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Photo used by permission. Copyright Kevin Leighton, kevinleighton.com.

I think in some ways as you say, “it’s harder,” because said in the choir practice, but I have a quite strong rule,
we don’t think we have to practice our own language, which is not to enter on matters in which I am not ex-
whereas if we were going to sing in Slavonic or Italian pert. So, I talk to our teachers so that I know how to
or French, we have to take some trouble about it. When back up what they are saying to our singers, and occa-
I used to play for the Monteverdi Choir, we went to An- sionally I would say to them, “So and so has such and
sbach, Germany, and the locals were deeply impressed such a problem; can you help us fix that?” and I would
by the quality of German vowels of the Monteverdi use such technical advice in technical terms as I believe
Choir. I’m competent to use. You know the saying—a little
knowledge is dangerous.
It’s a unique situation to be able to vocally train
the singers in one’s choir. Would you please talk
about your experience with this at King’s Col- Summary of Unification
lege and how you approach solo training in a of Sound Responses
choral context? Cleobury’s approach to unifying the ensemble is not
groundbreaking, especially given the fact that King’s
We do employ voice teachers who are selected by has such a recognizable sound. Of course, the use of
me and with whom I keep in close touch. Obviously, children’s voices contributes to their distinctive sound,
I’ve made it my business to learn for myself about vo- but even among other cathedral choirs employing boys
cal technique and to impart things that can usefully be in the treble voices, the sound of the Choir of King’s

CHORAL JOURNAL November/December 2024 Volume 65 Number 4 19