In the blog writing space that I occupy when I’m not over here, editing the Lent (and now Advent) Devotions, a few years ago I made note of a particularly … well … notable Advent season.
For context: it was December 2013, and our musicians’ latest version of our annual Advent Cantata project was a presentation of eight anthems that I composed. During the previous summer, I had thought, “ya know, we’ve done a lot of Baroque music, and lots of other interesting stuff, from Renaissance to twentieth-century. But I wonder if we could do a Cantata full of more pop- and rock- and jazz- and gospel-inflected things?”
A modest little goal.
As I have said many times in many places, a musical arranger or composer can write all the notes s/he likes, and nowadays our computers will show us what it’ll basically sound like (basic notes and rhythms, at least) … but until a pack of actual humans get their collective mitts on it, you won’t hear music.
Happily, the notes and rhythms cooperated. Even more happily (if not unpredictably), our Sanctuary Choir and affiliated instrumentalists came through in the clutch, in spades.
Thus answering the writing-prompt question, “Has there ever been a time when someone else became a Christmas present for you?”
And so, after it was all over, I took to the blog and wrote a big ol’ thank-you note:
“…this morning was the final, clinching proof that humans will never ever be replaced in the game of making music – expressive music which features spontaneous decisions and which evokes actual emotions from audience and performers alike.
“For one thing, computers can’t smile and joke and look more and more relaxed the longer the early-morning warmup and run-through progresses. Humans can. This choir did. The styles covered by the musical material (jazz, pop, rock, gospel) were perhaps more conducive to the smiles and good humor and swaying and occasional belly laughs than would the music of, say, J.S. Bach. The Mass in B Minor may suggest more strongly to a group that gravity and dignity are absolutely called for. Let’s be honest: there’s a difference between a Baroque-era work that is in triple meter, and a 1940s-style slow swing tune, in spite of the fact that they both seem to have triplets in them.
“For another thing, computers don’t need conductors, so they’ll never experience ensemble members and conductors feeding off of each other’s energy and enthusiasm and, yes, moments of irreverence to produce a musical performance that is more than just the right notes.
“And when computers produce music that humans would consider challenging, audiences will quite rightly expect that all the notes will be correct, so long as the power doesn’t go out in the middle of the performance. There will be no suspense about this. When humans go after music that stretches them a bit, or in fact when humans present any music at all, it’s always some version of a tightrope act. The hundred, thousand, million decisions made by every individual person involved … are in fact rocket science, and then some! And computers could do what humans do … if there were enough programming time available. But humans make decisions “in the moment” that make each performance different (slightly or vastly) from any that had come before or will happen thereafter.
“Computers make lousy jazz musicians.
“I’ve written arrangements before, and heard them played and sung by many different ensembles at many different levels and in many different environments. I’ve written a few relatively small pieces: a couple for the high school band which I led for almost a decade, and a couple for the church choir that I’m thinking fondly of this evening. In all cases, it was exciting to hear that the ideas did work, that the pieces were coherent, and that the people seemed to like playing or singing them.
“For many reasons, this morning’s presentation was all of that, but more besides. In part, yes, it was the culmination of a lot of hard work by a lot of people, and also the addition of a few instrumentalists to our musical ensemble whose presence and performance added just that little spark of something that helped us ‘take it to the next level’ – and what a cliché that phrase has become, and yet it’s fairly accurate. But there was something else that coalesced.
“The first of the eight pieces stood alone, as our worship service’s Prelude. Lots of ethereal ‘ooh’-ing from the choir, providing backing for a pair of soprano soloists, and the effect during the heat of battle was positively hypnotic. We got a good start.
“Following a hymn, a scripture reading and the ‘children’s message’, the second through fifth selections comprised the block of service time during which the sermon would normally have happened. (Our senior pastor annually gives up his sermon time for some or all of our Advent Cantata presentation. For a lot of pastors this would be a really hard thing to do!) Following another hymn, the reading of congregational concerns and celebrations, movements six and seven made up the ‘offertory’ music slot; and after a closing hymn, the final movement served as Postlude.
“As has been chronicled in this space before, the third movement was a lazy swing thing that I wrote while unabashedly thinking of Raymond Chandler private eye novels, and this morning the choir seemed to not worry so much about the notes that made up the close-harmony, minor-sixth and flat-ninth Manhattan Transfer chords, but instead relaxed their hips and shoulders and Swung Out. If they’d had fedoras, they’d have tipped them rakishly to one side.
“And as good a time as I had, listening to the second and fourth movements even as I conducted them … and as much as the sixth, seventh and eighth items created great effects – and the Big Finish was indeed a big finish! …
“Oh, that fifth anthem.
“We got finished with that piece, which can be described stylistically as slow gospel, but that doesn’t really cover it … and I leaned over to my accompanist colleague and whispered, ‘we could stop now. In fact, I’m not sure how we follow that.’
“During Thursday night’s rehearsal, from somewhere outside my own head, I had found this stage direction for movement five: ‘bring the sound up from the soles of your shoes.’ There’s singing the notes, and then there’s singing the notes with depth. And I had the feeling that descriptions involving vocal anatomy or deep philosophical constructs would be way too scientific or way too ephemeral to be effective in a music rehearsal. So, as is often my wont, I tossed out a weird little phrase and hoped it would be just odd enough to work.
“Yeah, that one kinda worked on Thursday night.
“Add firmly controlled adrenaline, add a live congregation, add the momentum of the four prior anthems, stir and serve … and that one more than kinda worked this morning.
“Let’s just say that I want the recording of movement number five like very few tangible things I have wanted for quite some time. I want to find out whether I really heard and felt what I thought I heard and felt.
“You are perhaps familiar with the phrase that gets used by and about pro sports teams: ‘leave it all out there on the field’? As in, this is the moment of truth, and who wants to look back for the rest of their lives and wonder what better results would have come if we hadn’t held anything back?
“We left it all out there on the field.
“Particularly with that fifth anthem, yes … but also all morning long.
“Quite simply, it was a privilege and a joy to be associated with that choir this morning – regardless of whose music they were singing. All you had to do, to know that they’d held nothing back – aside from maybe listening to them do their thing – was to watch them.
“Oh, yes, that’s another thing that computers will never be able to do: finish a calculation, or an operation, or a function …
“… and smile that smile. The very small one that still manages to reach the eyes. The one that says: ‘had it all the way, and it was a kick.’
2013 was a very Merry Christmas.
Fun to look back and remember the two dozen or so Sudbury Methodists (and friends-of-) who were my little Christmas present, seven years ago.
There will be such Merry Christmases again, featuring packs of musically-inclined parishioners knocking things dead. There will.
May it be so.
-Rob Hammerton