Working in Concert

In case you couldn’t tell by the prolonged silence, life has been a little crazy as of late.

Well, crazier, anyway.

As of this writing, I’ve just about finished up my semester at the Hochschule für Musik Köln. My official classes were never that rigorous to begin with,¹ but the choral groups kept me busy until our last concerts, which both took place this past week.

First came the madrigal choir’s final concert, which took place in the Dom. Nothing could have properly prepared me for that. I’ve certainly sung in old, resonant churches before. As you may recall, I sang in a church with a chamber choir back in December, and I’ve even sung in true cathedrals, such as St. Stephan’s Dom in Vienna. Indeed, I thought a lot about that experience leading up to the concert in the Dom. Foolishly, I assumed the experiences would be similar. But the concert in Vienna had taken place in August, in Europe’s hottest summer on record. My concert with the madrigal choir was in January… in a giant stone building… at night… and I had no coat.

To put it mildly, I was cold.

Aside from the deteriorating functionality of my fingers as the concert progressed, I had a good time. When I performed in St. Stephan’s, the audience were scattered everywhere, and the choir stood askance the altar at an odd angle, singing directly into one of the columns. Evidently, the Kölner Dom hires better event planners. Both choir and audience were stationed in the nave of the church. This resulted in a surprisingly intimate effect, considering we were performing in a giant Gothic-style refrigerator. It was also a privilege to be there. Outside of tour groups, laity do not normally enter the nave of the Kölner Dom. But with the Christmas decorations still in place, and the tomb of the Magi² glowingly brightly behind the audience like some sort of giant golden hearth,³ it was one of the more beautiful places I’ve ever sung.

For me, the concert also felt like a touch of home. Our repertoire was almost entirely in English. Though I’ve had a number of occasions to butcher foreign pronunciation in the past,⁴ I had never been on the receiving end before. In early rehearsals, the auditory barrage of mistaken emphases and f*@%ed-up fricatives was enough to cause a vowel movement.

After a while, with a little help from their resident native speaker, the choir sounded almost English. True, they still sang of Mary’s “woam” and the Baby Jesus laying in a “crehhdle,” but at least sounding joys no longer repeated from the “fields and flutes,” and the “rocks, hills and plans.” And I was thrilled when they stopped announcing, “Joy to the World, the Lord is Scum.”

The following evening saw me once again under the baton of Marcus Creed. As I’ve said here before, Creed is an excellent director, and he expects an enormous amount of professionalism and dedication from those he works with.

I am also greatly amused by his approach to the German accent. Professor Creed has lived in Germany for many years, traveling between Cologne, Stuttgart, Berlin, and many other places. German is spoken with markedly different accents in these different cities. Rather than attempting one of these accents or a mix of all of them, Professor Creed chooses to speak German with no accent whatsoever. He simply retains his own plummy English diction in both languages. The German students admire him, so I think it is a sign of admiration when they impersonate his pronunciation of stock phrases like “Ja gut” as “Yaw gewt.”

As for the concert, the evening progressed from modern to Romantic – an improvement as far as I’m concerned. We began with an incredibly minimalistic, percussive piece by a composer whose name is pronounced “No-No...” which was also my internal reaction when first asked to sing it. This screeching racket was followed by Vaughn Williams’ Flos Campi, a wordless work that I now dearly love. I’ve liked Williams since I first encountered him in college, and this piece has a spiritual quality I have rarely heard elsewhere. It was also a blessing to perform it at the Hochschule, where the performers took it seriously enough to achieve the desired effect.

The evening concluded with Fauré’s Requiem. As with Williams' work, I first became acquainted with Fauré’s music in college. Though I find his fascination with three-quarter time bordering on fetishistic, Fauré is also consistently lyrical in a way I have found almost nowhere else. The Requiem had been recommended to me by friends over the years, but this was my first chance to really engage the piece as it is meant to be performed. Compared to, say, Mozart’s Requiem, I think Fauré’s piece is simpler, but it retains elegance, and is at times far more spiritual. Between this work and the Williams, the evening was one of the more satisfying musical experiences I have had since my arrival in Germany.

Of course, this concert wasn’t in the same league with singing Disney tunes, but you can’t hit them all out of the park.
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¹In case you were wondering, the German word for “torpor” is Betäubung.

²In case you don’t meticulously memorize everything in this blog, there is a relic in the back of the Dom, a golden triple sarcophagus that is said to contain the final remains of the three wise men who visited Jesus in the manger in Bethlehem.

³While we’re on the subject, can I just mention I find this really creepy? Under all the lights, the thing looks like an irradiated gingerbread house, and inside there’s not one, not two, but three dead people. And who, for that matter, got these guys back together after they all died? Maybe they did reunion tours.

⁴My French is a horror, like something from an ancient forgotten world. Scientists have theorized that every time I try to sing in French, the world becomes a quantitatively worse place.

