it? Soloists Jenny Jordan Frogley and Alex Boyé are clearly delighted to sing vocals with the ultimate backup group of all time! [Warning: this song is addictive. You’re not going to be satisfied with this small clip].

Hopefully this article has given you a new appreciation for the hard work that goes in to recording an album with the Mormon Tabernacle Choir and Orchestra at Temple Square. Now that the labor is finished, it’s “Showtime!” and we sincerely hope you enjoy the fruits of our efforts!