Structuring an Advent/Christmas choral program— choosing repertoire and presenting it coherently— is tougher than one might think. The theme is clear enough; the difficulty lies in presenting a series of short pieces related only by text, in a narrative order which must make stylistic sense and fulfill the need for overall tension and release, leaving the audience (and singers) satisfied at the end. And the individual pieces have to be satisfying, as well— some familiar, some challenging, all of them reinforcing our most “sentimental” holiday without slipping into the maudlin or manipulative. A broad, general audience loves Christmas and celebrates the season through music; and though Chicago Chorale is not affiliated with any church or denomination, there are text and character expectations we must satisfy with our choices. Listeners and singers want to feel comforted, nostalgic, and uplifted.
Since Chorale began presenting Christmas concerts, four years ago, this planning has become one of the most difficult things I do. I poke around on YouTube, find programs of other ensembles, order single copies of newly-published music, ask friends and colleagues for suggestions. I consider the amount of rehearsal time we have, the fact that most of our singers will have been silent for several months before awakening and retooling their voices in the Fall (and the pandemic had many of them silent for more than a year!). And we have a large number of new singers with us this fall— which is temporarily destabilizing, though exciting in the long run. The many transitions involved in such a concert, the many musical styles, even the choreography— these considerations weigh heavily in the choices I make.
I begin with a long list, determine timings for individual pieces, set a time limit on the program, and then begin cutting. I move titles around, eliminate pieces for one reason or another, search out the right text or musical mood for a particular spot in the program, and leave open the possibility of changing my mind during the rehearsal period, if something doesn’t quite work. And I look outside of the rather austere body of repertoire from which I usually choose, hoping to appeal to a broader audience, and bring them into Chorale’s fold. It wouldn’t be Chorale unless we included music by such heavy hitters as Pärt, Vaughan Williams, Busto, Tavener, and Dubra; but much of what we sing at Christmas reflects a more popular or folk-based tradition, arranged or composed for SATB choir by skillful composers who have a particular feel for this work.
I love these concerts, and the enthusiastic listeners who attend them. Last year, the lack of communal music was a big hole, for all of us; I greatly look forward to being in the saddle again. I hope to see you in December!