On the Way

Music and Emotion

SO yesterday when I talked about music and emotion...yeah this little guy Jackson gets it.

Music expresses that which cannot be said and on which it is impossible to be silent.

Countdown and intense rehearsal schedule for me these days. My concern anymore is not that I know the works but rather that I am prepared for the stamina it takes to perform consistently on tour overseas. I start my vitamin C, melatonin, and airbourne regime on Wednesday along with a larger amount of H20 intake. As I have mentioned over the years I am a very linear singer. Or as some may call it a perfectionist.

At times I feel the emotion of any work that I am doing gets lost in the daily rehearsal and work involved in learning and adding a piece to m
y rep. I always feel something is missing in the music and then performance time hits and the emotion is there. ALWAYS.

There is one thing I did not write about my final days during my last trip because I lost track of time. (I was laid off 1 week after getting back from the 2008 tour. Good 'ole economic downturn of 2008.) I had worked my butt off for ten days straight of rehearsal and recording and just kept going. I was focused on the work much like my Border Collies do with their work. When it came time for the live World Premiere the entire team ROCKED IT! Four standing ovations. I was so proud in the moment and then I walked off stage and burst into tears. The emotion from the entire week had just come out in my performance and I was not done letting that feeling flow. I think I scared the the dickens out of my poor tour manager, Massimo. I had just laid myself bare before a large audience, cameras, and fellow artists. I am not a person that expresses her emotion or wears her heart on her sleeve so that is why I do it through music.

Speaking of Massimo is once again our tour manager!!! I AM SO SO SO HAPPY!!! This relief is beyond. He is not meeting us until Italy but it is a relief. I have never performed in Ireland but I am sure my tour managers there Noel and Denis will be delightful.

Garment bags for gowns are out and ready to start packing.

The Movie

Below is the movie poster for the documentary that was made when we did the world premiere and recorded the Requiem in 2008. It was released last year along with a re-release of the soundtrack.

And below that the trailer. Sadly, I am not in the trailer. You get to see the large choir and the children's choir who where just lovely. From at 6 seconds in I get chills hearing the kids sing the first notes...Requiem Aeternam. It takes me right back. I can feel it.

Ireland and Italy

I have reactivated this blog. I have so many people asking about my current tour and wanting details etc. that this is the easiest day to spread the word. I will be heading back to Italy with a nice long stop in Ireland along the way. My performances include: Feb 15 Limerick, Ireland Feb 18 St. Patrick’s Cathedral Dublin, Ireland Feb 19 Sistine Chapel Vatican City State Feb 21 St. Peter’s Basilica Vatican City State Feb 22 Basilica of St. Francis in Assisi Assisi, Italy The big news is that this time around my mother is joining me. Which means at the very least there will be trouble for those that remember the Carnegie Hall adventures from 8 years ago. Good Lord. I made my Carnegie Hall debut 8 years ago...I am old! I will post when I can on the trip. I am bringing a travel journal with me so even if I do not have internet access I can jot it down and type it up later.

Thank Yous

Hey Everyone I finally have some free time (gasp) to do some back blogging so you know what is going on here. But before I do the day by day account, I do want to publicly thank a couple of people who this performance/experience just wouldn't have happened without.

Mossimo-Thanks for making sure I was where I needed to be when I needed to be there. From setting my wakeup calls to my daily itinerary to yelling at drivers for smoking around me. You were my constant companion making sure I stayed hydrated and slept well even when you were only getting 3 hours of sleep. I do not know how I will go back to living my day to day life without your guidance (seriously)!! You were so very gracious and supportive telling me that I (imagine Italian accent)"make a music so beautiful that angels weep". Not only were you a fantastic tour manager but I also made a friend that will last a lifetime.

Candace-You said by the time the week was over I would have the equivalent of a Masters in Vocal Performance. You were right. You always seem to not just get the best out of me but push to outside of my comfort zone (in a firm but motherly guardian angel type way) to raise my performance to the next level. I truly felt myself change as an artist this week. It was all because of you. When you told me to get my head out of the music and just sing the crap out of it you knew where I needed to go and I got there. Thank you so much for that. It was the most wonderful gift to receive this week.

Steve- Without you I would not be here. You wrote one of the most amazing pieces of music I have ever performed. It is pure "chocolate"! :-)I love that you trust the musicians with your music. You help guide and interpret and tell us what you heard when you writing but you let us take it from there. It was so reassuring to hear you in my headset as I was recording. I wanted to make you proud. Thank you for sharing your gift with me and the world. See you at Sundance!

Treble Choir-All of you young performers reminded me why I love music so much. I was in your shoes (OMG I cannot believe I am going to say this) 20 years ago when I had my first world premiere. You were all so professional and so very talented. Keep music in your life. It will make it richer (not in the money sense) and more whole. Music is always there for you...It will never get mad to you, break your heart or make you feel unworthy. It is the one constant in your life that is always there to allow you to express all those emotions, including some of the ones I just mentioned. I expect great things from all of you.