Glühwein, Women and Song

The Christmas season is in full swing here in Cologne. The Weinachtsmärkte opened fully last weekend, and to solicit them came both locals and travelers from abroad. As I have discovered, many of these seasonal travelers come from Britain specifically to visit the Christmas markets. I don't fully understand the logic behind purchasing €100 plane tickets in order to eat €2 roasted almonds, but then, the English also enjoy warm beer, so the lunacy is not without precedent.

To my great fortune, along with this English en masse emigration came Meagan, the lovely hostess of my last two visits to London. Together, she and I braved the extensive network of Weinachtsmärkte that have sprung up across Cologne like cinnamon-scented mushrooms. I bring to you now some highlights of our discoveries, which, we being hungry travelers, ended up being mostly culinary:

1. Glühwein -- For a full explanation of this marvelous substance, see last post. Suffice it to say that we drank our fair share.¹

2. Poffertjes² -- To be fair, the credit for this one goes to a Dutch acquaintance I made in Bonn a couple of weeks ago. Evidently a seasonal favorite in Holland,³ Poffertjes is breakfast transformed into the most unhealthy confectionary dessert imaginable. While Poffertjes poses as a mere waffle cup filled with miniature pancakes, the real magic of this dessert comes in the condiments. Appropriate toppings include syrup, butter, powdered sugar, whipped cream, Nutella, or preferably, all of the above. Sprinkle that bad boy with Baco-Bits and you've got the next American breakfast favorite.

3. Reibekuchen -- Also known as Rievkooche in Kölsch, these deep-fried potato pancakes make an excellent follow-up to Poffertjes if you somehow haven't managed a heart attack yet. Reibekuchen are usually served immediately after being cooked, so it is customary to eat them with a cooling condiment such as apple sauce, or if it's your second helping, Pepto-Bismol.

4. Himmel un Ääd -- I must exonerate Meagan and clarify that she did not at any time sample this unique dish. Himmel un Ääd translates to "heaven and earth" in the local dialect. It is so called because it is a mixture of mashed apples and potatoes, the apples which reside in heaven (i.e. on branches) and the "apples" which reside in earth (i.e. potatoes). Somewhere along the line, the Kölsch community decided to make this culinary concoction their own by adding blood pudding into the mix,⁴ a development I can't help but think of as the cooking equivalent of the snake entering the garden.

There's more to do at the Weinachtsmärkte than just eat and drink, of course. Particularly predominant are small shops and rides for the children. That said, having too little funds to purchase €15 Christmas tree ornaments and too much self-respect to ride the carousel,⁵ Meagan and I mostly browsed.

With the arrival of Advent also came my first major concert of the season. I have been singing with three choirs at the Hochschule, two of which are directed by Marcus Creed. Professor Creed has proven to be a prodigious conductor. He is generally reserved and quiet in demeanor, but he brings out a superb level of concentration and execution from the singers with whom I have seen him work. Among his other obligations, he directs both the Hochschule's main choir and its chamber choir, the latter of which I performed with on Wednesday evening.

I sang with the Claremont Chamber Choir through college, and I have grown to appreciate the sound a group of dedicated singers of that size can create. Even with that experience, I was very curious to hear what the chamber choir here would sound like. Though many of my colleagues in Claremont were music majors, this was an entire choir of music students, many of them with years of vocal training behind them. Thus I had little idea what to truly expect from the experience.

Our concert on Wednesday took place at St. Georgs, one of the smaller old Romanesque cathedrals. One could guess (rightly) by the modern look of town around St. Georgs that it was heavily damaged in the War. In its refurbished form, St. Georgs offers wonderfully resonant acoustics, ideal for an a capella choir. We performed two song cycles, one by Reger and another by Brahms, as well as a modern setting by James MacMillan of a medieval prayer titled "O Bone Jesu." It is easy to forget in the midst of preparing works of music that an audience will be listening with entirely different ears. So as the final note of the concert faded into the walls of the church, I was not sure what to expect from the little crowd in St. Georgs that night. They must have liked it, because they brought Professor Creed back for a total of five ovations, generous even for a German audience.

The past wonderful week did not come without repercussions. Regrettably, after spending my days out in the rainy markets and my nights rehearsing in a cold church, I have finally fallen ill. The doctor doesn't think it's anything serious, just a winter virus. At first, when I heard all I needed was probably some rest and lots of fluids, I was delighted. As it turns out, however, Glühwein doesn't count.

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¹Which, at €2,50 a glass came to one cup each. I can get a full bottle of wine for less than that. And I do.

²Pronounced by saying "Puffered? Tch! Yes!" quickly.

³I have no way to confirm or deny his claim, but I have my doubts. Almost all the Dutch I have met are very thin, and no one could eat Poffertjes with any regularity without resembling a Germanic Wilford Brimley, both in weight and diabetic condition.

⁴And you know they didn't pick something like blood pudding on a lark. There had to have been trial and error involved, which just makes me wonder: what didn't make it?

⁵Fine: they wouldn't let me. Are you happy now?

