Oh my flippin’ heck.  Easters is over and has finally concluded my last three weeks of whirlwind ALL THE THINGS! (Can’t brain, I have the dumb). Do I actually have a few minutes to myself here? I wanted to take some time and reflect on my thoughts and experiences at ACDA a few weeks ago in Dallas.

First off, it was great (SURPRISE!).  I love geeking out during these things. Seeing gaggles of friends both old and new is always a great time for me. I also like seeing all the new music that’s available, combing through books and octavos, and dropping WAY too much money on very heavy purchases (I think I’ll start measuring my purchases in pounds rather than dollars). Combine that with a bunch of choir nerds swarming through several venues like locusts o’er the land is a sight to behold. Above all though, the company of friends is something I greatly cherish.

Rather than write in long (boring) paragraphs, I’ll just distill most everything into bullet points. It’ll be easier to digest (although you still might get heartburn):

• My priority lies with the performances. I try to attend every single performance I can. What I look for most in a good performance is choice of repertoire, communicating the spirit of the music and text, and tone (in that order). I felt that there were several choirs that filled all three, and many more that filled 2 out of 3. There were MANY great offerings.
• The Meyerson Concert Hall was by far the better venue. If I saw a choir in the Winspear, I tried to give them room for the unforgiving acoustic. I’ve been there, and I know what it feels like to work really hard for a conference performance only to feel as though you’re singing into cotton.
• If someone had brought a fruit/veg truck outside the concert halls, they would have made bank.
• For me, there is a huge difference between seeking to impress and seeking to express. Some choirs came to do the former, others the latter. You could smell which it was the moment they walked on stage.
• Out of the 200 pieces (I counted) performed during the main performance sessions, only 16 (8%) were from year 1750 and earlier.  Out of those 16 only 6 (3%) were from the Renaissance. As far as I can tell, there was nothing performed from the classical era. I believe that the lifeblood of any art form is its new works, but I also believe that some of the best new works come from looking back at earlier masters. As a friend mentioned to me, “Renaissance and early baroque is an era that instrumentalists just don’t have much to work with. Why would choral musicians choose not to exploit that?” For me it’s not a matter of specializing in that music but acknowledging it as our heritage. There is more music written for the human voice than any other instrument, much of it comes from these earlier eras.
• Incidentally, There were a few very interesting choices made when performing music from the Renaissance. Some choirs held that literature at arms length and weren’t very successful with it. Few ensembles actually embraced it with open arms and made it their own. Obviously, this is related to the bullet point just above. Renaissance Music is still considered too remote by most of us to really dig deep into its wells. We need to fix this.
• I’m also seeing a somewhat troubling trend towards the gimmick. Rather than talking about the lit, spirit, or tone, we’re talking about the gimmick. Red flag.
• Went to hear Dale Warland speak. Took away two great points: One of the most important places to put your attention with a choir is in it’s literature. Selecting, studying, finding literature is one of the most important places to put your energy.  Second, We need a good mix of the old and the new. In Dale’s opinion (the man who commissioned and premiered DOZENS of new pieces), we neglect the old far too often.
• Cal-State Fullerton – Bold program choices. Wonderful spirit.  Beautiful tone.  I loved how they moved from the Pärt Berliner Mass right into Bach’s Christ lag in Todesbanden without a break.  Also, their performances of excerpts from O’Regan’s Tryptych were some of the best I’ve heard. Very proud to call them a neighbor here in LA.
• Pacific Lutheran University – Hands down, one of the finest ensembles of the entire conference. Just spell binding from the very first piece.
• San Antonio Chamber Choir – The highlights for me here were the Britten (A.M.D.G. . . so difficult!), Brahms (with very, very little vibrato) and “Mille regretz” by Rindfleisch (heart-wrenchingly beautiful).
• Other honorable mentions include: Marcus High School Varsity Treble Choir, University of Philippines Madrigal Singers, University of North Texas, Crystal Children’s Choir, Houston Chamber Choir, University of Louisville Cardinal Singers, and the Florida State University Singers.
• The Tallis Scholars were outstanding. I absolutely love listening to them sing and try and listen to them live as often as I am able. Talk about a choir that sings early music with real, full tone. No kid gloves. Nothing brittle or wimpy. Just true, clean, full tone. Love it. (P.S. When are you going to release the recording of Gabriel Jackson’s new piece?!)
• The Mormon Choral Organizations simply knocked it out of the park. I walked in with skepticism, but was quickly proven wrong. It was impressive from beginning to end. The highlight for me were choral/orchestral transcriptions of Liszts transcriptions of Schumann’s “Widmung” and Schubert’s “Erlkönig.” Thrilling music and so tastefully orchestrated. For “Erlkönig,” they had the children sing the son’s part, the men sing the Father’s part, the women sing the elf-king’s part on the combined men and women sing the narrator. Totally effective. If you didn’t see this, you missed out big time.

The climax of the entire conference for me was the Britten War Requiem. I must start by explaining that I don’t enjoy much of Britten’s music. I admire it, respect it, and recognize the genius of it, but I just don’t really enjoy it.  Much of the time, to me, if comes off as “overly studied” and “cold” (no matter how many times I say this, people somehow try and convince me that my tastes are “wrong”). The same goes for the War Requiem. I’ve studied it a few times and every time I hear it mentioned, I break out in hives.

Nevertheless, I wanted to hear it in person and experience it for myself. I sat with a friend of mine who feels the same way about Britten that I do. We were both moved very much after that performance. All we could really say afterwards was, “Do you like this better after hearing it in person?” Yes. Oh yes indeed. Do I enjoy it more? Not so much. Do I love it more? Yes. It was a magnificent, chilling, powerful, evocative performance. Few other performances have moved me to that extent. Stanford Olsen’s performance was soul-shattering. So much of the mood was dependent upon him and he delivered every time.

