How did you take the leap from practising to performing A Ceremony of Carols?

[Alison]

As much as I love this work and have studied it seriously, (with my tutors and on my own) I’ve never dared step up to performing it ( and just heard a fantastic rendition again tonight). How did you get there yourselves ? I’ve done other orchestral and choral stuff but this is tricky. You can’t recover if it breaks down. Is the answer to build it through steady rehearsals ?

[carl-swanson]

Make sure you know the vocal parts very well. Especially the solo vocal parts. And make sure the soloists are near you in the performance. Also, be prepared to play the Introit(I think that’s what it’s called). You never know when the conductor is going to ask for it. Also, and this is maybe the most important one, Have pedal changes marked at the end of each carol which will set you up for the next carol. I can’t tell you how many times the conductor has wanted to go, with no break, from one carol to the next. I’ve had to tell them each time that I need a couple of seconds to set the pedals and turn the page. In those cases, the conductor watches me at the end of a carol, with his hands up and ready to go, until I give him the signal that I’m ready. I’m always ready in less than 5 seconds. Lastly, be very flexible on tempos. Practice each carol at a variety of tempos and train yourself to look up and away from the harp and music enough so that you can watch the conductor at critical moments.

[kimberly-rowe]

I second all of Carl’s great suggestions! This is a tricky piece for so many reasons. Although I’ve played @[[a-ceremony-of-carols:Piece:A Ceremony of Carols (Britten, Benjamin)]] many times, each new performance with each new choir brings new challenges. With usually only one rehearsal, the choir often isn’t used to the sound of the harp and may have trouble keeping steady tempo and pitch. Absolutely know the vocal part, and write in vocal cues for the spots that are repetitive and easy to get lost (Spring Carol!). The best piece of advice is to just be prepared to be flexible, because each performance is going to be a little different.

[carl-swanson]

Good suggestions Kim. I do have vocal cues written into my part. I would also add that when a conductor calls hire you for this piece, ask him if he’s ever done this before. If he hasn’t, let him know that if the choir is having any pitch problems, the harp is not loud enough to hold them on pitch. And then just generally talk through how he wants to do the piece. In other words: Do you want me to play the Introit and recessional? Do you want to go, with almost no break, from one carol to the next? Are you going to conduct That Younge Childe and Spring Carol?

Another thing. Balulalow, when you are practicing it, sounds like it’s in 3. It’s not! It’s in 2! Make sure you hear it that way in your head as you practice, because you may be thrown for a loop the first time you do it with the ensemble.

[Briggsie B. Peawiggle]

I just did exactly this — but only 3 movements of it as part of a concert that had various other pieces on the program. I really really knew the pieces well and could split my attention from the score to the director to the strings. I found after the first (of 2) rehearsals with the harp that I really did need to write in the vocal cues, and that helped tremendously. Finally, the approach you personally take to the performance is important. I found that I really needed to put it in my mind that I knew what I was doing, was completely in charge of doing it well and planned to do so when I sat down. The self-confidence really went a long way for me.

[eliza-morrison]

I was able to perform some of the movements singly or in small groupings before ever having to play the entire work. One year in May, my teacher (the wonderful Ann Hobson Pilot) suggested I get out Ceremony of Carols and learn any movements which I had not yet done. It was great to work on the piece at a time of year when I had plenty of time and could approach the project in a relaxed way. Many of the comments already made on this thread give great suggestions. Much of the piece is relatively easy, but there are a few spots which are fiendishly difficult. You’ll identify those easily enough! The movement “In Freezing Winter Night” is the one that seems to be most problematic for the choir intonation-wise, in my experience. Studying how the harp part and vocal parts are put together will be very anchoring for you, especially in the rhythmically trickier sections. The “Interlude” makes a great short solo piece which I’ve played by itself for many a Christmas Eve service. It’s lovely and a nice thing to have in your repertoire.

[Elizabeth Volpé Bligh]

I used to play this piece multiple times every December. Every so often, the solo singers would get lost in “That Yonge Child”. I had to skip a beat sometimes to stay with them. That’s why it is so vitally important to know the vocal parts. I even got the words and wrote everything into my part. And the tempi can vary wildly from one choir to the next, even though there are metronome markings. Don’t be afraid to use enharmonics or trick fingerings when necessary.

[Carlin]

I had to do this piece last Christmas, so I downloaded youtube videos of it and practice along with the videos. The actual choir was of course different, but at least I was familiar enough with the vocal parts, so for me that really helps.

[Alison]

Thanks, all very helpful. I know the vocal parts well enough to sing against the harp, they are marked into the music and I have the SSA score to refer to but Briggsie’s right, it’s the tricky spots that have stopped me and I need to hack those and find my own solutions. It could be just time, stamina and determination; I was beaten by Balulalow and the awkward LH in Spring Carol and the length of Freezing Winter Night. I’ll keep a copy out on my stand this year and work so I can be ready to accept a booking or dep if asked. I’m a better player now and I have found how to work on pieces previously beyond me. Pleasure it is…. & the music is wonderful at any time of the year !!

[peter-smith]

I have played this piece many times – one question I always ask is: which version SATB with adults or SSA adults or children? The children inevitably always sing faster tempos and seemingly gallop away… I’m always so grateful for the Interlude as is provides the singers with a little recovery time and often steadies their racing nerves. I wrote out the singer’s part in Finale and used the playback feature in that software to practice various tempos. Just select a metronome marking for the playback and way you go.. It’s totally unforgiving and maintains its robotic beat which is helpful preparation. There’s always an adjustment for singers from their usual rehearsals with piano and when I come in towards the end. They often become slightly distracted by the harp and its takes a few tries to allow the change settle in their ears. There’s more than one recording of a performance with my voice audibly whispering..”wait!!!” to an eager conductor between pieces and along with the muted thumpthumpthump of frantic pedal changes.
Love the piece and I still keep going back for more ..wonderful feeling when it all goes right on.

[Tacye]

One tip from my teacher I was really glad of is not to be afraid to tell the conductor you need conducting. The first time I did it the soloists for Spring Carol were put halfway down the chapel with their backs to me so the audience could hear them better – but I couldn’t.

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