Vollständiges Transkript von Episode 24: Essentially Curious with Conductor Philip Brunelle

Copeland, would you come to Minneapolis and conduct your choral music? 75 00:05:02,565 --> 00:05:04,455 And he said, young man. 76 00:05:04,830 --> 00:05:07,170 No one has ever asked me to do that. 77 00:05:07,830 --> 00:05:09,570 Tell me the date I'll be there. 78 00:05:09,660 --> 00:05:10,620 That is a story. 79 00:05:10,620 --> 00:05:14,460 I read that, and that shocked me that no one asked him to do because 80 00:05:14,460 --> 00:05:15,780 his choral music is wonderful. 81 00:05:15,780 --> 00:05:16,530 It's wonderful. 82 00:05:16,620 --> 00:05:17,050 Yeah, yeah, 83 00:05:17,050 --> 00:05:17,060 yeah. 84 00:05:17,130 --> 00:05:20,700 And so we had a, and so we became lifelong friends. 85 00:05:20,850 --> 00:05:27,180 We later recorded his opera, The Tender Land, which won awards and I mean. 86 00:05:27,235 --> 00:05:31,615 Yeah, no, Aaron was a delightful, wonderful man. 87 00:05:31,825 --> 00:05:35,935 So it was the same thing, you know, some years later I needed a 88 00:05:35,935 --> 00:05:42,355 narrator for a piece that I wanted to commission for narrator and orchestra. 89 00:05:42,355 --> 00:05:44,455 And I thought, whose voice do I want? 90 00:05:44,455 --> 00:05:49,015 And I thought, you know, I think James Earl Jones would be the right voice. 91 00:05:49,645 --> 00:05:50,245 Um. 92 00:05:50,300 --> 00:05:50,750 Hmm. 93 00:05:51,020 --> 00:05:51,980 I better call. 94 00:05:52,310 --> 00:05:55,160 So, because what's he gonna say, yes or no, right? 95 00:05:55,160 --> 00:06:00,650 Well, and I got his number and I called him and I said, I would 96 00:06:00,650 --> 00:06:05,540 like to commission a piece for narrator and orchestra for you. 97 00:06:05,960 --> 00:06:07,790 And he went "for me? 98 00:06:08,210 --> 00:06:13,100 No one's ever commissioned a piece for me." And he said, "I'm 99 00:06:13,100 --> 00:06:15,890 honored and of course I'll do it." And we went from there. 100 00:06:15,980 --> 00:06:17,270 We became dear friends. 101 00:06:17,910 --> 00:06:18,210 Yeah. 102 00:06:18,270 --> 00:06:19,110 How terrific. 103 00:06:19,500 --> 00:06:20,100 We'll just do it. 104 00:06:20,370 --> 00:06:22,650 I'll hand you my number when we're done, and if you need 105 00:06:22,650 --> 00:06:24,060 a narrator, you just call me. 106 00:06:24,150 --> 00:06:24,630 Gotcha. 107 00:06:24,840 --> 00:06:25,140 Gotcha. 108 00:06:25,140 --> 00:06:25,470 Ron. 109 00:06:25,470 --> 00:06:27,270 But I, let's start with Aaron Copeland. 110 00:06:27,300 --> 00:06:31,410 What, describe him in a few words. 111 00:06:31,410 --> 00:06:33,750 What was, what was he like? 112 00:06:34,470 --> 00:06:36,750 He was so friendly. 113 00:06:37,230 --> 00:06:41,910 He was so, um, I mean, so easy to be with. 114 00:06:41,970 --> 00:06:49,500 He, he would get in front of the choir and say, you know, I'm not really a conductor. 115 00:06:49,950 --> 00:06:54,780 Um, but you know, I love what I've composed and I hope we 116 00:06:54,780 --> 00:06:56,880 can do some music together.

117 00:06:56,940 --> 00:07:00,900 I mean, it was very wonderful, humble, very lovely man. 118 00:07:01,104 --> 00:07:01,825 All the way. 119 00:07:01,825 --> 00:07:07,015 He was great and uh, and he wasn't a good conductor, you know? 120 00:07:07,615 --> 00:07:11,065 But I will tell you, he knew what he wanted. 121 00:07:11,065 --> 00:07:11,155 Mm-hmm. 122 00:07:11,155 --> 00:07:11,664 Well, that's right. 123 00:07:11,664 --> 00:07:11,755 Yes. 124 00:07:11,844 --> 00:07:16,495 And he would describe, and so you'd be singing, I remember we were singing At 125 00:07:16,495 --> 00:07:23,715 the River, and we sang what was on the page and he went, no, I know that's 126 00:07:23,715 --> 00:07:27,729 what's on the page, but that's not quite what I really wanted it to be. 127 00:07:27,729 --> 00:07:28,010 Mm-hmm. 128 00:07:28,094 --> 00:07:28,155 Yeah. 129 00:07:28,185 --> 00:07:29,594 So let's kind of work. 130 00:07:29,775 --> 00:07:34,485 And so each piece we would kind of work through what it was that he was 131 00:07:34,485 --> 00:07:40,820 looking for, and uh, he was, yeah, he was absolutely a gem to work with 132 00:07:40,850 --> 00:07:42,800 and the choir, of course, loved him. 133 00:07:43,280 --> 00:07:43,700 Oh, that's terrific. 134 00:07:43,700 --> 00:07:47,120 And they were poured, they just poured themselves out for 135 00:07:47,120 --> 00:07:48,680 him because of what he did. 136 00:07:48,680 --> 00:07:48,920 Sure. 137 00:07:48,920 --> 00:07:48,980 Yeah. 138 00:07:49,370 --> 00:07:49,760 Great. 139 00:07:49,820 --> 00:07:49,970 Yeah. 140 00:07:49,985 --> 00:07:52,940 You, you really, uh, touched on something that's a whole other 141 00:07:52,940 --> 00:07:58,280 episode of this podcast, and that is lifting the music off the page. 142 00:07:58,280 --> 00:07:58,370 Mm-hmm. 143 00:07:58,610 --> 00:08:00,710 Isn't that what our job is? 144 00:08:00,710 --> 00:08:01,400 It is. 145 00:08:01,405 --> 00:08:03,220 And, and how, how do you approach that? 146 00:08:03,900 --> 00:08:05,370 What's, what's the key? 147 00:08:06,110 --> 00:08:10,710 Well, first of all, every piece and every composer is different. 148 00:08:10,770 --> 00:08:11,040 Yeah. 149 00:08:11,220 --> 00:08:15,030 It's not gonna be the same thing with each one. 150 00:08:15,035 --> 00:08:15,165 Mm-hmm. 151 00:08:15,305 --> 00:08:16,365 And you have to kind of like. 152 00:08:17,025 --> 00:08:20,835 What is the pieces feeling? 153 00:08:21,075 --> 00:08:25,575 What was the composer trying to do with this piece? 154 00:08:25,604 --> 00:08:28,664 How can we achieve that idea? 155 00:08:29,145 --> 00:08:33,825 Uh, because indeed rhythms are just an approximation. 156 00:08:33,825 --> 00:08:33,915 Yes. 157 00:08:34,190 --> 00:08:37,130 Of what the composer was looking for. 158 00:08:37,340 --> 00:08:37,730 Yes. 159 00:08:37,730 --> 00:08:44,870 It may show dotted eighth, 16th, dt, dt, dt, but you know, that 160 00:08:44,870 --> 00:08:46,555 may not be quite what they wanted. 161 00:08:46,555 --> 00:08:46,835 Mm-hmm. 162 00:08:46,915 --> 00:08:49,550 Maybe they wanted it to be triplets and they, you know, 163 00:08:49,580 --> 00:08:51,200 who knows who, but the fact is. 164 00:08:51,815 --> 00:08:57,635 Each piece rhythmically and just in terms of its spirit and its phrasing, 165 00:08:57,815 --> 00:08:59,735 you have to take them individually 166 00:08:59,735 --> 00:08:59,825 Sure. 167 00:08:59,825 --> 00:09:01,565 And try to make them your own. 168 00:09:01,565 --> 00:09:01,655 Mm-hmm. 169 00:09:01,955 --> 00:09:07,745 Because you need to be able to share that with the chorus. 170 00:09:07,745 --> 00:09:07,865 Mm-hmm. 171 00:09:09,125 --> 00:09:16,745 I find so often that people who work in the choral music industry have their 172 00:09:16,745 --> 00:09:20,135 roots in the church and in church music. 173 00:09:20,790 --> 00:09:21,840 What's it been for you? 174 00:09:22,890 --> 00:09:28,740 Well, let's put it this way, if your father was a minister, it started 175 00:09:28,740 --> 00:09:32,200 with you as a "PK" Preacher's kid. 176 00:09:32,710 --> 00:09:36,630 So it started, it started with me as a boy soprano. 