The real hero of the night though was Craig Jessop.  I’ve seen him conduct MANY times before, this was absolutely his best. A servent of the score, he stayed calm and collected while unleashing heaven and hell upon all of us in attendance. He didn’t spare us one iota of what Britten intended. At the conclusion of the performance, after he released the choir from their final chord, he held the silence in that hall for what seemed like forever. No one in the Meyerson dared to breath until Jessop put his arms down. I felt like I was going to suffocate. It was the most silent I’ve been with so many people. It was a performance that left you weary and defeated, but never more grateful. Jessop never really took a bow for himself, he just kept acknowledging others. I just looked at him and said to myself, “That’s the kind of conductor I want to be like.” It was a night that we will remember for a very long time.

The Ellen Eccles Theatre in Logan, UT has been under a bond for over 20 years. There have been various parties, including Cache County, who have worked to pay off this bond. These parties saw the value of the theater and the potential it had for bringing in artistic groups to enrich our community.

The Herald Journal has published a story relating this news here: http://bit.ly/XljX4b

The theater has faced various issues and successes repaying this bond throughout these 20 years, such as this: http://bit.ly/Yo4yPm and this: http://bit.ly/XRPg3c. For more past news on the theater, please visit http://www.centerforthearts.us/news.html.

I began performing in the theater during my years at Utah State University as a member of the USU Chamber Singers and the USU University Chorale. I have had even further opportunities to perform there with the American Festival Chorus and the American Festival Singers. I cannot remember, but I would not be surprised if I attended various events at this theater while growing up in Northern Utah. I would imagine that I attended at least one musical. Since moving to Cache Valley in 2004, I have attended plenty of events at this theater ranging from stand up comedy by Brian Regan to operas and musicals. While my budget does not always allow me to attend everything I wish I could at the theater, I am very appreciative that we have this icon in our community. I can only hope that I progress enough in my profession to garner a large enough salary to allow for more of these entertainment opportunities. This news of the theater being paid off is great for Logan City funding and for all Cache Valley residents. I, personally, am very appreciate as well for the RAPZ tax that has helped to pay off this theater. Yes, it is a tax, but I feel it has helped preserve the uniqueness of this community.

I am eager to perform with the American Festival Chorus and American Festival Singers in future appearances at the theater. And I can only hope that the Men’s Acappella Chorus of Cache Valley progresses throughout the years to be able to warrant a performance in this theater as well.

Reblogged from Cache Valley Fun:

Reblogged from The Local Beat:

The Messiah was performed for the first time in 1742 in Dublin, Ireland.

Ben Burt performed a bass solo with the American Festival Chorus to commemorate the Messiah’s 270th anniversary on April 21, 2012.

The American Festival Chorus in Logan sang George Frideric Handel’s composition on Saturday in the Kent Concert Hall.

Many comments were received questioning the timing of the performance because it’s usually done during Christmas. For more than a decade, the Messiah was traditionally sang during Easter, Burt said.

There are three sections of the Messiah. The first section, usually performed during Christmas, is about the birth of Jesus Christ. The second section is about the resurrection and the third section is about the redemption of the people.

The AFC sang bits from the whole composition, but didn’t perform the whole piece. It lasts about three hours in its entirety, Burt said.

Craig Jessop, director of the AFC and former director of the Mormon Tabernacle Choir, wanted to feature choruses from the piece that were uncommon.

“I sung quite a few choruses that I haven’t sung before and I’ve sang the Messiah quite a few times,” Burt said.

Saturday was Burt’s fifth time performing the composition.

Many chorus members commented on the emotions the performance had. There’s always emotion in music, but Craig Jessop portrayed the piece with a lot of feeling, Burt said.

“I’m not a classical music fan, but I actually really enjoyed it,” Burt’s wife Sasha Burt said.

Sasha Burt has attended many of the choir’s performances in the past and believes this is one of the best shows they’ve done so far.

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This blog is to declare my intentions of forming a new Men’s Acapella Group in Cache Valley, Utah and to solicit men (any guys really) to join and help organize this group.

Before you read this, if you are interested at all please contact me and let me know. You can comment on this blog, you can email me at detmer14@gmail.com, you can call me if you have my number, contact me on Facebook, Twitter, Google+, any instant messenger, or talk to me in person. Please share this with all your friends you think may be interested. This group will gain popularity and prestige only by word of mouth.

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Update May 8, 2012:

We have begun rehearsals and have an initial group formed. We also have a hompage where we have posted more details about the group, a discussion forum containing discussions members have been having about the group, a page describing music we are working on and could possibly work on, and a rehearsal calendar.

This is our homepage: http://bit.ly/L7dBAn. Please visit this page if you are interested in the group in any fashion.

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I have always wanted to be in an men’s acapella group. While growing up in the 90s, I listened to a lot of Voice Mail, which was formed right here in Cache Valley by USU students. I also listened to some earlier recordings of BYU Vocal Point. I had also developed a love for the music of the King’s Singers while doing choir in High School and College. The human voice amazes me; especially the men’s singing voice. The human voice can create almost any sound with training. I love the female voice as well, but being a Bass singer myself, I feel a kinship to the male voice. And I am bias when I say I love the sound of a great men’s group; one that is well-disciplined and has refined their sound.

While at Junior College at the College of Eastern Utah (CEU) – now known as USU Easter, Dr. Russel Wilson – director of choral studies – started a men’s group of students. I was hooked instantly. It was mainly a Do Wop group singing songs like “Goodnight Sweetheart”, “The Longest Time”, etc. I actually came up with a name for the group too: Flipside. This showed some relation to vinyl records such as groups like the Platters. We even put on a concert in the student center. Russel Wilson had acquired some headset mics that we used. We had choreography, everything. And it was a blast. But I have really missed this.

