Guest Artist Interview - MichaelKleinschmidt
Canon for Cathedral Music at Trinity Cathedral, Portland,Oregon, Michael Kleinschmidt directs a choir program involving over ninety singers of all ages and has the privilege of playing the landmark pipe organ built in 1987 by Manuel Rosales. Prior to moving to Oregon in 2010, he was Director of Music and Organist of Trinity Church, Copley Square, Boston.
In addition to his professional activities, Mr. Kleinschmidt enjoys playing in the kitchen and exploring the natural wonders of the Pacific Northwest on foot or bicycle.
J: You had the privilege to serve at several notable Episcopal churches on the East Coast including Saint Thomas Church in New York City, and All Saints Ashmont and Trinity Church, Boston. After four years on the West Coast, how would you compare/contrast these churches with Trinity Cathedral of Portland?
M: Each of he churches I served on the East coast had very strong identities: St. Thomas--the English cathedral experience on US soil complete with Gothic architecture and the St. Thomas Choir of Men and Boys; All Saint's Ashmont--the first church building by Ralph Adam Cram anda high church tradition; Trinity Boston--low church with a strong musical identity but focused on preaching. In each of these churches their identity was deeply entrenched in its life. One had to embrace those identities and help them flourish. There was not room for change or to try things without creating waves.
However, at Trinity Cathedral, because Portland, the Episcopal Diocese, and the Cathedral itself are relatively"new," the church is still forming its identity. As such, there is an opportunity to be a part of creating a faith community where music is an important part of what we do. Thanks to Trinity's endowment for music, it is and will continue to be possible to do so much more with music than many other Episcopal churches today. Here at Trinity Portland, because of its culture of opennes, it is possible to try (and succeed or fail) with new ideas.
J: What are some of the new ideas you are trying? Do you see changes in music coming to Trinity Cathedral?
M: The strength of the musical style will remain the same at Trinity Cathedral. The Anglican choral tradition is what is known and loved at Trinity. It is my work to keep it alive and enhance it through increasing our hymn repertoire, and asking the choir to increase their commitment to excellent in music at Trinity.
The big change I see in the next 5-10 years, though, is that this excellence in music-making in worship will be led by young people. Children will be the knowledgable leaders of worship. However, for kids to have ownership of role as liturgical leaders it helps for them to have their own service. It is a fact that the most engaged kids in church are those given the most responsibility -- for example, as acolytes or singers. How to develop this idea in this parish at this time is the fascinating challenge.
J: In addition to the increased involvement of children and youth in worship leadership roles, what is your philosophy of church music?
M: I love the German Lutheran term - Kantor. A Kantor is the curator of the community's song and at the same time he keeps the body of songs alive and fresh. It is giving people songs to sing. It is pushing them outside their comfort zone with tough love so that when they return to their favorite hymns they do so with enthusiasm. Being a Kantor is about teaching, pastoral care, stretching -- my philosophy of church music ministry.
j: You have the privilege of playing one of the premier pipe organs in the Pacific Northwest, the Manual Rosales Opus 11, every Sunday. What is that like?
M: The Rosales is a wonderful instrument for modulating the mood of the liturgy. The organ has good choruses and a good action. It sings well into the room and leads hymn singing well. Because of the genius of Manual's voicing, the organ's strong bass propels the congregation through the liturgy and hymn singing.
The variety of colors allows me to introduce hymns in a way to make the congregation want to sing. From crackling firey reeds to gently soothing foundations, the organ informs the player and the congregation. It is an instrument that loves to be played and sings in a way that makes you feel good about what you are doing.
J: On a personal note, I understand you have embraced the Pacific Northwest culture.
M: Oh my yes. I had been told about the incredible natural beauty of this part of America, but not until I moved to Portland did I realize the depth of that beauty. I lived as a youngster in Yokohama, Japan where I saw Mt. Fuji on a daily basis. I thought living in Portland with Mt. Hood on the horizon would be the same. What I didn't know about was the coast, the Columbia River Gorge and so much more. This country -- and my obsession with the food scene in Portland -- has become a rich part of my life -- that which informs who I am as a musician.
J: Thank you, Michael for sharing your thoughts and all the best for a successful and memorable Trinity Choir pilgrimage to Bristol, England this August.
