Choral Performance Practices in Great Britain

Author(s): LOUIS H. DIERCKS

Source: The Choral Journal, Vol. 1, No. 7 (MAY 1961), pp. 5-6
Published by: American Choral Directors Association
Stable URL: https://www.jstor.org/stable/23541695
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From February 22 untilChoral
August (^,1^ HfQ 1 fíTP Pt"Q
Performance rtlTPO
Practices
23, 1960, my wife and I traveled WllUI di X CX 1VX1 lllCLI JLV^C- X laLllLCO
extensively and intensively about
Great Britain and Germany, and • a * *
less so in Norway, Denmark, Swit- 1 I -rt"PQ i" Q 1
in Great Britain
zerland and Austria, visiting chor- XXX V—' X vCiw X—/X X vCXXXX
uses in rehearsal, festival and con
cert, and speaking to their direc- by LOUIS H. DIERCKS
LOUIS H. DIERCKS
t0This0fvervSrichd Sf^rience was
inis very ricn experience was tain we heard well over seventy societies today. í° ^ lD Gr6at B?" V°ÍCe5 °n
made possible by grants from Uni- choruses. In the ten weeks there, The most thrilling singing is Group
versity research groups — The we ranged all over England, heard in the great industrial areas
Development Fund, a division of South and North Wales, to the of the Midlands, and what the hooty or white. This tone is
the Alumni Association; and the very north of Scotland. We rented maps call "Northern England" — tune", but quite inflexible a
Committee on Off Campus Be- a car and registered over 5000 the area around Leeds. No doubt dynamic or color shadings —
search Assignment. We were fur- miles as we criss-crossed England music is one of the few luxuries monochrome. In my attemt
ther aided by the National Federa- visiting a number of places more and beauties one can enjoy in these analyzing this sound I came u
tion of Music Societies, an arm of than once. We occupied ourselves bleak, black, blighted areas. In a number of possibilities. It is
thè Arts Council of Great Britain, largely with the choral societies, these areas are several great cepted that early English speech
who assigned Mr. Brian Dunn to altho we also visited a number of chains of cities — megalopoli. In was rather "dry" with a twan
our project; and in Germany by schools both elementaary and sec- the Midlands — Newcastle under perhaps something like our "Dow
the Deutscher Musikrat, with Dr. ondary, and a so-called Provincial Lyme, Hanley and Stoke on Trent; East" accents. But why onl
Egon Kraus of the Cologne office University, and Oxford and Cam- another even larger with Leeds as the soprano? Then I listene
in direct charge. These men "op- bridge. its center, with Dewsbury, Hudders- British women speak. Many affect
ened doors" and arranged sched- Naturally we have many impres- field, Halifax, Bradford and Wake- this odd high pitched speech. Re
ules- t . sions. They are our impressions field very close; with other near member some of the voices of
In this issue I shall limit myself but we hope fairly objective and by centers of Manchester and British women
accurate but not infallible. Sheffield. Here are the great pot- have heard — such as the queen.
A general reaction which can be teries, mines and mills of England. Several conductors confided in me
trusted is that the English Choral Rehearsals are held ordinarily that they encouraged this sound
Societies are made up largely of in unheated, poorly lighted, ill as- because it was a way to make the
older people. Many choruses must sorted rooms (Methodist Churches, "older female voice sound better."
average 50 to 55 years of age. It etc.) often in a state of disrepair. There is also the strong possibility
struck us forcibly that unless A piano usually in good tune if that since so many of the choral
trends are reversed — and quick- not tone, is provided. Rehearsals conductors are church-organ-ori
ly — that these groups will soon are held once a week, starting ented that the boy soprano sound
die out. Most of the choral socie- around 6:30 p.m. and continuing has infected their concept of So
ties we heard, such as, the Ceramic until 9 or 9:15, with a short break prano, with a capital S. It must be
Choir of Stoke-on-Trent, the Bir- midway. stated that in the fine professional
mingham Choir, the Halifax Choir, Auditoria for concerts are usual- choirs at B.B.C.,
Bradford Choir, Huddersfield Choir ly quite adequate acoustically and Covent Garden and in those few
and the Royal Choral Society of otherwise. They are built with the choirs developed by vocally trai
London — to name but a few, are balcony completely around three men, that this rather disturbing
vigorous, enthusiastic, well organ- sides, the organ in front, high and (to me) tone is minimized, if not
ized, going concerns, but with a center, with quite a few tiers of entirely missing. This business of
high average age. It is only in the steeply banked steps for the sing- having choirs conducted by men
age of the participants that one ers' seats on each side and in front not vocally trained is not an in
feels concern. Obviously, the choral of the organ, with a flat stage, vention of the British!
society is the main social center often augmented in size, in front in some respects these societie
of the lives of members. Yet, how of the singers. These halls can seem to have fewer tone probl
fine if Americans in this age brack- seat ordinarily from 125 to 250 than I am facing. The more m