I have attempted multiple times to get men’s groups together. My first year after transferring to USU, I tried to get a campus Men’s Choir club going. But there just wasn’t enough interest or enough dedicated people. I guess that makes sense being that it was a student club. It’s hard to expect students to be very dedicated. I gave up the idea until recently.

For 3 years, I had some great roommates that were also musically inclined. In fact, all of them were in a band together, called Three Weeks. The three of them and I would often sing in our LDS church meetings together. We would come up with our own parts on the fly. We didn’t necessarily stick to the hymn arrangements. And every now and again they would let me sing with their band.

After getting married, I didn’t have those roommates around anymore. Last year I was asked to sing in my LDS church ward. When I perform, I don’t want it to be mediocre. I want it to wow and amaze. So of course, I wanted to get a men’s acapella quartet together, which we did. And it was amazing! So much fun. I tried to do this one other time without success. People were either too busy or they didn’t feel the way I did about it.

So I’ve decided I would like to reach out to the public and my friends to see who might be interested in forming a men’s acapella group. No, I do not want this to be a men’s choir with piano accompaniment, nor do I necessarily want a conductor standing in front. Such groups are wonderful – I’ve even been able to participate in one recently. But everyone has to follow the conductor, and while there is still teamwork and a group effort, it’s nothing near as intimate as an acapella group. A group that rehearses in a tight circle so they can hear each other and feed off of each other’s energy. A group that shares ideas, a group that shares techniques, a group that educates each other. A group that, after sufficient time together, can perform at drop of a hat. No need to lug around a piano, keyboard, or other instruments.

Now the problem with trying to start such a group is that everyone has their own idea of what they want it to be. I’ve seen it with bands. And a difference of opinion can bring down the entire group. And I really do not want that to happen. I want this group to be ultra fun, and not cause stress or bad relations. I want this group to be accepting of other people’s voices and talents, but also strive for excellence and not settle for a mediocre sound. I am torn on how I want to approach this and I would like input from those interested in possibly joining such a group. I would also like suggestions from those who may not join this group, but like to give their opinion in such things in order to provide a wonderful resource for entertainment in the community.

I see multiple directions this group could go and I’m not sure which would be the most appropriate for those involved or which would be the most fun for the group. I know many men long to be in such a group, but feel they lack vocal training to be a good impact on the group. Many men are afraid of rejection. Many are afraid of getting “in over their heads” and trying to tackle something too difficult. It would be nice if this group could provide people in these situations a way of having fun singing in a men’s group without pressure. And also provide them a way of improving their voice and talent. Such a group could still put on wonderful concerts, fun for the whole community. But such a group has potential to be large and have a huge variety of voices. Being such, it is difficult to develop those “tight harmonies” that we’ve heard groups like the Temptations, the King’s Singers, and Acapella groups achieve.  But I’m thinking there is a way to have a piece of each pie.

Many Choral groups use a larger group as their talent mine. In High Schools, there are often large concert choirs, and then a smaller show choir – often called “Madrigals”. This happens at all colleges and universities as well. There is a larger group that may or may not be auditioned, and a smaller, more strictly-auditioned group. USU has their University Chorale and their USU Chamber Singers. I’ve heard rumors that even the Mormon Tabernacle Choir does this. Recently, Dr. Craig Jessop of the American Festival Chorus indicated he wanted a smaller group of anywhere from 16 to 60 singers that would be called the American Festival Singers – a subset of AFC if you will. These smaller groups tackle more difficult material. They learn pieces faster. They have a much “tighter” sound than a large chorus. Think of any wonderful Chamber Choir music you’ve listened to. The Robert Shaw Singers or others.

This could potentially be possible with a men’s group, although on a smaller scale. But I’m not entirely sure this approach would work. Just as Dr. Craig Jessop, I do not want to hurt anyone’s feelings. Is it possible to have enough people for both groups? Would guys bail out if they weren’t included in the smaller group? I would not want such a group to fail. Or would the men involved be understanding of who was in the smaller group?  Does the smaller group need to be auditioned? Ideally, I’d like the smaller group to be very flexible, grabbing people from the larger group as needed. People have busy lives and often have too much going on to be able to participate in a concert. So in would step people to fill spots. Maybe we want a small quartet for one performance, but want a double, triple, or quadruple quartet for others. Guys could come and go from the group as needed due to… well, LIFE!

So there could potentially be concerts for the larger group and side concerts for the smaller group. I would also like this group to act as a pool of resources for people needing to get a group together for any performance – a church performance, community performance, a family gathering, etc. The men/guys can meet others in the group and have “side-bars” to get their own groups together as needed. You see what I’m doing here? I’m trying to provide a way to heal my own frustration with trying to get groups together. And I’m hoping this idea appeals to many men here in Cache Valley.

I would also like this group to be versatile in the type of music we sing. Men’s groups often migrate to performing solely barbershop music. Don’t get me wrong, I absolutely love barbershop music, and I would like this group to do a good helping of barbershop. But I want to include other types of music as well. I’d like to be able to do songs such as the King’s Singers and also boy’s/men’s acapella groups such as Voice Mail, Vocal Point, Rockapella, etc. I’d like to have the ability for the group to really “rock it” with some songs. I would also like to be able to do some tight chamber singing – such as the King’s Singers do. Some Madrigal singing – singing without the vocal effects recreating instruments. But I absolutely DO want to some acapella music with vocal instruments if at all possible.

Here are some the influences I would like this group to have, but I’m very flexible:
King’s Singers, Swingle Singers, Chanticleer, Cantus, Acapella groups (Voice Male, Vocal Point, Eclipse, Rockapella, and many others), Barbershop in all its forms, Do Wop groups / Motown groups (Temptations, Del Vikings, Billy Joel songs, Four Tops, etc.), Chamber groups such as Anuna, Cambridge College Singers, King’s College Singers, Robert Shaw Singers.

