CHURCH MUSIC QUARTERLY SEPTEMBER 2019

UNITY THROUGH PRAYER

CONTENTS

5 EDITORIAL 40 HYMN MEDITATION Gordon Giles discusses For all the saints who from their labours rest. 6 IN ACTION A look at Music Sunday celebrations across the world 43 NEWS FROM 6 PUBLISHING Information about the forthcoming 8 WHAT’S ON publication Light on the Way, by Highlights of RSCM events Timothy Dudley-Smith. across the UK, September 2019 to January 2020. 44 SOMETHING OLD, SOMETHING NEW 14 STRIVING FOR A A look at an evangelical and GERMAN HYMN BOOK a BCP congregation rubbing Gunter Kennel looks at the long- shoulders in London. standing efforts to create a German national hymn book. 47 ANNIVERSARIES 14 The anniversaries of notable 20 HEAD REGISTER church musicians and composers AND DESCANTS FOR coming up in 2020. SOPRANOS AND TREBLES Adrian Lucas offers advice on 48 EVERYTHING teaching higher voices how to HOLDS TOGETHER discover and use head register. A look at a new song commissioned for Creationtide. 24 FROM THE DIRECTOR Hugh Morris talks about not shying 50 READERS’ LETTERS away from innovation. 20 51 HELP WHERE AND 25 RSCM NEWS WHEN IT’S NEEDED News and reports from across the David Duvall talks about local RSCM’s international network. support networks in Wessex.

30 BRANCHING OUT 52 CLASSIFIED ADS Janice Eichner provides an account of the RSCM America National Choir. 53 PUZZLES

33 LOOKING TO THE 54 THE MUSIC AND THE FUTURE CAMARADERIE 24 Hannah Gill writes about church A look behind the scenes at the musicians and the gig economy. Three Choirs Festival.

36 CONGRATULATIONS 57 OBITUARIES Members’ successes and RSCM awards.

30

EDITORIAL

Autumn is upon us. Season of mists and of Area festivals. some German hymns and hymn books played in maintaining Take a look at this quarter’s What’s On (or visit www.rscm. a common Christian culture across the geographical and org.uk) to see if there is an event taking place near you. political divide between East and West in the decades They’re wonderful opportunities to meet like-minded following the creation of the Berlin Wall. Even those people from your Area, so why not go along? interested in German history and hymnody may not realize On 16 June, RSCM churches around the world took part that the struggle to create a single, national book of hymns in Music Sunday 2019. We are grateful to the many active has been going on for centuries. Perhaps, as Dr Kennel RSCM members and affiliates who sent us accounts of their suggests, 21st-century digitization will provide a solution. events, and regret that we have space to reproduce only a Also in this issue: a look behind the scenes of the Three small number of them in this quarter’s In Touch. Nonetheless, Choirs Festival; the creation of a North American RSCM we hope the reports presented give you some flavour of what choir; a tale of evangelical and BCP services meeting in the went on across the world and perhaps provide you with Square Mile; and an entertaining and informative article on inspiration for your own Music Sunday events in 2020. teaching head register and descants to sopranos and trebles Moving on to more historic matters, on 9 November – it seems that financial bribery, relaxation and ‘keeping it 2019 it will be 30 years since the Mauerspechte, or wall steamy’ are the answers! woodpeckers, began their joyful demolition of the Berlin Wall. In this quarter’s feature article, ‘Striving for a German hymn book’, Professor Gunter Kennel considers the role that

CONTRIBUTORS Photograph by by Photograph Mena Alfredo

Roderic Dunnett has written for publications Hannah Gill is a graduate of the Guildhall School of RSCM Staff contributors: including The Independent, the FT, Opera Music & Drama. Based in St Albans, she is active as Adrian Lucas, Head of Choral Studies Magazine, and Classical Music Daily. He was Arts choral conductor and organist, and teaches at Dame Hugh Morris, Director Critic of the New Statesman, has presented for BBC Alice Owen’s School. Hannah is an Associate of Tim Ruffer, Head of Publishing Radio 3 and is currently principal music reviewer for the Royal College of Organists. the Church Times. Gunter Kennel is Landeskirchenmusikdirektor (head David Duvall is chairman of RSCM Wessex Area. of sacred music) for the Protestant Landeskirche He was director of music at St Andrew, Sonning- (diocese) of Berlin and Brandenburg, as well as on-Thames and ETO of RSCM Berkshire Area. organist of the Kaiser-Wilhelm-Gedächtnis-Kirche in Are you receiving all of your membership He is now organist of two rural churches. Berlin. In 2011 was appointed honorary professor for benefits? We rely on our members to keep sacred music at the Humboldt-Universität, Berlin us up to date with their contact information. Janice Eichner is communications coordinator for where he teaches in the faculty of theology. If you’re not sure if your information is current, the RSCM America National Choir. Formerly an please check the details on your membership editor and corporate communicator at Canada’s Eirene Palmer is a published writer and is currently renewal forms (issued to the registered Billing largest bank, she studied voice at the Royal undertaking an MA in Creative Writing at Derby Contacts for the Affiliate and Affiliate Plus Conservatory, Toronto and sang tenor in church and University. She is a member of Derby Cathedral memberships), or contact the Membership Dept community choirs and the vocal group The Canadian where she co-leads Café Writers and sings in the on 01722 424841 or [email protected]. Singers. Cathedral Voluntary Choir.

Gordon Giles is Vicar of St Mary Magdalene, Enfield David Shreeve is the Environmental Adviser to CORRECTION and Director of Post-Ordination Training for the the Archbishops’ Council of the Church of England. The photograph of New Zealand Prime Minister Edmonton area of the Diocese of London. He has He holds a Lambeth Degree and is a founding Jacinda Ardern that appeared in the June issue written many books on church music and hymnody, director of The Conservation Foundation. (p. 29) should have been accompanied by an and was one of the editorial team for the new acknowledgement of copyright ownership. Ancient & Modern. Charlie Skrine is currently associate rector at The photograph, taken by David Walker, is St Helen, Bishopgate, Area Director of Ordinands copyright the news agency Stuff/The Press. for the Two Cities Area and priest in charge of All rights reserved. St Michael, Cornhill.

THE ROYAL SCHOOL EDITOR ACCOUNTS CMQ SEPTEMBER 2019 Review materials to the OF CHURCH MUSIC Stefan Putigny T +44 (0)1722 424842 Front cover photo: Mstislav Rostropovich Reviews Editor, Ashleigh House, Registered Charity No. 312828 E [email protected] Playing His Cello In Front Of The Berlin Cirencester Road, Minchinhampton, Company Registration GENERAL ENQUIRIES Wall To A Crowd, Nov 1989 Stroud GL6 9EL. No. 00250031 T +44 (0)1722 424848 VOLUNTARY NETWORKS © Action Press/ Shutterstock T +44 (0)7879 406048 19 The Close, Salisbury, SP1 2EB F +44 (0)1722 424849 T +44 (0)1722 424848 Design and origination by Smith & Gilmour E [email protected] www.rscm.org.uk E [email protected] E [email protected] Printed by Stephens & George Ltd Display advertising copy/ Views expressed in signed articles, enquiries to Stephen Dutton, Director Hugh Morris MUSIC DIRECT RSCM MEMBERSHIP ENQUIRIES UK letters and advertisements are not Church Times, Invicta House, Deputy Director (Operations T +44 (0)845 021 7726 (incl. Ireland) necessarily those of the editor, 108–114 Golden Lane, & Finance) Stephen Mansfield F +44 (0)845 021 8826 T +44 (0)1722 424848 publisher or staff. London EC1Y 0TG. Deputy Director (Education E [email protected] E [email protected] Articles, letters, classified T +44 (0)20 7 776 1011 & Voluntary Networks) Rosemary Field www.rscm.org.uk/get-involved/ advertisements and members’ news E [email protected] Head of Publishing Tim Ruffer EDUCATION AND COURSES Australia, Canada, New Zealand, for the December 2019 issue by T +44 (0)1722 424843 South Africa and USA 1 October 2019 to: Magazines Editor, E [email protected] Contact your local branch for details RSCM, 19 The Close, Salisbury SP1 2EB. CHURCHOther MUSIC countries QUARTERLY See website SEPTEMBER for details T2019 +44 (0)1722 424845 www.rscm.org.uk/get-involved/5 E [email protected] IN ACTION MUSIC SUNDAY

EIRENE PALMER

didn’t know what to expect when I signed up to a their toes. We began by learning his arrangement Music Sunday (16 June) jazz workshop followed by of spirituals Go down, Moses, O happy day and Ain’t Ia choral jazz evensong at Derby Cathedral. I was no mountain high enough, which was to be included comfortable with the evensong part, but jazz? I have in the service as the anthem. Alexander urged us to always found jazz baffling. I never know where it’s concentrate on communicating the notes on the going, and end up in a cul-de-sac without any satnav page to the congregation. We were told to think of to help me find my way out. But ever one for a ourselves as orators sharing a message with someone challenge, I was prepared to be educated and inspired, else, communicating words that happened to have and inspired and educated I was! Alexander a tune attached. And it worked. It gave us the L’Estrange led a two-hour workshop in preparation confidence to take our noses out of the copies for the evening service with panache, ability and and trust ourselves to the harmonies. enthusiasm. Indeed, by the time we were ready for the Next, we rehearsed Alexander’s composition service, I’d forgotten I didn’t know much about jazz Service with a Smile, comprising the canticles of and was doing it anyway. the Magnificat and the Nunc dimittis, for its world Alexander introduced himself by saying that he premiere. This was more challenging, being unknown loves music-making, he loves getting communities rather than familiar gospel, but the same principle together to sing, and he loves celebrating the many of singing as speech applied and helped us to see ways in which church and community unite to make patterns in the flow of the music. Alexander also Quote to go here music. He also enjoys different styles of music and taught us that jazz has a steady pulse that continues teaching all the tips and tricks that make each ad infinitum and which has opportunities for particular style work. syncopation within it. By hanging on to the pulse, From the start, his energy was infectious and he we had a reference point, a place to call home. quickly had a very disparate group of people from all Tea and cakes provided much needed sustenance over the diocese clicking their fingers and tapping after our exertions. Then it was time for the service itself, magnificently accompanied by Tom Watkins (bass), Dan Emery (drums) and Edward Turner (piano). The choir processed in to a jazz version of My song is love unknown, which almost had the choristers dancing down the aisle. The jazz choir acquitted themselves superbly in the canticles and the anthem, and the congregation joined in the final, rousingStanding in the need of prayer. Occasions such as these show that choral singing is alive and kicking in the Anglican Church and that we can and do embrace all manner of traditions. Thank you to Alexander and to Derby Cathedral for pushing the boundaries and for expanding our understanding of what Music Sunday can mean. Music Sunday at St Werburgh, Hanbury A Music Sunday brass band HIGHLIGHTS OF MUSIC SUNDAY 2019 Music Sunday in the Lichfield Area Our Music Sunday event actually took place on a Saturday! Cathy Lamb led the singers through a variety of music, including Bairstow’s Let all mortal flesh and much of Ireland’s Te Deum in F. It was a really jolly afternoon!

A brass band led event in Sedbergh We had a lovely afternoon playing a selection of hymns, and then a cream tea at the interval. It was great to see people who we normally don’t see at our concerts.

New choristers admitted On Music Sunday the choir of St John the Baptist, Kingsthorpe, admitted three new choristers. We sang Joanna Forbes L’Estrange’s A Music Sunday cake sale in full swing at St Mary, Moseley anthem God the Holy Trinity and director of music Andrew Moodie gave a short presentation about the work of the RSCM.

Harrow on the Hill service with orchestra At St Mary, Harrow on the Hill, Music Sunday and Trinity Sunday were celebrated with a Eucharist with orchestral accompaniment. The music included Haydn’s Little Organ Mass with soloists Victoria Simmonds (soprano) and John Eagles (organ).

Toowoomba, Australia St James Anglican Church, Toowoomba (Queensland, Australia) celebrated its 150th anniversary with a sung evensong on 9 June, chosen to coincide with Music Sunday. Although the choir at St James has been an affiliate church since 1946, many parishioners were not aware of the benefits of belonging to the RSCM. They were well informed on this occasion. Celebrations concluded in the parish centre with a curry. New choristers at St John the Baptist Church, Kingsthorpe

Rehearsals under way at St Mary, Harrow on the Hill Singers celebrating 150 years at St James, Toowoomba HIGHLIGHTS OF RSCM EVENTS IN YOUR AREA WHAT’S ON SEPTEMBER TO JANUARY

For more highlights of events being held across the period September 2019 to January 2020, and for full details of the events listed below, visit our website: www.rscm.org.uk/search-events/ or contact the named person.

