It was a few lifetimes ago that I served as ward choir director, one of my favorite callings! During the time I served, we put on two or three hearty Christmas programs and staged a well-done "From Cumorah's Hill" fireside. We always had a good turnout, though the same folks didn't always come two weeks in a row. I had big plans but was (and am) definitely a realist. I think I know when to fish or cut bait, musically speaking!
During my first year in the calling, I wanted the choir to sing from Handel's
Messiah for our Easter service. Let's just say it was a tall order. A nail biter! The experience turned out so well, however, that I wrote it up and submitted it to the
Ensign. They bought it and put it in the publish queue, or so I thought, but the month or so before it would have run, President Hinckley died and I think that it was bumped permanently. Oh well... I just wanted those who participated with me that spring to know what a special spiritual experience it was. Ward choir often combines the silly with the sacred, the mundane with the magical, and terror with triumph. It was so for me.
I just got home from a ward choir practice tonight, and our valiant/not always adequate attempts to nail the Christmas songs in time for Sunday's program brought back these memories of my own choir director fear and faith. Thought I would share ...
Note: try playing the song clip (at the bottom) while reading - the comments about tension/resolution will make even more sense.
Surely He Hath Blessed Our Choir
By Erin Hill Littlefield
We were a wreck. The basses and tenors were supposed to be singing a unison line—yet I kept hearing a variety of notes, none of them correct. I’d moved two altos and myself to the tenor line. Though the range was low, the tenor line was impossibly high for the actual tenors in our choir. The two remaining altos felt less secure with their divided section, so what should have been a confident counterpoint was inaudible. The sopranos knew their parts fine, but the sustained high notes sounded shrill.
Three weeks remained before we were to sing “Surely He Hath Borne Our Griefs” from Handel’s Messiah in sacrament meeting, and we were nowhere near ready.
When I was called to direct the ward choir, I had felt prompted to tackle “Surely He Hath Borne Our Griefs.” Handel’s music is often difficult, but this song was relatively simple, only four pages long. It was also perfect for the Easter season.
The text of the song comes from Isaiah 53:4–5: “Surely he hath borne our griefs, and carried our sorrows. … But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him.” The beginning of the song is forceful, and the ending becomes tumultuous, then resolves into something sublime.
The ward choir was excited. We started in January, dusting off thick, gray Messiah scores from the music closet. For three practices, we sang along with a Mormon Tabernacle Choir CD. Of course we could not match all the notes, but we were getting a feel for the majesty of the song. I figured it would get better.
I figured wrong. After weeks of drilling, our choir seemed no closer to mastering the song. After another three weeks of working doggedly, we still lacked confidence—not to mention good pitch. I started to worry that we wouldn’t have time to learn the replacement selection.
I decided to express my concern at the end of one choir practice. “I’ve been thinking,” I said to the choir as they packed up the gray books, “that we’ve bitten off more than we can chew.” A few people nodded in agreement.
Since I was a child,” I told them, “I have cherished this music’s message, that Christ paid the price for each one of us. This song is a touchstone of my testimony.”
To me, “Surely He Hath Borne Our Griefs” was not mere notes or lyrics. It was gospel truth in musical form. Handel had composed the oratorio in a miraculous fashion, and it would be hard to deny that God had His hand in this music.
“I do think we have tried our very hardest,” I reminded the choir. “I think we can pray for some help in fulfilling this stewardship so we can sing in front of our ward.” Wry smiles scattered across the choir.
I asked each choir member to make it a matter of dedicated prayer that we could learn the music and sing it in a way that would bring the Easter spirit to our ward. I felt an assurance that if we would pray for Heavenly Father’s help, our singing talents would be magnified, and I promised the choir that we would still sing on the scheduled Sunday. Bold words, considering the state of our musical mastery, yet at the end of that discouraging rehearsal, our hearts felt lighter.
Sure enough, during that week, seeing my Messiah score reminded me to pray. Many choir members added their prayers. I invited the stake music chair, a trained soprano, to sing with us.
The following rehearsal, I felt nervous, but we jumped in. The men knew their entrance. I was actually finding the tenor notes. Did we have extra sopranos? I counted the regular faces in the front row, but their sound had doubled. We actually made it all the way through—a first!
And then we stopped. I could tell that our choir, after just one time through, felt the hand of our Heavenly Father in our efforts. Sure, we had places to improve, but it would be manageable. He had answered our prayers and then some! We would be able to perform “Surely He Hath Borne Our Griefs” after all.
We had a few bumps the following Sunday. The accompanist couldn’t attend, and the CD tempo threw us off. We were reminded quickly how weak we really were. Despite our fluster, however, there was hope. We knew Heavenly Father was blessing us, and we knew we needed to keep asking Him for that blessing.
We had faith. We had humility. We also had just one more practice. That week, people may not have practiced their voices, but they did get down on their knees.I even asked Heavenly Father to help people arrive on time. Sure enough, at 8 a.m. sharp, everyone was there.
Soon it was time to sing. The introduction was the right tempo; our entrance was together. Hallelujah! The altos came in powerfully and the baritones followed confidently. Even I was able to sing the tenor line without reading the musical score. We found the right note in a tricky measure. Our stake music chair’s exquisite voice provided substance, especially during those sustained high notes. Even with only about a dozen singers, the music was full.
It was nice to hear the compliments after sacrament meeting, only because it confirmed how far Heavenly Father had taken us. The congregation didn’t have a clue about the progress of our singing. It was our faith in God, not our voices, that allowed us to sing beautifully.