Conducting Orchestral Ensembles

Dennis Malfatti, D. M. A.

Director of Choral Activities, University of Evansville Conductor, Evansville Philharmonic Chorus

Interest Session for the Indiana Choral Directors Association Summer Conference University of Indianapolis

July 17, 2009

I. Why conduct choral works with orchestral accompaniment? II. Getting Started A. Resources for finding appropriate repertoire B. Importance of using a full score C. Parts III. Assembling the Musicians A. Paid, “pick-up” orchestras and contractors B. Student orchestras C. Volunteer/community orchestras D. String count IV. Conducting Orchestral/Instrumental Ensembles A. Get “back to basics” with conducting technique B. Establishing and maintaining internal pulse V. Rehearsing the choir and orchestra A. Protocol with the orchestra B. Coordinating choir with orchestra VI. Suggested Works VII. Resources A. Books B. Articles in the Choral Journal

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I. Why conduct choral works with orchestral accompaniment? A. A large amount of choral repertoire calls for orchestral instruments including many works by the most significant composers in history.

B. A multi-movement choral/orchestral work on a program often has the feel of a special event. When such a work is performed well, singers of all ages feel a certain sense of pride and accomplishment.

C. While many of these works can be performed with piano alone, an extremely important component of the work is missing.

D. Much of the choral/orchestral repertoire calls for only small chamber size ensembles, not full symphony orchestras.

II. Getting Started A. Resources for finding appropriate repertoire: 1. Books:

• Orchestra Music 4th edition by David Daniels published by Scarecrow Press • Jonathan Green’s series of Conductor’s Guides to Choral Orchestral Works (five

books) published by Scarecrow Press 2. Articles in the Choral Journal:

• “Thinking Small: Choral Orchestral Works for the Small Choir with a Small Budget” by David Rayl in the March 1994 CJ.

• “Orchestral Repertoire for Treble Voices” by Barbara Tagg and Jean Ashworth Bartle in the October, 2000 CJ.

3. Publisher catalogs (most available online or as hard copy): • Kalmus Orchestra Library • Lucks Music • Foreign publishers: Bärenreiter, Carus, Casa Ricordi, Boosey and Hawkes, Novello.

4. Websites: • choral net.org (click on “Resources” link) • Choral Public Domain Library: cpdl.org • Bach Cantatas Website: www.bach-cantatas.com (click on “Scores”) • Sheetmusicplus.com

B. Importance of using a full score 1. The piano reduction in piano/vocal scores is simply meant to provide the chorus with instrumental accompaniment but it is no way a replacement of the full score: • It does not reflect which instruments are playing which part • It often omits important instrumental parts that need to be cued • Most passages are significantly re-written to make them more suitable for the piano 2. Study the piece from the full score, even before the first choral rehearsal. • A common mistake is viewing the instruments as “accompaniment” when in fact, they

are usually an integral part of the work. As a comparison, just because the melody of a choral piece may stay mostly in the soprano, we don’t conduct choral works with a piano reduction of the alto, tenor, and bass parts; we need to know all the parts.

• It is risky to conduct in a dress rehearsal or performance from a score that is different from the one we have been using in rehearsals since by the performance time, we usually have a pretty good image in our heads of the score we have been using in rehearsal allowing us to be free of it.

3. Use a good edition of the score. If possible, use the same edition of the piano/vocal score as your full score. Or, at least make sure the two parts are compatible. 4. Studying and marking your score: • Be certain of the orchestration. Refer to an orchestration book if you are unclear of any

instruments listed especially if listed in a foreign language. • As with any score (choral or instrumental), be sure you have done a thorough

structural analysis of the work. • Work out any instrumental transpositions. Refer to an orchestration book to clarify this. • Note any specific markings for the instruments such as: a2, div., pizz., tasto solo, con sord.,

etc. (again, refer to an orchestration text). • Study the instrumental parts with the same level of detail that you would study each of

the vocal parts.

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• Locate important melodic passages in the instrumental parts. • Mark important instrumental cues. This is especially important for instruments that

may have an entrance after not having played for many bars. • Note how the instruments relate to the vocal lines. In particular, locate any

instrumental doublings of vocal parts. 5. The key to successful rehearsals and performances of choral/orchestral repertoire is a detailed knowledge of the whole score including both the instrumental and vocal parts.

