A behind-the-scenes look at a choral rehearsal

Anyone who has ever been a member of a choral ensemble knows that a conductor must be adept at multitasking. He’ll frequently need to glance at his score (which typically has four parts happening simultaneously) while conducting a beat pattern for the singers to follow.

   

 

 

Add to that the demands of cuing entrances, listening for enunciation, pointing out incorrect pitches, encouraging proper breath support and dealing with issues of balance, blend and musical style.

Then there are the hours of score study needed to learn the music. The process is further complicated if the music features piano, organ or orchestral accompaniment. An accomplished conductor also wants to give audiences the impression that what he’s doing seems easy.

The cumulative result of these efforts is one work that is ready for performance. Multiply that by the number of pieces programmed on a two-hour concert, and you begin to appreciate just how much work and dedication is required to create a musically satisfying performance.

For the past eight weeks, members of Canterbury Choral Society and conductor Randi Von Ellefson have been rehearsing for the group’s “Canterbury Christmas.” I recently sat in on one of these rehearsals, the bulk of which was spent on Donald McCullough‘s “Canite Tuba — A Christmas Triptych.”