I volunteered to serve as the accompanist for a sweet, amateur Jewish choir made up of Jewish refugees in their 60s-90s from Russia. I did this volunteering before even moving to SLC, but while in preparation for the move and all too conscious of my need for musical sustenance in some venue or other. I figured - one hour a week, no problem - plus, I was used to playing for the Charbonneau Chorale weekly and knew I would miss them all...
Since moving I've gotten to know these dear people a little bit better, have been educated and amused by their love for food and celebrations, have learned a few Russian words and have suffered through many, many horribly unorganized, semi-mutinous, very off-key rehearsals. Some weeks I deal with it really well and focus on being an aid to a group of people who love meeting with each other and find joy in singing together. Other weeks I truly suffer through rehearsals, wishing I didn't have a degree in music or a perfectionist's temperament.
The biggest struggle throughout my experience with this choir has been their lack of music. Due to a very tragic accident, all the previous accompanist's music was lost or destroyed. Therefore, I've had to extract each piece of music here and there when the choir suddenly decides they want to sing it. Now, my personality dictates that if something like this happened and I had a new person who was coming in to help the choir (whether singing or accompanying) I would try to pull together all the music I could find to be able to hand them a folder of as many pieces as possible...
So, each week, I wait to see what "new" piece of music they are hoping to practice that I don't have - and the worst part - what different key they really want to sing it in than the one miraculously pulled from a choir member's folder. Then, we struggle through the music for a few minutes before the choir director finally tells me, "Down 1 step. Transpose. Next week." I generally sigh, nod and tuck the music away, knowing I will be fairly grumpy about doing the transposing during the week and will put it off until the following Tuesday night, or lunch on Wednesday before choir.
Now, the first couple of times I needed to transpose something it was okay. Heck, I even enjoyed it a little bit. The problem is, it really feels like it's now almost every piece, the pieces are getting more intricate, I have less patience and for goodness sake, we're talking 1/2 a step to a 3rd lower! Pretty much, that's nothing!!! So, why do I have to transpose it again? Why can't the choir practice enough to be able to reach high C? Plus, most of the time, I spend time doing the transposing and then we don't even practice the song again for several more weeks!
Okay. So, now you know where I was emotionally and psychologically when I went to choir last night (except you need to also know that this week almost anything has made me want to cry - again, thank you hormones). When I got to choir, I found out they will be performing at the re-opening of the state capitol building here in SLC on January 5th. This time, they did have a list of possible songs we might sing at the concert (hallelujah!). Upon the list, however, was "The Choir of the Slaves" from Verdi's Nabucco. This is a beautiful piece and I had the music, but we'd never practiced it together before last night. It's written in F# Major and I'd learned it as written... only to be told as we began to play, "No. No. Too high. Too high." She told me to take it down 1/2 a step. 1/2 a step! Essentially nothing. And, the director assumes one can just cancel out the key signature and still play it as written. Yeah right! There are accidentals all over the place and flats to play that aren't written in... AHHHHHH.
So, ultimately frustrated, I tried to stand up for myself (something I'm not always good at doing). But, due partially to the language barrier and partially to a very stubborn choir director, I was ignored. Here's where I'm still rubbed wrong: this choir cannot sing on pitch, therefore does not have good harmony, cannot hear when things are off or wrong, and doesn't know the concept of counting. So, why exactly should I transpose an entire opera chorus orchestration down 1/2 a step to accommodate them? Why can't they accommodate me in this situation and let me play it in the key it's written?
Anyway, the night ended with me dissolving into angry and frustrated tears in Seth's office, which gave me a headache that sent me to bed instead of getting to frost the cookies I'd made for a special presentation Seth had at work today. Sad, but not the end of the world. Hopefully I'll get to do some frosting tonight. :) Plus, I have a whole week before I have to face the chaos again...
P.S. I think the hardest thing in all this is that I don't want to be frustrated. I really do want a place where I can play for people. I really do like the choir quite a bit - they are sweet people who love to sing. I just feel stretched way too thin for the level of music we are really producing.









