Singing Forever

It is my good fortune to have as one of the choirs I conduct a group of senior adult singers.  The ensemble is named PrimeTime Singers and it ranges in age from 60 to 95.  Current enrollment in the choir is approximately 70 with an average weekly attendance of around 50.  The attendance would be closer to 100% if it were not for the occasional illnesses, busy travel schedules, and grandchildren and great grandchildren baby sitting duties.   The musical expectations from such a group are somewhat different from those of an ensemble of younger singers since there are the obvious adjustments that must be made in working with the aging voice.  This is a subject I’ve discussed in a previous posting, http://mosingers.wordpress.com/2010/08/04/singing-with-an-aging-voice/, but it is not my subject today.

My subject today centers around the joy that comes from singing into our later years – a joy both for singers and for those of us lucky enough to have the opportunity to work with them.  (Disclaimer: I may be the Director of the PrimeTime Singers, but my age also qualifies me for membership in the group!)  There are a growing number of senior adult choruses around the country and it gladdens my heart to see this trend.  Many of these choirs are associated with churches, but many also are community organizations.  The PrimeTime Singers (PTS) happens to fall in both camps – it is a part of the ministry of Roswell United Methodist Church, but includes members from many other faith traditions, including Baptist, Catholic, Espiscopalian, Presbyterian, Jewish, and also from the community at large.  PTS rehearses diligently for an hour and fifteen minutes weekly and learns a wide range of four part choral music – sacred and secular, serious and light.  I am constantly hearing PTS members describe what fulfillment comes to them through the experience of learning new things, working together, laughing, and sharing with others (over 20 performances each season).

While aging requires that we slow down on some activities, and even curtail others, it is wonderful to know that singing need not be included in that list.  We should keep singing as long as we can, and in many cases that can be until we draw our last breath.  My earliest memory is being held by my 80 year old Granddaddy O’Neal.  I was only 18 months old, but I can clearly remember him singing “Danny Boy” as we lay on the bed in which he would shortly die.  It is actually a very sweet memory and reminds me of the importance of singing our songs until the end.

Remembering Those Who Can’t Remember

I was deeply affected by an occurrence in my church’s worship service this past Sunday.  A lovely woman was recognized on her 90th birthday.  Unfortunately, she was unaware of the attention being paid her since she is suffering from Alzheimer’s Disease.  She sat in her wheelchair with head bowed as her attendant leaned over to whisper in her ear about what was taking place.  I seriously doubt that it made much difference to her.  This event touched me because I suspected many people in the congregation knew this lady only as someone who is not really “present” with the rest of us.  I wished then that everyone there could have known what I know about this remarkable person.

She was valedictorian of the Class of 1939 at Milton High School, then the only Fulton County high school north of the Chattahoochee, and was named the recipient of the Atlanta Journal Cup for Best All-Around Student at Milton.  She won the statewide essay contest on the importance of signing the U.S. Constitution in the document’s sesquicentennial.  A journalism major at the University of Georgia, she graduated Phi Beta Kappa.  She was a charter member of the Roswell Woman’s Club and twice its president, chairwoman of the Roswell Bicentennial Committee, and chaired the Altar Guild at Roswell United Methodist Church for 12 years.  During Roswell’s sesquicentennial celebration, she was named one of the city’s Most Influential People.  She had a long marriage to a successful lawyer and together they raised four children.

She also was very involved in the Arts in the greater Atlanta community.  She was a charter member of the High Museum of Art and also served as executive secretary of the Atlanta Boy Choir.  One of the most important things she did in my estimation was to be a major voice in the effort to retain Robert Shaw as the Music Director of the Atlanta Symphony Orchestra.   In 1972, after Shaw had been in Atlanta for about five years, the Executive Board of the ASO requested his resignation because they believed he was “out of touch” with the type of music the audiences wished to hear.  What that meant was that Shaw was interested in “stretching” the ears and minds of the concert goers and not just performing the old “war horses.”  He championed an ambitious repertoire of contemporary composers along with a continuation of the standard literature.  This wise and brave lady wrote forceful and cogent letters to the Atlanta newspapers and to the Symphony Board of Directors emphasizing the importance of keeping a man of Shaw’s talents affiliated with the Symphony.  In a large part due to her efforts the public began to take notice and the the ASO collected 3,500 new subscriptions, which helped convince the Board to rescind its request for Shaw’s resignation.

