As a result of the relationship with a professional orchestra, The Scottish Chamber Orchestra’s (SCO) 60-strong non-professional chorus has a wide repertoire, writes Rod Bain.
In the past twelve months we’ve taken part in a live recording of Rossini’s seldom performed opera Zelmira at the Edinburgh International Festival, performed Handel’s epic oratorio Israel in Egypt with Nicholas McGegan, Bach’s Magnificat with Stephen Layton, and a programme of twentieth century Baltic music with Olari Elts. We’re keenly anticipating an a capella concert in August conducted by our chorus master, Mark Hindley, and a tour to Barcelona in December.
The chorus rehearses one evening a week and there are additional calls in the week leading up to performances, so it is a considerable commitment for members. Each section has a biennially elected representative to whom members can take any thoughts or comments, and the reps meet regularly with the management to discuss a variety of issues, which enables a regular exchange of views. We inform members of plans for the forthcoming winter season in March or April, when the annual schedule is sent out, and regularly distribute newsletter updates containing schedule alterations, press reviews and ticket offers. These, coupled with announcements at rehearsals, generally ensure that we have good communications with all members, even those who may not be participating in a particular project. Email has undoubtedly made a huge impact on this, although it can occasionally be dangerous to rely on everyone checking their account with the same frequency.
One of the problems that all amateur choruses encounter is members’ availability. Despite their dedication, we are occasionally faced by shortages in one section or another. In order to maintain the highest possible artistic standards, we have strict rules about attendance and the number of rehearsals which members can miss before being asked not to perform. Unfortunately, despite the best of intentions, people are sometimes faced with a short-notice business trip away, family problems or illness, and this can cause problems for balancing the sound of the choir. We have a healthy pool of both extras and reserve members waiting for a full-time place with the chorus, and while we do frequently call on them to bolster sparsely populated sections, this is not always practicable when the concert date looms. When planning the season as a whole, we try to avoid placing choral concerts during half-term holidays when our teaching members may be away, but generally we find that the best solution to the problem of availability is to circulate the schedule as far in advance as possible so that members can plan holidays and work around rehearsals and the busier concert weeks.
An area where the SCO choir may differ from many choruses is in our re-auditions policy. In order to maintain standards, all members must re-audition every two years. Although this is a source of great anxiety for all (including the management members), singers are usually willing to put themselves through the agony, and it is a very good opportunity for people to get individual feedback from the chorusmaster on their technique and to discuss any problems they may have.
Rod Bain is Concerts Administrator of the Scottish Chamber Orchestra Chorus.
t: 0131 478 8335; e: rod.bain@sco.org.uk; w: http://www.sco.org.uk