From the Podium #22.3
March 8, 2022
Dear Friends and Supporters of Pro Coro Canada,
This past Sunday, March 5, we performed MISSAE 8. It was part of our multi-year series where we sing musical settings of the Latin Mass. Revisiting the text, and some of our favourite works, year after year provides reflection for us as artists, but also for you as listeners. We have explored the music from the Renaissance to the 21st century over these 8 editions, and this very program, with Martin and Praulins, was a repetition of our first Missae edition in 2013. The Mass for double choir by Frank Martin is one of my ‘three things to take to a desert island’ items. I never get tired of it, always find a new sound, new rhythm, new emotion or new gesture when rehearsing and performing it. There are moments that remind me vividly of a Swiss scenery, or the sensation of standing in an ancient cloister in the mountains. Martin worked most of his life in Geneva and I can imagine the views and sights he had on a daily basis. I would also propose that Martin, as a proponent of the Dalcroze eurhythmics, lets us performers experience musical elements (melody, harmony, rhythm, structure) in a physical way, and I often feel like dancing to his music.
Jessie Pierpont was our Emerging Artist for this production. She arrived on the Friday, 9 days before the concert, and stepped off the plane in front of the choir. It is always an adjustment for our emerging artists, experiencing the sound for the first time, in a new space, and with often unfamiliar repertoire. I worked with Jessie individually every other day, providing analyses, instruction on gesture and rehearsal strategies and also advising on career-related challenges. Once an emerging artist is part of our program, the 8 to 10 days are a deep-dive into the world of a professional choir, its music-making, administration and operation.
The singers of Pro Coro Canada are extremely supportive and generous in their time and their feedback, and enjoy learning alongside the emerging artist. Jessie directed the Missa Rigensis by Ugis Praulins, and did so with bravour. I look forward to her further development, in Montréal, and wherever her musical journey will carry her. Please read also her impressions on our EAR newsletter.
Of course, the current war and refugee situation in Central and Eastern Europe is on my mind. Over the past 6-7 years, I have worked with singers from Ukraine, who were guests of the Axios Men’s Ensemble here in Edmonton. We have recorded and toured Canada and the US together, and shared meals, drinks, laughter, and stories from here and there. I was honoured to be invited by Axios Men’s Ensemble to direct them in a rendition of the Ukrainian and Canadian anthem at the Oilers Game on March 5 against the Montreal Canadiens.
In a similar vein, the members of Pro Coro Canada performing on March 5 offered to dedicate the performance of Frank Martin’s Mass to the memory of victims of armed conflicts currently taking place across the globe. For me personally, the final Dona Nobis Pacem had a depth I seldom experienced. Thank you, Pro Coro, for this memorable tribute and offering.
Our next performance is the annual Good Friday concert. As we are still in flux with access to rehearsal and concert venues, we were very lucky to secure Robertson-Wesley United Church as our venue for April 15 (concert at 7:30pm). I am very excited about the repertoire for this concert as we will perform a work by Robertson-Wesley’s new music director, and internationally renowned composer, Allan Bevan, a Canadian premiere of the Stabat Mater by Nicola Burnett Smith from the UK, and music by Antonio Lotti and Domenico Scarlatti.
Until then, with my best wishes
Michael Zaugg, Managing and Artistic Director