The Good Musician

8 tips from Margaret Hillis–iconic choral conductor

by csnowden on July 21st, 2008

It’s been a little over ten years since Margaret Hillis, the indomitable conductor of the Chicago Symphony Chorus, passed away. I met her at a Chorus America convention in the late 80’s, and was suitably awestruck. She had complete control over her chorus, and more, the CSO as well. My mom attended a performance of the Beethoven Ninth Symphony, and Sir George Szolti was the director at that time. Sir G was taken ill, and Ms. Hillis filled in with only a few moments notice. Mom said it sounded just as good, if not better, than the Szolti version. Hillis also prepared choruses for the Cleveland and San Francisco orchestras.

My dear friend and choral conductor of Princeton Pro Musica, Frances Slade, studied with Hillis at Northwestern U music school, and sang soprano with the CSC. Slade admitted that Hillis expected the utmost from her singers, and as a result of her tutoring, Slade learned to be a better choral conductor. I certainly had a fabulous time singing with her.

The Volume 21, Number 3 issue of “The Voice of Chorus America” lists eight phrases that gives us a peek at Hillis’ thinking about music.

1. Voices are not made for music, music is made for voices. Serve the music!

2. The music is not on the page–only the notes.

3. Enjoy the phrase, don’t just be obedient.

4. Listen more.

5. The eighth note has been lost since the beginning of time.

6. “Piano” doesn’t mean passive.

7. Bar lines are like children: they should be seen and not heard.

8. You sing first with your ears, then your heart, mind, voice.

Works for me! The woman was a junior golf champion at twenty, and a civilian flight instructor in WW II. Her disciplined approach was balanced by her great love of music, and she was the best at making the chorus sound just as good as the orchestra.

Orchestra Hall–home of the Chicago Symphony Orchestra and Chorus.

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POSTED IN: 20th Century, Baroque, Choral, Classical, Impressionism, Instrumental, Performance practices, Romantic, Symphonic, Vocal, music history, musicology