The Faith of Beethoven

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In entertainment, there is a popular expression along the
lines of “leaving them asking for more.” However, according to John Sutton,
Artistic Director of the Angeles Chorale, music lovers throughout the Southland
will leave UCLA’s Royce Hall asking not only for more music but for more
performances led by Resident Guest Conductor Donald Neuen when the renowned
choral ensemble concludes its 39th season, “Conversations of the
Soul” with “The Faith of Beethoven: A Musical Journey of Hope” on Saturday,
June 7 at 8:00 p.m.  

“It’s hard to believe that this will be Don’s final
appearance with the Chorale,” says Sutton. “For many in our audience, Don and
the Angeles Chorale are an inseparable entity. I include myself in that group
and fully expect that all of us will be in tears as the last note sounds and
the bravos begin.”

Under Neuen’s baton, the Angeles Chorale – joined by the
UCLA Chorale, the UCLA Philharmonia, and piano soloist Neal Stulberg – will
perform Beethoven’s Hallelujah Chorus
from the Mount of Olives, the Choral Fantasy (Op.80) and the Mass in C. Soprano Sarah Grandpre, alto
Sarah Anderson, tenor Daniel Suk, and bass Michael Dean will appear as guest
soloists.

“No greater brilliance of sound for instruments and voices
has ever been produced before – or since – the compositional genius of Ludwig
van Beethoven,” says Neuen, a Distinguished Professor of Music at UCLA.

Those more familiar with the Hallelujah Chorus from Handel’s Messiah
than with Beethoven’s from the Mount of
Olives will find that, while both works are beautiful and inspiring, each
is dramatically different.

“Beethoven’s Hallelujah
Chorus is more expressive dynamically and in a more romantic style of
composition,” says Neuen. “It is a more ‘robust’ proclamation of praise to
God.”

The Choral Fantasy
Neuen describes simply as “a one of a kind composition – a  ‘piano concerto’ for piano soloist,
orchestra, chorus, and vocal solo quartet.”

The Mass in C,
Neuen continues, is a very expressive, often hugely powerful setting of the
five segments of the Catholic Mass that numbers – along with Beethoven’s Missa Sollemnis and the final movement
of the Ninth Symphony—among
Beethoven’s most notable choral compositions.

Audiences may be unaware, however, of just how demanding Beethoven’s
music is for vocalists to perform.

 “It is
physically very hard on the voice to consistently produce the robust power
expected in his writing,” Neuen explains. “He didn’t ‘care’, per se, about the human
element of the voice. He only cared about what he felt he must write, which at
times seems almost ‘inhuman.’ ”

As a result, Neuen and assistant conductor Dr. Rebecca Lord,
Associate Director of Choral Activities at UCLA, have spent much of the Chorale’s
rehearsal time teaching the singers various vocal techniques to keep what he
terms “the delicate vocal mechanism in the throat” completely relaxed and
unharmed.

Thelma Joe Landon, who at 85 is the Chorale’s oldest member,
attests to the long term efficacy of this technique. 

“It’s difficult to explain,” says Landon. “But I think of it
as singing out of my forehead – so that the pressure is not down there in my
throat, putting pressure on the vocal folds. I can sing for hours and not harm
my voice. At my age, I certainly wouldn’t still be able to sing if I hadn’t
learned this.”

Chorale soprano Laura Huusko agrees, likening singing
Beethoven to “an intense, physically demanding workout.”

“Don demands that we as singers always sing beautifully and
with proper technique, which takes focus and repetition, much like athletics,”
says Huusko. “After a full day of work,
it can feel difficult to focus for three hours on creating beautiful music with
a healthy tone, but with Don leading the chorale, I always leave feeling energized
rather than exhausted.”

“T. J. and Laura are two examples illustrating how the
dedicated and talented singers of the Angeles Chorale have worked relentlessly,
over the years, in the pursuit of choral and musical excellence,” says Neuen.
“Although they represent many ‘walks of life’ in the Los Angeles area, they
work at a musical level comparable to that of professional singers.”

In fact, as Neuen sees it, members of the Chorale are
sometimes more ‘professional’ than the pros.

“Their commitment stems from a deep love of singing great
choral music,” Neuen explains. “This often takes them further into rehearsal
preparation than ‘professionals’ would be willing to give without substantial
financial remuneration. Every member of the Angeles Chorale is truly a treasure
within the arts of the LA area. It has been a privilege and honor to work with
them.”

John Sutton responds, “The Chorale begs to differ. The ‘true
treasure’ is Don himself. He will be sorely missed. Envisioning the Angeles
Chorale without Don Neuen is like envisioning classical music without
Beethoven.  It’s inconceivable.
And, yet, at the same time, Don will remain with us. At every rehearsal, every
performance we will strive ceaselessly to make music that makes him proud.”

With this goal, however, come some daunting moments.

“For over 50 years, Don has mentored many, many graduate conducting students…of which I am one,” says
Sutton. “His impact in the field of choral music is monumental. And it is an
equally monumental responsibility, as well as a great honor, to carry on Don’s
legacy as I stand on his shoulders.”

Adds Sutton, “They say Brahms was afraid to tackle a
symphony because he ‘followed’ Beethoven. I know just how he felt.”

Tickets for The Faith of Beethoven are available for $20 to
$40/person. Call 818.591.1735 to purchase tickets or visit www.angeleschorale.org.