The “Ultimate” Messiah Sing-Along

The Messiah Sing-Along has become a very popular event in many American communities, and especially during the Christmas Season there will be hundreds of these celebrations across our nation. What makes them so popular? I have several thoughts as to why that might be. One is that Handel’s Messiah is a work that most choral singers have performed. Another is that during the Holiday Season a Sing-Along provides a wonderful shared experience, whether one comes to participate as an individual or as part of a group. And finally, I suggest that people enjoy participating in Messiah Sing-Alongs just because they are fun!

As all of us in The Michael O’Neal Singers prepare to present our 7th Annual Messiah Sing-Along, we will be repeating something we tried last year for the first time.  We will have the solos, as well as the choruses, sung by the audience!  I must admit I approached this last year with a bit of trepidation, having never heard of this being done before, and wondering if there might be a good reason for that!   However, I was enormously pleased with the results.   Each vocal section did a great job with its particular solos, and many singers told me it marked the first time they had ever been able to sing these pieces in public.   So, we’re about to repeat the experience again at Roswell UMC on Sunday, December 16,  at 3 PM, and I expect it to be even more successful than last year.   If you’re in the Atlanta area I invite you to join us.  More information is available at our website, www.mosingers.com, or you can call the MOS Office at 770.594.7974.

In the meantime, I’d love to hear your thoughts about this approach to our Messiah Sing-Along or any other Messiah performance stories you may wish to share.

A Fortunate Conductor

I was recently the recipient of an enormous gift – an exceptional performance of one of the “epic” choral/instrumental works of the 20^th century.  The gift was presented to me by choral singers, vocal soloists, instrumentalists, dancers, tech crew, and many others.  Carmina Burana by Carl Orff is without a doubt a very challenging work to perform successfully, but the people mentioned above accomplished it extremely well!  The entire presentation was one of the most satisfying musical experiences of my career.

One of the main reasons for my high level of satisfaction is the fact that the participants were all so engaged in the performance.   They were also well prepared, having done the necessary rehearsal and personal study to lead them to that point in time.  Still, good preparation doesn’t always result in an outstanding performance, although it certainly is a wondrous thing when it does.

A number of people have asked me what it felt like to conduct such a large number of performers (over 200) in such a monumental work.  I can say it was a tremendous experience.  I felt as if I were the most fortunate person in the room that afternoon, as 200+ people performed at their highest level and allowed me to “ride the wave” of their performance.  It’s what we conductors always hope for, but don’t always receive.  This time I did receive that special gift, and I am very grateful.

The “Epic” Carmina Burana

The Michael O’Neal Singers will perform one of the great “epic” pieces of classical music on Sunday, October 14, at 3 PM.  Below are my program notes for the concert, offering a preview to one of the most unique works of the 20th Century. 

Carmina Burana is a scenic cantata composed by Carl Orff in 1935 and 1936.  It is based on medieval poems discovered in 1803 at the Benedictine Abbey of Beuren in Bavaria. The poems, written by clerics, poets and singers of the 12^th and 13^th centuries, recognized the fickleness of fortune and wealth as well as the ephemeral nature of life.  They even included some devout religious subjects!  Orff selected twenty-four poems from this collection and named his composition Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Songs of Beuren: Secular songs for singers and choruses to be sung together with instruments and magic images).

Carmina Burana is divided into three main groups: I – Primo vere (Spring) glorifies victory over winter, blossoming vegetation and stirring love; II – In taberna (In the tavern) is a sort of raving philosophy justifying pleasure, drinking, good food, gambling, human excesses and Bacchus’ glory; and III – Cour d’amours (Court of love) celebrates all aspects of human love: youthful, innocent, pure, erotic, and triumphant.  These three groups are surrounded by the well known chorus “O Fortuna,” which opens and closes the entire composition.  “O Fortuna” is one of the most instantly recognized pieces in the classical repertoire, having been used in hundreds of films and television commercials.

The music Orff composed to accompany his selected poems includes striking rhythms, tonal and straightforward melodies, simple harmonies, all bound together in disconnected bits of conversation and fragments of traditional songs.  The forces required for Carmina Burana are quite large, and our performance will include (in addition to the 130 voice MOS chorus) the Georgia Regional Girls Choir, dancers from the Roswell Dance Theatre, and vocal soloists Sherri Seiden, Adam Kirkpatrick, and Brent Davis.  Our performance will also feature projected screen images and the rarely heard chamber orchestration, authorized and approved by Orff, consisting of two pianists and six percussionists.