C. Parts 1. Acquire the parts as soon as possible. Be sure that the parts are the same edition as or are at least compatible with the full score. 2. If parts are a different edition than the full score, go through each part and make sure you (and the choir) have all the same measure numbers and/or rehearsal letters. Additionally, compare each part with the full score and note any discrepancies such as: • notes and accidentals • numbering/titles of movements (example, in Handel’s Messiah some editions

designate the “Sinfony” as number 1 whereas other editions designate the recitative “Comfort Ye” as number 1)

• Articulation marks (especially staccato markings, tenuto markings, and slurs. These are very important since they are directly related to how the part will be bowed.)

3. Indicate interpretive/performance markings. This will save rehearsal time. Markings include: • Tempo: Metronome markings are usually appreciated by musicians so they know

what tempo they need to work up to. • Conducting pattern: This is especially important for pieces than can be either in 2 or

in 4 or pieces that can be in 3 or in 1. • Style (“lightly,” “marcato,” “non-legato” etc.) • Lifts or breath marks especially when doubling the choir • Any added or changed dynamics (this is often a good idea for brass parts!) • Crescendos/decrescendos to show phrasing • Accent or tenuto markings to show notes that require emphasis • When choir or soloists are in or out. 4. Be sure all the string parts are bowed. It is best to designate a concertmaster who can either bow all the parts (if they are knowledgeable of all the string instruments) or bow the violin parts and then submit their bowings to the principal viola, cello, and bass players. If possible, meet with your concertmaster one on one to insure that his/her bowings match what you want musically. 5. Even good editions have mistakes from time to time. Though tedious, it is always good to go through every part and compare it with the full score. Doing so can stave off potential frustrations (or disasters!) in the rehearsals.

III. Assembling the Musicians A. Paid, “pick-up”orchestras can usually be assembled if you are in or near a mid-size to large city especially if there is an established symphony orchestra. Hiring a personnel manager/contractor is usually the easiest and most efficient way to assemble an ensemble. Advantages are:

• They usually have access to the best players • They can designate principal players and seating orders • They can help determine appropriate pay as well as appropriate rehearsal scheduling • They will communicate logistical issues to the musicians so you can focus more on the

music B. Student orchestras: If collaborating with a standing student orchestra, be sure you have heard

the group and can asses their ability. Keep in mind that for many choral/orchestral works, while the choral writing can be handled quite well by school choirs, the orchestral writing is often too difficult for many school orchestras. Consult carefully with the conductor of that ensemble covering the following points:

• Be sure that the ensemble’s conductor has seen the score and can determine with confidence whether or not their ensemble is capable of performing the work.

• Be clear as to how much the orchestra will have rehearsed the piece prior to your taking over the group.

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• Request that the conductor allows you to have one orchestra-only rehearsal with the ensemble prior to rehearsals with the choir.

• Be sure all wind and percussion parts are covered (don’t assume they will be!) • Keep in mind that balance between voices and instruments may be problem with

community and student orchestras. C. Volunteer/Community orchestras: If collaborating with a community orchestra, as before, be

sure you have heard the group and can assess their ability. Often times these groups will express a lot of enthusiasm about collaborating, regardless of the piece. Their philosophy may be more about fellowship and they won’t be as concerned with or capable of an artistically informed performance. As with student orchestras, you will want to consult with the ensemble’s conductor covering the same points as above.

D. String Count: 1. Decide on your distribution/number of strings. This decision will be based on the size of your choir and the requirements of the piece. If your choir is fairly small, some pieces can be performed with one string per part (usually with keyboard as well). Keep in mind, however that one string per part sounds like a string quartet (or quintet) and does not have the same timbre as a string ensemble. 2. For an actual ensemble, some possible string counts for small, chamber size orchestras (for 18th century music, especially) can be: 3-3-1-1-1 3-3-2-2-1 4-3(or 4)-3-3-1 5-4-3-3-1 6-5-4-4-2 3. Keep in mind that it is usually not a good idea to have two violins per part. Tuning is difficult even for the best of players. You should have at least three violinists per part. This is not as crucial for the lower strings.

IV. Conducting Orchestral/Instrumental Ensembles A. Get “Back to Basics” with conducting technique

1. Make sure your conducting pattern is very clear with a clearly defined ictus. Practice conducting in front of a mirror using different patterns, tempi, and styles while evaluating the clarity of your pattern and your ictus.

