What shall we sing?
by Malcolm Goldring
Published January 2007
The planning that goes into programming each year’s music is something that excites me enormously – but it’s important that I keep my feet firmly on the ground (committees of choirs have been known to consider shooting their conductor if he comes up with yet another wappy proposal). So, what factors are taken into account when choosing what the Chorus will sing?
Because the Midland Festival Chorus presents only one concert a year, each programme has to be considered within the context of a three or four year span (rather like a ‘normal’ choir’s season’s programme). It would not be a good idea to follow, say, Mendelssohn’s Elijah with another 19th century work, nor Stephen Montague’s When Dreams Collide with Stravinsky’s Symphony of Psalms (all works we have performed in recent years). We have always tried to ensure that each event, each concert, each year is special in some way, so that it stands out in singers’ minds. This may be reflected through the actual music to be presented, or the singers or orchestra engaged. Thus, in 2007 we will perform Dvorak’s Stabat Mater – a work far from the works and periods presented in 2006. We understand that this work has rarely been performed in Worcester, so that makes it special for our potential audience. To make this extra special we have engaged one of the country’s finest orchestras (the Royal Liverpool Philharmonic) – and a team of soloists from the Czech Republic.... not any group of professional singers, but four from the composer’s native land! There are some surprises in store for the concert that will make the occasion extra special!
From time to time I like to include something less well known. We knew that Elijah would be popular (although there are those singers who would run a mile if asked to sing it!), but there are choral works out there that really should be given an airing – Frank Martin’s In terra pax is a good example: such a powerful and moving work, and so right for our 30th anniversary. When Dreams Collide is an example of presenting a challenge – have you ever been asked to make tropical jungle noises in your choir? No? Well, that’s where Midland Festival Chorus is different!
The one factor I’ve not mentioned yet is the matter of finance. It would be irresponsible of me to propose a programme which I knew would cost so much that it would break the bank for us. Thus, 2007 will be an expensive year (a large symphony orchestra and four soloists from outside the UK), but 2008 should be a bit leaner (the all-Schubert programme should involve a smaller and more local orchestra, and fine but cheaper soloists than in 2007). If things go according to plan, it will mean that we might be able to push the boat out a bit in 2009 (we do have plans but they’re yet to be finalised).
Behind all this is the need for me to make very careful judgements about what a group of individual singers who come together only for a couple of days each year can actually manage. You will know that I have high expectations of the Chorus, and place heavy musical, intellectual and vocal demands on our singers, but it would be folly to programme, say, Beethoven’s Choral Symphony where the chance for developing vocal and choral technique is so limited – Beethoven had no idea how to write for singers... he treated them a bit like an extension to the orchestra, and if that involved the sopranos singing for long periods of time on a top A, so be it. If the Chorus met regularly, this would certainly be an option. Berlioz’s Te Deum in 2002 was a gamble, but I reckoned we could do it – and do it we certainly did!
I have all sorts of ideas up my sleeve for the future ... but you’ll just have to wait and see what comes forth!