The influences would also be very flexible. I want the group members to contribute ideas of songs to do. To try out new stuff – potentially not even to perform, just try it out. We would experiment with our repertoire.

I sincerely hope this interests a lot of you men out there. I want to develop camaraderie with you guys. I’m a pretty fun guy, and I want us all to have similar attitudes to this group. Please let me know if you are even a little interested. I would hate for this idea to fail due to not enough guys being interested.

I would also like everyone’s input on these ideas. What do you like? What don’t you like? What would you change? What additions would you make? What direction would you want such a group to head into? I want to see what your ideas and mesh them with mine. I want this group to appeal to EVERYONE. And I think we can make it work for everyone. Have you thought of joining such a group before? Have you thought of starting your own group before?

I would also like this Charter to be flexible for the time being. I’ll add others’ ideas as well as my own as it becomes more organized. Ideally, I’d like to get some sort of meeting scheduled to discuss ideas with group members. It will take time to get this going, but I would not like to dilly dally. Otherwise, such an idea never picks up speed or enough momentum to carry itself.

If you are interested at all please contact me and let me know. You can comment on this blog, you can email me at detmer14@yahoo.com, you can call me if you have my number, contact me on Facebook, Twitter, Google+, any instant messenger, or talk to me in person. Please share this with all your friends you think may be interested. This group will gain popularity and prestige only by word of mouth.

Here are some ideas I have for the purposes or ideals this group will strive for – call it a mission statement maybe:

To have fun singing as men above all!
To share ideas for men’s acapella songs and share music you love.
To develop our vocal talents together by helping each other get better. Help each other develop good vocal quality.
To prepare songs to perform at any type of event.
Hopefully to develop a group that can “tour” Cache Valley and put on concerts if it develops enough fans.

Undecided aspects of this group (give your input please):

Rehearsal schedule – it’s often very difficult for some people to meet on a weekly basis. Would it be better to meet twice a month? Or weekly, but be understandable if people can only make 2 a month? Those who are more dedicated may get opportunities to do more.
Should there be auditions for this group in any fashion? Do you want any part of the group to be auditioned? Or do you want it completely open?
Where to rehearse? Need ideas on locations that have a piano and hopefully decent acoustics. I do not have connections to be able to rehearse in community centers. I would love it if someone could help out with that. Or maybe we’ll need to meet at someone’s houses. We will really have to observe how the group evolves and adjust as needed or desired.

Action items that need to be taken care of:

I need to create a Google Site to house group information and documents. As well as house a calendar and a group forum.
Come up with a time for an initial meet and greet to discuss the group.

Additional skills and resources that would be really nice for this group although not necessary for any member:

People with access to schedule concerts at venues.
People with access to sheet music. We need to develop a small music library of some sort for the group.
People with organizational skills.
People who can compose music – It would be nice to have someone who can help write music if we see a song we’d like to sing but don’t have the music or want our own arrangements. This person doesn’t have to sing at all.

Reblogged from Before the Downbeat:

I’ve emerged from the pit thinking about rhythm and tempo.  I’m there all week with the orchestra putting together Carlisle Floyd’s opera, Susannah.  There’s a lot that can go wrong on stage, and even more with this show as it includes live gunshots!  All in all, it was a good first rehearsal.  The only lingering issues are finding a consensus with rhythm and tempo.

Read more… 448 more words

Concert details: http://bit.ly/HsG6Xp\
More Concert details: http://bit.ly/HsJ1PV

The American Festival Chorus and Orchestra, conducted by Craig Jessop, are joined by Soprano Alyson Cambridge (http://bit.ly/HsGcyg) for this incredible evening of uplifting and beautiful music for the entire family! Come join us in beautiful Sun Valley for this incredible evening!

Add this event to your Google Calendar: http://bit.ly/HXC3Q8

Join the Facebook Event: http://on.fb.me/HsMvls

Further details to follow.

Blog on this event: http://bit.ly/HsUUFm

Tickets:
Buy Tickets Online: http://bit.ly/HsIJs0
To order general admission tickets call Sun Valley Resort 208-622-2135

Seating Map: http://bit.ly/HsITjj

GENERAL TICKETS can be purchased online at seats.sunvalley.com, through the Sun Valley Recreation Center in the Sun Valley Village, or by calling (208) 622-2135/(888) 622-2108.
All tickets are non-refundable.

DIVA TICKETS can be purchased online at www.sunvalleyopera.com, or by calling the Sun Valley Opera at (208) 726-0991.

Hotel Package available – Spend a memorable evening with the American Festival Chorus and Orchestra and special guest star Alyson Cambridge, then enjoy one night’s lodging in the Sun Valley Lodge or Inn for $133.50, per person, double occupancy, (includes two show tickets).
Call 800-786-8259.

WILL CALL/TICKET OFFICE opens at 6pm the night of the show at the Pavilion. They can also be printed at the Sun Valley Recreation Office in the Sun Valley Village in advance prior to June 30th, 2012.
Phone: (208) 622-2135 / (888) 622-2108.
Seating is reserved inside the Pavilion
- The last 5 rows are exposed to the weather

Location: Sun Valley Pavillion, 300 Dollor Rd., Sun Valley, Idaho
Google Map: http://bit.ly/HsGMMd

Gate opens at 7:00 p.m.