177 00:09:37,185 --> 00:09:44,355 And my calling card was a song called The Holy City, which I sang forever 178 00:09:44,355 --> 00:09:50,505 as a boy soprano, won contests, singing that and did it all. 179 00:09:50,505 --> 00:09:51,015 Oh no. 180 00:09:51,435 --> 00:09:54,915 Nursing homes, churches, conventions. 181 00:09:55,185 --> 00:09:59,715 Oh, we want little Philip to come and sing the Holy City. 182 00:09:59,720 --> 00:10:00,915 Yes, which I did. 183 00:10:00,975 --> 00:10:01,545 Oh yes. 184 00:10:01,695 --> 00:10:06,195 And then years later, when I mentioned this to a friend. 185 00:10:06,395 --> 00:10:13,715 She dug in the Minnesota radio station, WCCO in their archives, 186 00:10:13,865 --> 00:10:20,645 found the recording of where I had won this contest singing. 187 00:10:20,855 --> 00:10:25,545 And so now she put it out there that people could hear little Philip Brunelle, 188 00:10:25,565 --> 00:10:27,995 age eight singing the Holy City. 189 00:10:28,725 --> 00:10:29,495 So, yeah. 190 00:10:29,935 --> 00:10:30,445 It's there. 191 00:10:30,645 --> 00:10:32,915 Did you bring a copy of that along with you today? 192 00:10:32,955 --> 00:10:33,735 You know, I didn't. 193 00:10:33,735 --> 00:10:36,045 Oh, I didn't, but you know, Dennis, you can find it. 194 00:10:36,045 --> 00:10:36,594 We can find it. 195 00:10:36,594 --> 00:10:37,574 If you really want it. 196 00:10:37,814 --> 00:10:37,995 Yeah. 197 00:10:37,995 --> 00:10:40,574 And he could accompany you on the accordion too, if you really would. 198 00:10:41,175 --> 00:10:43,905 I had a similar background, but my, my training was to accompany 199 00:10:43,905 --> 00:10:45,135 my mother who did the singing. 200 00:10:45,375 --> 00:10:46,605 Ah, okay. 201 00:10:46,605 --> 00:10:49,725 Well, my mother was my accompanist, so oh, yes. 202 00:10:49,755 -->

00:10:51,135 Yeah, absolutely. 203 00:10:51,430 --> 00:10:56,500 But you also, uh, early on, uh, became an organist, uh, and, 204 00:10:56,500 --> 00:10:57,770 and, and an instrumentalist. 205 00:10:57,790 --> 00:10:59,290 Tell us a little bit about your instrumental background. 206 00:10:59,290 --> 00:11:05,020 Well, I started with, I started, uh, I didn't start piano lessons till I was four 207 00:11:05,170 --> 00:11:05,290 Uhhuh. 208 00:11:06,280 --> 00:11:06,460 Oh, wow. 209 00:11:06,520 --> 00:11:08,350 That's a, that's, that's a little old, isn't it? 210 00:11:08,350 --> 00:11:09,100 I kind of waited. 211 00:11:09,100 --> 00:11:09,340 Yeah. 212 00:11:09,340 --> 00:11:09,610 Right. 213 00:11:09,610 --> 00:11:10,810 So I did that. 214 00:11:10,990 --> 00:11:18,160 But then our family knew this friend who was, uh, a missionary in Ecuador. 215 00:11:18,400 --> 00:11:21,939 And he would come up occasionally and he played the marimba. 216 00:11:22,455 --> 00:11:24,825 And I thought, oh, I should learn to play the marimba. 217 00:11:24,945 --> 00:11:25,665 So I did. 218 00:11:25,965 --> 00:11:31,005 And uh, so I did, but then I was told, oh, you should learn to play the organ. 219 00:11:31,185 --> 00:11:34,425 So I was 12 when I started lessons on the organ. 220 00:11:34,845 --> 00:11:37,755 And so I just, you know, sort of kept all that going. 221 00:11:38,055 --> 00:11:45,400 Um, plus just loving everything about singing and uh, um, early on 222 00:11:46,030 --> 00:11:48,400 had this fascination with Handel. 223 00:11:48,670 --> 00:11:52,959 So I thought, well, you know, there's gotta be more things than just Messiah. 224 00:11:53,500 --> 00:11:59,770 And so I started looking at all of his oratorios and was fascinated. 225 00:11:59,770 --> 00:12:05,050 So when I started VocalEssence, we began by doing a Handel Oratorio 226 00:12:05,439 --> 00:12:07,600 every year, but we never did Messiah. 227 00:12:08,020 --> 00:12:09,979 Because everybody else was doing that. 228 00:12:10,219 --> 00:12:13,510 So we did all, we did all these others, and it was amazing. 229 00:12:13,540 --> 00:12:18,819 And I also realized that they were kind of lengthy and audiences were 230 00:12:18,819 --> 00:12:20,470 saying, couldn't you make cuts? 231 00:12:21,189 --> 00:12:23,020 And so I went, oh. 232 00:12:23,140 --> 00:12:25,930 And then I found out that Handel made cuts. 233 00:12:25,930 --> 00:12:25,990 Yeah. 234 00:12:25,995 --> 00:12:26,185 Mm-hmm. 235 00:12:26,770 --> 00:12:27,880 And didn't do the whole thing. 236 00:12:27,880 --> 00:12:32,620 So I realized I didn't have to do three hour oratorios. 237 00:12:32,880 --> 00:12:36,910 I could do one and a half or two hour oratorios. 238 00:12:36,960 --> 00:12:41,070 And start, and it was like, oh, you learn programming lessons. 239 00:12:41,250 --> 00:12:41,430 Yeah. 240 00:12:41,430 --> 00:12:41,520 Mm-hmm. 241 00:12:41,760 --> 00:12:45,570 The key there of course is not to, uh, mess up the story too bad. 242 00:12:45,585 --> 00:12:46,890 No, no, no, no, no, no. 243 00:12:46,890 --> 00:12:51,510 But there's always in those, a lot of arias that are just simply, uh, 244 00:12:51,540 --> 00:12:53,610 adding an emotion to the moment. 245 00:12:53,730 --> 00:12:54,060 Sure. 246 00:12:54,180 --> 00:12:54,480 Yeah. 247 00:12:54,870 --> 00:12:59,130 How does VocalEssence, the group that you're, uh, in charge of these days. 248 00:12:59,745 --> 00:13:00,525 How does it? 249 00:13:00,525 --> 00:13:01,785 You mean that I founded. 250 00:13:02,625 --> 00:13:03,735 That you, that you founded? 251 00:13:03,735 --> 00:13:04,525 Didn't we talk about that? 252 00:13:04,525 --> 00:13:04,685 Yes. 253 00:13:04,944 --> 00:13:05,265 Okay. 254 00:13:05,265 --> 00:13:07,545 Talk about the founding of VocalEssence. 255 00:13:07,844 --> 00:13:08,865 Alright, there you go. 256 00:13:09,375 --> 00:13:13,875 Well, I was appointed the organist director at Plymouth Congregational 257 00:13:13,875 --> 00:13:19,005 Church in Minneapolis and when that happened I got thinking about, 'cause 258 00:13:19,005 --> 00:13:24,344 I've lived in the Twin Cities forever and I got thinking about, you know, there 259 00:13:24,344 --> 00:13:31,075 should be a choral group in town that would focus on music besides the 10 or 260 00:13:31,075 --> 00:13:33,885 12 war horses which people were doing. 261 00:13:34,315 --> 00:13:37,375 And so that got me thinking about it. 262 00:13:37,375 --> 00:13:42,265 I went to the minister at the church and said, do you think outside of the 263 00:13:42,265 --> 00:13:44,555 church we could start a choral series? 264 00:13:45,805 --> 00:13:48,755 And he was wonderful and said, do what you need to do. 265 00:13:49,025 --> 00:13:53,885 And so many of the church choir participated, but also people in 266 00:13:53,885 --> 00:13:56,855 the community got involved in this. 267 00:13:57,005 --> 00:14:04,445 It started as a, um, a, a volunteer organization and then over the years 268 00:14:04,475 --> 00:14:07,925 it created, um, more parts to it. 269 00:14:08,255 --> 00:14:12,010 I now, uh, here we are 56 years later. 270 00:14:12,460 --> 00:14:16,570 Uh, we started a professional chorus of 32 singers. 271 00:14:17,020 --> 00:14:22,900 Uh, and then 10 years ago I thought we needed to start a youth choir 272 00:14:23,320 --> 00:14:29,140 that looked like the Twin Cities, not just a youth choir, but I didn't 273 00:14:29,140 --> 00:14:34,600 want it to be quotas and so I have a wonderful associate conductor. 274 00:14:34,960 --> 00:14:42,765 Uh, and so he took the idea and went into every high school in the Twin Cities 275 00:14:43,064 --> 00:14:48,495 and said to the kids, now if you'll come and talk to me about being in a new 276 00:14:48,495 --> 00:14:51,555 choir, uh, I'll give you a water bottle. 277 00:14:52,155 --> 00:14:56,145 So he gave away about 400 water bottles and 278 00:14:56,145 --> 00:14:57,345 Incentives are everything, 279 00:14:57,345 --> 00:14:57,975 I guess

