I have been involved in choral
music since I was seven. For fifteen years, I have been singing, writing, and
collaborating music. My time at the Saint
Thomas Choir School in New York, for four years of middle school, was
influential in my development as a part-time musician, influenced by
classmates, teachers; and choirmasters, who were also mentors and
talent-finders.
Two of Saint Thomas’ legends in liturgical music, Dr. Gerre Hancock and Dr.
John Scott, now rest in peace. Gerre Hancock’s departure as Choirmaster in 2004
was planned well in advanced, and I knew that my first year at Saint Thomas
would be his last. He would move back to Texas with his wife, Judith, after 34
years with Saint Thomas, and continue teaching music at the University of Texas
for seven years. Dr. John Scott departed
his earthly vocation of choirmaster at Saint Thomas suddenly one Wednesday ago,
after an acclaimed tour in Europe as a performing organist. What I am writing
here is not so much purely a memorial to Dr. Scott, but a recollection from the
choir stall of having sung under two choirmasters at St. Thomas.
In September 2005, the boys of
Saint Thomas Choir School rehearsed with John Scott for the first time in his
new role as choirmaster at Saint Thomas. He had come from a similar duty at
Saint Paul’s Cathedral in London, and we choirboys wondered why a Brit had come
across the Atlantic Ocean to rehearse us. He was a bit befuddled about how U.S.
Customs treated his century-old piano. Coming from the quintessential formality
of English high culture, Dr. Scott took the effort to familiarize himself with
American norms. Two centuries of independence from Great Britain gave rise to
differences in vocabulary and culture, even hairstyle. In Britain, punks have short hair, and no
choirboy over there would have a buzzcut. He learned quickly that buzzcuts are
synonymous with clean-cut here in the
States.
What has amazed me is how great
institutes of learning retain their prized educators and staff. As Choirmaster
of Saint Thomas for his last ten years, his endurance follows in the good
tradition of long-tenured choirmasters and headmasters. So has the time passed
that life has come full circle. A friend and classmate of mine interviewed with
Dr. Scott for one of the men’s voices in the choir this year. The men of the
choir, who fill the lower voices, are truly professionals. They find time for
rehearsals and choral services at St. Thomas between other prominent gigs in
New York City. To get grade-school boys, with mixed levels of experience, but
with recognized potential, to sing at such a caliber is a significant accomplishment.
Gerre Hancock knew the traditional laid-back American demeanor of childhood.
Rehearsals with him had interludes where he would make one of his signature
piano improvisations, and a few jokes. Dr.
Hancock used his talent to develop the choir to its full potential. To him, the
success of the boys of the choir in mastering challenging works of music was
recognition enough for each choirboy. As a bonus, each choirboy got a ‘rank’,
which was determined by seniority first, and then individual accomplishment.
Dr. Scott understood that
developing individual talent within the choir is an evolution: a choirboy could
achieve full potential in the four or five years that the choirmaster had with
him. What Dr. Scott accomplished with choirboys who began under his tenure was
incredible, indeed; and the fruits of this effort became evident as members of
the eighth-grade Class of 2009 and 2010 achieved distinction in solo and
marquee performances throughout New York. There was a risk that he assumed: attention to
top choral achievers could affect the morale of other choirboys. The largest
culprit to maximizing the potential of a choirboy is middle-school biology: the
awkwardness of voice cracks in seventh and eighth grades. When that happens,
the choirboy fades gracefully into the sunset. But for the other average
choirboys, would lack of attention cause hard feelings? The answer is that Dr.
Scott gave attention to all, even when it was discreet. Reports one member of
the Class of 2008, “Dr. Scott really did
care about me”. The tangible results of this effort was one-on-one voice
lessons for all, and an MVP list to recognize personal accomplishments
commensurate with one’s ability.
Faced with a slew of ‘retirements’ forced
on by changing voices in the Class of 2007 and 2008, John Scott had other ways
to develop the musical talent of students who were once star choirboys. One
such way was his keen interest in evaluating, and performing, student
compositions of music. This unspoken program had started under Dr. Gerre
Hancock, a recognized choral composer who embraced expressionism in his
compositions. He was an improvising organist, composer, and choirmaster; who as
I recall, in his final year, mentored Hank Rosenthal in music composition. Dr.
Scott, who was also a composer in traditional-style choral works, expanded this
informal program, and, with the confidence of his expertise, allowed the choir
to sing some student compositions. Among
members of the Class of 2005 and later, who had experience with Dr. Scott,
there is a disk jockey, several performing musicians and singers, and
composers. (Class sizes average seven students per year). As long as you had
the courage to embrace your talent, Dr. Scott would be there to point you in
the right direction.
Dr. Scott was a man wholly
dedicated to his work as a liturgical musician. He was a fan of Dietrich
Buxtehude and J.S. Bach, German Baroque organists and composers. He was a
renowned organist, and his performances of fanfares and voluntaries would draw
a crowd of choirboys to the organ console. He was a composer. He was an
ambassador to the best England had to offer, in hors d’oevres and tea. He was,
first and foremost, a conductor and choirmaster. In this role, he developed
untapped talent from each member of the choir. He was convincing and
personable: he was the face of public relations during a campaign to raise
funds for the renovation of the century-old Grand Organ at Saint Thomas. His
mainstay phrase was: “to the Glory of God”- “Ad Maiorem Dei Gloria”. Dr. John
Scott’s legacy lives on with the Saint Thomas Choir of Men and Boys as it moves
forward through this challenging time. “Dedication and Professionalism”; “A
Great Star”; a “Most Accomplished Musician”. These are words that my friends
from Saint Thomas Choir School used to describe Dr. John Scott in the days
after he left the world. His legacy lives in the musical performances of Saint
Thomas Choir School alumni, in their compositions, and in our memories.