“A frequent and compelling presence on the recital and concert stages, lyric soprano Alyson Cambridge makes an encore appearance on the Sun Valley Opera’s concert stage on June 30, 2012. Equally comfortable in her high and low ranges, Ms. Cambridge has been appearing to critical acclaim around the world, has been signed by Choppard Diamonds to appear in their ads and is part of the Lyric Opera of Chicago’s bold new advertising campaign in which a 5 story poster of Alyson hangs on the outside of its building.” – Sun Valley Opera

Snocountry.com is offering a special rate for lodging and tickets to the American Festival Chorus and Alyson Cambridge performance. They will be $133.50 per person, double occupancy, (includes two show tickets). Call 800-786-8259.
http://bit.ly/HsDOra

News Articles:
Sun Valley Opera: http://bit.ly/HsGSDC
Idaho Mountain Express and Guide: http://bit.ly/GXx2KD

Sun Valley Opera Website: http://bit.ly/HsHysC
Sun Valley Resort Website: http://bit.ly/HsFQYh
Alyson Cambridge Website: http://bit.ly/HsGcyg

Here is Alyson Cambridge performing in the Elardo Opera Competition: http://bit.ly/HsIr4t

Here are two promos from our Sun Valley concert with Maureen McGovern in 2011:http://bit.ly/HsLNoi

Here is the promo video from our Sun Valley concert with Peter Cetera in 2010:http://bit.ly/HsMcqH

The American Festival Singers of American Festival Chorus will be performing the St. John’s Passion in the St. John’s Episcopal Church on April 6th.

Update April 12, 2012: The Herald Journal has posted an article describing the performance on April 6. Here is the article: http://bit.ly/IMtBV6
“To me, this is about three things, really — first of all, it’s about building community and goodwill,” said former Mormon Tabernacle Choir Director Craig Jessop.   “Second, the music of J.S. Bach — whom I feel is, without a doubt, the touchstone of the western music tradition, of western civilization,” Jessop continued. “This represents one of the supreme achievements of the human mind, and it’s motivated totally by both faith and devotion.”

Update March 29, 2012: The St John’s Episcopal Church in Logan, UT provides a wonderful cathedral sound. Here is an example of singing in a cathedral from Westminster Chorus:

and American Festival Chorus‘

performance of the Messiah

The American Festival Chorus will be performing Handel’s Messiah on Saturday, April 21, 2012 at 7:30 p.m. in the Kent Concert Hall at USU. Follow this link for the Concert information on a separate blog post: http://bit.ly/GL6mYY
This blog post contains insights into Handel’s Messiah as well as insights into American Festival Chorus’ preparation and performance of our Messiah concert.

Update April 16, 2012:

The following are thoughts and comments from Brenda Poulsen, a member of American Festival Chorus.

I have sung Messiah probably 6 or 8 times and each time I am amazed at how such a masterful piece was written in such a short time. The spiritual guidance that Handel must have felt would have to have been such an uplift for him.

I truly believe it is a work that was inspired by our Father. How could it not be? Hearing it, performing it, seeing it, is inspiring and engaging for all ages. The story of the life of Christ can be understood by all.

The thing that I find most exciting about our upcoming performance is that the theatrical signers will be with us. I have been in performances with them before and i can tell you they bring a magic and a spirit that is like no other.

My absolute favorite part is during the “Amens” at the end. Dr. Freeman King performs the whole life of Christ in those few amazing bars of music. It is a powerful performance and it really brings a scene to mind. A small glimpse of what our Father and Handel maybe were trying to portray through this musical work. The tragedy and triumph of the Son of God.

You will not want to miss this performance. Dr. Jessop’s insights and interpretation of this work is amazing. The orchestra will be nothing short of fantastic and the theatrical signers, again will bring a new spirit to this piece for everyone who attends.

Update April 13, 2012:

Besides playing the piano and organ while young, Handel also played the oboe and violin. When Handel moved from Germany to England, King George I was his financial supporter. As time passed, less people would attend performances of his operas and he fell into debt. At the time Handel was asked by Charles Jennings to compose the Messiah, Handel’s mother had recently passed away and he was suffering from rheumatism. Handel’s score for the Messiah was over 300 pages in length. While composing the Messiah, Handel would often go without sleep and without food. In one occurrence, one of his servants found Handel asleep with his head on the score with tears on his cheeks, likely due to the power of the music he was composing.

In the Messiah, the overture ends on a minor chord suggesting something ominous is about to happen. However the next chord at the beginning of the tenor solo “Comfort Ye” is major suggesting we should feel comforted. The first bass solo “But Who May Abide the Day Of His Coming, For He is Like a Refiner’s Fire” indicates that with our sins, we will not be able to stand before Jesus Christ when he returns to the earth.

Update April 11, 2012:

Most of us associate Handel’s Messiah with Christmas. But, in fact, Handel did not write the Messiah as a Christmas music piece. If you pay attention to the words of the Messiah in the libretto (the text of the music), you’ll see that only the first part of the composition has to do with the birth of Jesus. The second and third parts focus on his death, resurrection, the sending of the Spirit at Pentecost, and the final resurrection of all believers. Also, the original performances of the Messiah happened around Easter time or Lent and not around Christmas. For this reason, much of the Messiah is less well-known due to eliminating many of the choruses and arias from the second and third parts that don’t tie in well to Christmas. It is my belief that Dr. Craig Jessop had the desire to perform these choruses that are often forgotten.

Although all of the lyrics of the Messiah are taken from the Bible, you may be surprised to realize that most of the text comes from revelations given in the Old Testament and only a little text from the New Testament. The “For unto us” movement has text taken from the book of Isaiah and not the book of Luke.

Update April 6, 2012:

Mozart took Handel’s Messiah and re-orchestrated it in 1789. Originally, Handel’s performances of the Messiah had fifteen violins, five violas, three cellos, two double-basses, four bassoons, four oboes, two trumpets, two horns and drums. The original performances also had only around 19 chorus members. Although other composers rearranged the Messiah and put on larger performances, it is Mozart who became known for adapting the Messiah for much larger scale performances than what Handel had done. Some of the proceeding performances had up to 250 instruments in the orchestra. Post-Mozart performances were also known to reach a number of 2000 singers. Mozart also eliminated the part of the organ and added parts for flutes, clarinets, trombones and horns.

