 The Bloomington Chamber
Ensemble was organized in June of 1970 by Ann Kearns, a
flutist with the Bloomington Symphony Orchestra, who
recognized a desire on the part of Bloomington choral
singers from a variety of musical backgrounds to sing a
wide range of music, secular and sacred, modern and
traditional. The initial public performance of the group,
numbering about 17 singers, took place on November 17,
1970 in what was then the new Monroe County Library
auditorium. Conducted by IU graduate student, Dennis
Shrock, the free program included works by Jannequin,
Brahms, Hindemith, and Berger. Singers of the ensemble
came from different backgrounds and professions, from both
the town and the university. Some had been trained as
professional singers. Others were experienced amateurs.
For the first few years of its existence as the BCE, new
members were added by audition, and membership was kept
under 25. A weekly practice took place in members’
homes on Tuesday evenings, mixing sight reading with
concert repertoire. The Ensemble performed at least twice
a year for the general public without charge. Repertoire
was limited to a capella music or music that could be
performed with a simple accompaniment, usually piano or
organ.
The early conductors for the Bloomington Chamber Ensemble, including Dennis Shrock, were graduate students from the IU School of Music. Joel Mathias, a high school music teacher, followed Dennis in 1973. IU School of Music Assistant Professor Alan Harler (now conductor at Temple University in Philadelphia) took over 1975. It was under his direction that the BCE sang its first Messiah in December of 1977 with a choir of 28 singers and a chamber orchestra.
In the group’s early years, business affairs were run by a manager; founder Ann Kearns was the first to serve in this function. Around 1978, the group decided to use member dues to pay the conductor $50 a semester. In 1979, the manager position was replaced by a Board of Directors, composed of a President, Secretary, Treasurer, and a representative from each section—soprano, alto, tenor, and bass. Elections for the Board officers were held at the end of the first semester (the group's schedule reflects the academic year) in order to provide continuity from year to year. Harler was succeeded by Lucinda Thayer, a doctoral conducting student, and the first female conductor of the choir.
In 1980, under the leadership of Frank Prosser, president of the Board, the name of the Bloomington Chamber Ensemble was changed to the Bloomington Chamber Singers. A corporation was formally established, by-laws were written, and the group was given non-profit status.
Following Thayer, a succession of graduate student conductors worked with the BCS for short periods during the 1980’s. One of the most notable was Barbara Hall, an outstanding young conductor, who led the group for two years.
In 1986, a major milestone was reached when the group, now a choir of 27 voices under the direction of Jerry Yonkman, performed the Mozart Requiem with an orchestra of 27 instrumentalists. This was the first large choral work performed by the BCS with orchestra other than Messiah. Yonkman led the group for four years, bringing continuity to the podium, a high level of musicianship, and an interest in performing the great choral-orchestral masterworks. The culmination of his tenure was the performance of Bach’s St. John Passion in the spring of 1988. The group had begun to be recognized as a significant part of the Bloomington arts community.
Over the past 35 years, the choir has matured into a vital part of the Bloomington musical scene. It has grown in the number of singers (the group now numbers around 60 singers); experienced an increasing level of musicianship; substantially increased the scope and solidity of its annual budget; established competitive salaries for both conductor and accompanist; increased the size, effectiveness, and diversity of the Board; and achieved an impressive level of financial stability through short- and long-term fund-raising strategies. Several years ago an assistant conductor was added to the staff, funded in part by an anonymous donor; this position, originally a practicum for a graduate choral conducting student in the IU School of Music, now is staffed by Julie Grindle, a professional organist, accomplished singer, and respected church musician. The dramatic evolution of BCS has been the result of the effective combination of the music staff’s long-term commitment and artistic vision, and the dynamic and dedicated role the Board has played in managing the organization.
Through the dedicated efforts of many hundreds of people over its thirty-five years of existence, what began in 1970 as the fledgling Bloomington Chamber Ensemble has steadily grown into one of the leading choral ensembles in the region. The group has a sure footing as a cornerstone and leader of the Bloomington arts community, and is securely positioned to continue its mission of providing opportunities for the study and performance of quality choral music for the Bloomington area.
For questions and comments, please email us at site@chambersingers.info |
When Gerald Sousa
became conductor of the BCS in the fall of 1989, it was
only the second time that the choir was led by a musician
with a completed doctorate and considerable professional
experience. Sousa followed the model Yonkman had
established of mounting a major choral-orchestral work
each year, balanced by a concert with smaller, more
intimate choral works. Over the last fifteen years, under Gerry's guidance, the group has
performed many of the great masterworks, including the two great Bach Passions and his B Minor Mass,
Brahms' Requiem, Haydn's Creation
and Seasons, and Carl Orff's Carmina
Burana. An annual Messiah Sing was
introduced after Sousa's first year with the BCS, and
has been an annual contribution to the community since
that time.