Mark- If I could move to Miami Beach to work with you I would be there in a minute. You are professional and lively and your musical talent never ends. When I saw you hop from piano to vocals to harp to organ you blew my mind. I really hope we get to work together again. Have fun in Paris...wait take me with you!!!

Vera Beach Ladies- Thank you on so may levels. You brought Rosalie to life for me. You made it so I could understand the life she lived so I could express that in the Requiem. Also thank you so much for making me feel like the most talented and beautiful person it the world. You all made me feel "like a Queen". I haven't felt that way in a LONG time and you made sure I heard it all the time. I will stay in touch and you all better come visit me!

First United Choir-Thank you so much for being a part of this and spending the week with me. We have jokes that no one else would understand...or ever will. (I am working on finding that 2nd Soprano note for you B, as I write this. :-) You all WILL tour with me again! (Austria anyone?) I have made life long friends with you that I never want to lose. Thank you for you fellowship in music.

Gallup Family-Without your support back home I never would have made it to perform in Italy TWICE in one year. I feel so lucky to get to work with each of you everyday. There were times this week when I thought, I wish they were here with me to experience this. You are a major part of my life and I want to share my successes with you. I love you all and will see you soon!

My Family- This is the hardest thank you to write because words do not express. Mom, Dad and Laticia, you have "suffered" through many performances and seen me perform so many times yet it never gets old for you all. I feel so blessed that I was in the studio and get to share this performance with you because it was so personal. Loving a musical artist is hard, I know. But thank you for understanding and supporting my passion since I was 3 years old and singing Crystal Gayle to today when I am singing for His Holiness. You not only support my dreams financially but also emotionally. You were on my mind as I sang this week.

And to my family who is no longer here. This week was for you. My director challenged me to visualize who my choir of angels were while I sang this and it was all of you; Grandma Burwell, MarTy, Lisa, Mike, Aunt B and Uncle Bill, and Steve. I know this will sound weird to some of you but (I will write about it in more detail on my blog about the big performance last night)I swear I saw each of you standing in the back of that Basicilia as I sang.

Tomorrow I will be leaving Roma but until then...Arrivederci

Day 3 Rehearsals...Really that was it ALL DAY...Rehearsals

I was up bright and early and dressed in the warmest clothes I had at rehearsal was at St. Ignatius and for those of you who remember my last performance that Basilica is freezing. So I dressed in layers. Mossimo got me where I need to go on time. Upon arrival the children were already rehearsing. You can see them in the background of one of the pictures below. Their voices were so sweet and angelic. As I begin to describe the music I wish I had the recording to post but it has not been Mastered yet. The music that I am performing is so powerful and moving. I will try to do it justice.




Here is some context for you. At the request of the conductor Candace, Steve began composing the Requiem upon the death of Pope John Paul II. During this compositional course, Steve’s mother and father were diagnosed with terminal cancer. His mother, Rosalie was able to hear an early version of the Pie Jesu before her death and Steve dedicated this Requiem to her.

Originally setting nine of the twelve Requiem texts, the Requiem merges traditional large-scale choral music with the drama and narrative characteristics of film scoring. The final three textual settings were later added to complete the Requiem for the European premiere presented by the Fondazione Pro Musica E Arte Sacra.

Scored for Baritone soloist, Soprano and Tenor Duet, SATB voices, Treble Chorus and Orchestra, it explores the wide variety of vocal and instrumental timbres, utilizing each nuance to convey the melodic and textual message. Throughout the Requiem, musical and compositional contrasts are mirror reflections of the text allowing performer and listener alike to be infused with the obvious and deep-seated emotion that inspired this work.

Expressive and programmatic instrumental solos and interludes are paired with choral themes that range in scope from the pestilent and explosive day of wrath to a scored melodic layering within the In Paradisum yielding aleatoric results. Recurring rhythmic ostinatos compositionally project forward motion not only within each section but also serve as a unifying factor throughout the Requiem.

Beginning and ending the Requiem with treble voices, it establishes the Requiem Aeternam theme with simplistic beauty that is textual conceived, later utilizing it as a leitmotiv to within the structure of the Gradual, Communion and Valedictio. The specific use of treble voices reflects the wonder of childhood, the cyclic turning of time that is life’s journey.

The Kyrie is a cry to God; a prayer that is pleading, demanding to be heard. Following the tranquility of the Requiem Aeternam, the Kyrie explodes with a three-note motif that is used throughout the movement representing the Trinity. This motif changes note-by-note from consonance to dissonance and back to consonance again. Within the middle section “christe eleison”, female voices represent Mary asking for mercy from God for the suffering of Jesus. When the men rearticulate the “kyrie eleison” cantus firmus, the women sing a very intricate contrapuntal line layered on top. This is a complete unleashing of anger; as if Mary were saying “not my son”.

