Renaissance Man - Philip Brunelle and Music

Dan Dressen’s is typically the first voice you hear on the Renaissance Man podcast. His tenor opens the excerpt of “Quartet Of Swedes” from Benjamin Britten’s opera Paul Bunyan, recorded on Virgin Classics, conducted by Philip Brunelle. In this episode, the two long-time collaborators discuss why, as Dan puts it, “choirs are the perfect example of the whole being greater than the sum of their parts.” 

 After reviewing Dan’s history leading to their first collaboration, the two discuss the business of choral rehearsing, the science and art of “choral blend,” why pronunciation matters most, the fortunate end of the maestro era, the benefits and challenges of listening, and why, “singing is such a psychological game. ” We end with a synopsis of friendship. Given over 40 years of personal and professional relations, Dan and Philip share a few lessons in how two people come to understand, respect and build a lasting connection. We recorded this in the Parlor of Plymouth Congregational Church in Minneapolis, where you’ll notice the old grandfather clock chiming in every 15 minutes and the occasional group moving through neighboring Guild Hall. This episode features the following musical recordings, all conducted and produced by Philip Brunelle: “Dear Friends, With Your Leave” composed by Benjamin Britten; from the opera Paul Bunyan — featuring tenor soloist Dan Dressen with The Plymouth Music Series (1988) https://www.discogs.com/master/877906-BrittenPlymouth-Music-Series-Philip-Brunelle-Paul-Bunyan “The King of Love My Shepard Is” composed by Edward C. Bairstow and performed by the Plymouth Congregational Church Choir at the 11am Service October 20, 2024 https://www.youtube.com/watch?v=-WT0Vauj5L4&t=1s “There Was A Naughty Boy” composed by Dominick Argento; from A Nation of Cowslips — Performed by the Ensemble Singers Of The Plymouth Music Series Of Minnesota (1998) https://www.discogs.com/release/15742159-Dominick-Argento-Christopher-ORileyEnsemble-Singers-Of-The-Plymouth-Music-Series-Of-Minnesota-Philip “What Cheer, Good Cheer” composed by Peter Warlock; from Praise And Thanksgiving: Music And Spoken Word — Featuring tenor soloist Dan Dressen with the Plymouth Congregational Church Choir (2006)

This episode features Philip speaking with Plymouth Church's "Engaging with Aging" group about his childhood and early career, his relationship with his mother, and the importance of gratitude, providence and curiosity in establishing a remarkable career and life.

When we proposed this podcast episode to define a theoretical "MBA of Philip Brunelle," his response was, "good luck." Turns out there's plenty to reveal. And it all starts with that most important trait/skill/characteristic: Curiosity. "It must be your north star," Philip replies. We began at the beginning: 55 years ago Philip founded an arts organization. We discuss where the name VocalEssence came from. And we talk about what constitutes his approach—as a startup going from zero to "n." Philip details a deliberate mindset, a vision which informed how VocalEssence (at the time called the Plymouth Music Series) operated. We discuss consistent Philip's approach to managing, hiring, budgets, rehearsing and board relations. Then we talked about the importance of truly understanding your audience. As Philip puts it, VocalEssence's audience is, "always willing to hear new things, provided they are produced top notch. They know they will be challenged (by the repertoire) but they also know the performance will be world class." Finally, we dive into Philip's reaction to a non-profit fundraising challenge articulated by the author and educator Seth Godin. This episode ends with "The Earth Adorned" by performed by the Plymouth Congregational Church in Minneapolis choir from the album Praise And Thanksgiving—Music And Spoken Word.

Here's an episode for anyone curious about how a 55+ year old choral arts organization continues to thrive through its operational leadership. This Thanksgiving weekend we're turning our gratitude to VocalEssence Executive Director Mary Ann Aufderheide to celebrate her 20+ years helping lead the organization. So much to uncover in this episode, including her journey to VE, decades of lessons learned, insights around arts leadership, the evolution of arts management, and the challenges and joys of evolving a leadership role alongside an organization co-founder. Philip, Tim and Mary Ann discuss the balance of executive versus artistic leadership, the evolving role of an arts org board, and Mary Ann's highlights over the past 20 years. Thanks for your remarkable era of leadership, Mary Ann!