AREA FESTIVALS

REGION ONE ROCHESTER AREA WINCHESTER AREA Chester Festival Choirs’ Festival Festival Service with Saturday, 28 September » Saturday, 5 October » 14:15 to 18:30 Presentation of Awards 14:00 to 19:00 Rochester Cathedral ME1 1SX Saturday, 5 October » 13:45 to 18:30 Chester Cathedral CH1 2HU RSCM Rochester invite choirs from Winchester Cathedral SO23 9LS Festival service and award across the diocese and beyond to join Choirs and individuals are all presentations. £2. Contact Karen together to sing choral evensong welcome. No charge, but attendees Salisbury on 07854 171308 or at including works by Stanford, must have a copy of Where shall [email protected] Ouseley and Parry conducted by Wisdom be Found?. Contact Philip the new Director of Music at Dowd on 023 8084 1679 or at Rochester Cathedral. [email protected] Contact Sue Moore on 020 8859 6997 GLOUCESTERSHIRE AREA or at [email protected] Festival and Awards Saturday, 28 September » 13:45 to 17:30 Gloucester Cathedral GL1 2LX Hugh Morris will direct the Girl Choristers and Lay Clerks of Gloucester Cathedral Choir. Free. Contact Steve Goodwin on 07831 671820 or at [email protected]

LICHFIELD AREA IRELAND AREA Massed Choirs’ Festival Festival Day and Voice Saturday, 5 October » 13:45 to 18:30 for Life Service Lichfield Cathedral WS13 7LD Saturday, 5 October » 11:30 to 17:30 Utilizing the brilliant new annual St Fin Barre’s Cathedral, Cork City festival book, which is extraordinarily Join us for RSCM Ireland’s annual good value for money. £6, includes Festival Day. The day will culminate book and refreshments. Contact in a service incorporating the Cathy Lamb on 07747 444 047 or at presentation of awards. €20, includes ESSEX AND EAST LONDON AREA [email protected] lunch and a copy of the festival service book. Contact Thérèse Gaughan on Festival Service +353 877 624 380 or at Saturday, 5 October » [email protected] 10:00 to 17:00:00 St Andrew, Hornchurch RM12 6QP Festival service using Andrew Carter’s Benedicite with readings and prayers. £5. Contact Shirley Timmins on 01277 233302 or at [email protected]

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 8 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS

AREA FESTIVALS CONTINUED

OXFORDSHIRE AREA GUILDFORD AREA PORTSMOUTH AND ISLE OF WIGHT AREA Annual Choirs’ Festival Choirs’ Festival and Saturday, 12 October » Presentation of Awards Festival 14:00 to 18:00 Sunday, 13 October » 15:00 Saturday, 16 November » Henley St Mary RG9 2AU Guildford Cathedral GU2 7UP 12:45 to 18:00 Choral evensong for members of Annual Area Choirs’ Choral Portsmouth Cathedral PO1 2HH affiliated choirs in the Diocese of Evensong. A wonderful experience for Join choirs from across the Diocese Oxford. £10 adults, £8 under 18s. parish choirs to sing together in the for a joyful afternoon of singing and Contact Janet Low on 01865 777257 beautiful setting of the cathedral. worship. Under 18s must be or at [email protected] £10, to include cost of music. supervised. Rehearsal starts 13:00, Under 18s free. Contact David Crick service from 17:00. £10 adults, £5 on 07850 709461 or at under 18s (includes music and [email protected] refreshments). Contact Sachin Gunga CANTERBURY AREA on 023 9282 3300 or at Annual Festival [email protected] Saturday, 12 October » NORTH WALES AREA 10:30 to 16:30 Canterbury Cathedral CT1 2EH Annual Festival WORCESTER AREA Music is drawn from the RSCM’s Sunday, 13 October » 14:00 to 18:00 Where shall Wisdom be Found?. St Mary, Mold CH7 1BW Festival and Awards Singers are welcome from choirs The RSCM North Wales annual Presentation in the Area and further afield. £6 festival moves this year to the Saturday, 23 November » (to include Festival Book). Contact charming market town of Mold and 14:00 to 18:30 Stephen Barker on 07736 040744 its glorious parish church. £6.50 Worcester Cathedral WR1 2LA or at [email protected] (including festival book Where Shall Annual Choirs’ Festival in the Wisdom be Found?). Contact Mark magnificent setting of Worcester Thompson on 07423 053621 or at Cathedral. Service starts 17:30 after [email protected] rehearsal and will include the presentation of Chorister Awards. No charge. Contact Tim Morris on 01562 744333 or at DEVON AREA [email protected] Choral Festival Saturday, 26 October » 10:45 to 17:00 LONDON AREA Exeter Cathedral EX1 1HS Come and join with us and other Awards Presentation singers for a wonderful day of singing Evensong and to celebrate with those who are Saturday, 23 November » to receive RSCM awards. £7. 14:00 to 18:00 Contact Joy Winzer on 01364 642448 BRISTOL & SWINDON AREA St Paul’s Cathedral, London or at [email protected] EC4M 8AD Diocesan Choir Festival Bronze, Silver and Gold Awards Saturday, 12 October » presentation. No charge. Contact 11:00 to 16:30 Howard Lush on 07971 963607 Bristol Cathedral BS1 5TJ or at [email protected] A festival service in search of God’s wisdom. An opportunity for choirs from across the diocese to come together to sing with the cathedral choir. £6. Contact Sarah Townsend on 0786 0439146 or at sarahtownsend251@ btinternet.com

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 9 WHAT'S ON

WORKSHOPS AND TRAINING DAYS

evensong. Directed by experienced PORTSMOUTH AREA ROCHESTER AREA choral leader Anne Ellis. With Bob Chilcott Workshop Birmingham Organists’ Association Three-Day Evensong Course Saturday, 14 September » as their annual service. Free. for Adults 10:30 to 16:30 Contact Alison Vining on Monday, 21 October – Wednesday, Portsmouth Cathedral PO1 2HH 07971 265702 or at [email protected] 23 October » 14:15 to 18:15 Whether you are young or old, Rochester Cathedral ME1 1SX experienced or new to choral singing, An opportunity for adults of enjoy an exciting range of repertoire reasonable musical standard to IRELAND AREA and brush up your vocal technique. rehearse and sing evensong on three £13, under 18s free (non-members Voice for Life Taster Session consecutive days. £45 adults, £20, under 18s £9). Contact Sachin Saturday, 28 September » £30 for 15–18s with RSCM Bronze/ Gunga on 023 9282 3300 or at 14:00 to 16:00 Silver/Gold Awards. [email protected] Holywood Parish Hall, Contact Sue Moore on 020 8859 6997 Holywood, Belfast or at [email protected] Workshop with Blanaid Murphy. Voice for Life is a training scheme designed to develop well-rounded singers of all ages. Come and learn about the scheme. £5. Contact Jacqui Dickinson at [email protected]

SUSSEX AREA Inspiring Music in Worship Saturday, 5 October » PETERBOROUGH AND 10:00 to 15:00 NORTHAMPTON AREA All Saints Church, Lindfield RH16 2HS Lift Up Your Voice WESSEX AREA Saturday, 14 September » A practical and visionary day relevant 14:30 to 17:00 to the worship and music of every Out in Front St Mark, Northampton NN2 8EG local church, led by the Revd Helen Wednesday, 23 October » Miles Quick looks at how music Bent. The day includes group 19:00 to 21:00 can enhance your worship, bringing discussion and music making. Bring The Chapel, Sarum College, in resources that can be used in your own lunch. £7, £2 under 18s Salisbury SP1 2EE churches with or without traditional (£10 non-affiliates). Contact A practical workshop for choir choirs. Opportunities for Shirley Linford on 01903 783692 directors covering conducting and instrumentalists to participate. or at [email protected] rehearsal technique. £5. Contact Day ends with a short act of worship. David Duvall on 07855 947104 or £5 including refreshments. Contact at [email protected] Andrew Moodie on 01604 780507 or at [email protected]

BIRMINGHAM AREA Choral Evensong from Scratch Saturday, 21 September » 14:00 to 17:30 St Mary Magdalene, Tanworth in Arden B94 5AL Come together at this ancient church to rehearse a variety of music leading to a service of choral

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 10 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS

WORKSHOPS AND TRAINING DAYS

PETERBOROUGH AND SOUTH EAST WALES AREA NORTHAMPTON AREA Lift Up Your Voice Vocal Technique Workshop (and Instrument!) Saturday, 9 November » Saturday, 16 November 14:30 to 16:30 St Mary, Magor NP26 3LY St Peter and St Paul, 1–3 Market A workshop on the creative use of Place, Kettering NN16 0AQ music in liturgy for churches with Nicolas Moodle will give pointers to limited musical resources. 10AM improve your vocal technique to get registration, 10:30 start, closing act the most out of your singing voice in of worship at 16:00. £5. Contact this interactive session. There will be Emma Gibbins on 07952 514117 or a mid-session break for refreshments at [email protected] and parking is available on the church drive. £5 including refreshments. Contact Andrew Moodie on 01604 780507 or at [email protected]

AREA FESTIVAL REHEARSALS

Thursday, 12 September » Wednesday, 11 September » REGION ONE 19:30 to 21:00 19:15 to 21:00 Festival Rehearsals St Peter, Frimley GU16 7AQ Weeke Methodist Church, Rehearsals for the Chester Festival Winchester SO22 6EG on 28 September. £2.00 + copy of Friday, 13 September » Contact Canon Gary Philbrick on the book. Contact Karen Salisbury 19:30 to 21:00 01425 839622 or at rectory@ on 07854 171308 or at St Mary, Chiddingfold GU8 4QA avp-benefice.org.uk [email protected] Saturday, 14 September » Tuesday, 17 September » Monday, 9 September » 16:30 to 18:00 19:30 to 21:30 19:30 to 21:30 St John, West Byfleet KT14 6EH St Michael, Basingstoke RG21 7QW St Mary, Nantwich, Cheshire Contact Ian Rees on 01256 326654 CW5 5RQ Monday, 23 September » 19:30 or at [email protected] St Mary, Ewell KT17 2AY Thursday, 19 September » 19:30 to 21:30 BRISTOL & SWINDON AREA St Anne, Sale Moor, Cheshire WINCHESTER AREA M33 3GD Festival Rehearsals Festival Rehearsals Rehearsals for the Bristol and Wednesday, 25 September » Rehearsals for the Winchester Area Swindon Area Festival on 12 October. 19:30 to 21:30 Festival on 5 October. All attendees Contact Sarah Townsend on St Peter, Lower Heswall, must have the Where Shall Wisdom 0786 0439146 or at Wirral CH60 0DZ be Found? festival service book. [email protected]

Tuesday, 10 September » Wednesday, 2 October » 19:30 to 21:30 19:00 to 20:30 GUILDFORD AREA St Thomas, Lymington SO41 9ND Bristol Cathedral BS1 5TJ Festival Rehearsals Contact Philip Dowd on 023 8084 Rehearsals for the Guildford Area 1679 or at [email protected] Tuesday, 8 October » Festival on 13 October. Contact David 19:00 to 20:30 Crick on 07850 709461 or at rscm. St Sampson, Cricklade SN6 6AT [email protected]

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 11 WHAT'S ON

FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS COME & SING

bustle of the day. No charge, but with An informal sing through the CORNWALL AREA a retiring collection. Contact Shirley choruses of Handel’s masterpiece O for a Thousand Tongues Timmins on 01277 233302 or at followed by a light tea and Saturday, 5 October » [email protected] performance. The emphasis will 11:45 to 15:40 be on Part 1. 14:30 register, 17:30 Truro Cathedral TR1 2AF performance. £5. Will need a All of the pieces have been carefully WINCHESTER AREA Watkins Shaw edition. Contact chosen. Rehearsal 11:45 to 12:45, Philip Dowd on 023 8084 1679 service from 14:30. The music will Come & Sing Requiems or at [email protected] be sent to all choirs/singers as a Saturday, 2 November » printable PDF. A music booklet 15:00 to 20:00 is available from the TDCU Beaulieu Abbey Church SO42 7YG SOUTHWELL AND Two French requiems in different  for £5. Contact Karen Harris NOTTS AREA on 07984 678628 or at styles by Charpentier (1643–1704) [email protected] and Fauré (1845–1924). All adult Come and Sing Choral singers come and sing and bring Evensong a picnic tea. Music can be provided Sunday, 15 September » by email. Performance at 19:00. 15:30 to 18:00 ESSEX AND EAST  No charge. Contact Philip Baxter St Mary Magdalene, Newark LONDON AREA on 01590 676493 or at NG24 1JS Come and Sing Compline [email protected] Experience the thrill of singing by Candlelight in a church choir supported by Friday, 18 October » professional musicians. This event 19:30 to 21:30 is aimed at adults and teenagers. WINCHESTER AREA Corpus Christi Church, Collier No charge. Contact Stephen Row, Romford RM5 2AP Come and Sing Handel’s Bullamore on 01636 678897 A candlelit service on the Feast of Messiah Parts 1 and 2 or at [email protected] St Luke based on the liturgy used for Saturday, 16 November » centuries by monastic communities. 14:30 to 18:30 A serene and contemplative end to the St John, Hythe, Hampshire SO45 6BP

SOCIAL AND SEASONAL

WORCESTER AREA LONDON AREA OXFORDSHIRE AREA Quiz Night Meet the Director Epiphany Carol Service Saturday, 14 September » Monday, 7 October » Saturday, 18 January 2020 » 19:00 to 22:00 19:30 to 21:30 15:00 to 19:00 Kidderminster Parish Church The Temple Church, London Christ Church Cathedral, DY10 2JN EC4Y 7BB Oxford OX1 1DP A light-hearted (but competitive) A chance to meet the RSCM’s Director, Epiphany service held jointly with quiz covering all topics and finishing hear about some of the RSCM’s current the cathedral choir and singers from with a fish and chip supper. Book and future plans, and to sing music old RSCM choirs from Oxford Diocese early. £8.50 to include supper. Contact and new from a selection of recent and beyond. £5. Contact Janet Low Robin Walker on 01905 353939 or RSCM publications. Over 18s only. on 01865 777257 / 07549 886561 at [email protected] No charge. but donations welcome. or at [email protected] Contact Penny Davison on 020 8346 4600 or at [email protected]

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 12 Ad 3 STRIVING FOR A GERMAN HYMN BOOK 30 YEARS SINCE THE FALL OF THE BERLIN WALL