it was. 280 00:14:57,975 --> 00:14:58,185 Yeah. 281 00:14:58,245 --> 00:15:03,225 You know, and he also said to them, I, you know, the audition was to take 282 00:15:03,225 --> 00:15:05,955 their phone and sing something to him. 283 00:15:06,630 --> 00:15:07,080 Aha. 284 00:15:07,200 --> 00:15:08,490 And that was the audition. 285 00:15:08,550 --> 00:15:08,640 Mm-hmm. 286 00:15:08,880 --> 00:15:10,470 Anyway, we have this group. 287 00:15:10,680 --> 00:15:13,050 It's, as I said, not about quotas. 288 00:15:13,050 --> 00:15:17,520 It's about can you, uh, are you interested in being in a choir? 289 00:15:17,550 --> 00:15:22,620 And so if you looked at this group now of 40 singers, and of course obviously 290 00:15:22,620 --> 00:15:26,140 they're high schools, so it changes every year, but if you looked at it, you'd go. 291 00:15:26,650 --> 00:15:28,510 Oh, that looks like the Twin Cities. 292 00:15:28,600 --> 00:15:31,270 It sort of represents everybody. 293 00:15:31,480 --> 00:15:34,990 It's a mixture of all of those groups come together. 294 00:15:35,050 --> 00:15:40,630 And obviously after the first year, those folks tell their friends. 295 00:15:40,630 --> 00:15:40,650 Yep, yep. 296 00:15:40,650 --> 00:15:40,895 Sure. 297 00:15:40,990 --> 00:15:41,980 And then their friends. 298 00:15:41,980 --> 00:15:43,510 And so you get this whole group. 299 00:15:44,230 --> 00:15:48,160 And then the fourth group that we started about, uh, maybe, let's 300 00:15:48,160 --> 00:15:49,420 see, it's been 10 years now. 301 00:15:49,810 --> 00:15:54,740 Uh, I wanted to do something among the retirement homes in the 302 00:15:54,740 --> 00:15:59,355 Twin Cities to get older people singing and continuing to sing. 303 00:15:59,835 --> 00:16:04,025 And I thought, well, you don't wanna call them old people's choirs. 304 00:16:04,485 --> 00:16:08,235 So we've now called them Vintage Voices. 305 00:16:08,475 --> 00:16:08,985 I love it. 306 00:16:09,015 --> 00:16:09,405 Perfect. 307 00:16:09,405 --> 00:16:09,465 Yeah. 308 00:16:09,525 --> 00:16:10,785 They love it. 309 00:16:10,845 --> 00:16:11,175 Yeah. 310 00:16:11,205 --> 00:16:16,694 And so we are in three different, uh, places in the Twin Cities where people 311 00:16:16,694 --> 00:16:21,074 can come and they do concerts and sing, and it's been absolutely great. 312 00:16:21,074 --> 00:16:22,485 So we have Vintage Voices. 313 00:16:22,995 --> 00:16:28,425 The, the youth choir, we asked them to create their name the first year 314 00:16:28,995 --> 00:16:34,875 and they decided to take the last four letters of Minnesota SOTA. 315 00:16:34,875 --> 00:16:34,935 Yeah. 316 00:16:35,265 --> 00:16:39,224 And call themselves "Singers of This Age." 317 00:16:39,704 --> 00:16:40,785 How about that? 318 00:16:40,785 --> 00:16:41,214 And so we, 319 00:16:41,214 --> 00:16:42,250 that's a creative bunch. 320 00:16:42,530 --> 00:16:43,395 So we have SOTA. 321 00:16:43,770 --> 00:16:44,970 Yeah, they're great. 322 00:16:45,120 --> 00:16:49,650 And so that, and then we have the ensemble singers, which is the professional group. 323 00:16:50,040 --> 00:16:53,160 And then we have a chorus, a volunteer chorus of 120. 324 00:16:53,220 --> 00:16:53,790 Wow. 325 00:16:53,910 --> 00:16:54,360 Wow. 326 00:16:54,360 --> 00:16:57,790 And then with the 120, you do big things. 327 00:16:58,550 --> 00:16:59,630 With orchestra? 328 00:16:59,730 --> 00:17:01,560 Some with orchestra, some acapella. 329 00:17:01,590 --> 00:17:05,640 But you know, it could be, it could be acapella, things that they needed to do. 330 00:17:05,640 --> 00:17:09,240 And each year, maybe a different theme and we work together. 331 00:17:09,270 --> 00:17:09,540 Yeah. 332 00:17:09,639 --> 00:17:13,449 And do you find spaces for 120 voices to perform in? 333 00:17:13,510 --> 00:17:13,750 Yeah. 334 00:17:13,810 --> 00:17:14,829 Well we do. 335 00:17:14,889 --> 00:17:21,270 We find, we find some, uh, either in schools or churches find for them to work. 336 00:17:21,489 --> 00:17:22,000 It's been great. 337 00:17:50,125 --> 00:17:56,275 From their 50th anniversary concert in 2018, the VocalEssence Ensemble 338 00:17:56,275 --> 00:18:01,465 singers led by Philip Brunelle with just the final portion of, in 339 00:18:01,465 --> 00:18:03,804 the beginning by Aaron Copeland. 340 00:18:05,620 --> 00:18:10,090 More of our conversation with Philip Brunelle at the 2025 Conference of 341 00:18:10,090 --> 00:18:15,274 Chorus America in just a moment with Bach Society Music Director Dennis Sparger. 342 00:18:15,489 --> 00:18:18,820 I'm Ron Klemm, and this is Bach Talk. 343 00:18:23,290 --> 00:18:26,860 I wanna talk a little bit about your work in opera, because you've spent 344 00:18:26,860 --> 00:18:30,520 some time with the Minnesota Opera for actually some length of time. 345 00:18:30,520 --> 00:18:32,570 Do you still work with the Minnesota Opera at all? 346 00:18:33,129 --> 00:18:35,770 No, I worked with them for 17 years. 347 00:18:35,830 --> 00:18:36,100 Right. 348 00:18:36,460 --> 00:18:41,919 I mean, when I was at the University of Minnesota, I was 349 00:18:42,245 --> 00:18:46,270 a, a piano and percussion major. 350 00:18:46,659 --> 00:18:52,690 And my second year at the university, I was asked to come and play a 351 00:18:52,690 --> 00:18:55,060 concert with Minnesota Orchestra. 352 00:18:55,510 --> 00:19:00,430 So I did, and the third year I was there, they said, we want 353 00:19:00,430 --> 00:19:02,169 you to become a full-time member. 354 00:19:02,720 --> 00:19:07,580 So then it was, okay, I need to keep going to school, but I need to be in 355 00:19:07,580 --> 00:19:09,710 the orchestra full time, which I did. 356 00:19:09,980 --> 00:19:12,830 So I played in the orchestra for five years. 357 00:19:12,830 --> 00:19:14,330 Starting when you were how old? 358 00:19:15,175 --> 00:19:15,715 20. 359 00:19:16,435 --> 00:19:16,975 Wow. 360 00:19:17,065 --> 00:19:17,455 Yeah. 361 00:19:17,514 --> 00:19:17,784 20. 362