Philip loves jokes and puns. So let's start there as a prelude to describing the 55th seasons at both VocalEssence and Plymouth Congregational Church in Minneapolis. Turns out various choir members have given Philip books of jokes and riddles, along with many other trinkets over the decades so we discussed that tradition. Then we worked through the many highlights of VocalEssence's 55th season, noting numerous new choral commissions, various collaborations, the challenge of selecting just 90 minutes of "favorites" from 55 years of curating and commissioning, and the return (in March) of Melanie DeMore—listen to Philip's interview with Melanie from episode 09 (link below). The second half of this episode focuses on the diverse repertoire selected for Plymouth from September to June, again highlighting lots of new commissions. The episode ends with a 2010 VocalEssence recording of the American folks song "Oh Dear! What Can the Matter Be" arranged by Norman Luboff. NOTES VocalEssence's 55th Season https://www.vocalessence.org/event/subscribe-vocalessence-2023-2024-season/ Melanie DeMore Interview (episode 9) https://soundcloud.com/renaissanceman-352514445/09-protest-music-with-melanie-demore

We're each a product of our times and experiences. In this episode Philip retraces some historic moments to uncover insights across 80 years of choral direction, church music and artistic leadership. We discuss his favorite church organs around the world. That moment at the New York Philharmonic in June 1968 holding the score to Gunther Schuller's Concerto for Doublebass and Chamber Orchestra, while sitting between Leonard Bernstein and Aaron Copland. And the opportunities and challenges when shifting from performer to leader. We get Philip's perspective on the word "retirement," to wit, "I'm not going to." And his advice to signers, conductors, organizational leaders and audiences.

23 - St Olaf ACDA Interview by Tim Brunelle

This episode is a quick recap of Philip's journey to Istanbul for the 2023 World Choral Symposium. We talk about his previous trip to Istanbul 60 years prior, and the range of insights uncovered during this year's event, and his visit to the historic Blue Mosque. We also preview the final concert of VocalEssence's 54th season featuring Moira Smiley, the American Choral Director's Association annual meeting at the end of this month, and Philip's plans for the summer. VocalEssence Concert https://www.vocalessence.org/event/singing-the-world-awake2/ World Choral Symposium https://wscmistanbul2023.com

"Singing is a tricky business!" notes Philip, before he flies East to attend the 2023 World Choral Symposium in Istanbul. "It's the only musical experience where you can't see your instrument." In episode 21 we sat down to talk about the business of being a choir director. "It begins with observing the product, the choir in action," says Philip. He learned by being a choir member first, then watching how others, including Robert Shaw and Charles Munsch, directed. Philip's first full-time choir director position came with also being the organist at Holy Trinity Lutheran in Minneapolis at age 20. (He had joined the Minnesota Orchestra the year prior.) Philip moved to become Organist and Choir Director at Plymouth Congregational Church in Minneapolis at age 25, where he has remained since. "Choirs need three things," says Philip. "The first is rhythm. That's the most important skill. Then you learn notes. And then words. That's it!" Philip also talks about the business of "singing as one," which is not about blend—rather, about achieving a unified sound. He also reveals various habits, process and techniques for helping balance choirs, build confidence among singers, and increase their flexibility. "50% of what a choir does is vocal. 50% is listening," says Philip. As a director, you are always coaching ways to actively listen, so a choir hears where and how each part fits in the picture. This episode features excerpts from two VocalEssence recordings. The first is from Lobgesang (Hymn of Praise)by Felix Mendelssohn (1840). The second is "A Ukrainian Prayer" by John Rutter. Both can be found at VE's YouTube page.