Deutsche Dankopfern

I've done a fair amount of good-natured griping on this blog. Today, in the spirit of Thanksgiving, I share a few of the things for which I am thankful:

1. Thanksgiving in Germany -- While the holiday is obviously not celebrated here, InWEnt, my sponsor organization, was good enough to put together a feast for us heimweh Americans. Last Monday, many of the PPPler's living in my province gathered at a brewery in Duisburg for a massive meal. It's truly the most I've eaten in one sitting since I arrived here, and it was completely worth the gastronomically induced nightmares.¹

2. Did I Mention It Was in a Brewery? -- Self-explanatory.

3. Malleable Accents -- According to one guest at Monday's feast, I have adopted a convincing Kölsch accent. Germans tend to spot American visitors through linguistic giveaways² such as strong R's and certain word-choice oddities. Since I've managed to jettison most of these habits while unintentionally adopting Kölsch pronunciation, the Duisburgers thought I could almost pass as a local. I thought this curious since Germans used to tell me I spoke with an Austrian accent. Maybe I should try to pick up Plattdeutsch and really start screwing with people's heads.

4. Bored Seminar Groups -- One of my more interesting classes at the Cologne Academy of Music has been a graduate seminar, whose title translates as "Qualitative Research Methods: The Interview." Though the class is intended primarily for grad students working towards a Diplom,³ I decided to sign up since the central research focus is contemporary arts institutions. As it turns out, the class is experiencing a dearth of available experts for interviews, so next week a panel of students will be researching... me. It's about time, too. It's been weeks since my last round of "Embarrass the American." I was beginning to feel neglected.

5. My Family and Friends -- My fondest wishes to you all. Happy Thanksgiving.

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¹I blame the "cranberry paste."

²After first checking for cowboy boots, white high-tops, or an aggressive foreign policy.

³A German degree acquired before the doctorate but after the Vordiplom. In case you were wondering, Vordiplom is German for "You poor bastard, you have sooo many years of school left."

Out of the Internet Cafe and Back in School

Good Lord, it feels good to be in college again.

…After a fashion, anyway. Studies at the Cologne Academy of Music are definitely handled differently from my typical fare of the past. The Hochschule is as distant from CMC curriculum-wise as it is geographically. The most obvious difference from Claremont, however, is the manner of dress. Instead of flip-flops and board shorts, the young men at the Hochschule tend to wear dress coats and scarves. I have no qualms about this attire, but taken en masse, it does give the school the impression of a Doctor Who convention with cellos.

There is also very little in the way of what I have heard some Germans demeaningly refer to as “handholding.” Over the last century, the trend in American higher education has gradually been to make university a home away from home. Dorms commune, departments eat and drink together, and an entire array of activities take place to form what we in the USA call “campus life.” No such thing at the Hochschule. Students certainly befriend one another, and they bond through performance groups and research projects. But a visiting American would probably say the organization of the Cologne Academy of Music more resembles a high school than a college. Most of the studies, rehearsals and even performances are contained in one building, which itself is very reminiscent of all those concrete industrial behemoths built in the States to educate the baby-boomers of the sixties and seventies.

The classroom experience, however, is pure university fare. Indeed, I would say students at the Hochschule are much more engaged than the average university student. They are all aware how lucky they are to be in such a specialized and highly regarded school, as opposed to navigating the madness that is the main university system.* The average student I have met here is very happy as well as industrious in their chosen instrument and/or field. This has been particularly exciting for me since I have resumed singing. Somehow, over the past week, I’ve ended up in three different choirs: one intentionally, one through a lucky audition, and one by accident. And since every student in the school is a musician of one sort or another, the level of quality and professionalism is already evident.

I’m taking actual lecture classes, as well. These have been a little dizzying thus far. It’s amazing how one little variable can completely trip up a well-honed practice. Over the last four years, I acquired the necessary college acumen for following a discussion on social policy or qualitative research methods while simultaneously producing a transcription and contributing my own points to the progression of the dialogue.**

Suddenly, the whole thing’s in German, and now it’s a crap chute.

That said, my particular program is proving exciting enough to be worth the effort. The Center for International Arts Management, like most fledgling research institutes, isn’t so much a building or even a proper organization yet. It’s more an assemblage of faculty going about their particular projects while roping in graduate students as contributors/slave labor. Which is fine by me. This field is still mostly foreign to me, so I’m happy to soak up whatever experience I can.

Provided, of course, that I don’t alienate any more faculty. I have begun attending the Center’s central lecture series of the semester, which revolves around something called “Voices and Vocal Concepts.” As a singer, I was intrigued, so I swung by the first one to see what it was all about. As it turns out, the first lecture was to be given by the same gentleman who led the Voice Department meeting I ran out of so suddenly last week. When he was introduced, not only did I learn he was the school Rektor (i.e. president), he is none other than Josef Protschka. He is also Josef Protschka. And Josef Protschka. Hence my additional frustration when, as he entered the ninetieth minute of his sixty-minute lecture with no signs of stopping, I realized I was late for dinner plans and had to leave. The room was dark, and I probably could have made a decent getaway, had I not managed to knock over what seemed like every chair between mine and the exit.

Next week, I’m going to act like a proper American, and sit in the back.

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*If you dare, see last post.

**Not to mention writing sentences like that without triggering my gag reflex.