Following the enormously successful 1937 premiere of Carmina Burana by the Frankfurt Opera, the composer wrote this to his publisher: “You may now shred everything I have written in the past and that you have unfortunately published.  With Carmina Burana my Collected Works begin.”

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?

Worth a Second Listen

The Michael O’Neal Singers and Johns Creek Symphony Orchestra will be joining forces at the end of February for two performances of music  by Ludwig van Beethoven.  The program will consist of the Symphony #3 (Eroica) and the Mass in C Major, two masterpieces from Beethoven’s “middle” period of composition.  Although he had not yet arrived at his ultimate style, as evidenced in works such as Symphony #9 and Missa Solemnis, there can still be heard in the Eroica and Mass a genius in the process of developing his “compositional voice.”   Beethoven managed to pay homage to the greats who preceded him, men such as Haydn and Mozart, by acknowledging the forms and styles of the Classic period, yet at the same time finding ways to push the limits of those forms and styles.

The Mass in C Major was written as a commission for Prince Esterhazy in honor of his wife, Marie Esterhazy.  Beethoven knew as he wrote the Mass in C Major that he was following in the footsteps of Franz Josef Haydn, who had been in the employ of the Esterhazy family for many years and had written several very successful earlier masses for the Princess.  Beethoven recognized that his composition would be compared to those of Haydn, and in fact, the Prince was very disappointed in Beethoven’s work.  Following the first performance on September 13, 1807, the Prince was overhead saying to the composer, “But my dear Beethoven, what is it you have done now?”  The Prince did not hear in Beethoven’s music what he expected and wanted to hear, which would have been something familiar and comfortable.  What Beethoven had done, of course, was listen to his own muse and create a work that was pleasing to himself.  While we listen to the  Mass today and recognize it to be a magnificent piece of music, we hear it with ears “conditioned” not only by Beethoven’s later works, but also by the 200 years of composition that have occurred since its creation.

Perhaps this should be a reminder to all of us to be willing to give music that is new to us a “second listen” before deciding whether we like it or not.  By doing so we open ourselves to many remarkable musical experiences.  Thank goodness Prince Esterhazy was not the final judge on the Mass in C Major! 

Redemptive and Life-Affirming Music

I just listened to an interview with Bobby McFerrin conducted by Krista Tippett on her American Public Media broadcast entitled On Being. Krista talks with a wide variety of people on subjects of faith, religion, and spirituality. In the past I’ve listened to fascinating discussions with persons like the Dalai Lama, Bible scholar Walter Brueggemann, and Wangari Maathai, the first African woman to win a Nobel Peace Prize. I had especially looked forward to Bobby McFerrin’s interview, for I have been a fan of this amazing musician for a long time, and I must say I was not disappointed. McFerrin’s mastery of his singing voice, combined with his phenomenal improvisatory skills, have resulted in many engaging musical moments for audiences throughout the world and it was fascinating to hear his take on a number of subjects.

I was particularly struck by McFerrin’s comment that the music we listen to should be “redemptive and life-affirming.” He went on to lament the degrading and cynical subject matter of much of the music listened to by young people today and suggested that since music has such a power to influence we should be careful what we listen to and perform. It made me think about the music we’ve just begun rehearsing in The Michael O’Neal Singers. Beethoven’s Mass in C Major, Op. 86, will be performed with the Johns Creek Symphony Orchestra at the end of February. This rarely performed piece is truly an inspiring work of art. Written more than a decade after Beethoven had begun to lose his hearing, and five years after his profoundly moving epistle, the Heiligenstadt Testament, the Mass shows a composer already pushing the limits of accepted musical style and exploring expanded interpretations of a centuries old text. I am thankful that this masterpiece which came from Beethovens head, heart and soul over two hundred years ago still has the ability to be “redemptive and life-affirming” to those of us who peform or hear it today.

A Messiah Sing-Along (with a twist)

The Messiah Sing-Along has become a very popular event in many American communities, and especially during the Christmas Season there will be hundreds of these celebrations across our nation. What makes them so popular? I have several thoughts as to why that might be. One is that Handel’s Messiah is a work that most choral singers have performed. Another is that during the Holiday Season a Sing-Along provides a wonderful shared experience, whether one comes to participate as an individual or as part of a group. And finally, I suggest that people enjoy participating in Messiah Sing-Alongs just because they are fun!