GUNTER KENNEL he book Von dem Wort und dem Kirchenliede It was therefore post-war that the Landeskirchen (From the Word and the Hymn) has raised once again started working towards an all-German Tquestions about German national identity ever Protestant hymn book for all churches. The result since it was first published in 1819. Written by the was the Evangelisches Kirchen-Gesangbuch (EKG, or German historian, poet and politician Ernst Moritz Protestant Church Song Book), which was adopted by Arndt (1769–1860), the book calls for a German Christian hymn book that could be used by all denominations and express the Christian character After national unity in 1871, the of the German people. At the time, Germany did not exist as a nation, but as a bunch of various states and Landeskirchen attempted another dominions headed by noblemen. These kings and all-German hymn book, the ‘Deutsches earls were also the summi episcopi: the heads of the Evangelisches Gesangbuch’ (DEG, Protestant Churches of their countries, responsible or ‘German Protestant Hymnal’) for undertaking all episcopal functions. Various official hymn books existed in theseLandeskirchen (regional churches), but there was no single text in use across the German-speaking kingdoms. Those all Landeskirchen in 1951. It consisted of a Stammteil who envisaged such a text were, like Ernst Moritz (core part) of 394 hymns, which was common for Arndt, often preoccupied with questions of all of them. Thus, the book was not the result of a German nationhood. national church but of a nationwide agreement of In the Protestant parts of the country, attempts Protestant churches. Each of these churches added its to create an all-German hymn book continued across own regional appendix of hymns, texts and liturgical the 19th century. Then, in 1853, the conference of forms so that the EKG did not exist as an all-German Protestant churches in Eisenach adopted a list standard but in a variety of different regional editions. of 150 ‘Kernlieder’ or core hymns, all of which were The counterpart of a nationwide Roman Catholic well respected by the majority of the Landeskirchen. hymn book, subdivided in the manner of its However, despite being printed as a book, the list Protestant model, came later in 1975 and was never gained official status. Indeed, it is arguable called the Gotteslob or Praise of God). that its creation was more closely tied to issues of Protestant rather than national identity. When national unity was achieved in 1871 under the leadership of Prussia and its King Wilhelm I, the federal system of Landeskirchen remained, and therefore the next attempt at an all-German hymn book, the Deutsches Evangelisches Gesangbuch (DEG, or German Protestant Hymnal 1915), was made for the German Protestant congregations in foreign countries and had almost the same status as previous efforts. The system of the Landeskirche only came under serious threat when the Nazi Party came to power in 1933. The Nazis tried to establish a Reichskirche with a Reichsbischof. There was also an attempt to make an all-German hymn book by the Deutsche Christen, but the struggle between church and state produced many alternative collections, and the singing of certain hymns became political, used by both sides in the struggle. Germany’s defeat in 1945 ended the attempt at creating a Reichskirche and possibly saved Christianity in Germany from extinction.

Right: Now controversial for his attitudes regarding German ethnic homogeneity, Ernst Moritz Arndt was nonetheless a key figure in the drive to create a German Christian hymn book.

After the Nazi Party came to power, the struggle between church and state produced many alternative hymn books, and the singing of certain hymns became political

religious identity as a national link between the two German states. By this time, however, the EKG, which was begun in the 1920s, was considered conservative and retrogressive – not perhaps the right response to the new situation. A movement for a new and more popular form of religious singing started in the 1960s, and the Landeskirchen were increasingly urged to revise the EKG to meet current needs, while keeping the general structure of a core part with supplementary regional appendices. The commission that worked on this had representatives from all Landeskirchen of both the Above: The Hymnal for Rhineland and Westphalia FRG and the GDR. It could be (1929) was one of many regional variants of the seen as the Protestant hymnological answer to the German Protestant hymnbook (1915). German question of identity, and needed to be not only more popular, but also more ecumenical and international. That the latter succeeded was due in no By 1949, however, there was no longer one German small part to the work of the East German theologian nation but two German states, the FRG (Federal Jürgen Henkys (1929–2015), who contributed Republic of Germany) in the West and the GDR 11 of his many translations of hymns from Britain, (German Democratic Republic) in the East. The America, Norway, Sweden and the Netherlands. Protestant hymn book, and later the Gotteslob, When the Berlin Wall fell in 1989 the planning of became a kind of religious and spiritual bridge this revised hymn book was in its final phase. In the between the Landeskirchen (dioceses) in both states. new political situation, the coming Evangelisches These books were given even greater significance Gesangbuch (EG, literally Protestant Song Book) was when in 1961 the German division was reinforced suddenly transformed from merely an expression of by the building of the Berlin Wall. Although not common heritage and ‘national’ hymnody into a new the intention of their creators, these hymn books religious expression of the freshly achieved unification received new national meaning by expressing of the country. Thus it became important, especially

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 16 STRIVING FOR A GERMAN HYMN BOOK

for the former Eastern Landeskirchen, to get the book The EG was introduced in all German Protestant into immediate use. The Landeskirchen therefore churches on Reformation Day in 1993. It came at just did not wait for the production of their own regional the right moment: the first phase of reorganization appendices and so, for many years, it was just the of Protestant churches in Germany was coming to core part of the book that was the hymn book of an end by reordering the Eastern Landeskirchen these regional churches. and strengthening their old ties to their Lutheran, It could be understood as a kind of immediate Reformed or Unified western counterparts – the reaction to reunification that in the final phase most notable example of which was the reunification of preparing the new book a hymn was included of the church of former West Berlin and its eastern written by the East German theologian and author counterpart of Berlin-Brandenburg. The 535 items Klaus-Peter Hertzsch (1930–2015). The hymn, in the core hymn book were at that time a perfect starting ‘Vertraut den neuen Wegen’ (EG 395, in expression of freshly reunified German English ‘Trust the new paths’), was originally written Protestantism beyond all differences of faith and for a wedding in the summer of 1989. The sermon and the hymn of that wedding were based on Genesis 12.1, and because the hymn was so orientated to this biblical source, it could easily be transformed into Klaus-Peter Hertzsch’s hymn an expression of confidence in God. The hymn ‘Vertraut den neuen Wegen’, written soon became not only a perfect expression of the developments of those intense weeks in Germany in the summer before the Berlin wall in 1989, but eventually something more generally fell, became symbolic to Christians symbolic of German Christians in the time of during the time of reunification reunification and the political era that followed.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 17 Since at least the 18th century, the creation of a German national hymn book has been troubled by questions of conformity and separation, either religious, cultural or national

least the 18th century, often burdened by questions of conformity and separation, whether religious, cultural or national. Creating a hymn book has been a struggle caused by fear of loss, rejection of the new, and the need to integrate oneself in a tradition, as well as the need to find enough connections to express oneself in a hymn. It seems that we are entering a new phase of the Above: Many member churches of the German Protest Church (EKD) have their own regional hymn books. Image copyright history of hymn books in which their production c Evangelische Kirche in in Deutschland (EKD), Statistics. and existence is superseded or at least completed by Used by kind permission. data banks in which all obtainable hymns and their versions are collected and made usable. The German political experience. And since the choice of Protestant Churches have initiated a new revision hymns in the EG was also well balanced between of the EG and the question of a data bank will be particular historical periods, genres and topics, the a key question. Maybe there will be no further EG, book was quickly and widely accepted by churches or maybe there will be various hymn books and and congregations. Subsequently, some of the collections for different purposes, edited by Landeskirchen, especially in former West Germany, congregations and church districts, and also by have created their own versions of the EG, other denominations or institutions that need a book including supplementary appendices. or a booklet for religious singing. Such a data bank It is now almost 30 years since the fall of the Iron could help to open anew the huge wealth of Christian Curtain. In the meantime, German Roman Catholics singing: jewels may be (re)discovered and new hymns have completed a revision of their Gotteslob (2013). added to the treasure chest. It would enable a wide, So there is still neither denominational nor national ecumenical and international approach to the matter unity expressed by one hymn book as Ernst Moritz and help to preserve the rich tradition as well as Arndt once dreamt, and the German word for hymn integrate modern ways of religious expression book, the noun Gesangbuch, can still be used as a through hymns. synonym for denomination, despite all the national If the issue of a hymn data bank is dealt with or ecumenical discussions over the last 200 years. thoroughly, not just within the churches but also Maybe Arndt’s dream is unrealizable, not only in the academic world of hymnology and in law, because of denominational differences, but also the coming years will be an exciting and important because creating a hymn book has been, since at period for Christian singing.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 18 Ad 4 HEAD REGISTER AND DESCANTS FOR SOPRANOS AND TREBLES

ADRIAN LUCAS

hose who know me well will know that I have or vocalize. Sometimes this takes several attempts a passion for flying. I even have a private pilot to get sufficiently high in the voice, and sometimes Tlicence and a share in a rather lovely Cessna this involves suggesting a higher payout! 172. There is something special about looking down Having achieved that, the next exercise is to stop on the earth from several thousand feet and admiring on the highest pitch note, sustaining it as long as creation. possible and without letting the pitch slide. Once the Singing in the high part of the voice can give much initial stigma has been overcome, we then try to aim the same sense of exhilaration, especially when, like collectively for the same note, again from an upward a professional batsman striking the ball, the voice slide, sustaining the final pitch until all are united. It’s really connects with the note, hitting the sweet spot of the vocal mechanism. There are, however, various hurdles to be overcome to achieve this. One of the most exciting moments in While much of this article will inevitably appeal to any singing lesson or class is when the trebles and sopranos, the techniques are identical for upper regions of the voice are unlocked singers of other voices, though they may have fewer for the first time opportunities to put them into practice.

often a good idea to give them a note to aim for, either DISCOVERING AND USING HEAD VOICE by playing an attainable note on the piano or on The first challenge for many youngsters is to find another instrument. Better still, if you are a soprano the head voice in the first place. You only have to you could lead the session by singing that high note. stand near a primary school playground to hear the This process can then be repeated, usually involving innate ability of children to make extremely high- even higher sums of money to attain higher pitches. pitched notes, and yet much music written for children is pitched extremely low in order to make it inclusive. Clearly, many schools have very limited RELAXATION IS KEY access to professional singing tuition, so it is easy to I like to take this exercise a stage further, ending understand why this is the case. However, one of the the long-sustained note with a downward scale of most exciting moments in any singing lesson or class five notes, thereby releasing the vocal pressure and is when the upper regions of the voice are unlocked gaining overall vocal control. This practice helps to for the first time. instil a greater sense of music, rather than just the My approach involves thinking about money – fun of sliding onto a random note. though it costs nothing to deliver. I usually start Whether I’m working with adults or children, by suggesting that I have £100 for each of the I regularly find singers who find difficulty in making participants, and encourage them to make an excited a rich and relaxed tone on higher notes, sometimes whoop up to the highest note that they can sing resulting in an unstable pitch with little or no overall

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 20 If we are to encourage our singers to take the tension out of their voices when singing high pitches, our gestures as directors need to be equally encouraging, denoting line and musical flow rather than sudden points of tension around the climaxes

allow the sound to work with great resonance and focus, even on very high pitches. Of course, the sound we want from our singers is not always one that sounds breathy – quite the opposite in many instances. These muscles still come into play nonetheless as we experiment and adjust our vocal control. At this stage, the process as thus described is simply a means to get the mechanisms working.

OTHER VOICE PARTS These techniques most obviously apply to children and sopranos trying to open up the upper part of their vocal range and gain control of an otherwise troublesome tessitura. However, I regularly use this control. This is most often caused by tension in the same technique when conducting choral society jaw and across the throat, leading to a strangling of auditions with contraltos, many of whom are assigned the flow of air. There are, however, some simple their part not because they have a rich bottom exercises that can help to overcome these problems. register, but because they have never discovered how to sing the higher notes. It can be quite enlightening (even bewildering) to see one of these singers KEEPING IT STEAMY venturing up to a top A or B when they have never The crucial aspect in this instance is to get the air suffered from vocal vertigo before. flowing and, to this end, I hold up a suitably flat Similarly, this can be a great way of helping tenors object and ask the singer to imagine it is a mirror. and basses to control their upper registers and to The simple act of breathing onto a mirror or window transition smoothly into falsetto. creates the image of steaming it up. The object I most If you work with a choir and want to learn more usually have with me is my tablet, but it could equally about these elements of singing, you will find much be a hymn book, a cookbook or even a newspaper. more information in the Voice for Life Guide to Choir At this point, I usually ask the singer to breathe out Training. There’s a whole section on tone and range. onto the surface and imagine steaming it up. Once that is complete, we move on to sing a note in the comfortable low-to-mid range of the voice, and from GESTURES FOR BEST ENCOURAGING GOOD TONE there we experiment to create a seamless range of While talking about these elements of vocal sounds from all breath and no note to, at the other technique, it is worth mentioning the corresponding end, all note and no breath. These lower pitches are gestures and facial expressions employed by choral relatively easy to control, and the pupil will soon start trainers and directors when wanting their choir to to discover the muscles that control the adjustment. sing high pitches. The exercise can then be transferred onto higher In my position as RSCM Head of Choral Studies, notes, gradually opening the vocal passages to I work regularly with choir directors (and would-be