00:19:18,004 --> 00:19:19,304 Sounds like twentyish. 363 00:19:19,355 --> 00:19:20,325 Yeah, it was 20. 364 00:19:20,515 --> 00:19:20,735 yeah. 365 00:19:20,945 --> 00:19:21,545 Did that. 366 00:19:21,545 --> 00:19:29,245 And then, um, after five years, uh, one summer I had this wonderful opportunity. 367 00:19:29,754 --> 00:19:35,500 I got a call, would I come for a opera training program at the 368 00:19:35,500 --> 00:19:39,430 Metropolitan Opera, and, uh, I thought this would be great. 369 00:19:39,580 --> 00:19:40,240 So I did. 370 00:19:40,240 --> 00:19:45,639 It was going through tons of operas, uh, with George Schick, who was 371 00:19:45,639 --> 00:19:52,510 the number two conductor at The Met and, uh, Schick, he was a great guy. 372 00:19:52,690 --> 00:19:53,920 And so I did that. 373 00:19:53,920 --> 00:19:58,389 I came back and Minnesota Opera called and said, we'd like you 374 00:19:58,389 --> 00:19:59,950 to become the music director. 375 00:20:00,250 --> 00:20:05,385 So this was in the early days, starting VocalEssence, and I was 376 00:20:05,385 --> 00:20:07,125 at the church, but I said yes. 377 00:20:07,245 --> 00:20:13,645 So for 17 years, I was the music director at Minnesota Opera, and then 378 00:20:13,705 --> 00:20:18,475 as VocalEssence just got bigger and bigger, I realized I couldn't do this. 379 00:20:18,625 --> 00:20:23,005 So then I just quit the opera and I've been back twice to 380 00:20:23,005 --> 00:20:24,535 conduct something for them. 381 00:20:24,535 --> 00:20:28,105 But, uh, yep, that, and I've done guest conducting of operas. 382 00:20:28,375 --> 00:20:34,225 I've done some in Sweden, did one in South Africa, other places in the USA. 383 00:20:34,420 --> 00:20:36,580 So, so I've kept that part of it. 384 00:20:36,580 --> 00:20:42,970 And obviously also at VocalEssence, we've occasionally done, uh, concert 385 00:20:42,970 --> 00:20:49,940 versions of operas that I, if, if, if they had a major choral part. 386 00:20:50,409 --> 00:20:53,590 It wasn't gonna be an opera just to show some solos. 387 00:20:53,590 --> 00:20:54,460 Yeah, no, no, I understand. 388 00:20:54,520 --> 00:20:58,780 But if it had a wonderful choral part, Ooh, why don't we do that? 389 00:20:58,785 --> 00:20:59,115 There you go. 390 00:20:59,375 --> 00:21:00,555 You know, and we did, yeah. 391 00:21:01,720 --> 00:21:02,650 Uh, touring. 392 00:21:02,800 --> 00:21:06,460 It appears that the VocalEssence has done a little bit of touring around the world. 393 00:21:06,460 --> 00:21:07,840 At least you hinted at that. 394 00:21:07,840 --> 00:21:08,890 Tell us about that. 395 00:21:09,010 --> 00:21:10,465 Well, the next one coming up. 396 00:21:11,335 --> 00:21:13,795 Uh, the ensemble singers, the 32. 397 00:21:14,004 --> 00:21:14,125 Yeah. 398 00:21:14,155 --> 00:21:16,015 Will be in England. 399 00:21:16,015 --> 00:21:18,595 The last week of July. 400 00:21:19,135 --> 00:21:24,115 They've been invited to sing at The Three Choirs Festival, 401 00:21:24,504 --> 00:21:27,145 which is like the big deal. 402 00:21:27,145 --> 00:21:27,504 Yes, it is. 403 00:21:27,504 --> 00:21:28,324 In England. 404 00:21:28,405 --> 00:21:28,415 Mm-hmm. 405 00:21:28,470 --> 00:21:32,845 And we are the third American choir in their history. 406 00:21:33,025 --> 00:21:33,265 Really? 407 00:21:33,295 --> 00:21:34,765 To, in, to be invited. 408 00:21:35,035 --> 00:21:37,225 So we will do a concert there. 409 00:21:37,495 --> 00:21:41,455 We will do an even song at Westminster Abbey. 410 00:21:42,160 --> 00:21:49,450 We will do a concert in the Abbey at Bath and we will do a broadcast, 411 00:21:49,480 --> 00:21:55,410 uh, a video broadcast, uh, of Christmas music for the BBC. 412 00:21:55,465 --> 00:21:56,065 Oh, wonderful. 413 00:21:56,065 --> 00:21:56,345 Yeah. 414 00:21:56,415 --> 00:21:57,225 Wonderful trip. 415 00:21:57,825 --> 00:21:58,275 Yep. 416 00:21:58,365 --> 00:22:01,275 Yeah, so they will be, it will be great to have these things. 417 00:22:01,575 --> 00:22:06,825 I've also arranged for, you know, like a lunch one day for them to have lunch 418 00:22:06,825 --> 00:22:12,975 with John Rutter and then another lunch with uh, Bob Chilcott and uh, you 419 00:22:12,975 --> 00:22:16,794 know, so there's been some nice little things that will happen around the way. 420 00:22:17,270 --> 00:22:20,990 Touring though, can't be the first focus of the, of the group? 421 00:22:20,995 --> 00:22:21,085 No. 422 00:22:21,200 --> 00:22:21,380 No. 423 00:22:21,380 --> 00:22:24,140 It's about building this audience as you, as you said. 424 00:22:24,440 --> 00:22:25,250 And uh, 425 00:22:25,520 --> 00:22:26,030 It is. 426 00:22:26,030 --> 00:22:30,590 Except, you know, when you get a call from three choirs, you go, maybe we could come. 427 00:22:30,590 --> 00:22:31,280 Maybe we could come, 428 00:22:31,280 --> 00:22:31,870 figure out a way. 429 00:22:31,870 --> 00:22:32,580 Maybe we can work this out. 430 00:22:32,600 --> 00:22:32,860 Yep. 431 00:22:32,860 --> 00:22:33,250 Figure out a way. 432 00:22:33,250 --> 00:22:40,030 But, also your home audience loves the fact that there are people interested 433 00:22:40,030 --> 00:22:42,010 in hearing you in another country. 434 00:22:42,290 --> 00:22:42,750 Somewhere else, yes. 435 00:22:42,850 --> 00:22:46,090 They think, oh, that's kind of wonderful to have happen. 436 00:22:46,149 --> 00:22:46,239 Mm-hmm. 437 00:22:46,479 --> 00:22:52,300 We've also, several times toured to Mexico and done programs down 438 00:22:52,300 --> 00:22:58,855 in Mexico City, uh, and in that area and a couple of times to Asia. 439 00:22:59,095 --> 00:23:05,754 We were with the World Choral Symposium over there in Korea and sang, and 440 00:23:05,754 --> 00:23:10,495 another trip was in China and Japan. 441 00:23:11,155 --> 00:23:11,215 Wow. 442 00:23:11,215 --> 00:23:11,235 So, yeah. 443 00:23:11,245 --> 00:23:13,165 So there's been, you know, things there. 444 00:23:13,165 --> 00:23:13,570 So

yeah. 445 00:23:14,695 --> 00:23:17,635 The problem with all those, of course it's called expense. 446 00:23:17,665 --> 00:23:18,745 Well, it's very expensive. 447 00:23:19,075 --> 00:23:19,315 Yes. 448 00:23:19,315 --> 00:23:26,335 Do what, what repertoire do you take to, uh to, to represent, uh, 449 00:23:26,335 --> 00:23:28,705 the Midwest to, uh, other lands. 450 00:23:28,945 --> 00:23:31,045 What, what do you look to do with that? 451 00:23:31,675 --> 00:23:35,995 Depending on the event or the country? 452 00:23:36,115 --> 00:23:38,575 Mostly I take American music. 453 00:23:38,605 --> 00:23:38,695 Mm-hmm. 454 00:23:39,355 --> 00:23:44,665 Um, when you go to Europe, the only composers they've ever heard of, 455 00:23:45,024 --> 00:23:47,845 unfortunately are Bernstein and Copeland. 456 00:23:48,460 --> 00:23:52,240 And so, you know, and I go, that's fine and we can do that. 457 00:23:52,270 --> 00:23:52,390 Mm-hmm. 458 00:23:52,630 --> 00:23:54,910 But we've got lots of other composers. 459 00:23:55,150 --> 00:24:00,460 Uh, and the same thing would be true when we have gone to Asia. 460 00:24:00,580 --> 00:24:00,670 Mm-hmm. 461 00:24:00,940 --> 00:24:05,980 And, but they love to know that we could do arrangements of spirituals 462 00:24:05,980 --> 00:24:06,055 For sure. 463 00:24:06,255 --> 00:24:06,575 Spirituals. 