So, as I looked at that small lady in our worship service, fading away from us a little more day by day, I gave thanks for her life and for what she meant to so many people.   We are surrounded by those who came before us and who made large and small differences in the world around them, and hence, had an effect on the world in which we now live.  May we never forget these people.

Oh, by the way, the lady of whom I speak is Rose Polatty.  Her son said this about her several years ago.  “She is the quintessential southern woman.  She leads by example with strength, beauty and grace.  She once told me, ‘I always thought I could do anything.’”  Well, she did.

Is Concert Etiquette a Thing of the Past?

One of my singers recently suggested a blog subject.  He and his wife had attended a concert by Il Divo at an outdoor amphitheater and were distressed by the lack of concert etiquette exhibited by the audience members.  Admittedly, this was a concert by a pop/opera crossover group in an outdoor setting and one probably shouldn’t expect the same concert environment that would be experienced at a performance of, say, Bach’s B Minor Mass in a concert hall.  Still, it probably seems obvious to any of us who attend concerts of classical music on a regular basis that concert behavior has been changing considerably in recent years.   It is not unusual to observe people using their smart phones during a concert to text, check e-mail, surf the internet, play computer games, or even carry on a conversation.  While many people who engage in these activities would probably say they are only “multi-tasking” and that it is something they do all the time, I would suggest that the concert experience is damaged for both the performers and audience members when our attention is divided in this way.  While I recognize we live in a culture where this sort of activity is common, I regret that it has migrated into the concert hall.   I believe that in our best performances there is a two-way communication taking place between the persons on stage and the persons sitting in the hall.  While it would be hard to quantify this type of communication, it is easy to recognize and understand when it is experienced.  However, it only happens when the minds and hearts of the artists and audience members are concentrated on a sharing of the music being performed .

I realize nothing ever stays the same, and certain aspects of what is appropriate for concert attendance in 2012 may be different than what was acceptable in 1912, or even 1992.  For example, I’m not really concerned whether we wear top hat and tails or blue jeans and corduroys to a concert.  Neither of these apparels will have an effect on the listening experience.  But our concert behavior does affect both our listening experiences and those of others.  You may call me old fashioned, but I think it’s time to reclaim our concert halls for what they were intended – a shared artistic experience between performers and audiences.  You can check your e-mail later!

The Long, Hot Summer

Summers seem to be getting hotter.  We’ve had lots of days in the 90s, and even the 100s, not only here in the South where I live, but all over the country.  Naturally, my thoughts turn to choral music when I consider the heat.  That may seem a bit odd, but then my thoughts turn to choral music when I consider most anything!  This is working to my advantage this summer as I select repertoire based on the four seasons of the year for the newest ensemble in the MOS family – Kaleidoscope.

Several of the “summer” pieces I like are Sumer is icumen in, a catchy medieval round, As torrents in summer, a delightful piece by the Victorian/Edwardian composer, Edward Elgar, and of course, that perfect summer song, Summertime, from George Gershwin’s Porgy and Bess.  There is a great choral arrangement of that standard by Roderick Williams in the Oxford collection entitled In the Mood.

I’m still collecting ideas for next year’s program, so with the above as a starter, I’d love to hear ideas from my readers for choral pieces for all the seasons – Summer, Autumn, Winter, Spring.  What do you have?

Florence Kopleff Remembered

This past week one of the greatest singing voices of the 20th century was silenced.  Florence Kopleff, long-time associate of famed choral conductor Robert Shaw died at the age of 88.  She was for many of us the consummate contralto and I don’t think Bach’s “Agnus Dei” from the Mass in B Minor has ever been sung more beautifully than it was by her.  In my days as a soloist (many years ago) I had the opportunity to share the stage with Florence on two occasions.  I don’t think I ever in my career felt more inadequate as a singer than when I stood beside this amazing person and singer.  At one of those concerts her voice was described by the music critic of the Atlanta Journal Constitution as being “liquid velvet.”  I couldn’t have said it better.  I will always consider myself blessed by having been associated with her in even this small way.