The State of Choral Music Around the World, Circa 2023. To begin the 2023 season of this podcast we journey around the globe to gain an understanding of choirs, audiences, repetoire and innovation in choral music. Philip surveyed his network to gain perspective from choral leaders, including: • Simon Halsey, Chorus Director – City of Birmingham (England) Symphony Chorus • Jorge Cordoba, radio program: Horizontes de Nuestra Música (Mexico) • Reijo Kekkonen, publisher of Finnish choral music - Sulasol  • Jonathan Velasco, Senior Lecturer, University of Philippines College of Music  • Virginia Bono, Founder and Artistic Director, Estudio Coral Meridies (Argentina)  • Yoshi Egawa, Deputy Secretary-General, Japan Choral Association Both choirs and audiences are coming back, but slowly, worldwide. Within Philip’s network, he’s estimating audiences returning to roughly 60-75% of pre-Covid levels, as of early 2023. Interestingly, in both Finland and especially the U.S. there’s been a shift in ticket purchasing—from season tickets and per event tickets sold months in advance to much shorter purchasing windows. The average is now just a few weeks, and often day-of purchasing, which is impacting the ability for choral organizations to plan financing of choral programs effectively.  Choirs are also curious about and embracing more diverse sources of repetoire. In Mexico there’s a resurgence in interest in pre-Hispanic sounds and instruments.    And in a nod to the value of continuous innovation, Philip encourages young choral musicians to, “Be curious—See what’s out there, and what’s out there may not be brand new...it may be somthing that was written 100 years ago.”And to conclude, Philip’s assessment of the state of choral music globally is: It is thriving, growing and embracing a wider range of music, in great part because, “Everyone needs music in their life for their own soul and for their own well being.”   *** We closed out this episode with a snippet of Felix Mendelssohn’s Lobgesang (Hymn of Praise), performed by the VocalEssence Chorus & Ensemble Singers featuring Nicholas Chalmers, tenor, JoAnna Johnson, soprano, Elsa Buck, soprano II, and orchestra conducted by Artistic Director & Founder Philip Brunelle—recorded at Benson Great Hall, Bethel University in Arden Hills, MN on Saturday, October 15, 2022.

Philip dives into the work involved in planning not one, but two seasons: His 54th as Organist and Choir Master at Plymouth Congregational Church in Minneapolis, and the 54th season of VocalEssence. As Philip notes, "People love challenges in choral music" and both seasons deliver. We discuss the business of being a music director in these two seasons, and the efforts required to get them ready for launch. Then we talk through details behind the six major concerts in VE's 54th year.

Episode 18 welcomes 5-time Grammy winning drummer and composer Stewart Copeland to unravel his latest composition, the oratorio Satan's Fall. In this episode, brother Chris steps in for Tim as Philip and Stewart discuss the intricacies of the source text, Milton's epic Paradise Lost. As for composing, "The most important thing in any piece of music is rhythm," says Philip. "That's it. It starts with rhythm. I always say (to a choir), 'You've got just three things to deal with... you've got rhythm, notes, and words... and you learn them in that order.'" The trio discuss the commissioning process, writing specifically for choir and Stewart's assertion that in Satan's Fall, "choir is boss." Thanks to Cody Boudrot for engineering. Photo credit: Ali Rogers/Pranalens Music in episode 18: Opening montage is a collection of VocalEssence and Plymouth Church choir moments plus Philip Brunelle on organ and conducting orchestra. The closing moment is a segment from Act I of Stewart Copeland's Satan's Fall from Milton's "Paradise Lost". The Mendelssohn Choir of Pittsburg, Matthew Mahaffey conducting; God (bass Hayden Keefer), Satan (bass Scott O’Neal) narrators, Raphael (tenor Nathan Granner), Raphaella (soprano Jamie Chamberlin) and the Messiah (soprano Stephanie Sue Curtice). Source: https://www.youtube.com/watch?v=KisCEHVdMjk

Episode 17 covers the expanse of inspiration and insights leading to VocalEssence's 2021-2022 season. Philip talks about researching and programming a diverse mix of choral music—from Astor Piazzolla to Gabriel Kahane to The Aeolians to Jose Nünez to Stewart Copeland of The Police. "There's so much great choral music of the past and present," notes Philip, gesturing to the tens of thousands of scores surrounding his office. In this episode we also learn what constitutes a "fantastic" composition for singers, that Philip manages to "inbox zero," and the secret history linking Stewart Copeland to Philip back in 1977.

An apt title for this episode might be How a Choral Director Works Through a Pandemic (and Other Adversities). In facing the onset of the pandemic in early 2020, Philip recalls, "my reaction was—become creative. What are the opportunities to share music in a new way, in a new dimension?" That's our main focus in this episode, on the ways in which a choral director pivots in the face of a situation that literally threatens choral music. There was a lot to learn, and a lot that's now changed. Philip remarks, "We know there's no going back. we can be in a space, we can sing... but there's an audience beyond the room, so it's going to have to be streamed. We have to think about the audience in the venue and the audience watching on their screen." At the root of it all is a mindset: "When something comes at you that you are not expecting, don't panic. Panic will get you nowhere, except down a path you don't want to go."