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 21 trainers) in workshop situations and it is fascinating DESCANT to observe and reflect on the techniques they use. As part of this article, I have written a new descant for These are often strained, rather contorted and tense, the hymn For all the saints to the tune Sine nomine. reflecting all that can be bad in the toolkit of good When writing such arrangements, I always try to give practice. Facing up to the honest truth with these the descant as melodic a shape as possible, avoiding conductors can take a great deal of tact and unnecessary jumps and moving largely by step. I hope diplomacy, especially if one is keen not to offend. this will make it straightforward to learn. While it Ultimately, it can be helpful to ask them to work in only goes as high as a G in the descant line, the overall front of a video camera or mirror so that students tessitura is sufficiently high to require a good degree can see for themselves the gestures and expressions of breath control to sustain the long lines. they inflict on others. I have marked the breathing points in the descant My guiding principle through all of this is to line and, while these may seem obvious to the trained translate the vocal relaxation (as outlined above) eye, it is important to encourage singers not to into comparable conducting gestures and expressions. breathe more frequently than this. By encouraging If we are to encourage our singers to take the tension each individual voice to support long musical lines, out of their voices when singing high pitches, our we are simultaneously helping them to create tone gestures as directors need to be equally encouraging, that is sustainable, even and pure. denoting line and musical flow rather than sudden As a parting reflection, I remember clearly the point points of tension around the climaxes. Clear but at which my son first discovered how to use his head sweeping gestures are much more productive than voice and to get control of pitch. He had shown quite energetic jabs and hand clenching. It is wise to major problems in this respect at an early age, but the consider that singers need encouragement to go for experience of joining Worcester Cathedral’s Voluntary very high notes, not threats. All of the preparatory Choir at the age of about six, under the expert direction and technical work needs to be done in rehearsal, of Daniel Phillips, enabled him to unlock this part of saving the gentle, supportive moves for the the voice to great effect. That first Christmas of his performance itself. singing career, my wife and I witnessed him singing himself to sleep by singing all the well-known David Willcocks descants, but up an octave! My challenge to all our readers is to find someone for conversion in time for the up-coming Christmas season.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 22 FOR ALL THE SAINTS – SINE NOMINE DESCANT For all the saints - Sine Nomine descant William Walsham How Ralph Vaughan Williams , ° # œ œ œ œ œ œ œ œ Descant & Œ œ œ œ œ œ œ ˙ œ #˙ œ From earth’s wide bounds, from o - cean’s far - thest coast, through gates of # Melody Œ œ œ ™ ˙™ Œ ¢& œ ˙ œ œ œ œ œ ˙ œ œ From earth’s wide bounds, from o - cean’s far - thest coast, through gates of

# œ ™ œ œ œ œ & Œ œ œ œ ˙™ œ œ ˙ ˙œ œ #˙ ˙˙ œ œ œ ˙ œ œ œ œ œ œœ ˙ ˙ ™ ?# œ œ œ ˙ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ #œ

, ° ˙™ Desc. # œ œ œ œ œ œ œ & œ œ œ œ œ #œ #œ nœ œ œ œ œ œ pearl streams in the count-less host, sing - ing to Fa - ther, ™ Mel. # ˙ œ ¢& ˙ ˙ œ œ œ œ ˙™ œ ˙ œ œ pearl streams in the count-less host, and sing - ing to Fa - ther,

# ˙ œ œ œ #œ ˙ ˙ œ œ ˙ œ œ œ & ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ w ?# œ œ œ œ œ œ œ { #œ œ œ œ œ nœ œ œ œ œ œ œ œ œ

, ° ™ œ œ ™ Desc. # œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ & J Œ J œ œ œ w Son and Ho - ly Ghost Al - le - lu - ia, Al - - le - lu - ia! # œ Mel. ¢& œ œ œ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ œ œ œ œ ˙ w Son and Ho - ly Ghost Al - le - lu - ia, Al - le - lu - ia!

# ™ j ˙ ˙ œ œ œœ œ œ œ ˙ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ œ w & œ œ ˙ ˙ œ œ œ œ ˙ œ œ œ œ œ w ™ j œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙ œ œ œ w ?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { œ œ œ œ œ œ œ w

Music: SINE NOMINE by Ralph Vaughan Williams (1872–1958) from The English Hymnal. Reproduced by permission of Oxford University Press. All rights reserved.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 23 FROM THE DIRECTOR

HUGH MORRIS

ome churches thrive on the idea of fresh And the guiding principle is surely that God deserves innovation, but I know from my travels that the best we can offer him, which requires effort. Smany churches are more conservative and find January is traditionally the time for new new things threatening. Of course, there’s nothing resolutions, but in music terms, why not start making wrong with the familiar. It’s natural to seek out the changes starting this September. Often, little changes things with which we are comfortable and confident, can make quite a difference. With that in mind, what be they choir anthems, voluntaries, pre-service song three things could you resolve to do? Turn up to lists or favourite hymns. If you are more on the practice five minutes earlier, so you have time to find conservative side, however, I would encourage you to your music before the start time? Listen online to the think about how you might include at least one new music coming up at church next week so you’re piece of music in the coming months. prepared and feeling more confident? Read the daily Sunday by Sunday is a great place to start. Why not prayer passages that are always listed on the back choose a fresh option from the tables? You can always of the pew sheet and that you presently only use as a revert next year if you don’t like it! How you introduce bookmark in the anthem book? You might find those it, however, requires some thought. For a start, there passages give you a better insight into the Scriptures, are practical considerations. The music needs to be which are the bedrock of our Christian faith. learned. Indeed, you need to think about how your In the future, we will begin setting up forums singers learn. The music needs to be refined, not just for people to share experiences and to support one played through. No one gets good at music without another. The idea will be to collaborate so that we practice. Even those described as ‘brilliant sight- can make the best of our resources and talents. In the readers’ who supposedly have ‘no need to rehearse’ meantime, however, do write in to CMQ and share only got where they are with practice (and doubtless your fresh ideas. You might just be the source of still work at it). The beneficiaries of this practice are inspiration someone else is looking for. the worshipping communities of which we are part.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 24 RSCM NEWS

MUSIC SUNDAY AT MUSIC LICENSING CHANGES: ONE LICENSE, WAKEFIELD CATHEDRAL CALAMUS AND HA&M Choirs from Region One took part in Effective from 1 July 2019, all Calamus customers became a part of the One the Annual Choirs Festival at Wakefield License family. For those unaware, One License is an online licensing service Cathedral on Trinity Sunday (RSCM committed to making it easy to obtain reprint permissions for congregational Music Sunday). This has become a music. Calamus licence holders have now joined 18,000 churches and schools popular event for parish choristers to from around the English-speaking world who rely on One License, which join the cathedral choirs in choral provides a single source for congregational reprint permissions from top evensong, which this year included the sacred music publishers, including the Royal School of Church Music, the introit Hymn to the Trinity (Tchaikovsky), Taizé Community, the Iona Community, Oregon Catholic Press (OCP), Amner’s Responses, Walmisley’s GIA Publications, Inc. (GIA), Oxford University Press, Hope Publishing, Canticles in D minor, and for the anthem, Kevin Mayhew and many more. Stanford’s setting of the Te Deum in A. One License has appointed Hymns Ancient & Modern for sales and Around 100 singers from eight marketing in the UK, Ireland and continental Europe. Michael Addison, Sales parishes took part, and during the and Marketing Director for Hymns Ancient & Modern, said, ‘We look forward service the Dean of Wakefield (the Very to creating more awareness about One License and the convenience we can Revd Simon Cowling) presented Dean’s provide to churches and schools throughout the UK, Ireland, and continental (Bronze) Awards to choristers who had Europe.’ For more information visit www.onelicense.net taken their exams in May. Bishop Tom Butler then presented Bishop’s (Silver) Awards. The music was conducted by Thomas Moore, the cathedral’s director of music (who also spoke about the work of the RSCM), with the assistant director, James Bowstead, at the organ. Geoffrey Lockwood SE WALES AREA CHORAL FESTIVAL This year’s Festival took the form of choral evensong on Saturday 15 June under the inspired leadership of Rosemary Field, RSCM Deputy Director. The YOUNG PEOPLE’S event built on the success of last year’s festival in the grounds of Tintern MUSIC SUNDAY Abbey, though this time in the magnificent setting of Cardiff’s Llandaff Cathedral, which was also a good bit warmer! As part of the RSCM’s Music Sunday We welcomed choirs and choristers from all parts of the Area (over 130 for celebrations, St Mary Magdalene, the service), with a similar number making up the congregation. The singing Taunton held a Young People’s Music was exceptional and left a lasting impression on all those involved. The music Afternoon on 16 June. Preparations for was by Tallis, Smith, Stanford and Balfour Gardiner and was expertly this included rehearsals with our own accompanied by the cathedral’s director of music and RSCM Area secretary choristers and taking an assembly at the Stephen Moore at the organ. local church primary school. Young The occasion was also used to mark the success of candidates in the RSCM singers and instrumentalists met at 3.30 Voice for Life Silver and Bronze Awards. A welcoming speech was given and to rehearse extracts from the musical ribbons presented by the Dean of Llandaff, the Very Revd Gerwyn Capon, to Saints Alive by Roger Jones, as well as much applause. some well-known hymns. We then The area committee, chaired by Dr Emma Gibbins, was delighted with the enjoyed a large tea, generously supplied response to this year’s festival. by the church, and performed the music Richard Rees learned in a short service at 5pm, with an inspirational message from the diocesan youth adviser. This service was well attended by parents, friends, regular church members and visitors. The theme was the power of the Holy Spirit to turn fearful people into bold saints. Miles Quick

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 25 ST JOHN THE BAPTIST, BOLDRE, DEANERY CHORAL EVENSONG What a joy! A big thank you for working to prepare the second in our new annual cycle of Lyndhurst deanery choral evensongs. Particular thanks are due to Timothy Rice and Brigid Parkin for ensuring that the music was distributed well in advance and to the Revd Canon Andrew Neaum for his liturgical expertise. By popular demand, Fern Daish- Handy was asked to direct again this year and she expertly settled the combined choirs of 12 different churches into the acoustic of St John the Baptist. Timothy Rice provided well-articulated organ GENERATIONS PLAINCHANT IN accompaniment. The service contained many well-known and loved There are 85 years between two PORTSMOUTH pieces: Tye’s O come, ye servants of the choristers from Holy Trinity and St RSCM Portsmouth’s Plainsong Lord; Smith’s Preces and Responses; Mary, Guildford. Graham Morris, Workshop took place on 2 March. Parry’s Psalm 84; Stanford in B flat; ‘father of the choir’, greeted William, The event was run by John Rowlands- Vaughan Williams’s All people that on the newest chorister, sporting his red Pritchard, an acknowledged expert earth do dwell, and the hymns ‘Fill thou probationer’s sweatshirt. William was in Gregorian chant. A small group my life’ (Richmond), ‘Lamb of God’ introduced to the choir by his older of 21 singers, some travelling from (Harts) and ‘Christ is made the sure brother and full chorister, Jamie, and as far afield as Dorset, Surrey and foundation’ (Westminster Abbey). is now working towards earning his Gloucestershire, met in St Philip, The many volunteers rose admirably red cassock. Cosham. John had prepared a booklet to the challenge of providing the tea. The parish has a lively musical containing all the music used during Some participants have evensong at foundation, with girls’ and boys’ choirs the workshop, with readings least once a month in their home backed by adults, a further adults’ appropriate to Lent. Over the course church, but many said it is no longer choir, an ad hoc parish orchestra of three sessions we prepared and sang supported and how pleased they were and numerous visiting performers. the minor offices of terce, sext and to have an opportunity to come and A number of former choristers have none, singing from behind the high sing. It was also good to see in the gone on to become professional altar and treating each as an act of congregation the new incumbent of musicians in recent years. worship. The plainsong was based Brockenhurst, whose church has asked Venetia Howes on the Worcester Antiphoner (rather to host the 2020 service. than Sarum) with some endings Philip Dowd, Winchester slightly simplified. In the final public presentation, we sang a sequence ‘In Penitence and Faith’ – a Common Worship service of the word in Lent, finishing with compline. John led the workshop in a calm manner. Indeed, several of the participants commented on how relaxing they found the event, which was enjoyed by everyone who attended. Malcolm Keeler

Above: Frikki Walker, Rosemary Field, Kevin Duggan and Chris Wilson help celebrate 10 Above: St John the Baptist, Boldre. years of Scottish Voices.

Left: ‘Father of the choir’, Graham Morris. Right: 10 years of Scottish Voices.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 26 MOZART AT MERTON This year’s Come and Sing Mozart’s Requiem in Oxford’s Merton College Chapel was directed by Benjamin Nicholas and accompanied by Stephen Clarke on their versatile new organ by the American builders, Dobson. The chapel, originally conceived as a large church, but truncated during building because of lack of funds, remains an inspiring venue with a sympathetic acoustic from which we benefited greatly. Despite much speculation concerning the completion of the Requiem, it remains one of the greatest choral works of all time, emotionally uplifting and satisfying to perform, and despite not being the usual church choir fare, it was a sell-out, with over 110 choristers from the Oxford diocese and beyond. The solos were sung by a talented quartet of Merton choral scholars. During the rehearsal, Ben was able to concentrate on interpretation, dynamics, phrasing, secure entries, carefully regulated fugal sections, and ensuring that we all ended our ‘ss’ at the same time! At the pre-performance break in the College Hall, we enjoyed light refreshments under the watchful gaze of Merton’s great and good. I don’t think we let them down! Ian Heriot and Terence Carter

Above: The Merton College Chapel organ.

