Hi all,
A part of the transition from teaching life at UNT (still a bit of time to go! I'm not dead yet!), is to what Kathryn calls, "back to the free-lance life." And for that, I needed a website. So with the help of Julianna Emanski Kim, we're one the way! Check it out!
As I mentioned, I'm leaving ChoralNet blog posting in another week. Next year will be interesting, to say the least.
l'll be taking over Jerry McCoy's Director of Choral Studies duties
in an interim year at UNT, so conducting the A Cappella Choir, being
the primary teacher of conducting for our graduate choral conducting
students, being primary in creating their comprehensive exams and
advising on dissertations (and four to six will be doing them this
year!), and administering the choral program. I'll still be conducting
the Collegium Singers (who will sing at the Boston Early Music Festival
in June and at the NCCO conference in Portland, OR in November), and
will remain chair of the Division of Conducting & Ensembles at the
College of Music.
For A Cappella, I'm still planning much of the repertoire, but know I'll do Stravinsky's Les Noces in the spring. And I'll conduct the Grand Chorus (the three UNT mixed choirs) and Symphony Orchestra in Haydn's The Creation at
the end of the year. This is part of the score study work to be done
this summer. But that's one of the processes I really enjoy.
I've conducted Les Noces before, but one of the nice
things is there's a very good new edition out. Any time I do this kind
of work again, I usually want to completely re-study, but the new
edition makes it even more important.
And with The Creation there are lots of things to decide.
We'll do it in English and the libretto by Van Swieten has "issues," to
say the least! There are other versions, including the Shaw/Parker
translation, one by Nicholas Temperley and another by Neil Jenkins, who
has several wonderful articles (1, 2, and 3), plus his own translation.
This is the kind of research I love doing and I'll ultimately make
individual decisions (collaborating with my soloists) on choices, but
probably staying closely with the original text.
Peter Brown's book about the early performances of The Creation
is wonderful and leads to all sorts of questions to answer,
particularly about the size and disposition of the orchestra. In most of
Haydn's performances with large forces, he had three sets of woodwinds (Harmonie),
2 flutes, 2 oboes, 2 clarinets, 2 bassons, and two horns. In addition
his trumpets (2) were doubled, as well as the 2 trombones (he usually
also had two sets of timpani). And he scored for contrabassoon and bass
trombone (not doubled). The set of parts that Haydn used (and which have
markings in his hand) also had extra parts for the contrabassoon and
bass trombone, which I'll certainly use. All three of the Harmonie were
not used all the time, but surviving evidence shows that it was likely
that Harmonie 1 played everything (meaning some solos in the arias),
Harmonie 2 on most big tuttis (even in arias), and Harmonie 3 in
choruses and at other special places ("Let there be LIGHT").
If I can manage to use the triple Harmonie, it changes the balances
and color . . . and in some moments, such as the "roar" of the lion, it
will mean that the low Ab will be played by all cellos and basses, six bassoons and contrabassoons, plus bass trombone. A mighty roar, indeed!
It's these kinds of things that come from research that I enjoy
doing. And hopefully it all comes together in an interpretation that is
not just about being "historically correct," but gets to what Haydn
wanted to express and how he expressed it. For me, that's part of all
performance practice—figuring out how better to express the emotion and
ideas of the composer.
Wish me luck!