Final Dorian chorus?

A bleak newsletter to the Auckland Dorian Choir sent its members into disarray but also caused long-time
supporters to rally. TARA WERNER reports.

One of the city's longest-established performing arts institutions, the Auckland Dorian Choir, has survived a decision to wind up, but its future remains shaky.

Mention the choir to singers and choral music lovers and the name evokes a strong and positive response. As a training ground for many top singers in New Zealand, the choir has had a reputation for excellence from its establishment in 1936.

From the start, its repertoire has been wide-ranging. It was not unusual for concerts to contain early music rubbing shoulders with 20th-century works, and the wide variety of music sung a cappella was one of the choir's major strengths.

Directed by conductors of international reputation, most notably Peter Godfrey and Karen Grylls, the Dorians have a strong history.

So it must have come as a shock for Dorian singers and supporters to receive a newsletter announcing that, at this year's annual general meeting, a decision would need to be made to terminate the choir's activities.

Rita Paczian, the choir's musical director had resigned, and the choir had been unsuccessful in replacing her. The group had also diminished in numbers, with the committee also in danger of resigning.

Past chairwoman Kim Tilly and president Norman Firth did not mince words: "Unless circumstances change in the interim or the meeting finds a more viable alternative, a motion will be moved to wind up the Auckland Dorian Choir. The general consensus is that at the moment, there is a lack of singers and people willing to commit and lead the choir forward."

The bleak notice achieved the desired results - standing room only at the April 24 meeting with long-time supporters turning up in droves.

Many were older singers from what one termed the "golden days of Godfrey." But noticeably lacking were the younger singers in the present choir, now in abeyance. Their absence spoke volumes - a strong indicator reflecting disillusionment with a group that was once understandably content with its outstanding reputation.

Given the potential for personality conflict and blame, the candour with which people associated with the choir have analysed its difficulties has been brave. Financial viability and lack of long-term planning were problems that grew in significance, says past choir member and part-time administrator Deirdre Parr. "Lack of financial management, planning and budgeting had contributed to the situation where the choir's expenditure consistently exceeded its income. As a result, once substantial cash reserves were severely depleted."

Financial considerations were one of the main reasons stated by Paczian for her resignation. In December last year she wrote to the choir, "I regret having to take this step, but have had to do so because the financial position of the Dorians has meant that the committee was unable to guarantee me a permanent contract.

"Since my entire income is earned by conducting I cannot commit myself to keeping all the rehearsal and concert dates free without certainty of payment."

Increased competition by newer choirs and a lack of marketing focus were critical issues, points out former music director and head of the Music School at Auckland University Karen Grylls: "The Dorian Choir in the late 80s and 90s was no longer the only chamber choir in town and as such had to market and perform in a competitive field that was Auckland.

"For a choir whose strength had shown flexibility and variety in its repertoire and which gave concerts in churches - desirable for acoustical reasons - with a mixture of sacred and secular repertoire, this also meant that it was more difficult in some respects to give it a marketing focus."

Administration was another headache, with a high turnover in the committee, adds Tilly in her report to the AGM.

"It soon became clear to me that Rita Paczian had inherited what I would describe as a choir in disarray. It seemed that the infrastructure had been incredibly weakened during the last 12 months with Karen Grylls' departure and the appointment of a temporary musical director.

"That saw numerous changes to the choir's makeup and the committees. I believe many members had stayed on to try to help ease the transition, but had always intended to leave when the time felt right. The resignation of chairperson, administrator and treasurer posed some major management problems for everyone."

Above all, lack of singers has been a constant dilemma. During Grylls' 12 1/2-year tenure a number combined their activities with the National Youth Choir and University of Auckland choral groups, and the situation was buoyant.

The average age of the Dorians has dropped through the years, and younger members have found it tough to keep going, believes president Norman Firth. "Maintaining membership has been increasingly hard, and there are not so many people around now who are willing to commit themselves. The age has got younger, and, since they have more opportunities elsewhere, they are less likely to stay."

The situation may indicate that the Auckland Dorian Choir has gone astray and is at the end of its productive time. But the group has not reached this crisis because of any one musical director, treasurer, chairman or member, says Tilly.

"It has been an insidious process happening over many years. For whatever reasons there has been a kind of apathy and an unwillingness to address and take up the ongoing challenges that face a group such as this in today's cultural climate," she says.

Yet not all has been lost. After much debate and soul-searching the meeting decided the choir would not be wound up. As a society it will aim to promote choral music through better use of its extensive music library, to archive its history properly and to collect its many old and historically valuable recordings.

But will the group still have a future as a choral force?

According to Firth there is scope for a one-off project this year, but only if the right musical director is found. "It's a chicken and egg situation. You need to find an outstanding musical director to attract good singers.

"We're looking for someone who is very dedicated and enthusiastic."

The sentiments are endorsed by Grylls. As arguably New Zealand's leading choral conductor, she is in an excellent position to judge: "A community choir serves both a social and a musical function - defining that function must be left to those who direct and administer the choir. With a little market research, a clear idea of repertoire and musical aspiration, and a charismatic conductor who would bring a supply of singers, yes, the Dorians would have a future."

Historical High notes for band of singers

1936: Founded by Albert Bryant, a farmer who studied music in Leipzig and served as organist for the Wellington Cathedral and St Peter's Cathedral in Hamilton.

1940: Performed The Burial of King Cormac at the national centennial celebrations with soloists Isabel Baillie and Oscar Natzke.

1956: First performance of Auckland of Bach's B Minor Mass with then young bass Donald McIntyre as soloist.

1975-1979: With music director Peter Godfrey, the choir performed at choral and performing arts festivals in Fiji, Holland, France, Germany, Denmark and England. Increased its repertoire to include works by New Zealand composers Jack Body, Gillian Whitehead and Ronald Tremain.

1985-98: Under music director Karen Grylls the choir championed New Zealand compositions, including David Griffith's Cosmic Praise and works by Clive Cockburn, Ivan Zagni and Jack Spier. For the 150th anniversary of New Zealand in 1990 Christopher Marshall's Three New Zealand Songs and To the Horizon.