464 00:24:06,610 --> 00:24:07,420 I was gonna ask about that. 465 00:24:07,450 --> 00:24:08,350 Oh yes. 466 00:24:08,620 --> 00:24:12,520 They want, but they also are interested if you can do folk songs. 467 00:24:12,820 --> 00:24:16,540 I mean, the only folk song I think they know is Shenandoah. 468 00:24:17,100 --> 00:24:20,160 You know, and I'm going like, it's beautiful, but you know what? 469 00:24:20,190 --> 00:24:21,770 We have others, you know? 470 00:24:21,770 --> 00:24:25,710 So, you know, there's you, it's kind of a feeling of broadening. 471 00:24:26,470 --> 00:24:30,280 What is out there in terms of repertoire and what you can do. 472 00:24:30,700 --> 00:24:36,010 But basically I would try to do American music always, including 473 00:24:36,280 --> 00:24:38,419 some Minnesota composers. 474 00:24:38,760 --> 00:24:43,810 Because we have a number of them, whether it's Dominick Argento or 475 00:24:43,810 --> 00:24:46,800 Libby Larsen or Stephen Paulus. 476 00:24:47,110 --> 00:24:50,020 I mean, there's a number of them that you know we could do. 477 00:24:50,020 --> 00:24:51,550 So I've always included some of that. 478 00:25:23,695 --> 00:25:27,595 Once again, we are hearing the VocalEssence ensemble singers 479 00:25:27,655 --> 00:25:31,895 in concert led by their founder and conductor, Philip Brunelle. 480 00:25:31,915 --> 00:25:37,735 This is "The Day is Done" by Minnesota composer, Stephen Paulus. 481 00:25:37,915 --> 00:25:39,780 Let's listen to just a little more. 482 00:26:39,625 --> 00:26:43,254 More from Philip Brunelle in just a moment, including his 483 00:26:43,254 --> 00:26:47,754 thoughts on the long-running radio show, A Prairie Home Companion. 484 00:26:48,235 --> 00:26:53,185 Our conversation took place at the 2025 Conference of Chorus America in 485 00:26:53,185 --> 00:26:57,344 St. Louis, along with Bach Society Music Director Dennis Sparger. 486 00:26:57,594 --> 00:27:00,834 I am Ron Klemm, and this is Bach Talk. 487 00:27:05,410 --> 00:27:09,450 I wanna know about Garrison Keillor. 488 00:27:09,790 --> 00:27:10,210 Okay. 489 00:27:10,330 --> 00:27:13,480 Talk to me about this guy and you. 490 00:27:13,510 --> 00:27:15,550 Now let's, let's set the record straight. 491 00:27:15,850 --> 00:27:20,590 He was on the air for a long, long time, but you led a choir 492 00:27:20,830 --> 00:27:23,320 for his very first broadcast. 493 00:27:23,500 --> 00:27:24,160 Am I right? 494 00:27:25,105 --> 00:27:27,235 I was on the first broadcast. 495 00:27:27,235 --> 00:27:27,685 Oh, okay. 496 00:27:27,774 --> 00:27:29,935 But there wasn't a choir on the broadcast. 497 00:27:29,935 --> 00:27:30,475 Oh, okay. 498 00:27:30,925 --> 00:27:34,855 He had called me, he was at the university as a student. 499 00:27:35,395 --> 00:27:38,245 I didn't know him and he didn't know me. 500 00:27:38,250 --> 00:27:38,409 Mm-hmm. 501 00:27:38,629 --> 00:27:43,555 But he called and said, um, say I'm gonna start this radio 502 00:27:43,585 --> 00:27:49,705 broadcast and I need somebody who knows classical music and hymns. 503 00:27:50,455 --> 00:27:52,015 And I said, yeah, that's me. 504 00:27:52,585 --> 00:27:55,085 And he said, do you really know hymns? 505 00:27:55,405 --> 00:28:01,405 And I said, Garrison, every hymn, you know, I know the question will be, who 506 00:28:01,405 --> 00:28:05,215 knows more verses and the answer is me. 507 00:28:07,285 --> 00:28:09,445 Which was true, was true. 508 00:28:09,445 --> 00:28:09,760 Of course it was true. 509 00:28:09,955 --> 00:28:13,585 Anyway, so he invi, he asked me to come on the show. 510 00:28:13,855 --> 00:28:15,685 So I was on the first show. 511 00:28:15,685 --> 00:28:20,264 It was, you know, a veryintimate little thing of a couple people. 512 00:28:20,625 --> 00:28:28,455 We did the show and I stayed around for a couple of months doing it, and I 513 00:28:28,455 --> 00:28:30,705 then realized I just didn't have time. 514 00:28:31,120 --> 00:28:34,360 Because it was going to evolve and I could see that he needed in a hurry. 515 00:28:34,390 --> 00:28:34,660 Yeah. 516 00:28:34,750 --> 00:28:35,530 In a big hurry. 517 00:28:35,530 --> 00:28:36,580 And I couldn't do that. 518 00:28:36,730 --> 00:28:42,490 So then I said, you know, Garrison, why don't you invite my friend Butch Thompson? 519 00:28:42,670 --> 00:28:42,760 Mm-hmm. 520 00:28:42,790 --> 00:28:47,980 To come on and he could be your music guy, because Butch was fantastic. 521 00:28:48,129 --> 00:28:48,190 Yeah. 522 00:28:48,250 --> 00:28:52,660 And, and, and, and he did, and Butch became the next guy on the show. 523 00:28:53,020 --> 00:28:58,120 Then some

years later, he started thinking about having a 524 00:28:58,120 --> 00:29:00,845 chorus come on and he called me 525 00:29:00,875 --> 00:29:01,955 Yeah, once in a while. 526 00:29:01,955 --> 00:29:02,165 Yeah. 527 00:29:02,495 --> 00:29:05,855 And then we, we would go on like once a month or once every six weeks. 528 00:29:06,215 --> 00:29:13,475 And the secret with Garrison was, I mean, he'd, you could either bring some ideas of 529 00:29:13,534 --> 00:29:21,995 repertoire that you could propose, uh, he didn't want it too high faluten, you know? 530 00:29:22,065 --> 00:29:22,475 No. 531 00:29:22,655 --> 00:29:22,775 Yeah. 532 00:29:22,775 --> 00:29:23,635 But that's okay. 533 00:29:23,635 --> 00:29:26,335 We, we did, but, but he liked classical music. 534 00:29:26,425 --> 00:29:26,515 Oh, yeah. 535 00:29:26,515 --> 00:29:27,325 So it wasn't that. 536 00:29:27,415 --> 00:29:35,845 No, we did, but it was more, uh, also, uh, that he wanted to write lyrics to songs 537 00:29:35,845 --> 00:29:40,705 and then have us perform them, and they would be hilarious lyrics and all that. 538 00:29:40,975 --> 00:29:44,275 And it would all be done at the last second. 539 00:29:44,725 --> 00:29:48,985 You never, some of it you might get a day before, but you know. 540 00:29:49,375 --> 00:29:49,945 And so 541 00:29:49,945 --> 00:29:52,220 The music or the lyrics or both? 542 00:29:52,225 --> 00:29:52,405 Both. 543 00:29:52,405 --> 00:29:52,825 Both. 544 00:29:52,885 --> 00:29:54,295 Oh, for crying out loud, goodness. 545 00:29:54,295 --> 00:29:54,475 Yeah. 546 00:29:54,655 --> 00:29:58,315 But you see, as long as you were flexible and could do it. 547 00:29:58,525 --> 00:30:03,625 But at the same time, Garrison and I were good friends and if he handed me something 548 00:30:03,625 --> 00:30:05,995 that I thought we couldn't do well. 549 00:30:06,235 --> 00:30:06,385 Mm-hmm. 550 00:30:06,635 --> 00:30:08,585 I would just say, yeah, I don't think we can do this. 551 00:30:08,765 --> 00:30:10,504 Let's save it for another time. 552 00:30:10,504 --> 00:30:11,495 And he'd go, okay. 553 00:30:11,825 --> 00:30:16,595 You know, he didn't like, oh, he wasn't, you know, but at the same time, I knew 554 00:30:16,895 --> 00:30:20,975 that if I thought we could do it, then we would, at our quick rehearsal, I'd 555 00:30:20,975 --> 00:30:22,745 say, okay, gang, here's what we have. 556 00:30:22,775 --> 00:30:24,785 Let's, let's put it together. 