Update April 5, 2012:

Handel gave an annual benefit concert for London’s Foundling Hospital which always included the Messiah. This hospital was a place for orphaned and abandoned children. This was known as Handel’s favorite charity.

In 1759, Handel was blind and in bad health. He still found a way to attend a performance of the Messiah at the Theatre Royal in Covent Garden on April 6. Handel died in his own home eight days after this performance.

Update April 5, 2012:

I’ve noticed a few people finding this blog looking for information of the Messiah being performed at the Tabernacle here in Logan, Utah. Dr. John Ribera has conducted this the past seven years, but will not be doing it this year, nor in the foreseeable future. I had a conversation with him yesterday evening. Part of the reason he put on the performance of the Messiah every year was the joint effort of American Sign Language (ASL) theatrical performers which would put on an ASL theatrical performance along with the Messiah every year. This year this group of ASL theatrical performers will be performing with us, the American Festival Chorus. And it appears that these performers will not be joining John Ribera in other years. Dr. Ribera said he has loved putting on this performance every year, but it was very taxing on his family as it took much time and effort. He is fully dedicated to his duties on the American Festival Chorus Board now. We appreciate his dedication and support.

I would imagine that there may still be community sing-alongs of the Messiah around Christmas time. I, myself, do not have any details or information about any such events. If you do get word of any, please let me know, as I would love to participate in them in the future. I hope this answers some questions that some of my blog viewers may have. Please come support the American Festival Chorus in our performance of the Messiah on April 21st!

Update April 4, 2012:

The Messiah premiered in Dublin, partly because of the bad reception Handel had received from London residents while composing the piece. Dublin was also a growing city that was trying to edge its way into relevance. Dublin residents strove to display the “sophistication” of the city to Europeans. Handel believed there would be less critics in Dublin and he could try his work out prior to bringing it back to London. The Messiah was very successful in Dublin, and it’s success was echoed in the London debut.

Update April 2, 2012:

A few Houston Symphony Choir members shared their thoughts of performing the Messiah in December 2010. They describe the joy of approaching the Messiah a different way each time it is performed. New conductors will change styles and will have new insights. HSC members describe how they never get tired of performing the Messiah. They also discuss the malismas in the Messiah and the many notes they have written in their Messiah scores over the years.

Links to their comments:
http://bit.ly/HQdwwY
http://bit.ly/HQfo9d

Update March 29, 2012:

Handel composed his first opera, Almira, by the age of 18. This work was first perform in Hamburg in 1705.
Handel’s father originally wanted him to study Law until a friend of Handel’s father heard Handel playing the organ and suggested he pursue music.
The majority of Handel’s works were operas since they were the method of bringing in money during the late 17th and early 18th century.
It took Handel roughly 3 to 4 weeks to compose the Messiah in 1741.

Read more: http://www.smithsonianmag.com/arts-culture/The-Glorious-History-of-Handels-Messiah.html#ixzz1qXvGV78N

Update March 28, 2012:

Here is a link to the official Poster for this concert: http://bit.ly/H0Ub89

As part of the performance of the Messiah, we are also celebrating the 40th Anniversary of the Center for Persons with Disabilities (CPD) on the USU campus, and we will have some ASL theatrical performers for the Deaf, interpreting the Messiah. This will be a special event!

Here is some commentary from an American Festival Chorus member, Dianne Liebes, about her experience singing with these theatrical interpreters:

Update March 27, 2012:

Handel’s Messiah was originally performed at Easter time on April 13, 1742, as the American Festival Chorus is doing on April 21.

Most of Handel’s other works feature the soloists and only have limited movements by the chorus. But Handel’s Messiah uses the chorus as the main feature of the work. Being such, Dr. Craig Jessop has cut down on the solos that will be performed on April 21 and replaced them with some of the less-well-known choruses such as “His Yoke Is Easy and His Burthen Is Light”, “Behold The Lamb of God”, “Surely He Hath Borne Our Griefs”, “And With His Stripes We Are Healed”, “He Trusted In God That He Would Deliver Him”, “Their Sound Is Gone Out Into All Lands”, “Since by Man Came Death”, and “Worthy Is The Lamb That Was Slain”

Caine College of the Arts, USU and Logan City, Utah present the 2nd annual “Freedom Fire” on July 3, 2012 at USU, Romney Stadium.

Link to concert details on americanfestivalchorus.org: http://bit.ly/GBlWKy

Add this event to your Google Calendar: https://www.google.com/calendar/hosted/americanfestivalchorus.org/event?action=TEMPLATE&tmeid=Mm8zdXByazg5b3FsdmoxY2FtanJhNmlra2sgZHEyYzY3NThzbnV2N3YzdGthbHI5ZGZpMzBAZw&tmsrc=dq2c6758snuv7v3tkalr9dfi30%40group.calendar.google.com

Join the Facebook Event: http://on.fb.me/Heii4M

Further details of songs American Festival Chorus will be singing will be added in the time leading up to the event. Check back regularly for updated information.

Blog: http://bit.ly/HeiVLB

Last year’s Freedom Fire featured Diamond Rio, the Grammy award-winning country music group, and received a great response from the community.

This year’s guest artists, Kansas, have produced eight gold albums, three sextuple-Platinum albums and a million-selling gold single, “Dust in the Wind.” “Carry on Wayward Son” was one of the most played tracks on classic rock radio in the mid and late ‘90s.

Tickets: http://bit.ly/xMOyIa
Tickets can also be purchased over the phone at 435-797-8022

Ticket Prices: (all general admission – prices do not include tax)
3-Star: $25 – chair back seating on the west side
2-Star: $15 – south end zone seating
1-Star: $10 – east side seating

15% discount for groups of 6 or more in a SINGLE order
*There is a $1.50/ticket convenience charge for all online orders. To order your tickets by phone, call 435-797-8022.

Arrival Time
Gates open at 6 p.m. | Pre-Show starts at 7 p.m.