And we’re back! We return to the topic of Improvisation—this time focusing on improv in the realm of Opera. (See episode 11 for Improv, Part One.) You might not consider Opera a venue for improvisation but the practice goes back to the Baroque era and the practice of ornamentation. Philip discusses this, and more, in a conversation including singer and long-time operatic improv partner Vern Sutton. The two first met at the University of Minnesota in the 1960s. They take us on a journey to Minnesota Opera in the 1970s and its fully improvised performances of The Newest Opera in the World, directed by Wesley Balk. Imagine an opera who’s libretto, roles and music style are dictated by the audience spinning a wheel of fortune—Act 1 might be Romantic while Act 2 is German Expressionism. “Improvisation teaches trust, it teaches ensemble,” notes Sutton. The two define the process and rigor involved in organizing eight singers to improv together over dozens of performances. They also discuss failing, the role of the audience, resilience, and Balk’s book about their experiences together, The Complete Singer-Actor: Training for Music Theater. The episode includes several instances of Vern singing while Philip collaborates on piano to illuminate various points.

In this episode, Philip walks us through his methodology for preparing a Christmas music season — starting with his first at Plymouth Congregational Church in Minneapolis in 1968. We discuss programming, rehearsing, and then focus on the topic of carols. Philip talks about the history, structure and nuances of effective Christmas carols. We end with a review of the winners in this 20th year of VocalEssence's holiday carol contest.

Way back in 1969 a 25-year old Philip Brunelle was hired as organist and choirmaster at Plymouth Congregational Church in Minneapolis, while still serving as percussionist and pianist for the Minnesota Orchestra. Clearly, he wasn't busy enough. Because in that same year, Philip founded the Plymouth Music Series of Minnesota which later became VocalEssence (http://vocalessence.org). In this episode we go back in time to understand the organization's founding stories -- the motivations and challenges Philip faced, as well as his inspirations. We talk about how Philip met Aaron Copland (it involves sitting between Leonard Bernstein and Copland) then later inviting Copland to Minneapolis to conduct his choral work. We talk about the systems and attitudes necessary to sustain decade upon decade of inventive musical programming, financial stability and audience engagement. And we talk about what's in store for VocalEssence's 50th season, as well as the next 50 years. If there's a founder's story, this is it. This episode also features three numbers from VocalEssence's 1990 Virgin Classics recording of Aaron Copland's opera The Tender Land. Act 1 - Two Little Bits Of Metal Act 2 - Stomp Your Foot Upon The Floor Act 1 - The Promise Of Living

In mid-March 2018, Philip sat down with Pulitzer Prize winning music composer, and Minneapolis resident, Dominick Argento. Their conversation ranges across a decades-long relationship, from the 1960s when Philip was student and Dominick his teacher at the University of Minnesota, to later periods when Philip commissioned Dom to write all kinds of choral music.

In this first of three related episodes, Philip begins a conversation on Improvisation. After checking in on recent adventures with the IFCM in Barcelona, Spain and Kaili, China, Philip dives in—discussing improv training, perspectives and experiences in the classical, church and operatic realms. He touches on French organist training, Handel’s oratorios, Baroque ornamentation and Bel Canto, as well as music theory and the importance of understanding Inventions, Sonata Form, Fugue form, etc. Philip talks about a legendary improvisation experience taking over the piano chair for Arthur Kleiner to support a five hour silent film - Abel Gance’s Napoleon - at the Walker Art Center. He digs into the preparation and live improvisations created for Minnesota Opera’s “Newest Opera in the World” as well as frequent and varied types of improvisations on A Prairie Home Companion with Garrison Keillor and his infamous weekly organ improvisations during Sunday services at Plymouth Congregational Church in Minneapolis.

In this tenth episode, Philip talks about preparations and excitement for the American Choral Directors Association national convention, which involves thousands of singers from all over the world, taking place in Minneapolis in early March 2017.