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Durham E-Theses Choral Cathedral Music in the Church of England: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century Luck, Georgina Clare How to cite: Luck, Georgina Clare (2000) Choral Cathedral Music in the Church of England: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2019/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Georgma Clare Luck CHORAL CATHEDRAL MUSIC IN THE CHURCH OF ENGLAND: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century Thesis for the degree of Master of Arts 2000 The copyright of this thesis rests with the author. No quotation from it should be Published in any form, including Electronic and the Internet, Without the author's prior Written Consent. All inform ation derived from this thesis must be acknowledged appropriatelN. VOLUME I of II University of Durham MuDepartment 17 JAN UU 11 Abstract CHORAL CATHEDRAL MUSIC IN THE CHURCH OF ENGLAND: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century Georgina Clare Luck Thesis for the degree of Master of Arts University of Durham 2000 In 1964, Erik Routley (1917-1982) published a book entitled Twentieth Century Church Music, an expansive solo debate on the nature and development of contemporary writing for the Church. Routley said, 'this is the beginning of a discussion', yet this remark was to prove ironic: serious criticism of new church music has been minimal since that day, especially within cathedral and high-church circles. However, this is not to say that cathedral music has become static, or that its new repertoire is unworthy of comment. Indeed, in consideration of the wealth of material produced by composers for the Cathedral in recent years, musical assessment following Routley's ideas seems long overdue. Thus, to facilitate an accurate assessment of cathedral music in the present day, the thesis begins by recalling Routley's 'discussion', and detailing the pathway of contemporary cathedral music repertoire over the last thirty-six years. The appendix, the Sacred Choral Music Catalogue, compiled by the author, takes 1965 as its starting point, listing the majority of modem choral cathedral music currently in British circulation to aid the reader's knowledge of the repertoire. Thus, guiding the reader through the diversity associated with contemporary cathedral music, assessing the style and potential of contemporary composers and evaluating the place of the Cathedral in modern-day secular society, the thesis examines the contributions of six composers: Tavener, Part, Harvey, Weir, Swayne and Ridout. It seeks to show that cathedral music continues to thrive, and that despite the age-old conflict between tradition and innovation, the genre remains far from the decline that many have predicted. III CONTENTS Volume I Acknowledgements iv Preface vi After Routley: Influences on Contemporary Cathedral Music Since 1965 1.1 The Work of Erik Routley; 1.2 The Place of the Cathedral and its Music in Contemporary British Culture; 1.3 Liturgical Change and the Cathedral/Parish Divide; 1.4 Diversity of Compositional Approach and Deficiency of Musical Criticism; 1.5 The Existing Tradition and the Influence of the New Renaissance; 1.6 Modernism and Post-Modernism; 1.7 Outline of Succeeding Chapters 2 Mystical, Spiritual and Minimalist Tendencies: 33 The Music of Tavener and Part 2.1 Media Attention; 2.2 Tavener and Part: Compositional Backgrounds; 2.3 Orthodox Influence; 2.4 Musical Style; 2.5 The Relationship with Silence and Mysticism; 2.6 Evaluation of Success 3 Three 'Radical' Composers: Harvey, Swayne 64 and Weir 3.1 Jonathan Harvey; 3.2 Giles Swayne; 3.3 Judith Weir; 3.4 Common Themes 4 The 'Specialist' Cathedral Music Writers: Alan 102 Ridout and John Rutter 4.1 Alan Ridout; 4.2 John Rutter; 4.3 The Place of Specialist Cathedral Writers in the Existing Tradition 5 A Postscript 129 5.1 The Contribution of the Oxbridge Colleges; 5.2 Findings from the Sacred Choral Music Catalogue; 5.3 The New Millennium Bibliography 139 Music and Religion ......................................................................139 Composers and Musical Style .......................................................143 Contemporary Composition........................................................... 