Location: USU, Romney Stadium, 800E 1000 N, Logan, UT
Google Map: http://bit.ly/zl0v3N

“This year’s star-spangled event, Freedom Fire, will spark excitement in Logan as Kansas presents its solid, classic rock sound,” said Russ Akina, Logan’s parks and recreation director.

“Celebrating Independence Day with Kansas will provide a spectacular experience for everyone in attendance, and we’re delighted to be a part of it,” said Craig Jessop, director of the American Festival Chorus and dean of the Caine College of the Arts.

Radio Interview on KVNU about planning this year’s Freedom Fire and also the outcome of the event in 2011: http://bit.ly/yiPUJX

News Articles:
The Herald Journal: http://bit.ly/w8X6i2
Cache Valley Daily: http://bit.ly/z5UsEY
The Salt Lake Tribune: http://bit.ly/AxSV5g
Utah State University: http://bit.ly/GQPcdU

Kasas Website: http://bit.ly/yyXrpD
Fireworks West Internationale: http://bit.ly/w42QkQ

YouTube video of the Preshow for last year’s Freedom Fire: http://bit.ly/yBUING

The Glorious History of Handel’s Messiah from the Smithsonian Magazine http://bit.ly/GKwiUz

The American Festival Chorus will be performing Handel’s Messiah on Saturday, April 21, 2012 at 7:30 p.m. in the Kent Concert Hall at USU.

Link to concert details on americanfestivalchorus.org: http://bit.ly/y76O58

Link to the official Poster for this concert: http://bit.ly/H0Ub89
Link to the Poster on Pinterest: http://bit.ly/IgmJla

Link to the Radio Ad that will be run locally on the KVNU radio station: http://bit.ly/HGav0U

All soloists have been announced for this performance:

Brianna Craw – Soprano
Gayla M. Johnson – Alto
John Mauldin – Tenor
Benjamin Burt – Bass

As part of the performance of the Messiah, we are also celebrating the 40th Anniversary of the Center for Persons with Disabilities (CPD) on the USU campus, and we will have some ASL theatrical performers for the Deaf, interpreting the Messiah. This will be a special event!

For insights into Handel’s Messiah and American Festival Chorus’ performance of the Messiah, please follow this blog post which will be kept updated: http://bit.ly/GYgEY6

- Further details to follow…

Manuscript of Handel’s Messiah

Tickets: http://bit.ly/y76O58 http://bit.ly/wG8aPL

USU Kent Concert Hall 4030 Old Main Hill, Logan, UT 84322
Google Map: http://bit.ly/A0FJLy

Add this concert to your Google Calendar: http://bit.ly/xykBx5

Join the Facebook Event: http://on.fb.me/GCLYx9

Learn more about Handel’s Messiah on Wikipedia: http://bit.ly/yNTPLH

Most choruses and solos will be performed. The choruses that will be performed are:

4. And the Glory of the Lord (Chorus)
7. And He Shall Purify (Chorus)
9. O Thou That Tellest Good Tidings to Zion (Alto solo, Chorus)
12. For Unto Us A Child Is Born (Chorus)
17. Glory To God (Chorus)
21. His Yoke Is Easy, and His Burthen Is Light (Chorus)
22. Behold The Lamb of God (Chorus)
24. Surely He Hath Borne Our Griefs (Chorus)
25. And With His Stripes We Are Healed (Chorus)
26. All We Like Sheep Have Gone Astray (Chorus)
28. He Trusted In God That He Would Deliver Him (Chorus)
33. Lift Up Your Heads, O Ye Gates (Chorus)
39. Their Sound Is Gone Out Into All Lands (Chorus)
44. Hallelujah! (Chorus)
46. Since My Man Came Death (Chorus)
53. Worthy Is The Lamb That Was Slain (Chorus)

This list of complete solos of which not all will be performed is:

1. Sinfony (instrumental)
2. Comfort ye my people (tenor)
3. Every valley shall be exalted (tenor)
5. Thus saith the Lord (bass)
6. But who may abide the day of his coming (alto)
8. Behold, a virgin shall conceive (alto)
9. O thou that tellest good tidings to Zion (alto and chorus)
10. For behold, darkness shall cover the earth (bass)
11. The people that walked in darkness (bass)
14a. There were shepherds abiding in the fields (soprano)
14b. And lo, the angel of the Lord (soprano)
15. And the angel said unto them (soprano)
16. And suddenly there was with the angel (soprano)
18. Rejoice greatly, O daughter of Zion (soprano)
19. Then shall the eyes of the blind (soprano)
20. He shall feed his flock (alto and soprano)
23. He was despised (alto)
27. All they that see him laugh him to scorn (tenor)
29. Thy rebuke hath broken his heart (tenor or soprano)
30. Behold and see if there be any sorrow (tenor or soprano)
31. He was cut off (tenor or soprano)
32. But thou didst not leave his soul in hell (tenor or soprano)
34. Unto which of the angels (tenor)
36. Thou art gone up on high (soprano)
38. How beautiful are the feet (soprano)
40. Why do the nations so furiously rage together (bass)
42. He that dwelleth in heaven (tenor)
43. Thou shalt break them (tenor)
45. I know that my Redeemer liveth (soprano)
47. Behold, I tell you a mystery (bass)
48. The trumpet shall sound (bass)
49. Then shall be brought to pass (alto)
50. O death, where is thy sting (alto and tenor)
52. If God be for us (soprano)

On May 27, 2012 join us in the Kennedy Center Concert Hall for the 5th Annual Memorial Day Choral Festival, featuring 250 singers and the remarkable U.S. Army Orchestra.  Returning for the second straight year as Artistic Director and Conductor is Craig Jessop.  The director of The U.S. Army Orchestra is MAJ Tod A. Addison.

