There is only one residential church-affiliated choir school in the United States. Indeed there are only four left in the rest of the world. Choir schools, both residential and day, have seen a steady decline in their numbers largely because of two devastating world wars in Britain and changing values in modern society both in America and abroad.
In many respects it is at worst politically incorrect and at best awkward to be promoting a single sex musical education in these times of equal opportunity for all. In other words, shouldn't choir schools be open to girls too? (Actually many forward-looking choir schools have begun to admit girls to their preparatory departments.)
Why, then, have some schools survived while others have simply folded their tents and disappeared into the mists of history? There are no easy answers, but survival seems to depend on shrewd marketing, inspired, competent leadership and sound financial support. In many cases the latter has been secured by the munificence of wealthy patrons decades, even centuries ago.
Recordings have been the best marketing tool for just about every choir school out there. The Vienna Boys Choir plays to sold out houses every time it tours for example. No doubt about it, recordings beginning with the earliest forms to the latest DVD's have gotten the message out. I personally benefited from exposure to the artistry and the sounds of choirs from around the world thanks to recordings. From the astonishing success of the treble Ernest Lough's 1927 recording of Mendelssohn's "O For The Wings Of A Dove" to Paul Phoenix's remarkable 1996 rendition of the popular song "My Way", discography has spread the sound of boys' voices far and wide. Choirs too have produced a rich catalog of offerings enabling anybody who wants to explore this genre to do so widely and in great depth.
Deeply rooted in the church, boy choirs have existed throughout the centuries for one purpose: to beautify and adorn the sacred liturgies. Their sound and skill has attracted the attention of the best composers and musicians. As a result a vast repertoire written exclusively for boys' voices extends from 11th century LowCountry Guillaume Dufay to the 21st century American Ned Rorem. It's a treasure trove of music.
Every good musical establishment, whether it be a symphony orchestra or a choir school, requires inspired, competent leadership and administration. Artists concern themselves only with art. Administrators worry about paying the bills. Tying it all together requires a delicate balancing of priorities artistic and financial.
Every healthy musical establishment, ballet company or choir school, requires a generous benefactor or group of benefactors to give vast amounts of money to endow the fabric and the operations. In 2003 the amounts need to educate a chorister are staggering. St. Thomas Choir School in New York states that the cost of educating a chorister is about $48,000 annually. Parents pay about one fifth of that cost. The church picks up the rest.
So, then, why choir schools? Because gifted children deserve a special education. They must be stretched musically and intellectually to realize their fullest potential. A good choir school enables that stretching. While not every chorister goes on to become a musician in later life, the poise and experience which they bring away from performing on a regular basis positions most of them extremely well for success in their adult lives.
Choir schools: a rare breed. Won't you learn more about them and help this special art form survive? Don't leave the task to another. Buy the CD's. Support a choir school near you. Cherish these extraordinary national treasures.