557 00:30:24,785 --> 00:30:27,245 And, and, and they would do it. 558 00:30:27,335 --> 00:30:31,805 Um, but Garrison was very, uh, he had lots of last minute 559 00:30:31,805 --> 00:30:33,845 ideas, which is how he operated. 560 00:30:34,265 --> 00:30:41,860 I would also do a, I didn't do a lot, but I did about, oh, I'd say 10 or 15 programs 561 00:30:41,860 --> 00:30:45,020 with symphony orchestras with him. 562 00:30:45,070 --> 00:30:45,160 Mm-hmm. 563 00:30:45,350 --> 00:30:50,830 And around the country, and you know, that was obviously had to be preset. 564 00:30:50,889 --> 00:30:51,010 Sure. 565 00:30:51,100 --> 00:30:51,190 Mm-hmm. 566 00:30:51,430 --> 00:30:55,570 And so you'd get that and you knew the music, but even then he would 567 00:30:55,570 --> 00:30:59,649 have written new lyrics to things that showed up at the last moment. 568 00:31:00,100 --> 00:31:01,660 Okay, here we go. 569 00:31:02,110 --> 00:31:03,610 This was, it was typical. 570 00:31:03,910 --> 00:31:06,310 And Garrison and I stay in touch. 571 00:31:06,310 --> 00:31:06,700 I don't. 572 00:31:06,935 --> 00:31:10,084 I haven't talked to him for the last week, so you know. 573 00:31:10,084 --> 00:31:10,354 Right. 574 00:31:10,354 --> 00:31:10,445 Well 575 00:31:10,504 --> 00:31:11,465 you have his number. 576 00:31:11,735 --> 00:31:12,215 I do. 577 00:31:12,725 --> 00:31:13,084 You can talk. 578 00:31:13,084 --> 00:31:13,895 He calls me. 579 00:31:13,895 --> 00:31:14,824 I call him. 580 00:31:14,824 --> 00:31:15,094 Yeah. 581 00:31:15,215 --> 00:31:18,395 He still is all over the country performing. 582 00:31:18,395 --> 00:31:23,014 Yeah, he's, but now he's pretty much doing it with just, he's there and he 583 00:31:23,014 --> 00:31:25,655 goes with Rich Dworsky as his pianist. 584 00:31:26,294 --> 00:31:29,235 He might bring a singer along, but it's just , you know, but 585 00:31:29,235 --> 00:31:32,415 he loves doing it small and he's doing it all over, so it's great. 586 00:31:32,565 --> 00:31:35,264 Well, he, he still has a strong followers. 587 00:31:35,325 --> 00:31:36,284 Oh, my word. 588 00:31:36,284 --> 00:31:37,425 Yes, yes, yes, yes. 589 00:31:37,425 --> 00:31:38,264 Absolutely. 590 00:31:38,445 --> 00:31:42,375 I mean, you know, Garrison is, he's now, uh, 83. 591 00:31:43,765 --> 00:31:46,274 I'll tell that you just gave that up, but that's alright. 592 00:31:46,274 --> 00:31:48,044 No, he'd say it, he'd say it too. 593 00:31:48,044 --> 00:31:48,585 I know he would. 594 00:31:48,585 --> 00:31:48,794 Yeah. 595 00:31:48,945 --> 00:31:52,245 There are two things I just learned though in the last two minutes about 596 00:31:52,245 --> 00:31:54,615 Philip Brunelle, and that is one. 597 00:31:55,189 --> 00:31:59,720 You don't mind taking risks because that's what you have to do. 598 00:31:59,780 --> 00:31:59,870 Yes. 599 00:31:59,870 --> 00:32:00,919 In life, right? 600 00:32:00,919 --> 00:32:01,699 You got it Sometimes. 601 00:32:01,730 --> 00:32:02,179 Yes. 602 00:32:02,735 --> 00:32:06,004 And the other thing is the importance of trust, right? 603 00:32:06,010 --> 00:32:06,100 Mm-hmm. 604 00:32:06,179 --> 00:32:06,189 Mm-hmm. 605 00:32:06,334 --> 00:32:09,574 If you don't have trust with somebody, it's not gonna work. 606 00:32:09,635 --> 00:32:09,935 No. 607 00:32:09,965 --> 00:32:14,254 Trust was the big and still is for the, it's the same as, 608 00:32:14,254 --> 00:32:15,485 you know, as Dennis knows. 609 00:32:15,485 --> 00:32:15,574 Sure. 610 00:32:15,574 --> 00:32:16,264 With

choirs. 611 00:32:16,264 --> 00:32:16,415 Sure. 612 00:32:16,415 --> 00:32:16,594 Yes. 613 00:32:16,624 --> 00:32:17,260 You know, learning. 614 00:32:17,950 --> 00:32:21,129 How you, what you're gonna do, that you trust your singers and 615 00:32:21,129 --> 00:32:22,845 they trust you and make it work. 616 00:32:22,845 --> 00:32:24,939 And you're a board and your colleagues, 617 00:32:25,090 --> 00:32:27,750 your soloists, your orchestra, all of us. 618 00:32:27,950 --> 00:32:28,460 Makes sense. 619 00:32:28,485 --> 00:32:28,685 Yeah. 620 00:32:28,685 --> 00:32:33,310 I mean, one of the things when I started VocalEssence, uh, and of course I had 621 00:32:33,310 --> 00:32:35,919 no idea how do you create a board? 622 00:32:36,100 --> 00:32:37,540 How do you raise money? 623 00:32:37,540 --> 00:32:39,700 I didn't know any of making that happen. 624 00:32:39,700 --> 00:32:39,790 Mm-hmm. 625 00:32:40,030 --> 00:32:41,139 But I figured it out. 626 00:32:41,200 --> 00:32:46,780 And so in 56 years, uh, we have never had a deficit. 627 00:32:47,780 --> 00:32:48,110 Uh. 628 00:32:48,605 --> 00:32:51,305 But it is not by sitting around. 629 00:32:51,545 --> 00:32:55,355 It is by raising money, by talking to people. 630 00:32:55,835 --> 00:32:59,525 And you know, I mean, we have a budget now of about two and a half million. 631 00:32:59,525 --> 00:32:59,585 Wow. 632 00:32:59,855 --> 00:33:02,110 And, uh, we make it, yeah. 633 00:33:02,130 --> 00:33:02,675 We make it work. 634 00:33:02,675 --> 00:33:03,815 It's not by. 635 00:33:04,345 --> 00:33:06,385 You are hoping it will happen. 636 00:33:06,445 --> 00:33:09,835 You have to work hard to make it happen, and you have to know that 637 00:33:09,835 --> 00:33:11,755 people believe in what you're doing. 638 00:33:11,815 --> 00:33:11,995 Yeah. 639 00:33:12,000 --> 00:33:12,190 Yeah. 640 00:33:12,235 --> 00:33:16,465 I remember many, many years ago that you changed the name of the organization. 641 00:33:16,795 --> 00:33:21,355 Did it take a while for that new name to start sticking with your audience? 642 00:33:21,835 --> 00:33:22,645 It did. 643 00:33:23,064 --> 00:33:26,725 We changed the name because of course we were at Plymouth Church, so I 644 00:33:26,725 --> 00:33:28,524 thought, well, Plymouth Music Series. 645 00:33:28,945 --> 00:33:32,064 However, there were two problems over the years. 646 00:33:32,064 --> 00:33:36,745 One, one of the big suburbs in town is Plymouth, Minnesota. 647 00:33:36,745 --> 00:33:37,044 Right. 648 00:33:37,375 --> 00:33:41,985 So many people thought our concerts were in Plymouth, Minnesota. 649 00:33:42,054 --> 00:33:43,915 Geographically confusing right there. 650 00:33:44,215 --> 00:33:49,794 Then the other one, when your initials are Plymouth Music Series, PMS. 651 00:33:50,765 --> 00:33:51,125 Uh huh. 652 00:33:51,155 --> 00:33:51,995 Maybe not. 653 00:33:52,055 --> 00:33:52,355 Yeah. 654 00:33:52,445 --> 00:33:52,955 Yeah. 655 00:33:53,015 --> 00:33:54,065 Maybe someone, 656 00:33:54,065 --> 00:33:55,115 someone caught that. 657 00:33:55,175 --> 00:33:56,075 Yeah, someone caught that. 658 00:33:56,075 --> 00:33:57,995 So the name was terrific when you began. 659 00:33:58,055 --> 00:33:58,415 Yep. 660 00:33:58,475 --> 00:33:58,685 Just. 661 00:33:59,120 --> 00:33:59,720 Just right. 662 00:33:59,750 --> 00:34:00,260 It was right. 663 00:34:00,379 --> 00:34:04,490 But this was 15 years later, we realized we've gotta change. 664 00:34:04,550 --> 00:34:10,370 And then I brought a group of, of, um, advertising folks together. 