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Truncation was his recipe for the 9th partly because he knew of “ the issue ”. Say it not in Gath but for the first half of its existence, the choir’s soprano line was more stout than svelte, its average age mature and matronly, and its status refined and genteel. Ladies don’t push; without push and much support, Beethoven’s blazing top line, which highlights top As sprinkled with Bs for extra glitter, sounds pallid: more joyless than joyful. The work demands toned bodies, allied to a go for it attitude. Many a modern conductor must rejoice thatthe Singing, Swinging Sixties, Women’s Lib and theGym culture have made women fit, free to sing withoutfrisson of fear the great rising phrase that ends with afortissimo high A held for eight bars: “Seid umschlungen, Millionen! Diese Kuss der ganzen Welt.” “Be embraced, millions! This kiss for the whole world.” Conductors are as terrified of not doing justice to Beethoven’s most demanding symphony as are choirs. Rudolph Schwarz wanted to programme the piece from his earliest days in Bournemouth, but Roy Henderson assessed that his choir was unready for the challenge. Some notable recordings in the 1960s faked the choirs by filling the seats entirely, or almost entirely, with professional singers but still claiming that the record featured this or that amateur choral society or chorus. In 1970, one conductor brought along some professionals to help the Bournemouth choir without getting either its, or its chorus master’s, permission to do so. Nothing antagonises choirs more. It’s as if their collars have been felt, judged too limp and been reinforced by the addition of visible collar stiffeners. As for the chorus master, he demanded an apology or else he threatened to refuse to work again with Maestro XXXX! Graham Parkin puts his finger on why the Choral Symphony appears far more frequently during recent decades; it’s a long sit followed by a draining sing. Beethoven coined it a “ Symphony with Final Chorus of Schiller’s ‘Ode to Joy’ for full orchestra, 4 soli and 4 chorus parts ”. Choral societies are more likely to vote for a traditional evening-long oratorio replete with choruses for a term of busy rehearsals or works requiring fewer expensive soloists. Symphonies with choral finales suit the immediate needs of orchestras better than choirs. After the Municipal Choir became the Bournemouth Symphony Chorus, the orchestra’s management had a greater say in determining joint programmes. Works like Beethoven’s Choral and Mahler’s ResurrectionSymphony have enjoyed a great increase in performance frequency by the Chorus in the last decades. They have become repertoire pieces and the choir has been able to diversify, to devote practice time to extra concerts, sometimes unaccompanied, or with organ or small ensemble accompaniments. A final thought: if an orchestra can play an un- choralchoral symphony, then a choir can finish an unfinishedsymphony. In Constantin Silvestri’s time, the MunicipalChoir “completed” Bruckner’s unfinished 9th Symphony with his Te Deum . (That concert in the 1968 EasterFestival included some of the BSO’s finest playing underSilvestri, according to one informed commentator). Stylistically, the two works shout at each other, so arbiters of taste have criticised such programming. Scheduling these two Bruckner works in the same concertwas as odd as playing Beethoven’s 9th sans finale. POSTCARD from Graham Parkin first tenor POST CARD Beethoven’s 9th Symphony is huge sing, even for a choir of 150. One performance that stays in my memory was with the BSO and Richard Hickox in Plymouth Pavilions about 15 years ago. A midweek event, its early coach departure and an epidemic conspired to reduce our numbers to 67. Neville sang to boost the basses and Hickox gave lots of encouragement to give our all. When we got to the bass entry, I could feel the platform shaking with the effort they made. Somehow we did it. Richard Hickox had a look of amazement at the volume we produced. It just goes to show what you can get out of terrified people! from Jean Harvey vice president
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