Canon for Cathedral Music at Trinity Cathedral, Portland,Oregon, Michael Kleinschmidt directs a choir program involving over ninety singers of all ages and has the privilege of playing the landmark pipe organ built in 1987 by Manuel Rosales. Prior to moving to Oregon in 2010, he was Director of Music and Organist of Trinity Church, Copley Square, Boston.
In addition to his professional activities, Mr. Kleinschmidt enjoys playing in the kitchen and exploring the natural wonders of the Pacific Northwest on foot or bicycle.
J: You had the privilege to serve at several notable Episcopal churches on the East Coast including Saint Thomas Church in New York City, and All Saints Ashmont and Trinity Church, Boston. After four years on the West Coast, how would you compare/contrast these churches with Trinity Cathedral of Portland?
M: Each of he churches I served on the East coast had very strong identities: St. Thomas--the English cathedral experience on US soil complete with Gothic architecture and the St. Thomas Choir of Men and Boys; All Saint's Ashmont--the first church building by Ralph Adam Cram anda high church tradition; Trinity Boston--low church with a strong musical identity but focused on preaching. In each of these churches their identity was deeply entrenched in its life. One had to embrace those identities and help them flourish. There was not room for change or to try things without creating waves.
However, at Trinity Cathedral, because Portland, the Episcopal Diocese, and the Cathedral itself are relatively"new," the church is still forming its identity. As such, there is an opportunity to be a part of creating a faith community where music is an important part of what we do. Thanks to Trinity's endowment for music, it is and will continue to be possible to do so much more with music than many other Episcopal churches today. Here at Trinity Portland, because of its culture of opennes, it is possible to try (and succeed or fail) with new ideas.
J: What are some of the new ideas you are trying? Do you see changes in music coming to Trinity Cathedral?
M: The strength of the musical style will remain the same at Trinity Cathedral. The Anglican choral tradition is what is known and loved at Trinity. It is my work to keep it alive and enhance it through increasing our hymn repertoire, and asking the choir to increase their commitment to excellent in music at Trinity.
The big change I see in the next 5-10 years, though, is that this excellence in music-making in worship will be led by young people. Children will be the knowledgable leaders of worship. However, for kids to have ownership of role as liturgical leaders it helps for them to have their own service. It is a fact that the most engaged kids in church are those given the most responsibility -- for example, as acolytes or singers. How to develop this idea in this parish at this time is the fascinating challenge.
J: In addition to the increased involvement of children and youth in worship leadership roles, what is your philosophy of church music?
M: I love the German Lutheran term - Kantor. A Kantor is the curator of the community's song and at the same time he keeps the body of songs alive and fresh. It is giving people songs to sing. It is pushing them outside their comfort zone with tough love so that when they return to their favorite hymns they do so with enthusiasm. Being a Kantor is about teaching, pastoral care, stretching -- my philosophy of church music ministry.
j: You have the privilege of playing one of the premier pipe organs in the Pacific Northwest, the Manual Rosales Opus 11, every Sunday. What is that like?
M: The Rosales is a wonderful instrument for modulating the mood of the liturgy. The organ has good choruses and a good action. It sings well into the room and leads hymn singing well. Because of the genius of Manual's voicing, the organ's strong bass propels the congregation through the liturgy and hymn singing.
The variety of colors allows me to introduce hymns in a way to make the congregation want to sing. From crackling firey reeds to gently soothing foundations, the organ informs the player and the congregation. It is an instrument that loves to be played and sings in a way that makes you feel good about what you are doing.
J: On a personal note, I understand you have embraced the Pacific Northwest culture.
M: Oh my yes. I had been told about the incredible natural beauty of this part of America, but not until I moved to Portland did I realize the depth of that beauty. I lived as a youngster in Yokohama, Japan where I saw Mt. Fuji on a daily basis. I thought living in Portland with Mt. Hood on the horizon would be the same. What I didn't know about was the coast, the Columbia River Gorge and so much more. This country -- and my obsession with the food scene in Portland -- has become a rich part of my life -- that which informs who I am as a musician.
J: Thank you, Michael for sharing your thoughts and all the best for a successful and memorable Trinity Choir pilgrimage to Bristol, England this August.