665 00:34:10,580 --> 00:34:11,870 Let's think about a name. 666 00:34:11,930 --> 00:34:13,880 And we tried a bunch of them. 667 00:34:14,239 --> 00:34:14,569 Of course. 668 00:34:14,569 --> 00:34:18,050 They said, oh, well we can just call it Philip Brunelles Music series. 669 00:34:18,050 --> 00:34:19,489 I said, absolutely not. 670 00:34:19,739 --> 00:34:25,140 Because my goal is I'm gonna do this as long as I can, but at the time that I 671 00:34:25,140 --> 00:34:27,449 should step down, it's gonna continue. 672 00:34:27,449 --> 00:34:27,540 Mm-hmm. 673 00:34:27,840 --> 00:34:30,330 Therefore, I don't want it named after me. 674 00:34:30,330 --> 00:34:32,279 'cause you'd have to change the name again. 675 00:34:32,399 --> 00:34:32,550 Yeah. 676 00:34:32,760 --> 00:34:35,670 So then we began, and finally somebody said, you know, the 677 00:34:35,670 --> 00:34:39,090 essence of what we do is vocal. 678 00:34:39,420 --> 00:34:41,590 Why don't we call it VocalEssence? 679 00:34:41,850 --> 00:34:43,199 And I went, you got it. 680 00:34:43,500 --> 00:34:44,970 And that's how we get the name. 681 00:34:44,970 --> 00:34:45,359 Mm-hmm. 682 00:34:45,965 --> 00:34:48,840 But so is the quality of the organization. 683 00:34:49,175 --> 00:34:50,554 This made it work so well. 684 00:34:50,644 --> 00:34:50,734 Mm-hmm. 685 00:34:50,974 --> 00:34:52,175 No matter what you would've called it. 686 00:34:52,444 --> 00:34:53,104 Exactly. 687 00:34:53,314 --> 00:34:53,885 Exactly. 688 00:34:53,885 --> 00:34:55,715 To me, it was all about that. 689 00:34:55,745 --> 00:34:58,274 What we will do is top quality. 690 00:34:58,585 --> 00:35:04,175 That everybody will come to a concert many times not knowing the repertoire 691 00:35:04,175 --> 00:35:07,115 we're going to do, and they'll go, well, we don't know what we're going to 692 00:35:07,115 --> 00:35:09,965 hear, but we know it will be well done. 693 00:35:10,115 --> 00:35:11,344 Oh, that's just incredible. 694 00:35:11,404 --> 00:35:13,955 And that's the most important thing to come there. 695 00:35:14,135 --> 00:35:16,654 So there's a lot of music we do that is not. 696 00:35:16,670 --> 00:35:20,990 Familiar, but people will come and they go, okay, you know, this is 697 00:35:20,990 --> 00:35:22,460 probably something I should hear. 698 00:35:22,460 --> 00:35:24,410 And here we go, let's see what happens. 699 00:35:24,950 --> 00:35:28,460 There'll be other

times that it'll be something they know, but it's a 700 00:35:28,460 --> 00:35:31,819 real, it's a real kind of interesting mix of putting those together. 701 00:35:31,880 --> 00:35:32,000 Yeah. 702 00:35:32,000 --> 00:35:34,760 And how often does the chorus perform throughout the year? 703 00:35:35,269 --> 00:35:41,930 We do six concerts a year and so there's, you know, there's an October. 704 00:35:42,559 --> 00:35:47,240 Uh, there's this year coming up, uh, there's the October one. 705 00:35:47,240 --> 00:35:50,359 There's the December welcome Christmas program. 706 00:35:50,840 --> 00:35:54,259 There's January when John Rutter is gonna be with us. 707 00:35:54,349 --> 00:35:54,410 Wow. 708 00:35:54,649 --> 00:36:00,529 Our February is our witness concert, which focuses on African American music, 709 00:36:00,800 --> 00:36:03,050 which we've now done for 35 years. 710 00:36:03,050 --> 00:36:03,060 Yes. 711 00:36:03,564 --> 00:36:08,840 And then there will be several more concerts in the spring that we will do. 712 00:36:09,019 --> 00:36:09,109 Mm-hmm. 713 00:36:09,349 --> 00:36:09,420 So, yeah. 714 00:36:09,469 --> 00:36:09,620 Yeah. 715 00:36:09,649 --> 00:36:10,429 Usually six. 716 00:36:10,460 --> 00:36:10,609 Yeah. 717 00:36:11,840 --> 00:36:14,960 You, you clearly are a forward thinking type of guy. 718 00:36:15,229 --> 00:36:15,559 Yep. 719 00:36:15,620 --> 00:36:18,769 But you've also earned the right to reflect. 720 00:36:18,920 --> 00:36:19,040 Mm-hmm. 721 00:36:19,340 --> 00:36:24,019 You've had a lot of time to think about all the things that you've accomplished, 722 00:36:24,109 --> 00:36:27,979 and I just wanna reflect, uh, see if you'd reflect on a couple of things. 723 00:36:27,979 --> 00:36:33,769 For example, who, who or what shaped Philip Brunelle most? 724 00:36:34,460 --> 00:36:41,630 Well, certainly I owe a lot to the encouragement of my mother. 725 00:36:42,139 --> 00:36:46,160 My father, as I mentioned, was a minister, but he died when I was in 726 00:36:46,160 --> 00:36:49,910 eighth grade and left her with five kids. 727 00:36:49,939 --> 00:36:50,000 Wow. 728 00:36:50,029 --> 00:36:56,509 And uh, it was, I didn't know at the time how poor we were, but 729 00:36:56,509 --> 00:36:58,849 we were below the poverty level. 730 00:36:58,910 --> 00:37:00,679 I found out later, but. 731 00:37:01,175 --> 00:37:05,224 She was, you know, so positive we're gonna make this work. 732 00:37:05,375 --> 00:37:08,465 There was never, oh, woe is me. 733 00:37:08,915 --> 00:37:09,724 None of that. 734 00:37:09,875 --> 00:37:11,764 We just simply moved on. 735 00:37:12,125 --> 00:37:18,335 And I, one of the stories I remember hearing later was that when my 736 00:37:18,335 --> 00:37:24,035 father died, my piano teacher, who was this phenomenal guy in town, uh, 737 00:37:24,064 --> 00:37:29,585 called my mother and said, I know you can't afford lessons anymore. 738 00:37:29,915 --> 00:37:36,365 For Philip, but he can't stop, so if you won't

tell him, they will now be free. 739 00:37:37,505 --> 00:37:41,795 And so until I finished high school, I would get these classes. 740 00:37:42,005 --> 00:37:45,814 I used to wonder, I wonder how she can afford to do this, you know? 741 00:37:46,265 --> 00:37:51,995 And then after high school, she told me that Mr. Bergman had said this. 742 00:37:52,024 --> 00:37:57,109 And I've tried when I go out to do workshops with young people. 743 00:37:57,439 --> 00:38:02,990 I say, you know, you won't find a ton of people that are ultra 744 00:38:02,990 --> 00:38:04,670 talented, but you'll find people. 745 00:38:04,675 --> 00:38:04,944 Mm-hmm. 746 00:38:05,330 --> 00:38:08,660 You need to be able to believe and help these people. 747 00:38:08,660 --> 00:38:08,720 Yeah. 748 00:38:09,170 --> 00:38:10,970 And some way, whatever that is. 749 00:38:10,970 --> 00:38:11,059 Yes. 750 00:38:11,240 --> 00:38:15,139 And for me, it was my piano teacher helping me to do that. 751 00:38:15,470 --> 00:38:18,620 But she was, she was a very positive person. 752 00:38:18,859 --> 00:38:22,939 And so when I think about doing things like saying, well. 753 00:38:23,259 --> 00:38:24,849 You don't know if you don't ask. 754 00:38:24,910 --> 00:38:25,090 Yes. 755 00:38:25,090 --> 00:38:28,330 It would be the kind of thing that my mother would've said to 756 00:38:28,330 --> 00:38:32,465 me as I continued on in life. 757 00:38:32,795 --> 00:38:41,194 I also had a phenomenal high school choral director, um, Harry Opal, who was very 758 00:38:41,524 --> 00:38:44,644 well, that we would never have done junk. 759 00:38:45,245 --> 00:38:47,554 We would've done good music. 760 00:38:47,554 --> 00:38:47,644 Right. 