Interview with Jay Dausch

When you attend a St. Louis Church Concert Series program, you hear arrangements done by Executive Producer Jay Dausch, who’s been with the concert series since the inaugural program in May 2006. Jay’s creative output continues with this year’s “Christmas at St. Louis,” for which he arranged four selections. In an email interview, Jay reflects on his roles as executive producer and arranger.

As Executive Producer

You are one of the founders of the St. Louis Church Concert Series.  Can you tell us how the Concert Series came about?  I was walking in the church with Msgr Luca before it was dedicated.  We discussed the possibility of using the magnificent space, with its great organ and wonderful acoustics, for an organ dedication concert a few weeks after the church was dedicated. That inaugural concert (May 7, 2006) was so successful that we decided to do another at Christmas, and another in spring, etc.  

As Executive Producer, what are your duties? Typically, an Executive Producer consults with the Artistic Director on artists and repertoire, manages the budget, and handles non-musical duties–such as dealing with ASCAP on licensing and publishing companies on orchestral scores and parts, and assembling and distributing parts for the orchestra, etc.

Can you name a few highlights in the 17-year history of the Concert Series? Any concert that’s particularly memorable? They’ve all been memorable in their own way. A few that stand out are: (Former artistic director) Heather’s last Christmas concert (2019), Terry and Colleen’s first Christmas concert in 2020 (they were indomitable in insisting it be a live event during the pandemic), the spring 2007 Americana concert with the Concert Artists of Baltmore, and “My Favorite Things” with Jessica Rivera in September 2017.

How do you make repertoire choices for season programs? What is the process like? Over the summer, the Artistic Director, the Music Director and I exchange ideas on programs, availability of artists and orchestra players, and, of course, budget. These exchanges generally produce a consensus on these issues, although the final decision always rests with the Artistic Director.

What do you hope audiences will take away from concerts? We aim to enlighten, educate and entertain, so I hope they feel that we’ve succeeded, and want to come back again and again, and tell their friends–word of mouth advertising is the best kind. And maybe even join the chorus for the next concert.

As Arranger

You’ve arranged many pieces for the Concert Series.  Can you briefly discuss the process and amount of time invested? To borrow a phrase, it’s 10% imagination, and 90% perspiration. I figured out once that for every minute of mt arranged music performed, about 8-9 hrs of work is required.

Would you say arranging music is complex cerebral work or something simpler?  Especially with a work for soloist, chorus, and orchestra, it does require synthesizing a number of different parts, recognizing the limits of vocal and instrumental range and ability, rehearsal time required, etc. For me, the main challenge is not to over-write, a real temptation because we have such an array of talented players and singers.

Any formal training? I studied piano, theory, and ear training as a kid at the Peabody Prep. Since then, it’s been independent study, listening to scores and recordings, and then hearing and learning from my own efforts over the past 40 years at St Louis as to what works and what doesn’t.

To Close

Among your many roles, you’re a husband, father, grandfather, brother, retired lawyer and real estate developer, avid St. Louis Cardinals fan, choir member, musical arranger, and Executive Producer of the St. Louis Church Concert Series.  What’s the title of your autobiography? “So There I Was…”