2. Consider using a baton, if you do not already. Using the baton is a great way to “discipline” your pattern. 3. Eliminate any of the following habits that may have crept into your conducting: • Holding out hands in the preparatory position for too long or (worse) giving verbal

instructions while holding out hands in preparatory position. • Showing too many beats in the prep. Generally a clear upbeat is enough for moderate to

slow tempos; two beats can be given for fast tempi and entrances beginning with a pick-up. • Showing pickup notes at the start of a phrase • Lack of clear pattern and ictus • Gestures that are solely meant to reinforce vocal concepts • Conducting the words rather than the music • Inadvertent subdividing (such as additional beats in the wrist or forearm.) • Cuing only choral entrances but ignoring important orchestral entrances. Remember

that the orchestra only has their part in front of them and cannot cue off of other parts. Also, certain instruments, such as trumpets and timpani, may have many measures of rests before an important entrance. You MUST cue them in those cases.

• Over conducting or moving entire torso to the beat when you feel the orchestra lagging. This will only make them lag more.

• High conducting pattern. Choral conductors often tend to place their pattern rather high since much of the chorus may be physically above them on risers. Since the instrumentalists are much lower than the choir, they will follow you better if you keep the pattern low.

• Unnecessary mirror conducting • Jerky gestures in which the arm briefly stops moving between beats. • Downward cut-offs: Instrumentalists generally view any downward gesture as beat

one; a downward cut off could be interpreted as the downbeat for the next bar. 4. Work out very carefully how you will conduct ritardandos including exactly when and if you will subdivide. Also, work out carefully how you will proceed after a fermata. Once worked out and the musicians are clear on this, do it the same way every time.

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5. Be involved musically with the orchestra: • Show dynamics by varying the size of your pattern. • Show important cues either with the left hand or by directing your conducting arm to

the person or section being cued. • Show the musical style by the speed in which you approach the ictus (i.e. a faster hand

speed into the ictus will result in marcato or staccato playing, while a slower hand speed into the ictus will result in more legato playing.)

• Remember: the instrumentalists are as much a part of the performance as is the choir. They will appreciate if they see that you are equally involved with them as with the choir.

B. Establishing and Maintaining Your Internal Pulse. 1. The conductor’s internal pulse is arguably the most important aspect to successfully conduct any group of instrumentalists. Moreover, the conductor must feel the subdivisions of the pulse. 2. Be sure you are feeling the tempo of the music before you show your initial prep. It is often helpful to be internally singing the first few bars of the piece to set the tempo for yourself and then base your prep off that. 3. After showing the prep, continue moving through the pattern at that same tempo. Don’t wait for the instrumentalist; keep your hand moving! 4. Listen to and lock in with the part that has the fastest and/or most syncopated rhythms. If they are not with you, the entire ensemble could fall apart rhythmically. 5. Remember that for instrumentalists, “pulses are essential elements, not words” (Lannom, CJ Sept. 1978.)

V. Rehearsing the choir and orchestra A. Protocol with the orchestra:

1. Focus equally on the orchestra as with the choir. It waists valuable time with the orchestra and is frustrating for the musicians when the conductor spends large amounts of rehearsal time with the choir only. 2. Time management: If using paid musicians, time is money and you never want to be stuck with running out of rehearsal time without having rehearsed everything adequately. Make sure you have timings for every movement. Determine how much time you will spend on each movement in rehearsal. Work out your rehearsal plan to the minute. Be sure to work a break into your schedule; that is usually required by paid musicians. 3. Run the whole movement. Professional orchestral musicians are generally very independent and will fix a lot of mistakes themselves. However, they need to play through a piece without stopping to know what they need to fix. Be sure you play through an entire movement without stopping before you stop to rehearse. 4. Give special attention to rehearsing “seams” that is, those places where your conducting clarity is most crucial (i.e. after fermatas, sudden tempo shifts, changes in meter, an attacca into the next movement, etc.) 5. Communication: Professional musicians respond to gesture more than verbal instruction. Always show want you want musically rather than giving a verbal instruction. When you do address professional musicians verbally, be sure you adjust your communication style so that you are addressing them as professionals, not as students. If you respect their professionalism, there is a far better chance that they will return the courtesy. 6. Questions: Don’t be intimidated or frustrated by questions from the orchestra players. As stated earlier, instrumentalists have only their part in front of them. There may be musical issues that are not apparent to them that they need to know in order to play their part well. They will look to you for leadership. 7. Collaborative Approach: If you are not getting want to you want musically and you are not sure how to achieve it, don’t be afraid to seek out help from the concertmaster. He or she is your conduit to the rest of the ensemble. 8. Talking: Talking within string sections is common when initiated by the concertmaster or principal player. You needn’t be thrown off by this. Even if parts are already bowed, often times they will need to make adjustments to those bowings in rehearsals. 9. Being specific: While terms like “stronger,” “excited,” “ominous,” etc. may work with our choirs, these terms don’t usually help the instrumentalists. They need concrete instructions: louder, softer, shorter, longer, etc.