10 YEARS OF SCOTTISH VOICES RSCM Scottish Voices finished 2018–19 with a remarkable wonderful God is gone up. The congregation was celebration of choral evensong in St Giles’ Cathedral, appreciative, with guests from Canada, USA and South Edinburgh. America all passing comment on how great a celebration The choir was joined by 17 guests from south of the it was. border, including Rosemary Field, RSCM Deputy Director; Afterwards the choir got to know each other over an representatives from RSCM Salisbury and RSCM Scotland excellent finger buffet. led us in the Bible readings. Capably directed as always Thanks are due to all our additional members, some of by Frikki Walker, with Kevin Duggan on the exceptional whom travelled quite a distance to be with us. The choir St Giles’ Rieger organ – what a sound! – the combination could not have asked for a better way to celebrate 10 years of of organ and voices was outstanding. singing to the glory of God. Here’s to the next decade! More The celebratory music included Wood’s Hail, gladdening details on RSCM Scottish Voices and how to join are on Light, the Rose responses, Stanford in A, and Finzi’s their website: www.RSCMScottishVoices.org.uk.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 27 NEWS FROM AROUND THE WORLD

HYMN FESTIVAL IN PARIS On 11 May, a hymn festival was organized by the Hymn heaviest consistent rainfall for a long time, and the gilets Society of Great Britain and Ireland and RSCM France and jaunes (the yellow vests) protesters were out in force, so held at the American Church in Paris. The purpose of the all metro stations and buses in the area were closed and festival was to sing some favourite hymns and learn some cancelled. This reduced considerably the number of new ones, having received background information about attenders, but those who arrived battled their way through how the hymns and tunes came to be written. The presenter the elements to enjoy an uplifting festival. Thank you was the Revd James Dickinson from Chesterfield in the UK, all for your faithful support. who is an authority on various aspects of English-language Thanks to all those who led, directed, accompanied, sang hymnody. The singing was led by a section of the RSCM and prepared refreshments. The success of the event can France singers under the direction of John Crothers and be seen in the comments received. As one attendee said: the organ accompaniment was provided by Malcolm Wisener ‘I thought it was a brilliant idea and would love to do it in his usual inspiring way. We were welcomed most warmly again, particularly if there are more familiar hymns.’ by our hosts, the American Church, and their Director of Music, Fred Gramann. Plans can be thwarted by circumstances beyond our control, however, and that weekend Paris received the Above: The American Church in Paris.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 28 RSCM NEWS

Above: A Big Sing in Cape Town.

A BIG SING IN TAIZÉ WORKSHOP CAPE TOWN RSCM Cape Town presented a Taizé workshop on Saturday 18 May at St Oswald’s In what was dubbed the last Big Sing of Anglican Church, Milnerton, Cape Town. The response of 56 choristers from 2018, members of the RSCM Cape different denominations was amazing. Brothers Claudio, Luke and Francesco Town branch met on 24 November for led the day which was complemented by instrumentalists from the Centre of an afternoon of singing followed by Spirituality, led by Paddy Attwell. Choristers enjoyed being able to sing the chants Holy Mass at the Roman Catholic in harmony. The brothers from Taizé are in South Africa preparing for a conference cathedral of Our Lady of the flight into called the Pilgrimage of Trust (25–29 September 2019). During the workshop, Egypt, Cape Town. The day was directed Taizé life and the Pilgrimage was explained using video material. The day ended by Ashley Petersen with Gavin Julius with a meditative service where the rehearsed chants were performed by Brother at the organ, the music selected being Claudio as cantor in a calm atmosphere of blessing. Thanks to the team of centred on the Feast of Christ the King St Oswald’s for the delicious soup and bread. ‘Bless the Lord, my soul, and which would be kept the following day. bless God’s holy name.’ The magnificent acoustic of the Cedric Williams cathedral together with its ambience of beauty and serenity found one utterly Below: St Oswald’s, Cape Town, hosting a Taizé workshop. ‘lost in wonder, love and praise’. From Gregorian chant to modern hymns and a newly composed setting of the Mass, the afternoon proved to be both challenging and rewarding: the amount of music covered and the time at our disposal were rather mismatched, but in the end we got through it all and were able to present a wonderful act of worship to God, which is our ultimate aim as choristers. We are thankful for having been able to come together as a branch in such a meaningful way and are confident that the future of RSCM Cape Town will be bright and filled with endless possibilities, building on the solid foundation of events of this nature. Ashley Petersen

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 29 BRANCHING OUT NEW WORLD VOICES RAISED IN PRAISE

From North America comes an account of the wonderful RSCM America National Choir, founded in 2014 and going from strength to strength.

JANICE EICHNER

ndrew Walker had a dream. As President of of the world’s most important and historic worship RSCM America from 2012 to 2015, Andrew spaces. To underscore that lofty objective Andrew AWalker was an enthusiastic steward of the was determined that the choir’s first stop would be many well-established summer courses for young Westminster Abbey. Auditions were held, repertoire people and adults that thrived across the USA and was finalized and the newly minted group converged Canada. The Voice for Life programme was popular on London with Andrew Walker at the helm. throughout RSCM affiliate churches; visiting Following its successful residency at the Abbey directors from the UK were impressed with the just after Christmas 2014, the choir went on to vitality and quality of the training offered by the perform at the National Cathedral in Washington RSCM’s North American partner. DC in early 2016 and Grace Cathedral, San Francisco To Andrew, there was one missing piece: ‘[The] in 2017. The most recent tour was a six-service RSCM UK already had a national choir and I felt residency at St Patrick’s Cathedral, Dublin from strongly that RSCM America should have its own. 28 December 2018 to 2 January this year. Besides, so many adults are crucial to the success What makes the choir unique is that the first service of our summer courses and involved in training our they offer in each location marks the first time the young choristers, an auditioned adult choir could only choir members have ever performed the repertoire enhance our commitment to lifelong learning,’ he said. together. From the beginning, auditions have been The Board of Directors agreed and the RSCM open to singers from RSCM choirs across North America National Choir was launched with an America and members come from every corner of the ambitious mission: to perform the most inspiring continent. Because of this diversity, all are responsible music in the Anglican repertoire at a standard worthy for learning the music on their own and must pledge

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 30 to be note perfect by the time they meet to perform. that a common devotion to the ministry of music, As the adult component of RSCM America’s training as well as the inspiration of exceptional worship programme, the National Choir is governed by spaces, is driving our members to surpass even guidelines that dictate the appointment of a new their own expectations.’ director every three years, concurrent with the Many of the choristers are accomplished choir re-auditioning of all members. At that time, new directors, while others are dedicated members of choristers are invited to apply as well. church choirs. They range in age from early 20s to As Andrew Walker’s term came to an end it was late 60s, which gives the sound both energy and announced that noted American organist, conductor texture. Their shared love of church music has led and educator Bruce Neswick would succeed him as to instant bonding among members and a focused director. Bruce is canon for cathedral music at Trinity approach to making the most uplifting sound Cathedral in Portland, Oregon and previously served as director of music at the Cathedral of Saint John the RSCM UK already had a national Divine in New York City. He has the distinction of being a Fellow of both the RSCM and the American choir. It was felt RSCM America Guild of Organists. should have its own Bruce directed the choir at St Patrick’s, Dublin in repertoire that featured British and American choral possible, both technically and spiritually. works, many by living composers. The gifted young RSCM America’s current President, Bert Landman, American organist Kirk Rich accompanied the choir has been instrumental in creating the framework for as the tour’s organ scholar and the one Eucharist and the National Choir within the organization’s learning five choral evensongs offered endless opportunities structure and is pleased with the group’s early for the choristers to perfect their vocal teamwork. successes. ‘One international tour and two domestic Works by composers as diverse as Harold Darke, trips within a three-year cycle means the choir can George Dyson, Lee Hoiby and Jonathan Dove, among be an ambassador for RSCM America both at home many others, highlighted the choir’s versatility. and abroad’, he says. ‘Considering how little rehearsal time we have As plans develop for next year’s choral adventure together, the blend and overall production is amazing,’ it seems that Andrew Walker’s dream has become said Bruce Neswick at the close of the tour. ‘It’s clear an enduring reality.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 31

LOOKING TO THE FUTURE CHURCH MUSICIANS AND THE GIG ECONOMY

HANNAH GILL

ccording to the Financial numbers may be attributed to Times, the phrase ‘gig economy’ various factors, including the overall Afirst appeared during the 2009 decline in church attendance along financial crisis, when people newly with cuts to music education unemployed took on multiple part- budgets in the state sector. time jobs to make ends meet. With A BBC World Service feature self-employment in the UK on the rise on this subject also highlighted the and the advent of global companies growing number of churches with such as Uber, Airbnb and Deliveroo, organs installed in the mid-20th the gig economy is becoming century, now in a state of disrepair increasingly prevalent. and replaced by a digital instrument Of course, apart from permanent (at a cost less than that of full positions such as court composer, refurbishment of the pipe throughout the centuries making a instrument) a solution which is not living as a musician has been based always an attractive prospect for an on a piecemeal approach to performing, composing aspiring organist wanting to access a high-quality and teaching, the word ‘gig’ itself having musical practice instrument. connotations. The performance of liturgical music (particularly in larger churches and cathedrals) offers one of the MUSIC AT YOUR FINGERTIPS few opportunities for musicians to take on a salaried Along with the rise of the gig economy, the role role, with the ensuing stability and benefits that of technology has changed the working world for entails. Many readers of CMQ will count among their everyone in recent decades, musicians included. acquaintances long-serving organists with several The internet has been vitally important in connecting decades of service, such as the late David and Hazel musicians to those booking performers, making it Gedge, who remained in posts at Brecon Cathedral quicker and easier for both parties to find projects for more than 40 years. However, recent cuts to music and artists that most closely fit their requirements. at places such as St Asaph and Llandaff Cathedrals In the field of church music, Organists Online suggests that even employed church musicians cannot (www.organistsonline.org) is a pioneer in maximizing necessarily be assured of their position indefinitely. the potential of the web to link churches with Conversely, for many churches (particularly those organists who can provide live music. Established in in rural areas) it is an increasing struggle to find a 2000, founder Philip Norman explains that the site trained musician who can provide accompaniment ‘makes it easier for churches to find organists so that for services, with many parishes opting for recorded recorded accompaniments don’t become standard’. hymns as part of the worship: another example of Churches can use the search function to find automation replacing live human interaction in the musicians in their local area, while organists can modern workplace. This reduction in church organist view both permanent and one-off requests for players.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 33 Above: An old pump organ at St Mary Magdalene, Caldecot, now abandoned.

The website also offers a wealth of supporting less appealing included poor-quality music, an information such as guides for pianists, free inadequate organ, insufficient pay and being met repertoire for small church choirs and statistics on with unrealistically high expectations. fees. Future plans for Organists Online include So how can churches continue to attract trained expansion into the USA, along with more widespread musicians to ensure continuity of musical worship use of the site in the UK and further repertoire and throughout the year? guidance for less experienced organists. Many parishes now opt for recorded WORKING IN CHURCH MUSIC TODAY hymns as part of the worship. A BBC According to a survey of 198 UK-based church musicians, the majority (67%) still have a regular World Service feature highlighted position providing music for weekly worship the growing number of churches with (source: online poll conducted by the UK Organists organs installed in the mid-20th and Choirmasters Facebook Group). Of those century now in a state of disrepair surveyed, 16% were not attached to any particular and replaced by a digital instrument church, but performed on an ad hoc basis, with the remaining musicians playing at their church on a less than weekly basis. At churches not so fortunate to have a regular Respondents noted some advantages of a musician in post, flexibility is key to ensuring musical permanent working relationship with a church, citing accompaniment to most services during the year. the opportunity to develop a choir, influence music Many churches already operate a team of organists choices and ensure the organ is well maintained. in rotation (and occasionally those who can provide Factors that make a regular church position piano accompaniment), although this creates an

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 34 LOOKING TO THE FUTURE

extra layer of administration in establishing variety. And with a large proportion of evening schedules. There are, of course, disadvantages, concerts taking place on Saturday evenings, the too. It is less likely that there will be an individual prospect of a Sunday off can often seem appealing musician with the drive and commitment to develop to those performing musicians in search of balance and sustain a choir, for example, and there is always in their working lives. the chance that no one is available to cover a Organs themselves are as varied and unique as the particular service. It can often be a struggle to find buildings in which they are housed, and a peripatetic a player for services at those times of the year when player can enjoy sampling instruments of diverse local musicians often travel to visit family, such character, becoming more adaptable in the process as Christmas and Easter. and often developing sight-reading skills as a For church musicians, the reasons for opting to necessity (as a visiting organist it’s not uncommon perform at services on a more ad hoc basis instead of to be presented with, say, a new Agnus Dei setting a regular post on Sundays throughout the year are the ten minutes before the service, or quickly to have same reasons workers in general are attracted to the to work out which of the ciphering stops to avoid). idea of self-employment: flexibility, autonomy and What’s clear in this changing landscape is that churches in need of musicians can benefit from connecting with performers looking for occasional Sunday work in lieu of a permanent post. For Throughout history, apart from freelance musicians seeking to tailor a schedule that positions such as court composer, complements their other work commitments, a flexible arrangement, while not offering the stability making a living as a musician has been and development opportunities of a regular position, based on a piecemeal approach to can often lead to greater variety and stimulation, not performing, composing and teaching to mention being kept on one’s toes when called in to deputize at short notice!

Remembering the RSCM in your will Sustaining music in worship well into the future Legacy gifts ensure that church musicians of all ages continue to sing, play and compose fine music in the service of Christian worship, and that our clergy and lay ministers can be trained to understand the potential and value of good music in worship.

The RSCM Legacy Society: Psallam Spiritu et Mente, honours legacy donors during their lives and celebrates them in words and music upon their deaths. “...to be part of this heritage is very humbling and it’s a huge honour to be part of that even when I am no more” Margaret Rizza, RSCM composer and Legacy Member

For more information about the Legacy Society, please get in touch using the details below.

The RSCM cannot give legal advice. Please speak to a solicitor about how to include the RSCM in your estate plans.

