Searching For a Single Timbre

Choirs, like their instrumental counterpart, orchestras, must bring together a diverse group of people to create a single, unified sound. But choirs, unlike orchestras, bring together a group of people who are all holding the same instrument. This narrow timbral range increases the level of difficulty of choral singing – we are searching for a single timbre among men and women, rather than embracing and maneuvering the various timbres of strings, brass, and winds under a larger umbrella. Furthermore, decreasing the number of singers in your ensemble only increases the difficulty of blending – individual voices that could easily shine above a section of only four or five other singers must be trained to match one another and turn inwards to a common sound, sacrificing certain unique characteristics for the betterment of the group.

The process of painstakingly cultivating a group sound can be shortened if a group trusts one another, and spends time together outside of rehearsal. For this reason, Exultate holds an annual retreat at the start of the year, which focuses on team building, welcoming new members, and intensive rehearsal. This year, we were lucky enough to meet in the heart of the Distillery District, which, as well as being a picturesque setting and a neat rehearsal space, made for a great Saturday lunch break! (Brickstone Bakery, anyone?!) The rehearsal time on retreat is invaluable, allotting enough time to push through the technical early stages of a piece, so that post-retreat the choir is ready to tackle dynamics, blend, and the real “meat” of the repertoire. And this necessary core of the choir’s sound is grounded by the time spent together in both rehearsal and in leisure.

Our October 23rd concert includes a number of pieces which require significant blending skills, including the gorgeous “Rest” by Vaughan Williams, and Eleanor Daley’s “For the Fallen”. “Rest” experiments with varied phrase lengths, intense dynamic shifts, and adventurous harmonies. These tricky features of the piece necessitate a blended sound, so that the choir can efficiently direct the audience’s ear through the twisting phrases and surprising harmonic progressions without sounding messy or uncoordinated. Daley’s “For the Fallen” contains dense chords contained in a homorhythmic texture, but with constantly shifting time signatures – this density and inconsistent metre similarly necessitates expert blend. We love the challenge and so does Dr. Apfelstadt!

By choir member Sadie Menicanin


In vocal music, musicians have the great opportunity to tell real, tangible narratives. The use of lyrics imparts a responsibility on the singer to channel a specific meaning, or tell a specific story, to their audience.

In Exultate, we have formed our entire season around this concept of telling narratives: our four concerts organize themselves around different narrative themes, such as “Stories of Remembrance”, “Stories of Love and Longing”, and others. Our first concert, on October 23rd, examines narratives centred on war, tragedy, and commemoration. Particularly unique in our first program is the Holocaust Cantata by Donald McCullough, which includes horrifying prisoner accounts of the concentration camp Buchenwald, and poems written by its inmates. Both read in plain speech and set to music (many of the melodies used are authentic Polish military melodies), these writings have jarred us, owing to their unflinching representation of the awful realities of the Holocaust, spoken aloud in glaring honesty.

When we each can recognize, both as members of the chorus and of the audience, that we have each have different – valuable – narratives to share with one another, and that we each have different experiences that have shaped us, then we are able approach this program more deeply. Thoughtful reflection on our own lives and the lives of others through music only brings us closer together, as audience and musicians. We can’t wait to share more with you as our season progresses.

By Choir member Sadie Menicanin

Exultate Chamber Singers Choral competition 2015- 2016

We are seeking works by emerging Canadian composers under the age of 35. The music must use a text on a theme related to peace and justice. The poet must be Canadian, and preferably one from Ontario, although that is not essential.

Parameters: The work should be 3 – 4 minutes in duration, and either a cappella or accompanied by piano.   There can be some divisi. Ranges should be as follows: low F for basses to top A or B flat for sopranos, but keep the tessitura inside that. Tenor top is around G and alto bottom a G.

Deadline:   Please submit a pdf of the score electronically to Elana Harte, Manager, no later than December 1.   (

Prize: $1000 and a premiere performance by Exultate Chamber Singers at our final season concert on Friday, May 27, 2016, at St. Thomas Anglican Church, Toronto.

The panel reserves the right not to name a winner, if a suitable work is not found.

Announcing Our 2015-2016 Season


Download season brochure

Telling Our Stories

This season blends the art of story-telling with music, bringing further depth, context and beauty to stories both old and new.

Friday, October 23, 2015, 8:00 pm

Stories of Remembrance
(St. Thomas’s Anglican Church 383 Huron Street, Toronto)

Stories of Remembrance features works of contemplation: Howells’ Take Him, Earth, for Cherishing and Rest by Vaughan Williams, as well as music by Canadians Eleanor Daley and David McIntryre. The centrepiece of the concert is Donald McCullough’s moving Holocaust Cantata, which intersperses spoken narratives and choral settings of songs found in the US Holocaust Memorial Museum archives.  Cellist Jenny Boin Cheong joins us for this work.

Friday, December 4, 2015, 8:00 pm

Stories of the Season
(St. Thomas’s Anglican Church 383 Huron Street, Toronto)

Stories of the Season: A Canadian Noel
is a joyous way to celebrate through song and spoken word. Canadian composers and arrangers include Anderson, Chatman, Daley, Jeff Enns, Holman, Sirett, Somers and Willan. Imant Raminsh’s lovely Magnificat for mezzo-soprano, chorus and piano will be performed. Interspersed amongst the musical selections are stories written and read by the singers themselves. Rounding out the concert is an audience carol-sing. Organist Daniel Bickle will play.

Friday, April 1, 2016, 8:00 pm

Stories of Love and Longing
(St. Thomas’s Anglican Church 383 Huron Street, Toronto)

Stories of Love and Longing features a variety of works on these themes. The humour of Sjolund’s Love Lost is balanced by myriad moods of Brahms’ Op. 52 Liebeslieder Waltzes, which will be presented in chamber music fashion, with a combination of quartets, soloists and choruses. Renaissance and contemporary settings of similar texts are paired: Palestrina’s Sicut Cervus and Enns’ Like as the Hart.

Friday, May 27, 2016, 8:00 pm

Stories of Peace and Justice
(St. Thomas’s Anglican Church 383 Huron Street, Toronto)

Stories of Peace and Justice closes the season with inspiring music ranging from Bach’s Dona Nobis Pacem to Peter Togni’s Ave Verum. Rupert Lang’s serene L’Agneau de Dieu for double choir contrasts with Ruth Watson Henderson’s lively To Everything there is a Season. Special guests, the Da Capo Chamber Choir of Kitchener and their conductor, Leonard Enns, join us to perform Frank Martin’s Mass for double choir. This program will also feature the winning work in Exultate’s composition competition for emerging composers living in Ontario, on a Canadian text.

Download season brochure

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