In Harmony

Photo: Opus Arts

We were saddened to learn of the passing of Helmut Rilling earlier this year. For Singing City, his loss is deeply felt—not only because of his stature in the world of music, but because of the profound and lasting relationship he shared with our choir.

In the days following the news, we reached out to members of the Singing City community who had the opportunity to work with him across the decades. What follows are their words—memories of artistry, discipline, and the unique humanity he brought to the podium.

Few conductors have shaped the modern understanding of Johann Sebastian Bach as profoundly as Rilling. Born in 1933 in Stuttgart, he built an international reputation as a conductor, scholar, and teacher. His work with the Gächinger Kantorei and the Bach-Collegium Stuttgart helped define a generation of Bach performance, while his leadership of the Oregon Bach Festival made a lasting impact in the United States.

His relationship with Elaine Brown and Singing City was both artistically and personally significant. Rilling later wrote the foreword to Singing City: Music and Social Change in America by Dorothy Hollis—a reflection of the deep respect he held for Elaine Brown’s vision and the ensemble she created.

Photo: Singing City archives

A conductor of quiet authority

Singer Mark Hollern recalls the preparation for the Mass in B Minor in 2002 as a defining experience:

“I had not really heard of Rilling before and I heard a little bit about the B Minor Mass… so it was a big deal to know we were going to do this monumental work with one of the world’s preeminent Bach experts.”

After months of preparation, the first rehearsals with Rilling revealed something unexpected:

“The rehearsals were not intense. Rilling was very happy with our preparation and gave few clarifications. He was not a prima donna.

He was very much a kind, affable, warm, quiet, shy guy, as I recall, who just knew the material.”

What stood out most was his clarity and depth of understanding:

“He knew what he wanted and then instructed us very clearly… I would say he projected humility. He was a teacher.”

And the scale of the work itself left a lasting impression:

“It was quite an accomplishment because it’s a mountain top to climb—challenging music and a long performance and in my memory, one of the most significant things that I’ve done while with Singing City.”

Mutual respect and artistic partnership

For Ted Moon, the experience of working with Rilling was defined by respect and shared purpose:

“Rehearsing and performing under Rilling was a thrill. There was a feeling of tremendous mutual respect - he understood who we were and what we stood for, and respected the choir's excellence.”

He also reflected on Rilling’s collaboration with Elaine Brown:

“His interactions with Elaine Brown seemed just what one would expect - two consummate professionals working to create wonder and beauty.”

And on the musical impact of those performances:

“His understanding of Bach's Mass in B Minor and what he created with the orchestra and the choir, in 1982, was one of the most awe-inspiring musical experiences of my life.”

Photo: Singing City archives

Transformation on the podium

Longtime singer Beth Johnson offers perhaps the most vivid portrait of Rilling’s dual nature:

“Always, my initial impression of him was of a soft-spoken, gentle man, who knew exactly what he wanted of every word, Latin or German.”

His expectations were exacting, but never harsh:

“He wanted staccato, lifts, lightness, straight tone,—in other words—very demanding, but in a nice way. I’ve never sung under another conductor who was so invested in the choral part.”

And then, in performance, everything changed:

“From the downbeat, one could watch him morph into a wide-eyed, larger-than-life wild thing! And we were thereby transformed as well.”

The result was unforgettable:

“He pulled unforgettable performances from us. We were left totally exhausted, proud, thrilled and so very very fortunate!”

A lasting legacy

Across decades of performances—from the Academy of Music to Bryn Mawr Presbyterian Church—Helmut Rilling challenged Singing City to meet the highest artistic standards while remaining deeply human in the process.

These reflections remind us that his legacy is not only found in recordings or critical acclaim, but in the lived experiences of the singers he inspired.

As we reflect on his passing, we honor Helmut Rilling in the way that feels most true to his impact on Singing City: by remembering, by sharing these stories, and by continuing to make music with the same care, humility, and commitment to excellence that he brought to every rehearsal and every performance.