[email protected] | 01722 424851 | www.rscm.org.uk XXX CONGRATULATIONS

CELEBRATORY SERVICE Above left: Charles Hart (of Cooper, Gill and Tomkins Pipe FOR BARRY SMITH Organ Builders) presenting Barry Smith with a gift. Above: Barry Smith pictured alongside Archbishop Emeritus, Dr Barry Smith, FRSCM, South African organist, and former Archbishop of Cape Town, Desmond Tutu. conductor, composer, author and musicologist, turned 80 in May 2019 and was honoured at a special service of celebration held at St George’s Anglican Cathedral, FOUR GOLDS Cape Town on 23 June. Barry was a choirboy at St Mary’s Collegiate Church, Four choristers from Saint George, Port Elizabeth and educated at Grey High School Kidderminster have recently been successful before being awarded a scholarship to Rhodes in the Gold Award. Pictured left to right are: University where he completed his MA degree before Matthew Moore, Harriett Moore, Esther proceeding to the UK via an RSCM scholarship. In Mortimer and Elaine Shaw. Also pictured are 1964 he was appointed organist and master of the Robin Walker, Worcestershire Area Awards choristers of St George’s Cathedral in Cape Town, Administrator, and Tim Morris, Director of a post he held until 2006 for 42 years. Music. All four have been preparing hard over The celebration at St George’s Cathedral was a feast many months and their achievement will be of music, with repertoire including anthems for which acknowledged at the Annual Choirs’ Festival at Barry had composed the music in earlier years, Worcester Cathedral on 23 November. All four including My Spirit Longs for Thee, O Mysterium commented that while the preparation had Ineffabile and Create in me your Vision, as well as been demanding they had learnt a lot and found South African composer Stephen Carlette’s haunting the whole experience enjoyable and rewarding. Ek Slaan my Oë op na die Berge. It was a moving Tim Morris occasion, befitting the well-respected and much-loved luminary of our music community. We in South Africa, and Cape Town in particular, are privileged to have had a personality and musician of this calibre in our midst, contributing to so many aspects of our musical lives for close to half a century. The final blessing, by Dean Michael Weeder, began with the words ‘May the songs of angels sustain you …’ and that was a fitting final blessing for this celebration. Happy birthday, Barry, and many more! Debby van Zyl, Mary Bock and Colleen Hart

Above: Gold Award winners from Saint George, Kidderminster.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 36 CONGRATULATIONSXXX

30 YEARS’ SERVICE RSCM Director Hugh Morris was delighted to be able to present a special certificate and medal to Stephen Maltby at the morning service on 28 April, as he celebrated 30 years’ service as organist of St Hilda, Whitby. Steve has given huge service to the church and the local community, and continues to be an active and loyal support to the RSCM. Congratulations, Steve!

Above: Stephen Maltby.

Left: A choral evensong for John Henderson.

25 YEARS OF SERVICE During May the parish of Wroughton and Wichelstowe near Swindon marked RSCM VALIDATED SINGING AWARDS 25 years of service by their organist John Henderson (RSCM Hon. VOICE FOR LIFE SINGING AWARDS Librarian) with a full choral evensong. A large choir of singers from local choirs and from RSCM Voices West were invited to sing repertoire including the These results are listed alphabetically GOLD AWARD Sumsion in G evening canticles and under RSCM Regions, Areas Region One: Christopher Stainer’s I saw the Lord. The new and Countries. Chilvers, Elliott Dearden (F) = RSCM Friend, (IM) = anthem God the Holy Trinity by Joanna (Blackburn Cathedral), Individual Member, (S) = Student Forbes L’Estrange, commissioned by member, if candidate’s choir not Thomas Wren (Broughton the RSCM for Music Sunday, was the affiliated. PC), Alexandra Lee, Phoebe introit and much appreciated by singers Marsh-Muir (Wakefield and congregation. Honours 90%+ (Gold) Cathedral). Birmingham: Following positive feedback from Highly commended 85%+ and Sarah Paddock (Olton, the singers, it was decided not to Commended 75%+ (Bronze/Silver) St Margaret), Joshua Cahm, wait another 25 years to repeat the Thomas Haywood (Solihull, experience, and three more full choral St Alphege). Derbyshire: evensongs are planned for 2020, one in Ellie Astbury (Ashbourne, Wroughton for their patronal festival St Oswald), Shantia Dorka and two more in other Swindon (Derby Cathedral). Essex churches that do not currently know & E London: Rebecca Minta the joys of choral evensong. (Chelmsford Cathedral).

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 37 CONGRATULATIONSXXX

Ireland: Seán Hayden, Nicholas SILVER STANDARD BRONZE STANDARD Meehan, David Smith (Dublin, Region One: Elizabeth Stelmach , Region One: Jacob Mason, Palestrina Choir), Emma Alison Ferguson (Badsworth, Shaun Tallentire (Broughton PC), Fitzgibbon, Orna Garland, Siofra St Mary), Rosie Barber (Halifax Seth Barber , Ken Cuttle, Martha Kildee-Doolan, Sarah McConville, Minster), Daniel Davies (North Hill, Charlie Swinhoe , Madi Rosie O’Neill, Beatrice Rosales Elmsall, St Margaret), Claire Tasker , Brenda Tate (Halifax (Dublin, St Mary’s Pro-Cathedral). Summers (St Bees Priory), Alice Minster), Jane Marson Lichfield: Marlow Telling Bodger , Kaci MacPherson, George (Luddenden, St Mary), Izzy Brooks, (Wolverhampton, St Peter). Philip , Toni Rogers, Isaac Smith , Dom Sgouraditis (Peel, St London: Imogen Barter (Ealing, Elias Vasey-Saunders (Wakefield German’s Cathedral), Peter St Barnabas), Lucy Lipfriend Cathedral). Essex & E London: Bodger , Michael Dube, Antonia (Pinner PC). Peterborough & Beltran Gracia-Martin Wallis (Wakefield Cathedral). Northampton: Lesley Hunter (Brentwood Cathedral). Ireland: Canada: Edward Li (Port Hope, (Brixworth, All Saints). St Albans: Amy Adams Henriquez , ON, St Mark). Durham: Lydia Daisy Groet (Gt Berkhamsted, Cian Clancy , Oliver Maughan , Wilson (Stockton-on-Tees, St St Peter), Ben Watson (Hitchin, Isabelle Pierce , James Walsh Peter). Ireland: Aedin Ferguson , St Mary). Southwark & E Surrey: (Dublin, St Mary’s Pro-Cathedral), Saoirse McSharry , Charley St William James (Wimbledon, Elaine Boyle , Sahan Gohery Ledger, Ciara Williams (Dublin, Kings College School). Southwell (Galway, St Nicholas). St Mary’s Pro-Cathedral), Lily & Notts: Isabel Marner (Wollaton, Peterborough & Northampton: O’Donoghue , Martha O’Sullivan , St Leonard). Suffolk: Euan Jenny Harris (Uppingham PC). Alyce Rooney , Sean Sheridan Chalmers, Hannah Cooper, Jaaziel Scotland: Orna Garland, Zara (Galway, St Nicholas). Kajoba, Kate Thompson (Ipswich, Nwajiuba , Tessa Odeh, Damiano Peterborough & Northampton: St Mary-le-Tower), Tim Hill (Bury Spagnolo , Julian Spagnolo Amber Welham (Kingsthorpe, St Edmunds, St Mary). Swansea (Aberdeen, St Andrew’s Cathedral), St John Baptist). Scotland: Adrian & Brecon: Elizabeth Brent Sebastien Harrison, Christopher Dongo, Chidirim Nwajiuba , (Oystermouth, All Saints). USA: Morris (Glasgow, St Aloysius’ Adanna Soronnadi, Chichi Anne Casscells (Burlingame, CA, College), Angus Gibson (Lutton Soronnadi (Aberdeen, St Andrew’s St Paul), Carolyn Hoff Place, St Peter). USA: Christopher Cathedral), Matthew Clarkson , (Washington, DC, St Columba). Mahoney (Burlingame, CA, Olivia Collins, Orla Eccles , Wessex: Mark Harrison, Tessa St Paul), Carolyn Riddle (Charlotte, Lucy Hunter , Niamh Stevenson Harrison , Annelies Nicholson NC, St John), Clare Kuhlmann (Glasgow, St Aloysius’ College). (Devizes, St John Baptist). (Dallas, TX, Cathedral Guadalupe), USA: Charlize Contreras , Diego Worcestershire: Harriett Moore, Devon West , Joellen West Flores , Miguel Flores , Nadia Matthew Moore, Esther Mortimer, (Dallas, TX, St Thomas Aquinas), Gutierrez , Chelsea Rosales , Elaine Shaw (Kidderminster, Destiny Law (Indianapolis, IN, Sheccid Rosales , Jessica Taylor , St George). St Paul), Theodore Maedgen Mario Tovar (Dallas, TX, (Lookout Mountain, TN, Good Cathedral Guadalupe), Katharine Shepherd). Wessex: Helen Hughley (Indianapolis, IN, Bourne , Martha Nicholson, St Paul), Duncan Carr , Hannah Lucy Phillips, Esmé Wall , Markel , Luke Reske (St Louis, CORRECTION Abi Wiltshire (Devizes, MO, Hope Lutheran). Wessex: The RSCM Signing Awards printed St John Baptist). Charlie Claridge, Lucinda Elliott, in the June issue contained an error. Heidi Phillips, Alexander Tena- Sue O’Neill, St John Evangelist, Allard (Devizes, St John Baptist), E Dulwich (Southwark and East Kotaro Blake , Oscar Boswall , Surrey Area) achieved 90% in her Ollie Chappell , Jacob Dike Silver Award exam and should (Sherborne Abbey). therefore have been listed as ‘highly commended’, rather than ‘commended’.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 38

HYMN MEDITATION

FOR ALL THE SAINTS WHO FROM THEIR LABOURS REST

GORDON GILES

For all the saints who from their labours rest, From earth’s wide bounds, from ocean’s farthest coast, who thee by faith before the world confessed, through gates of pearl streams in the countless host, thy name, O Jesu, be for ever blest. Alleluia. and singing to Father, Son, and Holy Ghost: Alleluia.

Thou wast their rock, their fortress, and their might; thou, Lord, their Captain in the well-fought fight; Words: William Walsham How (1823–97) thou, in the darkness drear their one true light. Alleluia. Tune: Sine nomine Ralph Vaughan Williams (1872–1958) Engelberg Charles Villiers Stanford (1852–1924) For the Apostles’ glorious company, Sarum (Requiem) Joseph Barnby (1838–96) who bearing forth the cross o’er land and sea, shook all the mighty world — we sing to thee: Alleluia.

For the Evangelists, by whose blest word, like fourfold streams, the garden of the Lord is fair and fruitful — be thy name adored. Alleluia.

For Martyrs, who with rapture-kindled eye, saw the bright crown descending from the sky, and seeing, grasped it — thee we glorify. Alleluia.

O blest communion, fellowship divine! We feebly struggle, they in glory shine; yet all are one in thee, for all are thine. Alleluia.

O may thy soldiers, faithful, true and bold, fight as the saints who nobly fought of old, and win, with them, the victors’ crown of gold. Alleluia.

And when the strife is fierce, the warfare long, steals on the ear the distant triumph-song, and hearts are brave again, and arms are strong. Alleluia.

The golden evening brightens in the west; soon, soon to faithful warriors comes their rest: sweet is the calm of paradise the blest. Alleluia.

But lo! there breaks a yet more glorious day; the saints triumphant rise in bright array: the King of glory passes on his way. Alleluia. Above: Ralph Vaughan Williams (1872–1958) by Sir William Rothenstein.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 40 HYMN MEDITATION

ast year we marked the 60th of old, written for the diamond Bishop How wrote 11 verses, anniversary of the death of jubilee of Queen Victoria in 1897, which to those of us who omit LRalph Vaughan Williams, for which Sir Arthur Sullivan wrote ‘starred’ verses from our musical editor of the English the tune Bishopgarth. Nevertheless, hymnbooks seems daunting. Hymnal and celebrated English ‘For all the saints’ is the only hymn Intended as a processional hymn, composer. Many of the of his still sung today. it seems brief when compared with commemorations that took place It was first published in 1864, in Samuel Stone’s extended version highlighted his orchestral, choral Hymns for Saints’ Days, and other of ‘The church’s one foundation’ and instrumental works, but his Hymns, edited by Earl Mason, who written in 1885 for use in Salisbury most widely sung music is found in was the great-nephew of Admiral and St Paul’s Cathedrals (see CMQ, his few but ubiquitous hymn tunes. Nelson. Originally entitled ‘For all June 2010). A close reading of the The most famous is surely Sine thy saints who from their labours rarely published verses 3–5 reveals nomine (‘Without name’), which rest’, How changed it to ‘For all the a congruence with the Te Deum, has stuck, limpet-like, to William saints …’ when it was included in an ancient canticle still used in Walsham How’s lengthy hymn, Church Hymns seven years later. processions today. When nowadays which is itself a sine qua non of He subtitled it, ‘A cloud of witnesses churches often use only five or six All Saints’ Tide and appears in most – Heb 12.1’, referring to the un-named verses, few realize that they are hymn books. Many who never hear epistler’s famous spur to faith. singing only half of the hymn, and or sing any other note composed there could well be a case for using by Vaughan Williams will know the lost verses on particular general this tune and have taken its ‘Therefore, since we are feast days of apostles, martyrs and accompanying text into the heart surrounded by so great a cloud evangelists, perhaps as an office of faith, having learnt it by singing of witnesses, let us also lay hymn (which might merit a it. The strength of the bond between aside every weight and the sin different, gentler tune). While the this tune and text is not original; that clings so closely, and let us hymn is often used at All Saints’ indeed it displaced another run with perseverance the race services, it is also fitting for All wonderful tune that has had to that is set before us, looking to Souls’, or indeed at any funeral, struggle to keep up ever since. Jesus the pioneer and perfecter as well as specific commemorations William How was born and of our faith, who for the sake of of patron or other saints. Yet we educated in Shrewsbury before the joy that was set before him should remember that both How going to Wadham College, Oxford, endured the cross, disregarding himself and Vaughan Williams graduating in 1845. He then studied its shame, and has taken his likely had in mind the nameless, for the ministry at Durham seat at the right hand of the unsung saints. For while we may University. His title post was at throne of God.’ (Hebrews believe that only some people can Kidderminster, serving a second 12.1–2) attain sainthood, we also hold the curacy in his hometown of fact that not one of us is worthy, Shrewsbury. In 1879 he was and yet, by the grace of God, all consecrated Bishop of Bedford, the faithful are saints, the hagioi, and ministered in East London This ‘cloud of witnesses’ is not the holy ones of God. until 1888 when he became the only the great and the good of the The idea that we remember first Bishop of Wakefield, which encyclopedia of saints, the apostles, nameless saints is probably why he remained until his sudden death evangelists and martyrs recorded in Vaughan Williams called his tune while on holiday in Ireland. He was gospels, epistles and histories, but Sine nomine. Universally acclaimed renowned in his day as having a the countless, nameless heroes of as a great tune, and fitted so well great affinity for children, for the faith who confessed the name of to the martial, upbeat anticipatory poor of the East End, and for using Jesus. Other references come from feel of the text, it should still be a London omnibus as his main mode Revelation 2.10, the ‘crown of life’, remembered that although it was of transport. A prolific hymn writer and the ‘pearl streams’ from written specifically for the text, from the age of 13, his other hymns Revelation 21.21. The ‘well-fought there was already a perfectly good include O King of kings, whose reign fight’ alludes to 2 Timothy 4.7. tune in use: Engelberg. In 1904 a