150 The Appendix (SCMC) is located in Volume II. lv ACKNOWLEDGEMENTS The following is a list of the publishing companies that have enabled the SCMC's construction, together with a list of the main cathedral music departments, libraries and individuals consulted: - Publishers and Organisations: Addington Press Ltd. Associated Music Publishers Inc. Banks Music Publications Ltd. Bardic Edition Barry Brunton Music Publisher Basil Ramsey Publisher of Music Ltd. Boosey and Hawkes Music Publishers Ltd. Breitkopf und Hartel Caddy Publishing Cambridge University Press Cantiones Press Cathedral Music Ltd. Chester Music Ltd. Colne Edition Eden Music Publishing Co. 2 Edition Wilhelm Hansen A) Encore Publications Faber Music Gregorian Association Griffiths Edition Guild of Church Musicians International Music Publications Josef Weinberger Ltd. Kevin Mayhew Publishers Ltd. Lindsay Music Lorenz Corporation Lynwood Music Music Sales Ltd. Novello Music Publishers Oecumuse Oxford University Press Primavera Publications Redcliffe Edition Ricordi Music (London) Ltd. Roberton Publications Royal School of Church Music Samuel King Music Publishers Schott and Co. Society of St. Gregory Sphemusations Stainer and Bell Ltd. Thames Publishing Universal Music Warner Bros. Warner Chappell Music Ltd. V Music Departments and Libraries: Aberdeen Cathedral Banks Choral Archive Centre, Sandhutton, York BBC Arts and Classical Music Departments British Library, London British Music Information Centre, London Canterbury Cathedral Canterbury Cathedral Choir-School Library Carlisle Cathedral Chelmsford Cathedral Chester Cathedral Chichester Cathedral Chichester Cathedral Choir-School Library Durham Cathedral Durham Cathedral Choir-School Library Ely Cathedral Exeter Cathedral Friends of Cathedral Music Gloucester Cathedral Guildford Cathedral Guildford Cathedral Choir-School Library Jesus College, Cambridge Kings College, Cambridge Liverpool Cathedral Lincoln Cathedral Llandaff Cathedral Newcastle Cathedral Newcastle University Library Oban Cathedral Palace Green Library, Durham University Pratt-Green Collection, Palace Green Library, Durham University Ripon Cathedral Royal School of Church Music Library, Westhumble, Dorking Salisbury Cathedral Sharp Library, Durham Cathedral Sheffield Cathedral Southwell Minster St. Albans Cathedral St. Davids Cathedral St. John's College, Cambridge St. John's College Library, Durham St. Mary's Episcopal Cathedral, Edinburgh St. Paul's Cathedral St. Woolos' Cathedral, Newport Wells Cathedral Worcester Cathedral York Minster Interviewees: Richard Barnes, Cathedral Music Ltd, Chichester David Flood, Organist of Canterbury Cathedral John Henderson, Honorary Librarian of the Royal School of Church Music James Lancelot, Organist of Durham Cathedral Rev. Alan Lufl, Canon of Llandaff Cathedral Andrew Millington, Organist of Guildford Cathedral Timothy Noon, Sub-Organist of Canterbury Cathedral John Patton, Winchester (author of Eighty-Eight Years of Cathedral) Alan Thurlow, Organist of Chichester Cathedral Allan Wicks, Organist of Canterbury Cathedral, retired vi PREFACE Dedicated to my father In 1964, Erik Routley (1917-1982) published a book entitled Twentieth Century Church Music, an expansive solo debate on the nature and development of contemporary writing for the Church. Routley said, 'this is the beginning of a discussion', yet this remark was to prove ironic: serious criticism of new church music has been minimal since that day, especially within cathedral and high-church circles. However, this is not to say that cathedral music has become static, or that its new repertoire is unworthy of comment. Indeed, in consideration of the wealth of material produced by composers for the Cathedral in recent years, musical assessment following Routley's ideas seems long overdue. Without criticism and discussion, awareness of contemporary sacred work is far from widespread, making it difficult for new music to attract substantial recognition. Consequently, to facilitate an accurate assessment of cathedral music in the 1990s, it seems logical to begin by recalling Routley's 'discussion', detailing the pathway of contemporary cathedral music repertoire over the last thirty-five years. The Sacred Choral Music Catalogue (SCMC) of Volume II takes 1965 as its starting point,
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