Barber Shop Music has
a very honourable tradition in music
history. One of the regular haunts of
music in the 16th and 17th
centuries was the barber’s shop. Customers
waiting their turn would find simple
instruments on which they could strum
and on which the barbers themselves
had become, with practise, proficient.
In English literature of the period,
allusions to barbers as serious musicians
are numerous. However, the tradition
died out in England in the early 18th
century, lasting longer in America where
‘barber shop harmony’ surfaced. This
close harmony singing enjoyed major
expansion in the second half of the
20th century with national
and international competitions, the
latter often focused on America. Nowadays
there are both male and female ‘barber
shop’ groups of varying sizes.
The present CD under
review uses the term ‘sixpack’ in its
heading. In contemporary colloquial
English I gather this refers to standard
packs of beer and also to the intercostal
muscles where these are not obscured
by the consequences of over indulgence
of the liquid namesake. Here I think
it refers to the fact that from 1985-1989
this was a group of six singers reducing
to five (1990-1992) and four (1993-1997).
The current group is four in number
including three of the original members.
If the foregoing detail about the group
is rather tentative I apologise. All
the written information in the brief
leaflet is in German and the other detail
is gleaned from the captions of the
group photographs taken at various times
in their history. Fortunately the captions
give the names of the group members
and the years that those particular
singers were participating.
Close harmony of this
type no longer uses instruments. The
musical harmony is performed by the
mouth and lips modifying the sound from
the vocal chords so as to give backing
and support to the singing. It does
not sound as if any of the group has
received professional vocal training
as solo singers, steady vocal emission
not being a strong point. However, that
is not the point of ‘barber shop’ singing.
It is rather the marrying of the melody
with the harmony of voice or voices
so as to represent the compositional
intention. The group achieve this in
a wide variety of repertoire on this
disc. That is not to imply that lieder
enthusiasts would expect to enthuse
over the Schubert extracts (trs. 16-19)
but will recognise the underlying composition.
In the same way enjoyment can be had
in the recognition of a Tango (tr. 4)
or Rhumba (tr. 5).
Given that contact
telephone and e-mail addresses are given
on the back of the leaflet, I suspect
this is also a promotional disc. None-the-less
it provides an opportunity for those
with liberal and eclectic ears to broaden
their horizons and is recommended as
such.
Robert J Farr