Back to Choral Roots

A couple of months ago I was appointed Conductor of the 40+ year old Clearwater Chorus. It’s an ensemble of people who like to sing, and encourages adults of varying ages and abilities to make and share music together.

At least, that’s what it is now.

The Clearwater Chorus

Although not titled a “Director” that is effectively my role and as a result, I’ve grabbed hold of the reins and am guiding the ensemble through a new perspective: who we have and what we do now is what we are, and as long as we work together to share music, we’ll be doing something of value to the world.

[Click here: I’m giving away four tickets to our concert on Dec 22!]

Why is this so new? Because like so many institutions that are founded and/or led by an individual for so long (in this case, Arthur Goetze who directed the group from 1975-2005), its members can become entrenched in “the way things were.” This is also a very typical perspective of older generations, especially those who have worked their whole lives and are now enjoying a few special comforts in retirement: they expect things to stay the way they know them. But that is so rarely beneficial for anyone, and certainly not how the world spins.

So whilst respecting the past and honoring those who have gained far more experience with this ensemble than I ever hope to, it is now time to focus not on what we don’t have but on what we do…

Doesn’t this pertain to life in general?

For example, over the past 12 years I have mourned the loss of an active performing and teaching career founded in music, something I have known to be a primary part of my existence since I was in single digits. My music career after moving to the USA has been patchy, fraught with unconfidence, some expensive decisions, and a distinct lack of industry contacts that don’t label me an outsider.

But this current appointment has, unexpectedly, brought me right back to square one – the roots from which my fascination with music grew.

British American Conductor Composer Stephen P Brown began his musical life as a choir boy in Cuxton Church

The Anglo Saxon village church in Cuxton UK, where I was a choir boy

I was 7 years old when I began playing the piano, but that was after I began singing in my English village church choir. I remember joining the village Junior School choir around the same time, as well, but by the time I had moved to my UK secondary school at age 11, I was fully immersed in singing, piano and clarinet. It wasn’t until just before I moved to the USA the first time that I showed any interest in percussion (and if you know me, it was an incredible 4 years of percussion playing that got me into college at 17 years old! More on that another time, perhaps).

During my college years a budding-conductor buddy of mine, Chris Kiver now a Choral Professor at Penn State University, and I would organize “Scratch” singing sessions in which anyone who wanted to play and sing the repertoire we had planned could do so. Of course we did much recruiting, but giving solo parts to multiple singers throughout each piece enabled them to get much needed experience, and Chris and I to learn many differing needs of accompaniment.

In the years that followed college I conducted various ensembles such as the Ealing Choral Society (thanks to the late great James Gaddarn), the Yalding Choral Society, the Medway Community College Singers, and a whole host of other one-off groups. Four highlights in particular were:

  • Conducting Handel’s complete Messiah with 5 days’ notice when the conductor who was booked fell ill,
  • Conducting a “Marathon Singing Session” in which almost 1,000 teenagers sang hymns, easy listening songs and some chart songs,
  • Conducting the European Premiere of Dawn Mantras (outside, at sunrise) by Australian composer Ross Edwards during the UK’s year-long Millennium Festival in 2000, and
  • Singing for John Rutter at Carnegie Hall in his own composition Magnificat.
British American Conductor Composer sang at Carnegie Hall for John Rutter

Melissa and I hanging out with John Rutter in NYC

In addition, I played timpani or percussion for countless choral societies around the UK in more pieces of music than I can remember – hundreds. And, being a percussionist usually with lots of time not actually playing, I got to listen to conductors rehearse their choirs, listen to the choir members mutter under their breath, and have choir members (usually altos) unsolicitally (?!) share their awe about how anyone could actually play the timpani: “I never knew they had pedals like that!”

Interestingly, only a handful of these choral activities “made the cut” onto my resume, so when most folk read my history of musical performance, they see “instrumental conductor” or even just “music teacher.” It’s quite annoying, really, because although conductors in the UK and Europe are trained to be teachers (hence the general reference to them as “Maestro“) in all genres of “formal” music – orchestral, choral, opera, musicals, some concert/wind band and maybe even ballet – in the USA conductors are labelled at a young age and ‘specialize’ not in leadership or motivation, but as a topical expert in just one of those genres. It’s such a pity.

Of course there are exceptions such as James Levine. Kind of. And the incomparable Leonard Bernstein. But generally, conductors in the USA are rarely recognized as even “capable” of conducting well in more than one musical genre. You can tell when a choral conductor has an orchestra in front of them, and you can tell when an orchestral conductor now has to deal with a choir, too. I’m quite proud of the fact that I was taught and expected to work with both, so now that I’m working with the Clearwater Chorus (this links to our Facebook page – please Like it!), not only do I feel comfortable and confident that I can help produce a good sound, help the singers sing together, and focus on sharing good stories and music with others (including the audience), but it is also bringing me back to my roots in music – as that little angelic Church of England choir boy in my village.