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10. String terminology: For string players, every musical nuance implies a certain bowing. This is not simply up bow verses down bow, but how much bow is used, what part of the bow, on or off the string, how close to the finger board or to the bridge, etc. If the concertmaster asks you how you want something played in terms of bowing, ask to hear it different ways and then determine which is closest to what you want. This is another reason why meeting with the concertmaster in advance is useful. 11. With especially long rehearsals, be sensitive to oboe and trumpet “chops” if their part is demanding. Just like sopranos singing high notes for long periods of time, these two instruments in particular can be physically taxing.

B. Coordinating choir with orchestra

1. Balance a. For the orchestra: • Indicate in part where the choir/soloists are singing or not singing • Change some dynamics in the orchestra part • For 18th century music, ask for shorter articulations; halve the note values

where appropriate. • Keep size of pattern under control. A noticeably smaller conducting pattern in

a soft passage is generally more effective than the same size pattern with the left palm directed towards the orchestra. Psychologically, this is better as well since a smaller pattern encourages the musicians to play softer while a palm in their faces discourages them from playing loudly.

b. For the choir: • Be sure the choir is well prepared and “performance ready” before the first

rehearsal with the orchestra (they will not sing out if they are still struggling with their part.)

• Have the choir enunciate their consonants clearly. • Be sure the choir is standing tall, with their heads clearly out of their music. • Be sure the choir is singing with full, well supported and focused tone. • Do not be averse to doubling voice parts where necessary (such as fugal

entries.) 2. Don’t assume the orchestra is too loud. Since the choir is generally behind the instruments and the instruments are closest to us, the conductor won’t hear the choir as well. Have one trusted individual in the house listening for balance during the rehearsal.

C. Rhythm: Often times, the choir will sing behind the beat.

• As stated above, ensure that the choir is well prepared before rehearsing with the orchestra. They will sing behind the beat if they are not confident with their part.

• Have them get their consonants out slightly before the beat so that they are on the vowel at the point of the beat.

• Be sure they are singing with your stick, and not with what they hear (depending on the acoustic of the room, they might be hearing a delayed sound.)

• The choir may need to sing with less legato and more marcato style articulation. This will help with balance as well.

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VI. Suggested Works A. Works suitable for intermediate to advanced mixed high school choir, church choir, or, for a few designated works, treble choir with chamber size orchestra (note: bc=basso continuo): J. S. Bach Cantatas (See Jonathan Green text on Bach -note his ratings of difficulty for choir). Some famous cantatas include (listed by BWV number):

4, 6, 12, 21, 29, 61, 63, 79, 80, 106, 118, 140, 149, 150

Missa Brevis in F BWV 233-oboes, bassoons, horns, str., bc Missa Brevis in A BWV 234-flutes, str., bc Buxtehude Magnificat-str. (2 va. parts), bc Charpentier Messe de minuit pour Noel (“Midnight Mass”)-flutes, str., bc Fauré Requiem (Chamber Version, edited by John Rutter)-solo violin, section va, cel., bass; 2 horns, 2 bassoons, harp, organ Galuppi Dixit Dominus-oboes, horns, str., bc (there is also a version by the composer for treble voices) Magnificat-horns, str., bc Handel Chandos Anthem No. 7 “My Song Shall be Alway”-oboe, str. (no va), bc Coronation Anthems: No. 2 “The King Shall Rejoice”-oboes, bassoon, trumpets, timp. str., bc No. 3 “Let Thy Hand Be Strengthened”-oboes, bassoon, str., bc No. 4 “My Heart is Inditing”-oboes, bassoon, trumpets, timp., str., bc Jubilate for the Peace of Utrecht-trumpet, oboe, str., bc F. J. Haydn Mass in Bb “Kleine Orgelmesse”-str. (no va.), org. Mass in G Major “Rorate coeli”-str. (no va), org. Missa Brevis in F-str. (no va.), org. Mass in G “Missa Sancti Nicolai”-oboes, bassoon, horns, str., org. Michael Haydn Laudate Pueri (SSA)-str., org Missa St. Aloysii (SSA)-str. (no va.)-org. Missa Sub Titulo St. Leopoldi (SSA)-horns, str. (no va.)-org. W. A. Mozart: Ave Verum Corpus K. 618-str., org. Missa Brevis-str. (no va), org., (*trumpet and timpani): K. 49 K. 194 K. 65 K. 220* K. 140 K. 259* K. 192 K. 275 Litanies Laurentanae K. 109-str., org. Te Deum K. 141-str. (no va), bc Regina Coeli K. 276-trumpets, oboes, str., org. Pergolesi Stabat Mater (SA)-str., org. Purcell Birthday Ode: “Come Ye Sons of Art”-flutes, oboes, bassoon, trumpet, timp. str., bc Ode to St. Cecilia’s Day: “Welcome to all the Pleasures”-str. bc Schubert Mass in G-str., org. Mass in C-str., org. (trumpets and timpani optional) Mass in Bb-oboes, bassoons, trumpets, timp., str., org. Telemann Laudate Jehovam Omnes Gentes-str. (no va.), bc Vivaldi Gloria in D, RV 589-trumpet, oboe, str., bc (avoid Casella edition!) Credo in E minor, RV 591-str., bc Magnificat RV 610/611 (different versions of same work-instrumentation varies)