Read a beautiful tribute to Miss Kopleff on the ArtsATL site by clicking here.

Honoring the Greatest Generation

The men and women who struggled through the Great Depression and went on to defend our liberty and freedom during World II have been called the Greatest Generation.  The term was coined by journalist Tom Brokaw and I think it is a fitting title for these people who gave so much to the country they loved.  It was through their sacrifices that we became a country in the mid-twentieth century that held limitless possibilities.

It is my honor and privilege each year to lead the Roswell Patriotic Celebration with the Roswell UMC Sanctuary Choir, Atlanta Wind Symphony, and organist Tom Alderman.  The two concerts, performed for approximately 4,000 persons, have been a North Atlanta tradition for 31 years, and we always gratefully acknowledge the brave men and women who have served in our Armed Forces.  This year we will again do that at performances on June 29 and July 1, but the concerts will offer an additional tribute to those who served so unselfishly during World War II.   Of the more than 16,000,000 individuals who were members of the United States armed forces during the war only about 1,500,000 are still alive today.  My father, who served in the Battle of the Bulge, would be 95 if he were still alive.  I believe it is important we honor those veterans who, like my Dad, are no longer with us, even as we share our thanks and appreciation to the heroes still in our midst.

American Anthem, a song by Gene Scheer included in the Ken Burns documentary, The War, provides a poignant reminder of what our parents, grandparents and great grandparents did for us.  That piece, along with Amazing Grace, will I hope offer in some small way a thank you to the Greatest Generation, to whom we all owe so very much.

American Anthem
All we’ve been given by those who came before,
 the dream of a nation where freedom would endure,
  the work and prayers of centuries have brought us to this day.
What shall be our legacy?  What will our children say?
 Let them say of me I was one who believed
in sharing the blessings I received.
Let me know in my heart when my days are through,
 America, America, I gave my best to you.

Singing Into Our Retirement Years

A question that all of us will have to consider at some point is how to cope with a mature or aging voice.  It’s a challenging issue, for no one enjoys admitting that he can’t manipulate his voice as easily as he once did. The good news is that we can continue singing with a relatively lovely tone and high degree of satisfaction well into our retirement years, and for many of us, that’s when our schedules finally allow a lot of singing!  Still, we need to accept some adjustments to our vocal production as we grow older.

First, we need to understand that our range will probably diminish as we age.  This phenomenon is usually experienced more by sopranos and tenors, and they may discover the need to move from 1st to 2nd or even to the alto or baritone part.  Breathing and breath support also become an issue, and the older singer may find herself taking more frequent breaths than in the past.  There’s nothing wrong with breathing more often (hey, it keeps us alive!), and low, diaphragmatic breathing, combined with good support, is a wonderful physical exercise for the older adult.  Excessive vibrato can also become a problem in the aging voice and it is often related to the breath support just mentioned.  The singer can correct much of the vibrato issue by concentrating on singing as straight a tone as possible.  It’s amazing the role our minds play in singing, and the mature singer can use his well developed mind to imagine the beautiful tone he wants to produce.   The older singer should also be careful about the volume at which she sings.  I often tell my singers to never sing louder than their own personal beautiful tone.  With the older voice, we usually discover that for a tone to be beautiful and controlled, we may need to sing with a somewhat softer sound than we did twenty years earlier!   The key to success, no matter what our age, is to come to rehearsal prepared, and ready to concentrate and work to be the best singer possible.

As I mentioned at the beginning of this blog, there is good news for the older singer.  It is great to know that almost all choral singers can find a way to participate in a choral ensemble for as long as they live, and when you think about it, a lifetime of singing is pretty good!

Yes, Singing IS Good For You!