Following this dramatic and powerful plea, the purity of treble voices is especially effective as they restate the Requiem Aeternam motif in the
Gradual. Although the linear melodic structure remains the same, the instrumental harmonies are further developed as to propel the listener through faith’s forward motion. Captured then by Baritone and Harp, the Tract entwines these two notions of tranquility and fire. Terraced entrances weave a musical tapestry that begins in simple prayer for the souls of the departed. As the chaos of escaping the avenging judgment ensues, the musical imagery evokes a strong and dramatic clash that finally resolves in a return both spiritually and musically to the happiness of everlasting life as the Baritone extends the final note bridging the gap from this life to the next.

The Dies Irae opens with a brief energetic timpani and string introduction followed by the orchestra’s presentation of the metrical theme; 3/4, 3/4,4/4. The choir dramatically sings the “day of wrath” while intricate scales for the strings and winds portray the pestilence of fire and brimstone during frequent instrumental interludes. Appearing periodically throughout, the innocence of treble voices is welcome on the text “O tu, Deus Majestatis”. Before this short hymn of praise is complete, the orchestra resumes the metrical theme, large chords from the brass section emphasizes the drama and intensity with plenty of percussion driving the movement to its final explosion.

The orchestra continues in similar roles to the foundation laid as the choir makes an opening dramatic “cry to God” in the Offertory. Text and melody are programmatic as the choir descends to “deliver them” and ascends from “the deep pit”. Tenderly, the harp intervenes with solo clarinet, flute and French horn as the women call on the promises made to Abraham and his seed. The men echo this inveterate pledge until all voices join to claim the promise, from nest to nest, from rest to rest.

The Sanctus and Pie Jesu are easily the most tuneful movements of the entire work. Treble voices sing “Holy, Holy, Holy, Lord God of Hosts” under a pulsating string section. The adults, inspired by the wise innocence of the children, join and somehow musically learn from them the correct way. In turn, the adults, with their experience and wisdom, musically enrich the landscape of the theme, making the children extend their musical vocabulary as they both build to the ending with full support of the orchestra. In the Pie Jesu, the adults and orchestra take an accompaniment mode as the treble voices carry the mood, moving heavenward up the scale to the top of their range.

While featuring only the chorus, the Agnus Dei takes an architectural element from the Kyrie in the three note “trinity” concept, and expands it. This prayerful movement gives pause to reflect the “Lamb of God who takes away our sins”. Held notes which juxtapose between lines are symbolic pauses for prayer while serving as a common tone to move forward to the next phrase and line of text. Communion begins and ends with Soprano and Tenor duet gloriously portray light while in the middle, the treble choir inserts the “requiem aeternam” motif. Lush strings and verdant woodwinds reflect the thematic disposition throughout.

The final return to fire and brimstone occurs in the Libera Me. Repeated
ostinatos build up to huge climaxes which test the orchestra and singers alike. Rhythmic syncopation hearkens to the Dies Irae in its syntax. The middle section is a recapitulation of the melody and harmony of the Agnus Dei this time accompanied by orchestra featuring the famous orchestra chimes; asking and begging for freedom. This immediately transitions back to the opening of the movement building to a dramatic finish.

The Requiem ends with the In Paradisum’s initial and closing statements of ‘child-like faith’. Voices keep echoing “in paradisum” as the pulsating, perpetual and reassuring string section comes in to support. The adult’s plea for the angels to receive the departed souls into heaven and as the entire chorus sings “chorus angelorum” they return to the original “requiem aeternam” theme. As in previous movements that do not resolve tonally, the “In Paradisum” ends on an imperfect interval; a major second.

Working with the director Candace is amazing. I haven't worked with her in two years and I had forgotten what it was like. She joked that by the end of the week I would have the equivelent of a Masters in Vocal Performance. She pulls everything out of you. She does not let you rest at your current talent level. She stretches you and takes you voice to places you didn't know it could go. She conveys absolute confiendence in each performer. She does whatever she needs to do to get the best performance out of each of us. She dances, yells, whispers, is serious and funny. I only wish I could study with her privately.

At the lunch break I stay in the Piazza and just ran over to a little resturant. I had tortellini soup and like a gallon of water. I ate with the choir from First United. They were too funny. Before lunch was going to run to the bathroom. The waiter actually escorted me to the bathroom. We got a kick out of that.

More afternoon rehearsals with the kids. They added in two new pieces for the Mass at St. Peter's. UGH! new music I have to learn tonight. Rehearsal was done at 5pm and we had a two hours to shop and sight see. The First United Choir had never been to Italy so I walked them to the Trevi Fountain and took their pictures. I got some shopping in as well and was able to cross a few things off the christmas shopping list! I met up with Mossimo who got me back to the hotel in time for dinner. I ate dinner with the First United Choir and the Vera Beach ladies. By the time dinner was over it was almost 10pm and Mosimmo had informed me we had another early call as I needed to be in the studio by 7:30am.