Westminster Cathedral Choir photo by Simon Tottman
The job description for anyone bearing the title "Music Director"—regardless of whether the institution is a performing ensemble, a church, or, as is the case in some parts of Europe, an entire city—can be challenging and quite varied. A music "director" must be exactly what the name implies: guide, leader, performer, administrator, conductor and PR manager. Often, a music director is a leader not just in the musical sense, but in the community at large.
We all understand the importance of symphony, opera and ballet conductors, whose mission is not only to inspire and enrich their home communities, but also to represent their region as cultural ambassadors while on tours. Frequently, though, it can be church and synagogue music directors who provide a more immediate link to serious music for a large segment of the population. Many people who do not ordinarily attend symphony or chamber concerts are more likely to hear such music in a religious setting, whether it be in the context of an actual service or at a secular performance sponsored by a particular institution.
Because of its diverse and cosmopolitan nature, and perhaps because of its proximity to the Grand Center arts district, the Central West End provides particularly fertile challenges and opportunities to houses of worship located within its area. Faced with the evolving societal and spiritual issues that have impacted American life, religious institutions must appeal to a broader segment of the population, while holding true to their core beliefs.
The major player in the CWE is the Cathedral Basilica of St. Louis. As the hub of the Archdiocese, its programs serve as an important model for churches of all denominations as well as for secular concert venues. Each year the Cathedral Concerts series continues to grow in scope and outreach.
The fact that the Cathedral is a work of art in itself, housing the world's largest indoor collection of mosaics, plus sculptural treasures and architectural splendor, can either hinder or enhance musical performances. The music presented must rise to sufficient grandeur and technical expertise so that the visual surroundings do not overwhelm the aural impact of the music. The notorious acoustics of the Cathedral also present a special challenge. The lofty stone walls create a formidable echo chamber, but Cathedral staff have labored diligently to minimize tonal "bleeding." Increasingly, performances in the sanctuary resonate in listeners' ears without endlessly ringing in them.
Under the leadership of newly-appointed organist and music director Horst Buchholz, this season's concert series offers an exciting line-up of distinguished performers. Although liturgically-oriented works figure prominently, listeners should be pleased with the scope and variety.
Mozart is a featured composer this year. On November 4, Philippe Entremont will lead the Munich Symphony in an all-Mozart program. As both soloist and conductor, Entremont will perform the Concerto No. 12 in A Major, K. 414, and will be joined by the Cape Cod-based Gloriae Dei Cantores for the Mozart Requiem. On May 12, the 2011-12 season will close with a performance of Mozart's Coronation Mass, performed by the St. Louis Archdiocesan Choir and Orchestra.
The use of local artists demonstrates a strong commitment to support the musical life of the entire area and the many brilliant performers who reside here. The Archdiocesan Choirs and Orchestra will also present the annual "Christmas at the Cathedral" extravaganza on December 10 and 11. On February 7, brass players from the St. Louis Symphony, ably assisted by the 7,621 pipes of the Cathedral organ, will star in a Brass Spectacular. Brass players from the Missouri High School All-State Band will participate in the concert as well, and will spend the day of the concert in master classes with the Symphony players.
The 2011-12 season kicks off on October 19 with the Westminster Cathedral Choir from London in a program that will span more than 400 years of repertoire. Other vocal highlights of the season will include the Vienna Boys Choir on November 17 and 18, the acclaimed San Francisco-based all-male ensemble Chanticleer on March 1, and, from the UK, Stile Antico on April 13. The Vienna Boys Choir scarcely needs an introduction, but many music lovers may not realize that the Choir has expanded to four touring groups (variously named after Bruckner, Haydn, Mozart and Schubert) and that the Choir is composed not just of Austrian lads, but also includes young men with roots in Asia, Africa and the US. Although not as old as the VBC, Chanticleer has established itself as one of the premiere vocal ensembles in the world today, known for its ethereal blend and innovative repertoire. Stile Antico, as its name implies, specializes in early music—yet has garnered attention for its bold and innovative approach, which includes performing without a conductor.
Instrumental music at the Cathedral will be rounded out with the appearance of educator and concert organist Gerre Hancock. Together with Judith Hancock, the two direct the Organ Performance and Sacred Music Center programs at the University of Texas at Austin. Gerre Hancock is considered one of the leading masters of improvisation today, which will surely make for an interesting (unpredictable?) program.
Holst Buchholz wears the hats (and, as needed, the shoes) of organist, choirmaster, conductor, cantor, administrator, composer, planner and educator. His broad background includes not only sacred music, but ten years as conductor of the Denver Philharmonic and a stint as a chorus member and assistant with the Berlin Philharmonic Chorus, serving under such luminaries as Karajan, Ozawa, Mazur, Maazel and Abbado.
The task of organizing the Cathedral Concerts as well as attending to the musical life of the Archdiocese is almost a superhuman task. Fortunately, Scott Kennebeck, Director of Operations for Cathedral Concerts, shares the responsibility with Dr. Buchholz, along with the vast array of committed assistants and volunteers who donate their time and energy. Like Dr. Buchholz, Scott Kennebeck is also a multi-faceted musician, well known to St. Louis audiences as a vocal soloist. One visit to the Cathedral Basilica provides a glimpse of the enormity of the work performed by this team.
Music in our community is like a tapestry in which each of the players contributes to the overall picture. But yet our tapestry is further connected to the broader design shaped by musicians and their communities around the globe. Music is a powerful connecting force, helping to unify our diversity, yet also maintaining our uniqueness. The programs outlined above are surely proof of that.