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 41

Many who never hear or sing any other note composed by Vaughan Williams will know Sine nomine and have taken its accompanying text into the heart of faith

Left: William Walsham How (1823–97), reproduced by permission of Wadham College, Oxford.

new but ill-fated edition of & Modern, which drew so much Victorian hymnody is different, Hymns Ancient & Modern had been criticism that it was soon withdrawn. a century later we find ourselves published, including ‘For all the The agony was doubled when EH blest with both tunes, although saints’, for which the celebrated was published on the crest of this it is unlikely that Sine nomine Irish composer Stanford had wave of approbation, with Percy will ever be disassociated from written Engelberg. This tune is more Dearmer as words editor and Ralph ‘For all the saints’, and so the lilting, gentler perhaps, and has Vaughan Williams in charge of the nameless saints will for ever found newer partners with ‘When music. He was little known, but have a place in our hymnological in our music God is glorified’ by had experience as an organist in hagiography. Fred Pratt Green, and the older Lambeth, although it is widely ‘All praise to thee, for thou, O King held that he was an agnostic (non-) divine’ by Francis Bland Tucker. believer. Nevertheless, he set about The latter, ironically, was written his task with fervour and diligence, specifically forSine nomine, but with a particular desire to cast out copyright permissions were not some of the ‘horrors’ of Victorian forthcoming so it was paired instead hymnody, and, for better or worse, with Engelberg, which it had ‘For all the saints’, along with displaced 38 years earlier. One ‘Come down, O Love divine’ of the spurs to production of the (Down Ampney) and a few others, English Hymnal in 1906 was the gained splendid new tunes by his disastrous and vitriolic reception of hand. Most would say ‘for better’, the 1904 edition of Hymns Ancient and now our perspective on

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 42 NEWS FROM PUBLISHING LIGHT ON THE WAY

TIM RUFFER

ight on the Way is a collection of hymns based on Scripture from Genesis to Revelation. Written by LTimothy Dudley-Smith over five decades, they are characteristically elegant, concise and rich in theology. The Bible is full of singing. We read in the book of Job how the morning stars sang together when God laid the foundations of the earth, and in the book of Revelation of ‘the voice of a great multitude like the sound of many waters’, breaking into a hallelujah chorus. In between we have Miriam singing among the prophets and Deborah among the judges, and Moses teaching his song to the people of Israel, while the book

Your word is a lamp to my feet,a light on my path . . . Psalm 119.105 Revised English Bible

of Ezra counted a hundred and twenty-eight singers. It is said of King Solomon that besides his three thousand proverbs, ‘his songs were a thousand and five’. In the New Testament we read how Jesus and his friends sang together after that Last Supper, how Paul and Silas were singing hymns to God at midnight in prison at Philippi, and how in both the Ephesian and Colossian letters the fellowship are not only expected but instructed to sing. Indeed, as Erik Routley used to PSALM 18.25-45 say, ‘Singing goes with what means most to people.’ Deliverance; God our strength; trust in God Most of the hymns are set to well-known tunes, selected and arranged by William Llewellyn. Choirs and music directors will welcome this full music OD GIVES US LIGHT upon our way, edition, while the familiarity of much of the music also G a lamp about our feet to shine; makes these hymns ideal for congregational singing. from doubt and darkness into day Light on the Way will provide fresh inspiration for he shows the path of life divine. worship and celebration throughout the church year. 2 In him is power beyond our own, ISBN: 978-0-85402-289-2 a word of promise all may plead; Price: £9.95 (less RSCM Member discount) God gives us light upon the way, sung to the tune of Morning our hope is found in him alone, Hymn. Words copyright © 2019 RSCM Press. a sure defence in time of need.

3 For when by self and sin beset,

CHURCH MUSIC QUARTERLY SEPTEMBER when 2019 strength of will and courage fail, 43 his mighty arm is with us yet, his word is sure, and shall prevail.

4 He reigns in triumph; by his hand is final victory assured, the Rock on whom his people stand, the one supreme and sovereign Lord.

Music: Melody and figured bass by François H Barthélémon (1741–1808) descant by Sidney Nicholson (1875–1927)

Light on the way.indd 23 21/06/2019 16:25 SOMETHING OLD, SOMETHING NEW WHEN EVANGELICAL & BCP MUSIC MEET

The Revd Charlie Skrine recently found himself in charge of two congregations, one evangelical, the other more traditional. Below is his uplifting account of congregational vitality and cross-pollination now taking place in the Square Mile.

CHARLIE SKRINE

hree years ago, readers of The Times read a sad To revitalize you Theadline: ‘Bankrupt church must be willing to in Square Mile starts praying for a miracle.’ The text referred to try new things the financial woes of the famous St Michael Cornhill, in the City of London, which was struggling to pay its bills. It is true that the ministry of St Michael hit a congregations, and it is satisfying significant roadblock, but, with to see attenders at one church the help of a timely bequest, we sometimes attending the other. have been able not only to continue, Office workers from St Helen but to expand our ministry. will come to our 8am BCP matins To revitalize you must be willing in St Michael before a day’s to try new things. So, in an unusual work, while the two St Michael’s experiment, the choir of St Michael organists were spied at Cornhill was persuaded to move St Helen’s Good Friday service. from Sunday morning choral A Chinese congregation uses Eucharist to Monday evening choral evensong. Why? St Michael on some Sundays, and we still have Because the Square Mile has a residential population choral Eucharist on four Sundays each year. the size only of a small market town, split between We also continue the organ recitals on Monday 36 churches. Yet, at 6pm on a weekday, in a single lunchtimes (which is apparently the longest- 15-minute period, 6,000 people pass down Cornhill running organ recital series in the world). and the surrounding streets to escape London through Of course, the interaction between the two Bank tube station. The change yielded impressive congregations extends beyond the churches’ doors. results, and from a standing start we now have Three times a year, a mixed group from the two a sizeable number of regulars. churches meets after evensong, for dinner in I came from a church (St Helen, Bishopsgate) the George and Vulture (a historic inn behind where we are known for our evangelical ministry. St Michael). It is a time to get to know each other At St Michael, the expectation is for a more formal better and to discuss religious topics. For example, approach, but the underlying human need to relate the first time we met we considered the popularity properly to our divine creator is the same. God of our new approach to evensong. ministers through the Scriptures to different people in different settings. I now minister to both Above: Advertising evensong in Cornhill.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 44 Choir sopranos Rhiannon Randle, Imi Rennert and Anna Gould. ‘Exposure to evangelical styles grew me a a Christian’, Hanna Tyler.

NEW APPROACHES TO MUSIC and many other biblical texts, covers a wide range Jonathan Rennert has been Director of Music at of styles of the past 500 years. For example, we St Michael since 1979. His interaction with the have our own composer in residence, Rhiannon new congregation members and having a more Randle (who also sings soprano in the choir), who evangelical-leaning incumbent has been uplifting. has written several superb anthems and a set of canticles. I hope that they will begin to enrich Charlie’s enthusiasm and energy have inspired the repertories of other choirs. us all, and his thoughtful, concise and memorable preaching was not what I had expected! It has been And Jonathan isn’t the only musician to have good for me to have to explain the idea of choral benefited from the mixing of styles and traditions. evensong to new members of the congregation, who Hannah Tyler, a young professional oboist, grew up have never experienced choral liturgy. It has been with regular Book of Common Prayer worship but a learning curve for us all. For example, some have knows the language can put many young people off. initially struggled to understand a service in which As she puts it, exposure to evangelical teaching and the congregation participates largely silently. Bible studies at St Helen ‘grew me as a Christian’. She I like to point out that we are always aware of has taken that new-found knowledge and enthusiasm the literal meaning of the prayers and readings, with her back to St Michael, applying the new to the but that this is only the starting point. We are old. ‘Now I enjoy being able more clearly to explain concerned with their presentation and context: the gospel through the prayers and music of BCP the speed of their delivery, the beauty of the choral evensong at St Michael,’ she writes. 16th-century language, the balanced architecture of the office of evensong, and the emotions generated by the combination of words and musical settings. Evensong is, for me, unlike any other service. It possesses a stillness, an apparent suspension of time, a respite from our obsessive rushing to meet deadlines, from unnaturally bright office-lighting, from headache-inducing flashing computer screens and from dreadful journeys on unreliable and overcrowded commuter trains. The music, the readings, the familiar psalms and prayers provide reassurance that there really is a divine order. It is important to remember that BCP music doesn’t need to stand still. The music through which we present the words of Mary and Simeon,

Right: Charlie Skrine and Jonathan Rennert. AD 7 COMPOSER & CHURCH MUSICIAN 2020 ANNIVERSARIES

50th of birth 75th of death 200th of death Katherine Dienes-Williams Dezso d’Antalffy Joseph Corfe Will Todd Béla Bartók Thomas Haweis Dietrich Bonhoeffer 50th of death Harvey Gaul 250th of birth Geoffrey Beaumont Pietro Mascagni Ludwig van Beethoven Cyril Scott John Athelstan Riley James Hewitt John Albert Sowerbutts Anton Webern Anton Joseph Reicha Frederick William Wadely Johann Christian Rinck Guy Weitz 80th of death Arnold Dolmetsch 250th of death 60th of birth James Hotchkiss Rogers Gottlieb Muffat David Aprahamian Liddle Joel Martinson 100th of birth 350th of birth Massimo Nosetti Geoffrey Bush Andreas Armsdorff Dorothy Papadakos Rolande Falcinelli Arnold Matthias Brunckhorst Peter Racine Fricker 60th of death Bedřich Janáček 400th of birth Hugo Alfvén Jeanne Joulain Adam Drese Oliphant Chuckerbutty Anthoni van Noordt Joseph Waddell Clokey 100th of death Cecil Armstrong Gibbs Max Bruch 400th of death John Henry Maunder Thomas Campion 70th of birth Nigel Allcoat Denis 150th of birth 450th of death Bédard Frank Edmund Horace Fellowes Sperindio Bertoldo Ferko Andrew Cuthbert Harris Tomás de Santa María Fletcher David Charles Macpherson Hurd Graham Vítězslav Novák Kendrick Libby Larsen Charles Arnould Tournemire Jacques van Oortmerssen Louis Vierne John Scott Whiteley 150th of death 70th of death William Henry Havergal Edward d’Evry Louis-James-Alfred Lefébure-Wély Charles Koechlin Johann Gottlob Töpfer Ernest Moeran Enjott Schneider 200th of birth Édouard Batiste 75th of birth Richard Redhead David Hegarty George Frederick Root Hans Uwe Hielscher John Rutter

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 47 EVERYTHING HOLDS TOGETHER A NEW SONG FOR THE SEASON OF CREATION

DAVID SHREEVE

ith the increased concern for the Everything holds together and coheres, environmental health of our planet, Unfolding from the centre whence it came. Wwe hope this year’s Season of Creation And now that hidden heart of things appears, will lead many churches to give their services an The first-born of creation takes a name. appropriate green theme. The Season of Creation, or Creationtide as it is And shall I see the one through whom I am? more commonly known, was first suggested by the Shall I behold the one for whom I’m made, Ecumenical Patriarch of the Orthodox Church for The light in light, the flame within the flame, all churches to observe 1 September as ‘a day of the Eikon tou theou, image of my God? protection of the natural environment and to offer He comes, a little child, to bless my sight, prayers and supplications to the Maker of all, both That I might come to him for life and light. in thanksgiving for the great gift of creation and in petition for its protection and salvation’. Ten years Malcolm Guite, based upon Colossians 1.15–17 later the European Christian Environmental Network urged churches to adopt a Time for Creation stretching When thinking about the text, Ian Stephens said: from 1 September to the second Sunday in October (4 October being the Feast of St Francis of Assisi). Malcolm Guite’s haunting poem was such an Regrettably, the season has never attracted the inspirational starting point for me, and the main interest for which many in the church hoped. melody quickly began to form as I read it aloud. As a result, this year the Church of England’s I’ve tried to capture the hopeful, yearning, Environment Working Group commissioned a new lyrical tone of the poem in my melodies and song, which it hopes will raise Creationtide’s profile. harmonies. The group contacted the choir at St Bride’s Church, Environmental themes have been close to my Fleet Street, a church that had already gained heart since my teenage years, when my dismay at considerable environmental credibility for their nuclear testing, toxic waste, the hole in the ozone plastic-less Lent campaign (#PlasticLessLent). layer, whaling and so on, led me to join Greenpeace. Choir members at St Bride’s Church suggested I thought things would improve, but quite the using an existing poem by Malcolm Guite while opposite, as we are faced with the catastrophe commissioning Ian Stephens to set it to music. of climate change. Malcolm’s words praise God’s creation while The first version I wrote was the one for reminding us of our duty of stewardship to protect unaccompanied choir, but throughout the process and enhance the environment in which we live. I kept in mind that there would be versions for lots of different types of choirs. All these work Everything holds together, everything, individually, but each version fits with every From stars that pierce the dark like living sparks, other version – in fact they could all be sung To secret seeds that open every spring, simultaneously by massed choirs of many From spanning galaxies to spinning quarks, different types.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 48 EVERYTHING HOLDS TOGETHER

The Church of England hopes that A Song for the Season of Creation will be performed in churches throughout the country, even in those where there is no choir, as part of either Season of Creation services or harvest festivals. It is available to download for free at www.stbrides.com/creation in the following forms:

Unaccompanied Mixed Choir (SSAATTBB) Upper-voice Choir (SSA) and keyboard Male-voice Choir (TBarB) and keyboard Mixed-voice Choir (SAMen) and keyboard Unison Voices and keyboard Unison Voices and simplified keyboard with chords Lead Sheet (vocal line and chords)

Also available are rehearsal files, with a separate file highlighting each part of each version, to aid learning. There is also a beautiful recording by St Bride’s choir of the unaccompanied version.

