Corrections or additions?

This article by Elaine Strauss was prepared for the December 13,

2000 edition of

U.S. 1 Newspaper. All rights reserved.

Marathon of Choral Music: Andrew Megill

Choral conductor Andrew Megill shifts musical gears

as if he was negotiating the hairpin curves of an Alpine road in a

stick shift car. He moves from a chorus of over 100 to one of less

than a dozen, from works with orchestral accompaniment to a cappella

pieces, from amateur groups to professionals, and from the 14th

century

to the 20th, with stops in between. In all, Megill directs six

different

singing groups, of which five are in the New York metropolitan area.

During the week beginning Sunday, December 17, he has only one day

without a concert. In central New Jersey he leads the 125-member

Masterwork

Chorus and Orchestra in Handel’s "Messiah" at New Brunswick’s

State Theater on Sunday, December 17. On Monday and Tuesday, December

18 and 19, he leads the 10-member Fuma Sacra’s Christmas program

spanning

five centuries of British music; concerts take place in Bristol Chapel

of Westminster Choir College. He also directs "Messiah" at

Carnegie Hall Wednesday, December 20, Morristown Community Theater

on Friday, December 22, and at New York’s Avery Fisher Hall on

Saturday,

December 23.

Leading up to the marathon week Megill appears to have spent a

marathon

month with various other engagements. Rehearsals of the assorted

choral

ensembles he conducts, as well as teaching duties at Westminster

demanded

his attention. Having passed the Thanksgiving holidays in Dublin,

Ireland, teaching a course on Bach cantatas, he got a jump on the

Christmas season by conducting the Westminster Singers in a program

of traditional and 20th century seasonal music on December 2. Megill

has been conductor of the Westminster Singers, a 32-member auditioned

student ensemble, since early this year.

Masterwork Chorus and Fuma Sacra, the ensembles whose concerts are

scheduled this week, present the extremes of the territory where

Megill

works, both in size and in professionalism. Masterwork consists of

125 voices, all volunteers. Fuma Sacra consists of 10 professionals.

Interviewed by telephone from his Princeton home, Megill comfortably

accounts for the pleasures of conducting amateurs, as well as

professionals.

"There are advantages to both," he says. "Professionals

bring a wealth of experience. They sing every day for four or five

hours. The expectation for a conductor is of not taking much time

teaching notes or talking about technical issues of vocalism. You

tell them what’s wrong and they know how to fix it."

"Amateurs are there because they love what they do. The

professional’s

choice to take a job is not necessarily motivated by love each time.

A large proportion of professional singers’ incomes, especially early

in their careers, comes because they’re called in to save things.

Often new conductors are not so skilled, or a choral group has

deficiencies.

A lot of jobs are not particularly gratifying musically. There’s no

control over who you’re collaborating with."

"Professionals may not love the particular moment," he says.

"Their enthusiasm may be at a lesser level because they know the

works. With volunteers there’s a freshness. Many amateurs may not

have encountered the work before and they have a wonderful

energy."

Just as Megill’s eclectic taste extends to working with

both professionals and amateurs, he has room in his musical tent for

works from the 12th century to the present. "Early music is more

nuanced and finely shaped," he says. "It’s like painting with

a fine brush. Later, the pieces with orchestra are like painting with

a large brush. But that doesn’t take less skill or care. I’m

fascinated

by the stylistic variations from period to period and country to

country."

The hallmark of Megill’s concerts is a glowing freshness. He

thoughtfully

accounts for the immediacy of his conducting. "If you choose great

music the freshness is there. The potential is in the piece itself,

or you shouldn’t be doing it. You should do pieces that you connect

with."

Megill, 35, was born in Denver. "I grew up in a lot of

places,"

he says (see U.S. 1, December 8, 1993). His father, a physician whose

specialty was tropical medicine, was a medical missionary in Sierra

Leone when Andrew was a child. The family then moved to Bangkok,

Thailand,

where father Megill went as a member of the Peace Corps. When Andrew

was 12, they returned to the United States and settled in northwest

New Mexico, where Dr. Megill worked on a Native American reservation.

He set up a dozen clinics in the large, sparsely populated Four

Corners

area and made daily rounds by plane, acting as his own pilot. He died

about 10 years ago in a plane accident.

Andrew’s mother was the musician. She was a church organist and the

accompanist of church choirs when he was a child, and she brought

music into the family’s daily life. Andrew remembers that she had

her three sons join her to sing quartets around the piano. Everybody,

he says, played piano. She continues her church musical activities

now in Sierra Vista, Arizona, 30 miles south of Tucson.

Andrew’s older brother Kevin is now a professor of computer science

at the University of Illinois in Sterling. His younger brother David

is pastor of a non-denominational church in Albuquerque, New Mexico.

