IN PURSUIT OF MUSICAL EXCELLENCE

CRAIG HELLA JOHNSON commentary:

While reading John Yarrington's In Pursuit of Musical Excellence: Essays on Musicality, I had the feeling of being in conversation with both a wise and wonderful friend and an inspirational teacher. It is clear on every page that these are the words of one who has dedicated his life to the choral craft. His talent, imagination and skills were shaped by a powerful lineage of legendary choral leaders and he now stands among them with his own distinctive voice and significant contributions to offer. He plays host to these choral luminaries along with several other important cultural voices by including many impactful quotations and unpublished notes. He writes both about the inspirational and the practical, always with a keen eye to eliminating anything in our work or process that is not essential in order that we may ultimately attempt to reveal the essence of a work. In the introduction, John writes, "I read constantly to be renewed, to be reminded, to be encouraged." In reading this collection of essays, I was consistently renewed, reminded and encouraged in many ways about this sacred and ennobling craft of choral music. I enjoyed this book immensely and I am deeply grateful for John Yarrington and for his outstanding contributions to our field.

Hilary Apfelstadt, PhD. commentary:

Author John Yarrington has amassed great wisdom in a career that spans more than 50 years working with choral ensembles in communities, churches, and universities. He presents his observations and those of some of his mentors and colleagues in a practical, direct manner, with no words wasted. In Chapter 6 we read, "You are beginning to get the focus of this book: what is not efficient needs to be eliminated." Whether that refers to words, gestures, or actions, we also learn that "singing is relational," and that as conductors, we need to care for the music makers, just as we care for the music itself. There are practical rehearsal strategies, discussions of musical examples, advice about programming and the importance of text, about working with instrumentalists, and about being true to the music, among other concepts. Chapter 1 mostly comprises a series of quotations from musicians and each of these would serve as the basis for an excellent discussion in itself.

This book would serve as valuable reading material for prospective conductors and seasoned musicians who would benefit from practical reminders, delivered in a kind and sometimes humorous way. Yarrington knows the field intimately, having dedicated his life to choral music. One can trust these words. I highly recommend this book.