For your entertainment: This is one of my favourite Bernstein performances of showmanship, especially around the 5 minute mark. It’s even more engaging because of the video/ audio mis-synching!

Why the next 20 years of classical music will smash the last 20

OPINION. That’s all this is. Totally unmerited, unfounded, unresearched, unverified 🙂

I’m in the UK right now, where I spent my childhood and early professional career. My teens and current professional career were/are in the USA. My college life was mostly spent up & down the UK, throughout East & West Europe, and later a sojourn in a couple of countries in the Southern parts of Africa. Next stop? Ah well, wouldn’t you like to know!

Conductor Composer Stephen P Brown grew up and lived in both the USA and the UKBut as I’m sitting here for a few moments, pondering the extraordinary life I’ve lived split primarily between two continents, cultures and languages (yes, I’m bilingual: I speak English and American), I find it remarkable how much our environment has changed but our enterprise has not. For example, in the late 1980s I predicted that orchestras would start dying out in 20 years or so if they didn’t radically change, and I was correct.

So what about 20 years from now? Hmmm…

“Keep classical music live!”

First, I still believe that acoustic/ unplugged performance affects us in so many more ways than anything reproduced through loudspeakers (click it to tweet it) if only we can be bothered to listen & allow ourselves to fully engage in it, and it cannot be replaced.

From that perspective, I wonder what was I doing 20 years ago that I’m still doing now? Am I doing it differently? How will I be doing it in the future?

Classical Music

  • “Classical music” was an art form studied by many, performed by a few, and enjoyed by a multitude.
  • No-one wants to call “Classical Music” Classical Music anymore. It has a stuffy reputation and technically only refers to the period in history in which Mozart and Haydn lived. We are confused.
  • “Contemporary Music” will be only a [major] part of intimate and huge all-encompassing events that remind us there’s a form of communication that isn’t verbal or visual, but emotional.

 

The Towaco Story by Conductor Composer Stephen P Brown

Composing

  • Manuscript paper could be bought or drawn, and music was created & shared by using a pencil, ruler and eraser/ rubber (see? I told you I’m bilingual).
  • Computer software is readily available, both audio-based used primarily for output such as films, and visual-based used primarily to print music for live performers to read.
  • Even without Steve Jobs around, composition technology will continue to grow and astound those of us born before 2009.

Music Theory

London Sinfonietta Postcard Score Event

The music score of “One for Vonnegut”

  • Musical rules and regulations developed over 400 years were studied and followed rigorously prior to being broken and expanded upon.
  • Sometimes musical rules and regulations are followed, sometimes not, sometimes they don’t even apply, especially in graphical scores.
  • People will like music that affects them, whether it is disturbing, pleasing or in-between, and the rules and regulations of multiple cultures’ musical traditions will be meshed together to create new musical theories.

Commercialization

  • Specific performers were adopted by a benefactor such as the aristocracy, a publisher or a record label, who paid the performer to perform or the composer to compose in order to entertain themselves & their staff, or make money.The Three Tenors became a commercial goldmine
  • Anyone can self-publish, self-record, and self-promote. Many consumers are getting fed up of hearing the same financially viable repertoire pumped into their ears time and time again.
  • Private enterprise will promote performers and composers through hosting or advertising at large live events and online, kind of like Pepsi and Verizon have been doing with (currently-commercialized) female pop stars. Consumers will favor living composers but still occasionally wallow in the music of Dead White Men.

Funding

  • As above, musicians struggled or were adopted by a benefactor. In the Olden Dayes of Classical Music, there was no public government funding.
  • Musicians still struggle, but many are supporting themselves handsomely through ‘entrepreneur-like’ activities such as teaching, producing (live & recording), publishing, retail, and performing all combined. Some governments still spend as much as 0.5% of their nonviable budgets on all the arts.
  • Musicians will still struggle and many will be a part of larger organizations and co-ops. But, administrators will support not direct, and Boards will over-see not make decisions. Public funding will still be a hot topic but far less influential.

 

One thing I can assure you about classical music in 20 years’ time: it will still be here. It is not dying. There will always be someone scraping a wooden violin, someone tooting down a metal tube, and someone banging on an array of so-called ‘instruments’ (aka Percussion). It may morph, shrink and grow, expand and minimalise itself to 1 note (or nothing, in the case of John Cage’s 4’33”), but it will still exist.

After all, the community and youth orchestra scenes are enjoying unprecedented success and are clearly still on the upswing (if not just reaching their height).

What YOU think “Classical Music” will be like in 20 years…

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