LOUISH.
LOUIS H.DIERCKS
DIERCKS et did not feel that their partici- singers — of course Albert Hall voices — settled voices — have
Professor Louis H. Diercks, di- pating days were over. seats about 800 singers, or more. been mentioned. Although the
rector of the Ohio State Univer- Perhaps we may try to under- The groups make a striking ap- British have as many dialects as
sity Symphonic Choir, is one of the stand why this age situation exists pearance with all men in black we have, the population is less
country's foremost figures in col- in the choral societies. (1) The street suits and the women in fluid, and members of a, choir tend
lege choral work. A native of general attitude toward young long white formais. to have the same dialect (most of
Osceola, Neb., Professor Diercks people was a revelation to us. Since membership in these chor- us subscribe to the principle that a
received the bachelor of arts de- Youth under 25 years of age are uses is quite static, by standards like vowel is a 'must' for homo
gree from Bradley Polytechnic not everywhere considered ready of a school or university chorus geneous tone). Then,
College at Peoria in 1926, the bach- for four part singing. This is un- in this country, they are often like lects generally a
elor of music degree from Mac- derscored in that test pieces chos- a repertoire group. We happened the North and Midla
Phail School of Music, Minneapo- en for Festivals and Eisteddfods to attend the one rehearsal alloted and soft. With sever
lis, in the same year, and the mas- are often in unison or two part in for the performance of Elgar's ceptions, all British
ter of arts degree from the Uni- the "Youth Divisions" which is "Dream of Gerontius" by the Roy- the use of diphthongs — (and
versity of Iowa in 1932. listed as from 16 to 25 years of al Choral Society, conducted by Sir tryphthongs) such as our Ohio Ri
He began his professional career age. (2) The societies are con- Malcolm Sargent. They had per- ver dialects (town-cow). Actually,
as a conductor and soloist in Peor- trolled or governed by older peo- formed it in previous years. It was j don't remember any British c
ia in 1926, and in that year was pie who determine policy an^ almost a casual rehearsal. This is ductor complaining about pronun
made professor of music in the program. "Elijah", "Creation^, a fine, proud chorus and sounds so -ciation — and I'm always after it
voice department of Nebraska "Dream of Gerontius", Handel s much better than you expect it to, j believe, too, the British may be
State Teachers' College, Kearney, "Zadok, the Priest", Dvorak's Sta- for the singers are not young. prouder of their language and it
Neb. Mrs. Diercks was her hus- bat Mater", Bach's "B Minor Mass Auditions are held every three isn't quite so important to "ape
band's assistant in this worki To- and "St. Matthew Passion are the years for those who are members, ^he gutter" in order to prove yo
gether they founded the Central core of the program with some with a turn-over of less than 10% are a "regular guy". South Eng
Nebraka Choral Union in 1929. In group occasionally performing Wal- a year. Sir Malcolm actually con- land tone is not quite so warm
1931 Professor Diercks became lec- ton's "Belshazzar's Feast . Not ducts this choir in rehearsal where One Englishman said to me, "I
turer in vocal music at the Univer- that these aren't good works (per- as the usual procedure in the Hud- wonder why it is, the more b
sity of Iowa and assistant profes- haps excepting Zadok) but they dersfield and Leeds choirs, where tiful the countryside in England
sor in 1933. In that year he came are massive works and the young he is also listed as "conductor", is the poorer the speech quality." In
to Ohio State as professor of vo- people just aren't interested. Their for Herbert Bardgett to train the deed> it seemed so.
cal music. lack of interest is in the nature of choir as "Choral Master . Then The British Choral Societies are
In addition to his other profes- a revolt expressed by inactivity. with one rehearsal with orchestra he applauded f
sional training, he also studied (3) The school systems which his- and soloists, and one rehearsal employing an adequ
privately with such teachers as torically segregate boys and girls with Sir Malcolm and the chorus properly presen
Franz Proschowski, Robert Law- can hardly foster 4 part mixed (never the chorus and orchestra), There are a number
rence Weer and Bernard Taylor. singing. (4) Churches do not seem the concert is given. aH playing about 200 performances
The Ohio State faculty member to have the place in the lives of Generally speaking, in these so- a year, mainly as adjuncts of
directs the 375-voice University people as formerly. During and cieties, tone is quite firm and lusty the societies. These orchestras
Chorus as well as the Symphonic after the Industrial Revolution the in alto, tenor and bass, with the really owe their life to th
Choir, and is also minister of music Wesley movement developed the soprano often quite different. The The Nati0nal Federatio
at King Avenue Methodist Church, love for hymn singing which is un- soprano employs a rather straight
Columbus. doubtedly the genesis of the full tone which can be described as Continued On Page Six

