Our Upcoming Concert and…

Yes, it’s true; but how did we get here?
 
Over the years, for each concert, MTS has always maintained its vision by presenting programming that was unique, enterprising, and entertaining. We featured the less-often-heard gems of mainstream composers and arrangers; women composers; and African American composers. We programmed the music of film composers and Broadway composers who also wrote for the concert hall. We revived important works that had disappeared from regular programming. We celebrated heroes and commemorated the end of World War II. We presented a concert of 17 women composers and, additionally, celebrated Black women composers from Chicago, as well as other composers from Chicago and Illinois. We remembered composers who had “Gone too Soon.” We brought to light the works of composers you wouldn’t have expected wrote legitimate choral music such as, George Gershwin; famed orchestrator/composer, Robert Russell Bennett; three-time Academy-Award- winning songwriter, Harry Warren; Broadway composer Charles Strouse (“Annie,” “Bye, Bye Birdie”); ragtime composer Scott Joplin (“The Entertainer,” “Maple Leaf Rag”); legendary and long-time conductor of the Chicago Symphony, Frederick Stock; and “The March King,” John Phillip Sousa. We featured several local and world premieres.
 
At the time we formed the ensemble that would become the Michael Teolis Singers, in 2007, there was a plethora of vocal groups in the Chicago area. What could we do to make ourselves distinct and unique? Out of this question grew our vision and mission. The majority of my experience with choral ensembles was limited but included 32 amazing years with the William Ferris Chorale, and a stint with the Chicago Symphony Chorus. Working with Ferris for 28 of those years as a member of his ensemble, associate conductor, and studying composition and orchestration with him proved to be my best-ever training. While working closely with him and his ensemble over those years, I broadened my knowledge of choral music, composers, and styles. That was my foundation. For this new ensemble, I was able to apply what I learned from Ferris but also infuse my experiences in other areas of the art. Music and its performances did not always have to be long, academic, or serious. I also thought that just because a piece of music was considered cliché, it doesn’t mean it’s bad literature. As time progressed, and as we recruited each year, I would say to prospective singers, “If you’re looking to sing Messiah or “Bach B Minor,” this is not the group for you. If, however, others stopped doing, Messiah and “Bach B Minor,” then I would do those works.”
 
We had our special moments. Of course, there were the premieres: Alex North’s Negro Mother; Charles Strouse’s Psalm 100; Leo Sowerby’s Olenu; Sir David Willcocks’ You Bring Me Happiness; John Phillip Sousa’s Te Deum; and Kate Swift’s God is My Refuge. I loved creating the themes and doing the research to find the music for those themes, as well as making some amazing contacts. Composing and arranging for the ensemble were also a great and special joys. There were the special performances: MTS was invited to perform at the Chicago History Museum for the closing of the Abraham Lincoln Bicentennial Celebration. Some of the ensemble’s performances are in the archives of the Margaret Herrick Library, the main depository of print, graphic, and research materials of the Academy of Motion Picture Arts and Sciences, as well as at the Library of Congress. Radio legend, Jon Burlingame featured a portion of our performance of Alex North’s cantata, Negro Mother, on his radio program over KUSC in Los Angeles, as part of an Alex North retrospective.
 
There are so many things yet to accomplish with the organization; however, life has taken a different turn. After 18 seasons, I have determined, along with our board, that this concert will be our final performance – our grand finale. There are many reasons. The major challenges began about the time of COVID. Our board and several stalwart Singers did their best to keep us up and running, but there were several signs and a convergence of several events and situations pointing us in a different direction.
 
We had a good run.
 
All should know that our final concert, December 6, will be just as much fun and feature the same kind of programming for which MTS has been known. We will present several selections, I think, represent the character and make-up of the ensemble and its programming and remain in keeping with its vision and mission. There will be carols from different parts of the world. I’m including a few carols in which the audience can share with their voices. I’ve written a special piece for the event. There will be trumpets and cymbals and drums, along with organ! It should all be great fun; we’ll be going out with a bang!
 
I hope to see you there!
 
“Don’t cry because it’s over, smile because it happened.” – Dr. Seuss