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VII. Resources A. Books (Articles and Books with * focus on repertoire):

Adler, Samuel. Orchestration Second Edition (with CD set). New York: Norton, 1989.

*Daniels, David. Orchestral Music: a Handbook, Fourth Edition. Lanham, MD: Scarecrow, 2005.

Del Mar, Norman. Anatomy of the Orchestra. Berkeley: University of California Press, 1981.

Green, Elizabeth. Orchestral Bowings and Routines. Ann Arbor: Ann Arbor Publishers, 1957. N.B. This book may be out of print however the American String Teachers Association has published a reprint of it.

*Green, Jonathan D. A Conductor’s Guide to 19th Century Choral-Orchestral Works. Lanham, MD: Scarecrow, 2008.

*__________. A Conductor's Guide to Choral-Orchestral Works of the Classical Period, Volume I: Haydn and Mozart. Lanham, MD: Scarecrow, 2002.

*__________. A Conductor's Guide to the Choral-Orchestral Works of J. S. Lanham, MD: Scarecrow, 2000.

*__________. A Conductor's Guide to Choral-Orchestral Works: Twentieth Century, Parts I & II. Lanham, MD: Scarecrow, 1998.

*__________. A Conductor's Guide to Choral-Orchestral Works. Lanham, MD: Scarecrow, 1994

Moses, Don V., Robert W. Demaree Jr., and Allen F. Ohmes. Face to Face With Orchestra and Chorus: A Handbook for Choral Conductors, Second Expanded Edition. Bloomington: Indiana University Press, 2004.

Zaslaw, Neal and John Spitzer. The Orchestra, History of an Institution: 1650-1815. New York: Oxford University Press, 2005. B

. Articles in the Choral Journal:

*André, Don A. “Orchestra and Chorus: Works for the Amateur or High School Performing Group.” Choral Journal vol. 21, no. 9 (May 1981): pp. 50-56.

Barnett, Kerry. “A Choral Conductor’s Preparation for Choral/Orchestral Concerts.” Choral Journal vol. 32, no. 2 (September, 1991): pp. 29-40.

Bruenger, Susan Dill. “Choral-Orchestral Balance: A View from the Trombone Section.” Choral Journal vol. 34, no. 4 (November, 1993): pp. 37-43.

Cappers, Paul K. “Performing Choral/Orchestral Works with the High School Chorus.” Choral Journal vol. 35, no. 3 (October, 1994): pp. 39-42.

Fankhauser, James. “Choral/Orchestral Balance: An Old Problem Reviewed.” Choral Journal vol. 30, no. 1 (August, 1989): pp. 5-7.

Lannom, Allen. “The Choral Conductor and the Performance of Choral-Orchestral Works.” Choral Journal vol. 19, no. 1 (September 1978): pp. 5-12.

Lloyd, Thomas. “When the Orchestra Arrives.” Choral Journal vol. 40, no. 5 (December 1999): pp. 35-46

Molina, Antonio. “Choral and Orchestra Conducting: An Interview with Robert Shaw.” Choral Journal vol.18, no. 7 (March 1978): pp. 26-30.

Perry, Arlene G. “A Voice Crying From the Orchestral Pit.” Choral Journal vol. 17, no. 1 (September, 1976): p. 13.

*Rayl, David. “Thinking Small: Choral-Orchestral Works for the Small Choir with a Small Budget.” Choral Journal vol. 34, no. 8 (March 1994): pp. 43-52.

Somary, Johannes. “What the Orchestral Musician Expects from the Choral Conductor.” Choral Journal vol. 14, no. 6 (February, 1974): pp. 11-12.

*Tagg, Barbara and Jean Ashworth Bartle. “Orchestral Repertoire for Treble Voices.” Choral Journal vol. 41, no. 3 (October, 2000): 33-41.