Monday was the first rehearsal of the semester for the University Musical Society Choral Union (UMS Choral Union, or just Choral Union, for short). I auditioned and was accepted a few weeks ago. The group is made up of various musicians from around the community: retired choral directors, elementary school music teachers, high school students whose hunger for music can't be sated by school music alone, folks who majored in music but never pursued it as a career, and other oddities like me. I think there's some 150 voices. It was conducted by Jerry Blackstone for the last few eons, Donald Bryant before that, and I believe Maynard Klein before that (someone correct me if I'm wrong!). This year ushers in a new era, though! The new director is one Mr. Scott Hanoian (which is pronounced ha-NOY-in, if you were wondering; I know I was). He's a young gentleman (by university standards), I'm guessing 35 or so. Slick black hair and eyes, medium height and build. I looked him up, and he's quite accomplished in the field of—wait for it—church music! Lucky me! Another chance to work with a solid church musician! And yes, I think he's quite good, based on this one rehearsal with him, and meeting him at auditions. I got my moment of school pride, too: at auditions (well actually, I didn't really have to audition, thanks to my school; he just had to voice me), he looked at my form, and said, "Oh, St. Olaf, huh? You know what you're doing then; choir is life up there." Um ya ya! And that's high praise coming from him, so you Oles all better be flattered.
The major work we're doing this spring is the Mozart (Süßmayr) requiem (ask me how I feel about that piece. Or maybe don't; you'll get an earful). As far as liturgical major works go, Mozart's aren't that practical for worship (hello, church sonatas??????), and I imagine that's why they're usually performed outside a liturgical setting. I usually feel kind of weird about using sacred music as "concert" repertoire for the express purpose of entertainment, but in the case of masses that aren't even really intended for worship (Verdi, Brahms, Forrest.... Actually, ask me about the Deutsches """Requiem""" sometime), that's kind of different, I guess; and I can justify putting the Mozart in that category. I'm particularly ok with it in this case because Hanoian knows how to be respectful of church music: that's his job.
I got to see lots of new friendly faces and some old friendly faces. One of them was an old mentor of mine, the locally famous choir director emeritus of a nearby high school. He is (was? Is? Was? I don't know... It's hard to tell with musicians, and with these two in particular) the partner of another mentor of mine, who wasn't there, but whom I've seen more recently. They're both great, obviously, but it was especially good to catch up with him because I haven't seen him in ages; years, maybe. We talked a bit about what I'd been doing at school, and what I was doing at home, and what the choral world looks like around here. It was a pretty brief but very good talk. There are few things better in this world than getting to talk with folks who share your passion, who speak your language, and who—perhaps most importantly—respect you as an artist and an individual.





