The choral conductor and acoustics: implications of research for choral/orchestral seating arrangements, especially as adapted to a performance of A.L. Weber's Requiem at Trinity Presbyterian Church in Tucson, Arizona

Abstract

Most choral conductors, at some point in their career, will be faced with the prospect of performing a composition that utilizes both voices and instruments. There is a considerable amount of material to turn to for assistance in the areas of gesture, instrumental conducting terminology, and suggestions for improving communication with a group of instrumentalists. However, very little information is available to help determine proper placement of the musicians for performance. This aspect is critical since one of the major difficulties in dealing with instruments and voices is achieving a dynamic balance between the two forces. Too often the method of obtaining an acceptable balance is limited to the conductor imploring the orchestra to play as soft as possible and the chorus to sing louder. Frequently, especially in large choral/orchestral performances, subtle nuances which have been carefully rehearsed seem to either be disregarded or sacrificed during the performance. The purpose of this study is to provide the choral conductor with information on seating arrangements, acoustical properties of voices, instruments and architecture, and demonstrate how, utilizing this material, a seating arrangement for Trinity Presbyterian Church in Tucson, Arizona was designed. It is hoped that this study will provide information which will assist the conductor in making knowledgeable decisions concerning the placement of musicians toward a more satisfactory dynamic balance.