M AY I 96 1 5

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SMALL ENSEMBLES IN THE ments in order to provide suffi CHORAL PERFORMANCE while a nation may be said to have
certain standards it still remains
CHOBAL CURRICULUM cient strength to balance a chorus. PRACTICES IN
Having subscribed to this ration true that the really great work is
GREAT BRITAIN
Continued From Page Four ale, we now have at hand a huge the result of a great teacher. May
„ body of new material — enough Continued From Page Five we have enough of them so that
to the tenor line. He might pick j-Q OCCUpy a lifetime of program we may point with pride to our
sic Societies
up the second soprano line at a ca- buiiding. Another exercises factor "National
great influ has been Standards". Perhaps one
dence and then resume his own slipped ence into in raising day more
standards and also,
the program of us will again find time
per
part. Sometimes a tenor and an haps not encouraging performance The
unnoticed. of less perform
to participate and again recognize
hackneyed
alto will swap lines for an entire ance Qf Bach cantatas implies the works by allowing its delights.
piece. This would be the case if use 0f orchestral instruments. As greater subsidies to societies at
the tenor line were high enough much ^ j love choral mugic> an en_ tempting new and fresh works. We
to need alto help and the alto line tire 1% hour program of unac. heard three interesting new works.
low enough to need tenor help. The companied singing can be tedious."The Birds" by Kenneth Leighton,
purpose of this switching of voices The use of instrume„ts, even thea suite for soprano, chorus and
is to strengthen any given line piano, provides a welcome varia orchestra — rather more delicate
where it might be buried, or to tion of color which even the most than many British Choral works
weaken a line where it might be highly trained choir cannot pro.and quite interesting. We heard a
stupendous work by Peter Racine
too strong. In no event should the vide The performance of the can
continuity of a musical line be tata uterature will present musicalFricker, called "The Vision of ¡Ir
lost.
and vocal problems somewhat sim Judgement". It requires huge for
ces. A big chorus (250-400) an or 3w i
As far as I know, there is no nar to those found in madrigals,
consensus of opinion as to why While the music is generally four chestra, augmented by extra per
cussion and several extra brass
these range problems crop up with part, the alto line is low enough to
choirs with difficult soprano and
such frequency in the older music. allow the extra weight of soprano
One of the most reasonable explan- and tenor voices needed for the tenor solos. It is a very good work