As The Michael O’Neal Singers prepares to present its 6th Annual Messiah Sing-Along, there will be something new in how we do it! For the first time we will have the solos, as well as the choruses, sung by the audience! Don’t ask me where I got the idea, for I’m not sure! I just remember waking up one morning thinking about our Sing-Along and considering the possibility of having the solos sung by the vocal sections rather than by professional soloists. The more I thought about it the more convinced I became that it was a wonderful idea! Naturally, the “proof of the pudding” will be this coming Sunday at 3 PM when this interesting experiment takes place. Just imagine 200 tenors singing “Ev’ry valley shall be exalted” or 300 or more sopranos warbling “Rejoice greatly, O daughter of Zion.” The excitement is building as we prepare for the day! This is either going to be remembered as one of my best ideas ever, or not! What do you think?

A Chorus For All Seasons

MOS is beginning its 23^rd Season of music making and is doing so with a newly “tweaked” mission statement.  I say “tweaked” because the new mission statement contains only minor adjustments from our previous statement. However, we hope this new version will even better express who we are and what we endeavor to accomplish as a community arts organization.  Here it is:

The Michael O’Neal Singers organization seeks to engage, educate and enrich Atlanta-area singers and audiences with compelling choral experiences which are innovative, multicultural and multigenerational.

So, how do we go about doing all these things?  Obviously, “to engage, educate and enrich” means we will be striving to attract and hold the attention of our audiences and singers, to inform and enlighten them, and ultimately to add greater value and significance to their lives.  Our mission statement further suggests that we will do this with “compelling choral experiences.”  The word ‘compelling’ has been used with serious intent, for it suggests something having a powerful and irresistible effect.  We wish to have that effect on our audiences and singers with experiences which are “innovative, multicultural and multigenerational.”

To be innovative, multicultural and multigenerational requires a definite plan.  We’ll be innovative this season by performing two recently composed large works – The World Beloved: A Bluegrass Mass by Carol Barnett and Let My People Go: A Spiritual Journey Along the Underground Railroad by Donald McCullough.  We’ll be multicultural by performing Let My People Go with a highly respected African-American ensemble fromSouth Fulton.  Finally, we’ll be multigenerational by partnering with community ensembles comprising children, youth and adults.

These are ways MOS is making an effort to be relevant to our 21st century culture and community.   To do less would be a disservice to both.

Beautiful Music in Beautiful Places

The Amalfi Coast Music Festival in Italy recently hosted 31 participants from The Michael O’Neal Singers in a week of wonderful concerts, food, wine, and amazing scenery.   We sang for full houses in two beautiful spaces – the Chiesa di San Francesco in Maiori and the Cattedrale dell’Abbazia Benedettina in Cava De’ Tirreni (an Abbey celebrating its 1000th anniversary this year).  Each of these extraordinary churches was located in equally amazing locations.  The Chiesa di San Francesco directly overlooks the beautiful water of the Amalfi Coast and the Cattedrale dell’Abbazia Benedettina is nestled in the beautiful hills of the Salerno region.

The wondrous time we were able to spend making beautiful music in beautiful spaces and locales made me wonder about some of the memorable concert venues others have experienced.   I’d love to hear you share some of the favorite spaces and locations for concerts you’ve performed or heard.

Another “Hear the Future” Success

The Michael O’Neal Singers recently completed its Third Annual Hear the Future! Music Festival Concert.  In this concert, MOS invites superb high school musical ensembles to join with us in performing a large work, as well as performing as an individual group on the program.  This year we were honored to welcome the Lassiter High School Concert Chorale, under the direction of Brian Williams and the Woodstock High School Varsity Singers, under the direction of Ryan McKendrick.  Each of these ensembles sang beautifully and made the adult singers of MOS very encouraged about the future of choral singing.  As I have commented on several occasions before, when we hear young singers such as these, we are hearing both the “future” and the “present.”

Our combined work this year was the Mass in G by Franz Schubert, only eighteen years old himself when he wrote this gem of a piece.  It was a joy for me to look out at the 225 singers on stage and see high schoolers and adults standing beside each other as they sang  this choral masterwork.   It is my hope that as singers from various generations came together in this shared experience they were able to recognize that we are all capable of learning from each other.  I always hear many positive comments from participants and audience members after our “Hear the Future”  concert and I hope this year many of the readers of this blog will take the opportunity to share some of their thoughts and observations about this “intergenerational” experience.