761 00:38:47,705 --> 00:38:53,524 And he was very, and he was there at Mini Haha Academy for 40 years. 762 00:38:53,585 --> 00:38:59,404 And he also, knowing my situation when I started. 763 00:38:59,490 --> 00:39:05,370 In ninth grade kind of took me under his wing and kind of steered me, found me the 764 00:39:05,370 --> 00:39:08,520 right organ teacher to take lessons from. 765 00:39:09,000 --> 00:39:12,060 And I was the accompanist also for the choir. 766 00:39:12,060 --> 00:39:17,220 And he wa he was just a very important figure in my life. 767 00:39:17,220 --> 00:39:21,479 So, you know, a few people like that to guide you can make all the difference. 768 00:39:21,479 --> 00:39:21,689 Certainly. 769 00:39:21,720 --> 00:39:23,760 As we all know in how it works. 770 00:39:24,090 --> 00:39:26,910 I also, at the church, um. 771 00:39:27,904 --> 00:39:32,194 I tried, have tried to encourage, uh, high school kids, you know, 772 00:39:32,194 --> 00:39:37,325 hey, if you wanna on Sunday, be my page turner at the organ, do. 773 00:39:37,745 --> 00:39:46,054 And I remember one time, oh, this is 20 years ago, uh, I had a young kid who was 774 00:39:46,054 --> 00:39:53,314 my page turner and one Sunday he came to me and he said, I suppose you, you don't 775 00:39:53,314 --> 00:39:55,835 want me to be your page turner anymore. 776 00:39:55,835 --> 00:39:56,434 And I said. 777 00:39:56,750 --> 00:39:57,290 Why? 778 00:39:57,620 --> 00:40:01,279 And he said, well, you know, I just told my folks that I'm gay. 779 00:40:01,790 --> 00:40:04,460 I said, what is that to do with turning pages? 780 00:40:05,990 --> 00:40:07,550 Not anything, I know. 781 00:40:07,640 --> 00:40:07,880 Yeah. 782 00:40:07,910 --> 00:40:10,850 You know, and he kind of really, I said, of course not. 783 00:40:11,029 --> 00:40:12,950 No, you can, you're, you're my page turner. 784 00:40:13,310 --> 00:40:17,720 You know, I mean, it's stuff that, how you , how you you can encourage 785 00:40:17,720 --> 00:40:18,980 people, how you do, you know? 786 00:40:18,980 --> 00:40:19,069 Yes. 787 00:40:19,130 --> 00:40:19,819 Support them. 788 00:40:19,939 --> 00:40:21,470 Support them, and what you do. 789 00:40:21,470 --> 00:40:22,340 Absolutely. 790 00:40:22,430 --> 00:40:22,640 Yeah. 791 00:40:24,245 --> 00:40:26,104 What would you, last question. 792 00:40:26,165 --> 00:40:26,465 Okay. 793 00:40:26,465 --> 00:40:29,345 I promise I, and I thank you so much for your gracious time. 794 00:40:29,345 --> 00:40:30,335 This has been terrific. 795 00:40:30,335 --> 00:40:35,975 What would you like to impart on our young people moving forward? 796 00:40:36,395 --> 00:40:40,265 What is the life lesson that you wanna pass on? 797 00:40:42,785 --> 00:40:48,604 I would say that I would say to young people who are interested in music. 798 00:40:49,774 --> 00:40:53,165 Um, I want you to be inquisitive. 799 00:40:53,524 --> 00:40:59,930 I want you to just be wondering what's out there, what you know, 800 00:41:00,080 --> 00:41:06,440 what music don't I know that I should know of which there is vast amounts. 801 00:41:06,770 --> 00:41:07,819 I feel the same. 802 00:41:07,819 --> 00:41:10,580 I know lots of music, but I don't know it all. 803 00:41:10,880 --> 00:41:13,310 And so I'm always inquisitive. 804 00:41:13,430 --> 00:41:20,870 How do you become creative at figuring out the music that's available to us? 805 00:41:21,724 --> 00:41:23,224 And what might it be? 806 00:41:23,465 --> 00:41:25,564 Some of it, eh, maybe not. 807 00:41:25,564 --> 00:41:27,455 Throw it away, other music. 808 00:41:28,460 --> 00:41:29,720 Ooh, this is really good. 809 00:41:29,720 --> 00:41:33,680 And I never knew that piece, so I would just encourage young 810 00:41:33,680 --> 00:41:39,529 people to just expand their, uh, their reach of what's out there. 811 00:41:39,800 --> 00:41:43,015 Um, certainly you can find out titles, but there's so much more that. 812 00:41:43,615 --> 00:41:47,785 You don't know about and you think, oh, I never knew this piece. 813 00:41:47,904 --> 00:41:49,225 I never knew that piece. 814 00:41:49,375 --> 00:41:51,325 You know, I never heard of that composer. 815 00:41:51,354 --> 00:41:53,734 It's okay, but find out about them. 816 00:41:53,925 --> 00:41:58,915 So I just encourage young people to be experimental in terms of 817 00:41:59,095 --> 00:42:01,734 looking at the repertoire that's out there and what they can do. 818 00:42:03,439 --> 00:42:04,519 Build trust. 819 00:42:04,580 --> 00:42:04,939 Oh, yes, 820 00:42:04,939 --> 00:42:05,630 I heard that. 821 00:42:05,779 --> 00:42:06,109 Yep. 822 00:42:06,200 --> 00:42:07,130 Take risks. 823 00:42:07,130 --> 00:42:07,880 Take risks. 824 00:42:07,910 --> 00:42:08,990 Absolutely. 825 00:42:09,019 --> 00:42:09,830 Oh my word. 826 00:42:09,889 --> 00:42:12,290 And be curious and be, be curious. 827 00:42:12,410 --> 00:42:13,309 Absolutely. 828 00:42:13,309 --> 00:42:13,910 Be curious. 829 00:42:13,910 --> 00:42:15,500 That's the most important. 830 00:42:15,740 --> 00:42:15,889 Yes. 831 00:42:15,889 --> 00:42:16,160 Yep. 832 00:42:16,700 --> 00:42:21,800 Artistic director, VocalEssence, Philip Brunelle with us at the 2025 833 00:42:21,979 --> 00:42:26,559 Conference of Chorus America with Bach Society Music Director Dennis Sparger. 834 00:42:26,559 --> 00:42:29,300 I'm Ron Klemm, and this is Bach Talk. 835 00:42:47,720 --> 00:42:52,790 We're listening to Karin Boye's "Evening Prayer" Set to Music by the 836 00:42:52,790 --> 00:42:57,800 Norwegian composer, Egil Hovland, edited by Philip Brunelle who leads 837 00:42:57,800 --> 00:43:00,500 the VocalEssence ensemble singers. 838 00:43:02,519 --> 00:43:12,420 Do you enjoy hearing 839 00:43:15,179 --> 00:43:15,920 about 840 00:43:18,670 --> 00:43:19,740 other choral 841 00:43:25,925 --> 00:43:28,835 ensembles besides The Bach Society of St. Louis? 842 00:43:29,165 --> 00:43:29,885 Let us know. 843 00:43:30,274 --> 00:43:35,765 Take a moment right now to contact us, just go to Bachsociety.org and 844 00:43:35,765 --> 00:43:40,024 click on Bach Talk where you'll find a simple form that you can use to 845 00:43:40,024 --> 00:43:42,215 ask your question or leave a comment. 846 00:43:42,934 --> 00:43:50,484 If you'd rather interact more, just send us an email, bachtalk@bachsociety.org, 847 00:43:50,509 --> 00:43:52,069 we look forward to hearing from you. 848 00:43:59,929 --> 00:44:04,670 The associate producer of Bach talk is Scott MacDonald, promotional 849 00:44:04,670 --> 00:44:09,019 and other assistance provided as always by Charissa Marciniak and 850 00:44:09,210 --> 00:44:11,809 Andie Murphy of Right Relations. 851 00:44:12,469 --> 00:44:14,550 Special thanks today to Dennis Sparger. 852 00:44:14,569 --> 00:44:15,080 Of course. 853 00:44:15,394 --> 00:44:18,944 And to our esteemed guest, Philip Brunelle 854 00:44:20,705 --> 00:44:21,844 bach 855 00:44:26,694 --> 00:44:41,365 Talk is 856 00:44:47,484 --> 00:44:53,215 a 857 00:44:57,474 --> 00:45:01,205 registered trademark of the Bach Society of St. Louis. 858 00:45:01,354 --> 00:45:02,524 I'm Ron Klemm.