This year’s concert commemorates the 225th anniversary of the adoption of the United States Constitution.  Each Memorial Day, America remembers the servicemen and women who, throughout the history of our great nation, have fallen in defense of our liberty, our freedom, and – as each one those heroes affirmed in their oath of enlistment – our Constitution.

“We the People” is a choral triptych arranged by long-time US Air Force Singing Sergeants arranger Michael Davis for the 1987 bicentennial celebration of the U.S. Constitution.  Craig Jessop premiered the piece, which is a stunning compilation of “America the Beuatiful,” “The House I Live In,” and “America, The Dream Goes On.”

Other highlights of the afternoon will include Aaron Copland’s Fanfare for the Common Man, Three American Folk Songs and Hymns arranged by Mack Wilberg, John Williams’ “Hymn to the Fallen” from Saving Private Ryan, “The Battle Hymn of the Republic,” and much more.

The concert begins at 3:00pm and free tickets are required to enter.  To obtain your free tickets (max. 4), please visit www.musiccelebrations.com/May27 or call Music Celebrations at (800) 395-2036.  Act now, as the 2011 concert sold out quickly!

The Memorial Day Festival Chorus features singers from

Ames Childrens Choir from Ames, Iowa, directed by Gene LeVasseur
Arvada West High School Choir from Arvada, Colorado, directed by Chris Maunu
Common Ground Community Chorus from Boise, Idaho, directed by Randy Coryell
Jubilate Chorale of Southern New England from Brockton, Massachusetts, directed by Maxine Asselin
King of Glory Singers and Friends from Tempe, Arizona, directed by Cyndee Chaffee
Sounds Choir from Idaho Falls, Idaho, directed by Ronda Groberg
Terra Choral Society from Fremont, Ohio, directed by Michael Shirtz

Image Credit: U.S. National Archives and Records Administration

Arranged by Craig Jessop and John Longhurst

SSAATTBB and organ or piano

Israel, Israel, God is calling,
Calling thee from lands of woe.
Babylon the great is falling;
God shall all her tow’rs o’erthrow.
Come to Zion, come to Zion
Ere his floods of anger flow.
Come to Zion, come to Zion
Ere his floods of anger flow.

Israel, Israel, God is speaking.
Hear your great Deliv’rer’s voice!
Now a glorious morn is breaking
For the people of his choice.
Come to Zion, come to Zion,
And within her walls rejoice.
Come to Zion, come to Zion,
And within her walls rejoice.

Israel, angels are descending
From celestial worlds on high,
And to man their pow’r extending,
That the Saints may homeward fly.
Come to Zion, come to Zion,
For your coming Lord is nigh.
Come to Zion, come to Zion,
For your coming Lord is nigh.

Israel! Israel! Canst thou linger
Still in error’s gloomy ways?
Mark how judgment’s pointing finger
Justifies no vain delays.
Come to Zion, come to Zion!
Zion’s walls shall ring with praise.
Come to Zion, come to Zion!
Zion’s walls shall ring with praise.

Text: Richard Smyth

Yes, again discrimination is going on in the good old US…shocker. First off a little boy (in Utah) had to change his clothes at school because he was wearing a kilt. He was told his “outfit’ could be misconstrued as cross-dressing. Later on the principal did have to apologize to him because the district recognized the kilt as an expression of the boy’s Scottish heritage. That answer is not good enough for me. A boy should be able to wear any skirt he wants to school or work if he chooses as long as it is decent and has no vulgarities on it. Who is this person that years ago stated boys wear pants and girls wear skirts. And to put a label of “crossdressing” on it is just ridiculous.

Second, the restaurant Trophy’s just fired a server because she refuses to wear makeup…and this is legal. A few years ago the 9^th U.S Circuit Court of Appeals ruled that it is not discrimination for employers to make women wear makeup. Someone please pinch me…I must be sleeping. This woman worked for 5 years at this place…new owners came in and wanted to spruce it up…she refused Maybelline and was then fired.

Seriously, what’s going on? A boy wants to wear a skirt and a woman does not want to wear makeup…big deal. I feel like we are all living Benjamin Button’s life and we are going in reverse. Stop the madness! Anyone who lives near a Trophy’s …boycott!  

Here we go again with these school principals.  Man, do they only hire the stupid people to be principals in some of these schools?  I know that there are some good principals out there, but there are others who seem to find human rights and the ACLU issues to be foreign topics.  Don’t these principals read?

Craig Jessop, whom Yahoo states is a former Mormon choir director, is being pushed to apologize to a student who wore a kilt and was forced to change his attire based on Jessop’s description of it being seen as cross dressing.   Nope, I’m not making this shit up.   Lovely, so now even a school principal doesn’t have to know what a kilt is and can punish a student for wearing one?  Out in Utah, apparently the principal’s supposition that a student is cross-dressing requires the kid to go home and change.

Jeez, and the scary thing is that these principals head back to the schools no matter what their mistakes are with the kids–check out Vice Principal Kerry Wilson, ordering a young girl to be strip-searched over ibuprofen.  Is it me or are these guys WAY too involved in their students’ bodies?

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• The Utah Kilt Controversy (oneriot.com)
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• School Strip Search: OK Anti-Drug Policy? (abcnews.go.com)
• Strip-Search of Girl Tests Limit of School Policy (nytimes.com)

Gavin McFarland, a Scottish-American student, was told to change by the headteacher of his middle school in Utah, in the US.

Headteacher Craig Jessop told Gavin, 14, that the outfit could be misconstrued as cross-dressing.

Weber School District spokesman Nate Taggart says Mr Jessop has been asked to extend an apology to the teenager over his comments.

The teenager said he wore the kilt twice in the past two weeks to Rocky Mountain Junior High as a prop for an art project, the Standard-Examiner reported.

Mr Taggart said the district recognises the kilt as an expression of the boy’s Scottish heritage and that wearing it was not inappropriate.