Choral singing is actually more popular than playing organized sports.  That’s right – a National Study has shown that in the United States there are more members of choruses than there are members of sports teams.  While I’m all for team sports, it is tremendously gratifying as a choral director to know there are so many folks out there who like to sing.  In my choral organization, The Michael O’Neal Singers, we have a Summer Chorus open to all interested singers.  This chorus usually draws about 170 participants, ranging in age from high school students to retired persons in their eighties.  Now where else can you find a group activity that spans eight decades?  I love working with this group, and one of the main reasons is that the singers come into the rehearsal room filled with the joy and expectation of making music together and having a wonderful time doing it.

While many of the participants in the Summer Chorus will be highly skilled and talented singers, there will also be some who may not have sung in a chorus for many years.  One of the first things I remind all the singers is that singing is a “healthful” activity.  It is useful for improving our emotional health as it builds confidence and self-esteem.   It has a positive impact on our physical health as it improves posture, increases lung capacity, and tones abdominal and facial muscles.  Finally, in a world where people spend more and more time alone in front of their computer screens or listening to music with headphones (a very solitary activity), choral singing offers a real opportunity for social enrichment and the development of new friendships.

I suppose it is clear I’m a fan of choral singing.  How about you?  Why do you sing?

OK Maestro, just what is it you’re doing?

I recently had two experiences which reminded me that conducting musical ensembles is a rather unique way to earn a living.  The first occasion was when a member of my congregation approached me after our Easter service and said he had been watching my conducting for several weeks.  He mentioned that he had become interested in the different types of information I seemed to be imparting to my choir through my hand motions, e.g., entrances, tempo. dynamics, phrasing, articulation, and so on (he didn’t actually use all those terms, but still described rather clearly my actions).  He suggested that until recently it had not even crossed his mind what a conductor was actually doing in front of an ensemble, but had seen a concert on TV (my guess is that it must have been on PBS) and had wanted to learn more about these odd motions used by conductors!  First of all, I was impressed that he observed all these things I was trying to impart in my conducting gestures (I wonder if my singers would identify as many!), and it also reminded me what an odd thing it is we conductors do.  We are in charge of producing a beautiful musical sound from a group of individuals, yet we are the only one not making any sound at all!

The other occasion which led me to consider the role of the conductor was an interesting article I saw in the New York Times entitled “The Maestro’s Mojo.”  http://www.nytimes.com/2012/04/08/arts/music/breaking-conductors-down-by-gesture-and-body-part.html?_r=1&sudsredirect=true  The author of the article, Daniel J. Wakin, interviewed seven conductors who passed through New York in recent seasons and asked them to describe what it is they try to convey in their conducting.  A number of fascinating comments were made by the conductors.  One of my favorites, offered by James Conlon of the Los Angeles Opera was “You can do everything right and be of no interest at all, and you can be baffling and effective.”  I won’t give anything else away about what is said in the article.  It’s a fascinating article and I encourage you to click on the link above and read it for youself.

In the meantime, how about using this blog to suggest what it is you want to see from a conductor, and also what you don’t want to see?  I’m all ears, especially since I’m not allowed to make any sound!

Gratitude for Singers

This post is being written in the early morning of the day after an amazing concert by The Michael O’Neal Singers.  There is no doubt the members of the chorus were tremendously  ”aided and abetted” by the excellent Johns Creek Symphony Orchestra, and four outstanding vocal soloists (Katie Baughman, Heather Witt, Adam Kirkpatrick, and John LaForge), but this post is directed toward my beloved chorus.   I am filled with thankfulness today for singers who have poured their hearts and souls for the past seven weeks into the preparation of one our great choral/orchestra masterpieces, the Mass in C Major by Ludwig van Beethoven.   During the rehearsal process I have observed with appreciation as the singers have exibited a growing understanding of the music and an empathy with the intentions of the composer.   All this resulted yesterday afternoon in one of the most satisfying concerts it has ever been my privilege to conduct.  A major goal of any conductor is to be “in sync” with his or her ensemble.  I felt that connection with MOS yesterday and I am enormously grateful for the experience.