h
and quite exciting. Another, was a
ations, is that the most of the madrigal literature to be absorbed
voice parts were written for men in strengthening the alto, very fine and unusual work of
moderate difficulty, "A Child of
who used falsetto to navigate the From the point of view of the
Our Time" by Michael Tippett. He
very high pitched lines. This would chamber singer, the nineteenth wrote his own libretto on the
certainly account for the fact that century is a barren desert with theme of man's inhumanity to
many madrigals, particularly single oasis, the Liebeslieder Walz
man, specifically the persecution
of the Italian school, the alto and er. There is, of course, some 19th WARNER IMIG
tenor parts are very nearly equal century choral music, but most of ofthe Jews prior to World War II. Member ACDA Board of Directors
He employs Negro spirituals al
in range. Music written after 1700 it sounds much better when per
most in the way that J. S. Bach Dean, College of Music, Univer
does not demonstrate this difficul- formed by a fairly large choir, used chorales in his Passions. It
ty, though there are certainly tes- The twentieth century styles pro sity of Colorado, Boulder, Colo.
was a well designed, moving work.
situra problems in Bach, and for vide more fruitful ground for
that matter, in Brahms. These dif- chamber music than the Romantic The warmth of the English mu
ficulties, however, seem to have period. Beginning with the chan sical people is a memory we shall
fairly easy explanations, chief of sons of Ravel and Debussy, there always cherish. They have an en
which is the variability of concert is much to reward the diligent re thusiasm for and a pride in the
pitch. In the case of Brahms, one searcher. Most of the composers process and product of their musi
points to his propensity for writ- Gf international repute have ipub cal life. The final rehearsal and
ing soprano and tenor parts which lished music suitable for chamber the concert are "EVENTS". The
are parallel in tessitura, even singing, and hundreds of less well great pride of the Huddersfield
though the range of the two voices known composers are turning out choir never stoops to arrogance.
is not parallel at the octave. usable material, including madri They just light up!
It seems to me incontestable gals. The principal difficulty en One should underscore that
that any chamber ensemble should countered in this field is one of
be equipped vocally and mentally discovery. Many of these composi
to perform the music of the golden tions are unpublished and the corn
age of the madrigal, but having munication lines between conduc
done this, the director starts tors have only recently shown pro NEW MEMBERS
searching for other material to mise of delivering the necessary Sister Agnes Marie, C.S.J., 1418
round out his programs. In my information,
West 114th St., Cleveland 2, Ohio
own situation, we perform five dif- The problems of voicing in music
ferent programs each academic written since the time of Bach are Richard H. Aune, 806 5th Ave.
year. This involves learning around less severe than prior to that S.W., Grand Rapids, Mich.
100 compositions of varying dimen- time. The structure of singing R. WAYNE HUGOBOOM
sions. Wonderful as the madrigal groups has remained relatively Robert K. Baar, Murray State Member ACDA Board of Directors
repertoire is, some relief from such constant with SATB as the normalCollege, Murray» Ky. and Editor of the Choral Journal
a feast is necessary. In a more fa- division. In an organization
Mrs. Leo Bair, 1505 30th St., Director of Choral Activities,
miliar medium, it would be like tablished to sing five part music,
Parkersburg, W. Va. University of South Florida,
condemning an orchestra to play some adjustments must be made
Tampa, Florida.
an entire season of symphonies to achieve a workable balance of Victor Batterson, R.F.D. 1, He
written between 1770 and 1800. strength in 4 part singing. It will bron, Ohio
Finding music which a small en- usually call for a lightening of
semble can sing is not particularly the soprano and tenor which can Harrison C. Boughton, 1921 So.
difficult, but limiting oneself to be done by dropping out some Boeke Rd., Evansville, Ind.
music that a small group can sing singers, by switching voices from
Robert E. Bowlus, Sanborn Hall,
better than a large one is some- higher to lower parts, or by sim
what more problematic. The works ply having the upper voices sing at Ohio Wesleyan University, Dela
ware, Ohio
of J. S. Bach were written for a a reduced dynamic level,
small choir singing in a large It should never be forgotten that Sister Rosemary Braun, 847
church. It is my feeling that the the best assets of small ensembles Ninth St., Tell City, Ind.
cantatas and motets of Bach are are, delicacy of sound, clarity of
well served by the structure of a texture and accuracy of communi Miss Mary Ellen Burg, 2251 West
chamber chorus. The clarity of cation with an audience. In gen 115th St., Chicago, 111.
contrapuntal lines is enhanced by eral, contrapuntal music best ex
the smaller number of singers and poses these primary assets, and Richard E. Campbell, 4040 Kirk
players and the balance between flexible voices and agile minds Road,
are Youngstown 11, Ohio
voices and instruments is much best suited to the music. I have
Donald M. Carpp, 231 Main St.,
improved when numbers are kept said little about the practical asMich.
Lawrence,
to a minimum. We should consider ses of a small group, such as the
the balance of sound obtained ease of transportation, the low Raymond N. Carr, Box 512, Glen
when one flute or one oboe is pit- cost of music and equipment and Ellyn, 111.
ted against a chorus. If the solo the higher degree of dependability HARRY R. WILSON
woodwind cannot be heard as an encountered when the responsibil Sister Catherine Marie, O. P.,
Member ACDA Board of Directors
equal with the chorus, then the ity is divided into 10 or 12 182 First St., Passaic, N. J.
parts
chorus is too loud. I chose a wood- instead of 40 or 60. These factors Chairman, Department of Music,
Curtis L. Cheek, Bluefield State
wind because we are less likely to should not be underestimated Teachers College, Columbia Uni
College, Bluefield, Va. versity, New York City
think of multiplying these instru- planning a chamber choir.

THE CHORAL JOURNAL

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