There were major changes made during the Chamber Choir’s all-day rehearsal over the weekend, brave decisions being taken, and lots of creative ideas – most of them, excitingly, from the Choir itself!

Throughout the day, I felt as though I was slowly relinquishing control of the group, as they started to operate more and more independently. Whilst this was ever so slightly alarming, not to mention unexpected, it was a good thing, a positive sign that, at last, the group is beginning to act and feel as one.

Percussion Scholar Carina Evans took time out from playing the Orchestra and  Concert Band to come along and play the percussion parts in the piece I’ve written for the concert, ‘Forgotten Children’s Songs;’ moving between marimba, triangle, bodhran and tambourine, the new textures added some real zip to the movements, especially the last one; the set has really come to life, and will be a vibrant way to bring the concert to a close.

Second-year Emma leading a warm-up

There were problems with pitch during the early part of the rehearsal, with intonation not always very secure and pieces often ending up dropping a semitone by the end (which, when you’re delivering bottom D’s as a bass in Tavener’s setting of the Lord’s Prayer, can be quite a challenge!) we changed our approach to key vowels to try to keep the pitch up; we thought about breathing; we changed our psychological approach to the shapes of phrases to think about intervals differently; and none of them yielded any significant change.

Then, from out of the blue, two of the ladies in the Choir suggested, for a change, we should stand in mixed formation, with each singer standing next to voices singing a different part, and see what happened. We duly shuffled around, and once arranged to make sure this was so, we started the piece again. Whilst this immediately resulted in a very different sound, it also meant (as everyone observed afterwards) that you could hear different parts that previously you couldn’t hear. The intonation was much improved, and now the group decided to stay in this formation for the remainder of the rehearsal. Singing in isolation from their own particular voice-part, suddenly everyone had to take charge of driving their individual line, with the resulting collective ensemble sound very much improved.

There was a great deal of fun to be had with extremes of dynamic contrast in the Hassler madrigal; we’ve decided to keep the dynamic changes throughout the verses spontaneous and unplanned on the night; it keeps everyone on their toes, and because we’re clearly having a lot of fun being mischievous with them, hopefully the audience will sense this too.

The Choir decided, by the end of the day, that they want to sing in the new formation on the night, a brave decision given that it’s less than two weeks until the performance and it means re-thinking all the pieces, including the three which we sang in the Gala concert in December. But it’s a measure of how much the group is growing in confidence, the fact that it wants to try new things and push itself further. There’s still work to do, now, in getting used to singing all of the pieces in the new line-up – and, as a conductor, I’ve got to re-think where and how to cue the voice-parts, given they are now scattered throughout the entire group; thanks, team! – but there’s a sense that the choir is really starting to fly now. We just have to trust each other and let go.

In performance mode

Find out more about the concert on the Choir’s ‘Wallwisher’ wall here, and details about the concert on our What’s On diary online here.

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