Getting the hang of it on most of the movements
We're making real progression on the Mozart now, with every rehearsal being more fun than the last. It's a lot of singing, isn't it? We're sure getting the hang of it on most all of the movements, though, and the character of each is beginning to be clearly expressed (Qui Tollis is still in need of careful attention, of course). By now I have nothing else going through my head!
The only movement I'd planned but didn't get to last week was #15, "Et vitam venturi". Even though it's quite long and demanding, we'll start right in with that one next Tuesday and continue on with 16, 17, 18, and 19. It'll be interesting to see how we do on the Hosanna choruses, after quite a gap. I have every hope that we'll do well and now enjoy the dialogue between the two choirs.
To let you know the plan for the two weeks following, it's time for us to get a real; sense of the piece as it unfolds. Here's the schedule:
April 2 Movements #1, #2, #4, #6, #8, #9, #11
April 9 Movements #12, #14, #15, #16, #17, #18, #19
April 16 The entire work, with orchestra and soloists
Thinking ahead to our full evenings rehearsing of the Queen Symphony, which begins on April 30, we'll need to take it easy both in volume and in range as we get comfortable with this particular musical language. It's clear that this composer primarily writes for instrumental ensembles: its demands could be quite taxing if we're not careful, particularly for the sopranos. I intend to drop the octaves as we learn the harmonies, to save your voices. Eastern European choirs are accustomed to extremes in range and volume, and their choral culture builds in far more stamina than we are accustomed to. Please know that I will take care of you in this process as much as I can! You did a great job of getting acquainted with the work during those two little preview half-hours, and I'm confident we will be able to prepare the piece in the time we'll have.
Looking forward to next Tuesday,
Practice Music Files
Ken Scudder has produced electronic files that highlight each voice part for all of the movements in the Mozart piece and has graciously volunteered to share them with anyone who would like copies as a practice aid. This is a great opportunity for singers who do not have a piano at home since similar files are not available on the internet for this work of music. If you would like to receive copies for your individual use, email Ken at email@example.com. Ken can provide mp3 files, which can be played using software like iTunes or Windows Media Player, or Scorch files, which can be played on an iPad or in a web browser on any Windows or Mac computer. The advantage of the Scorch files is that they also show the musical score as you play the music.
Be sure to tell Ken which voice part you sing, which of the double choirs you are in (I or II), and whether you would like mp3 files or Scorch files. You can download a copy of the Scorch app for the iPad from the Apple App store. Alternatively, you can download the browser plug-in from the following web page:
Many thanks to Ken for making these files available to the choir.
Ad forms for the April concert are due by March 26. Get involved by selling ads in our concert programs! Programs cost more than $1,000 per concert to design and print, and ad revenue is needed to cover that cost. Please contact businesses you know that might support community arts, like your dentist or financial planner and others you have a relationship with. Carol Chancellor will have ad forms at rehearsal.
Each member is asked to sell at least two tickets. New this year is that mezzanine tickets are $35. Main level and balcony remain $25, with senior and student discounts available. Price information is listed on your ticket envelopes and is available on our website. You must request mezzanine tickets from Susan. If you need more tickets, or need mezzanine or season tickets, contact Susan Cribbs at firstname.lastname@example.org.
Get involved by joining FCO's board of directors. FCO is a nonprofit member organization with an annual budget close to $60,000. Board members oversee all aspects of FCO business, from grant writing and donor development to concert management and ticket sales. FCO's continued success depends on finding hard-working and passionate people to serve on the board. Next season's board members will be elected at rehearsal on April 23. If you are interested in helping to lead FCO, contact Bryan Gonzalez at email@example.com.
2020 Northern Italy Tour
We are still auditioning for our next tour, which will take us across northern Italy, with stops in Tuscany, Lake Garda, and Venice. Check out the tour flyer for more information about the proposed itinerary. If you are interested in auditioning, contact Rebekah Wozniak-Gelzer at firstname.lastname@example.org or by phone at 503-585-5404.
"Once A Dream"
Long-time member Vito Pileggi has written a book about his travels with FCO and on his own. Vito organized several FCO tours and helped forge the friendship between FCO and MGV 1880-86 Hahnheim. You can order "Once A Dream" from Amazon for $45 or save money and pick up a copy at rehearsal from Hale Thornburgh for just $30. You can reach Hale at 503-581-0274 or email@example.com.
"Farm Boy to Fly Boy"
Centenarian Art Gregg, our accompanist Ann Snelling's father, has published his memoirs as a WWII fighter pilot in the India-Burma-China theater. He flew 69 missions and received the Distinguished Flying Cross. You can pick up a copy of "Farm Boy to Fly Boy" at rehearsal from Ann for just $10.
FCO Member Recitals
David Rutherford will perform a solo piano recital-featuring works by Bach, Mozart, Beethoven, and others-on Saturday, April 13, at 3:45pm at Salem Library's Loucks Auditorium. You can purchase tickets online for $15.
David also will perform a recital with William Velez-titled "Remember When It Rained"-on Saturday, May 11, at 4:00pm at Salem Library's Loucks Auditorium. You can purchase tickets online for $12.
Room Setup and Tear Down
Basses are On Deck
Please arrive at 6:30 pm as we need to set up rooms for sectionals as well as much of the seating for the combined choir as possible.
Bryan will coordinate set up.
Move the piano from the sanctuary to the gym.
The combined choir seating chart is shown below.
***All singers are responsible for placing their own chair on the racks.***
Place the chair racks back in the gym closet.
Place the director's platform and music stand back in the gym closet.
Move the piano back to the sanctuary
Place the baptismal font and candle back to the center of the sanctuary aisle.
Feb 19 - Tenors Mar 19 - Tenors Apr 16 Tenors May 14 Tenors
Feb 26 - Basses Mar 26 Basses Apr 23 Basses
Mar 5 - Sopranos Apr 2 Sopranos Apr 30 Sopranos
Mar 12 - Altos Apr 9 Altos May 7 Altos