"I’ve known most of my life that music was where I wanted to

be,"

Andrew says. Without digressing, he stayed within the musical fold.

He graduated with distinction from the University of New Mexico in

Albuquerque with a bachelor’s degree in theory and composition. During

most of that time he was assistant conductor of the New Mexico

Symphony

Orchestra Chorus. In 1989 he collected a master of music degree in

choral conducting, with highest honors, from Westminster Choir

College.

He and three other Westminster graduate students founded Fuma Sacra

that year. The ensemble devotes itself primarily to early music. The

present Fuma Sacra (the name means "holy smoke" in Latin)

consists of 8 to 10 singers, depending on the demands of the program.

Its CD, "The Best Nowells That E’er Befell" was issued in

1996.

Megill’s masters project was the historical pronunciation of Latin.

"I needed to know about the different Latins because of the music

Fuma Sacra works with," he says. "They have different effects

musically and expressively." He points out that differing Latin

pronunciations developed over time after the Roman empire fell, giving

rise to vernacular languages, and that the authentic impact of a piece

depends on using pronunciations appropriate for the period.

Megill is supremely concerned with using the sound of

words to deliver a message. He comes up with an enlightening acoustic,

linguistic, psycho-musical explanation. "The art that we’re

working

in," he says, "is the art of expressive sound, of carrying

meaning to an audience. In addition to pitch and loudness, singers

work with the attack and release of words. Words beginning with T,

D, or N, all start with sounds made with the tongue, but they have

different degrees of hardness. The sounds of words are expressive.

This is the major difference between poetry and prose. We extend that

difference to singing."

"Sounds deepen meaning emotionally," he says. "They change

extroversion and introversion. An explosive consonant makes for huge

extroversion, like a violin bow attacking the strings. Vowels are

what we sustain on. They affect the color of a sound by affecting

its timbre. The sound `oo’ is dark; the sound `ee’ is bright. It has

to do with which overtones in the acoustic series are emphasized by

different vowels. Great composers are consciously or unconsciously

aware of these matters."

In vocal performances as a tenor, in performances as a conductor,

and in various capacities at Westminster since obtaining his master’s

degree, Megill has had many opportunities to put his insights in

practice.

Since 1993 he has been active as a diction coach; his specialties

are, in addition to Latin, German, French, Italian, and Czech. Asked

about the array of languages on which he has focused, he says,

"They

were selected by sheer need."

Having experienced choral singing from both ends of the baton, Megill

emerges with a democratic view of choral performance. "I can bring

my own personal experience to the Masterwork Chorus," he says.

"For instance, I’m able to do some voice teaching for them. I

know how my own voice works; I’ve spent much time working on the

technique

of singing. As a conductor you don’t have to make the sound yourself.

Many choral conductors have not sung professionally. I believe that

the relationship between conductor and choir is circular, a matter

of give and take. The conductor has to give a unity of vision,

facilitating

other people’s musicianship and artistry. An atmosphere of

collaboration,

not an authoritarian approach, brings successful music."

With Fuma Sacra, Megill both conducts and sings. "It’s virtually

impossible to do both at the same time," he says. "In a piece

where I sing, I think of it as chamber music. The lead is taken by

different sections of the ensemble. I start and stop things, but then

the interactions take over. It’s possible with Fuma Sacra because

it’s small enough. We have a lot of trust. We know each other well

musically."

Megill’s doctorate in music is of recent origin, earned in choral

conducting from Rutgers’ Mason Gross School of the Arts in 1999. One

of his major student projects, a lecture demonstration on Domenico

Scarlatti’s "Stabat Mater," will reach the public in the form

of a forthcoming self-produced CD, "Mater Dolorosa."

Producing the CD is yet another curve in the road Megill is following.

Skillful as he is at handling all the turns of his professional life,

Megill, nevertheless, is not averse to an easy, gentle period. He

talks about the hiatus after this year’s last "Messiah " as

"a much needed chance to relax over Christmas."

— Elaine Strauss

The Messiah, Masterwork Chorus, State Theater, 15

Livingston Avenue, New Brunswick, 732-246-7469. Handel’s Christmas

oratorio performed by the choir with soloists Tamara Matthews, Laura

Brooks Rice, Charles Reid, and David Kravitz. Music director Andrew

Megill leads the chorus. $17.50 to $37.50. Sunday, December 17,

3 p.m.

A Modern and Ancient Christmas, Westminster Choir

College ,

Bristol Chapel, 609-921-2663. Fuma Sacra’s 10-voice ensemble presents

a Christmas program spanning five centuries of British music, led

by Andrew Megill. $18. Monday and Tuesday, December 18 and 19,

at 8 p.m.


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