Ian Stephens.

= 6 ° # pp 3 3 3 3 # 4 œ j ‰ j ‰ œ œ œ™ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ev-’ry -thing holds to - ge-- ther, ev’ry -thing, ev’ry -thing, From stars that pierce the dark like li-ving # pp 3 3 3 3 & # 4 j ‰ j ‰ j 4 œ œ œ œ œ nœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ™ Ev-’ry -thing holds to - ge-- ther, evœ’ryœ-œthing,œ ev’ry -thing, From stars that pierce the dark like li-ving pp 3 3 3 3 ## 4 œ j ‰ j ‰ j œ & 4 œ œ œ œ -œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ ‹ Ev-’ry -thing holds to - ge- ther, ev’ry -thing, ev’ry -thing, From stars that pierce the dark like li-ving 3 pp 3 3 3 œ j j œ œ œ™ ?## 4 œ œœ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ¢ 4 œ œ œ œ œ œ œ J œ œ œ œ™ - œ œ œ œ 3 Ev-’ry -thing holds to - ge- ther, ev’ry -thing, ev’ry -thing, From stars that pierce the dark like li-ving # 3 3 3 3 # 4 j ‰ œ™ & 4 œ œ œ œ œ œ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ ppœ œ œ œ œ nœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ™ - œœ œœ œœ œœ œ œ œ œ œ œ Jœ 3 3 3 - 3 ? # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ # 4 œ œœ œ œ œ œ œ ‰ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ™ Jœ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ™ { 3 3 A Song for the Season of Creation, for mixed choir unaccompanied. Words © Malcolm Guite. Music © Ian Stephens.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 49 READERS’ LETTERS

SINE NOMINE Keith Davies (CMQ, June 2019) says that the great tune Sine nomine should LETTER OF THE MONTH be ‘left alone as the composer left it’. Well, Amen say I, but it is not as simple as that. The tune first appeared TO EXCEL AT NOVELTY? in the English Hymnal of 1906, when I have no doubt that Excel spreadsheets have their myriad uses, but I wonder the bass line of bars 4 and 5 appears whether Philip Bowcock (Readers’ Letters, June 2019) has considered as in example A. However, in the 1933 the potential weakness of his carefully formulated method of choosing edition the bass line had been altered hymns? In particular, his desire to avoid repetition might satisfy our to that appearing in example B. contemporary craving for novelty, but it raises some interesting questions Vaughan Williams had had second about the careful consideration of liturgical formation, human anthropology, thoughts and most people would agree and how the content of worship informs our approach to mission. that the 1933 is far stronger and more Repetition is fundamental to the character of worship, and is significant purposeful. in enabling words, symbolic actions, and (significantly) music to become The tune appears in most hymnals; part of lived experience. When texts are repeatedly spoken or sung, and editors have either not been aware of linked to musical settings and symbolic actions, they become interiorized the changes, or for some reason have and absorbed by the senses to shape our perceptions, expectations and chosen to ignore them. In my collection beliefs. By the same token, when most people’s attendance at worship is of about a dozen hymn books the split becoming occasional, it can help considerably if they are able to orientate is roughly 50/50. What, though, is themselves in familiar territory when they do turn up in church. This is inexplicable is that the New English especially so if something is half-remembered or has a ring of familiarity. Hymnal of 1986 reverts to the inferior This is why musicians should be wary of automatically gearing everything example A.

towards the needs of the regulars. It is also why clergy (and hymn-book ExampleExample A A (1906) (1906) editors!) who arbitrarily tinker with texts, on the mistaken assumption œ œ that they are making something more easily understood, can be a real ?# œ œ œ œ œ œ hinderance to effective formation. Example A (1906) As Professor David Frost, who wrote several memorable prayers As this problemœ œ only affects the unison ?# œ œ œ œ œ œ in Common Worship, once wrote: ‘If liturgy is to justify its existence, setting,Example IB suggest (1933) that sensible and its language must be such that minister and people can return to it again œ sensitive?# œ organistsœ œ œ should play version B. and again, and discover further meanings at each repetition.’ œ œ #œ What is true of the spoken word is equally applicable to what we sing. ExampleExample B B (1933) (1933) Jane Thomas, University of Glasgow ?# œ œ œ œ œ œ œ #œ Geoffrey Atkinson, Banchory

A RULE OF THUMB to learn a limited number of chord IDEAS FOR EVENTS inversions. Further to the interview with Tom Bell, The best way to apply this technique Having just read the June edition of the readers might be interested in a simple is to ignore the written accompaniment CMQ, I must congratulate the editor and technique for accompanying worship (usually idiomatic for the piano) and all the contributors for such a splendid songs on the organ that can be summed focus entirely on the melody and the magazine, with so many articles on up with a simple rule, which is: keep chord symbols. Once the left hand is different aspects and information of the left thumb near middle C. comfortable with its role, you can use church music. More specifically, the pedal plays the your imagination to expand the The ‘What’s On’ section of the magazine, bass note, the right hand plays the possibilities with accompaniment consisting of four pages listing Area melody (usually on a solo manual) and patterns, moving bass lines and festivals and rehearsals, workshops and the left hand plays a chord using an harmonic elaborations such as courses, made me wish I lived in the UK, inversion that keeps the thumb near appoggiaturas, suspensions and or could visit the UK during our New middle C. So, an F chord will have C on added notes. Zealand winter! However, reading through top, a G chord will have B or D on top, Not only is it possible to accompany the various titles and course descriptions, and so on. worship songs on the organ, it’s they have given me inspiration and This approach keeps the chords possible to do it well! thought for such here in New Zealand. comfortably in the tenor range, and Michael Capon, Ontario, Canada I look forward with keen anticipation means that the left hand only has to more such editions of CMQ. David Brookes, New Zealand

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 50 HELP WHERE AND WHEN IT’S NEEDED LOCAL SUPPORT NETWORKS IN WESSEX

DAVID DUVALL

ou may have heard it before: ‘I need inspiration ecumenical, Anglican deaneries are a useful for choosing hymns and songs’; ‘We can’t find geographical basis. Yan organist, but we have a good pianist who What can these networks do? It could be arranging would like to learn to use the pedals’; ‘We used to have a local event such as a choral evensong, a songs of a choir, but it fizzled out’; ‘We have seven churches in praise, or perhaps something accessible such as our benefice but they all do their own thing and we Fauré’s Requiem, bringing singers together from don’t do anything together.’ several churches. It could be finding an organ teacher Most people who have these concerns don’t know nearby, or perhaps sitting down with musicians and that the RSCM can help. Worryingly, some of our listening: we may be able to give direct advice and affiliates don’t know this either. If they have an image practical help – and if not, we probably know of the RSCM, it’s of large-scale, albeit successful, someone who can. Above all, our affiliates need to events in cathedrals and big urban churches. What see us as a resource and not merely a charity on our affiliates need to know, therefore, is that support the ‘outward giving’ list, at risk when the list needs is there when they need it, and in the Wessex Area pruning. Seen as an active local resource, we stand we are developing Local Support Networks to make to gain new affiliates rather than losing them. it happen. Of course, the key factor is local knowledge. In Wessex (Dorset and most of Wiltshire) we have No two localities are the same, and a Local Support four of these networks so far, and we’re aiming for Coordinator with knowledge of their district can get six to eight, covering two or three deanery areas each. to know the affiliates who, in turn, become aware of The size of each network depends upon how much where help can be found. Although the RSCM is the coordinator feels appropriate to take on. They operate slightly differently, too: one works by having key people who know what is or isn’t going on in their locality. Another, coordinated by our indefatigable publicity officer, has local events publicized by regular newsletters. READERS’ LETTERS continued Networks on these lines could adapt well to the forthcoming voluntary restructuring. Alongside the regional team leaders there will be panel members MINISTERING TO DIFFERENT STYLES who could themselves be local support coordinators I was very pleased to read the interview with or oversee their work. Without the need for a rigid Tom Bell, ‘Playing worship songs on the organ’ structure, this would be a way of giving responsibility in CMQ. I was most encouraged by the positive to people for the areas where they’re based, and also attitude taken by Mr Bell towards integrating the informally to engage other local volunteers in ways use of the organ into a worship band, as well as that suit their talents. the clear explanations of how worship songs can After all, support is what the RSCM is all about: be effectively led from the organ alone. I was also supporting people so that they recognize their own encouraged by the fact that CMQ published the article, one of a number of recent articles that talents and make the most of them. If we get the best show that the RSCM is interested in supporting from our volunteers, they can then help people among church musicians who minister in contemporary our affiliates to give their musical best – even those as well as traditional styles of music. who don’t think that they have much talent. Charles Parker, Manchester They have. Everyone has talents.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 51 CLASSIFIED ADS The price for Affiliates and Individual Members is 50p (excluding VAT) per word (or abbreviated word) and number, in both announcement and address. This includes a listing on the RSCM website for up to three months. The price for Friends and non-members is double the above. There is an additional optional charge of £15 for a highlighted advert and a premium position (including a photograph) on the RSCM website. Closing date two months before publication. Send to [email protected]

VACANCIES St Peter ad Vincula, Coggeshall, Essex reasonable level of keyboard skills will seeks a gifted and inspirational musician, be useful. Attendance will be required Director of Music and Organist with a passion for God, music and at weekly choir practices (currently St John Baptist, Berkswell worship, to serve as Director of Music. Thursday evening) and the Sunday Our present Director of Music/Organist The successful candidate will develop morning Eucharist plus special festivals is leaving after 4 years of distinguished the worshipping life and outreach of (approximately 3 hours per week). service and we are seeking to appoint a a community accustomed to high Remuneration in accordance with RSCM successor to continue this important standards of church music. We have a Guidelines. For an informal conversation ministry. wide spectrum of worship needs so you or further details please contact St John Baptist is a thriving Anglican will also be willing to explore informal Rev Vicki Burrows (tel. 02920 842417 Church in the Diocese of Coventry, music styles. The church has a or email [email protected]). located in the delightful village of programme of lunchtime and Berkswell, around 6 miles from Coventry evening concerts. city centre and 9 miles from Solihull The organ is a three-manual Mander town centre. It has close links with the organ rebuilt in 2016 by Village ANNOUNCEMENTS local primary school and seeks to serve Workshop. Competent Singers & Organists the whole community. Responsibilities include Choir Required – Poscimur – Small, Friendly, We enjoy and value the contribution recruitment and training, Sunday Robed, Adult, SATB Choir, RSCM affiliated music makes to our church and we are services, holy days and festivals, a – sings in Cathedrals – UK Wide looking for someone who is a skilled monthly Choral Evensong and Membership … Contact Catherine Thomas organist, has experience of training Occasional Offices. St Peter’s has a busy on 020 8857 9375; catherine.thomas@ choirs and is willing to explore other wedding season and a good number of poscimur.co.uk; www.poscimur.co.uk musical traditions. funerals in church. The ability to work Sunday services are at 10am and 6pm collaboratively with the Vicar, Ministry Compton Electrone organ wanted (5pm in winter) and there are regular Team and choir is essential. [email protected] baptisms, weddings and funerals. The The position is available from choir rehearses once a week, normally September or as soon as possible after the Sunday 10am service. The organ thereafter, with the offer of a one-year is an unaltered Father Willis, which has renewable contract. Remuneration is FOR SALE recently been completely renovated. dependent on experience and For Sale – Spinet The salary offered is negotiable, in line qualifications. Made to order by Robert Goble in 1983. with RSCM rates. Fees for baptisms, For details contact the Vicar: Revd 1.9m x 0.75m x 0.85m high. Top lifts off weddings and funerals are extra. Canon Chris Davey Vicarcoggeshall@ pedestal for transport. £2,500 ono. Buyer Post available from Sunday 1st btinternet.com 01376 561234 to collects from West Dorset. Contact September. For further information www. st-peter-ad-vincula.org.uk Nick Orman [email protected] please contact the Parish Administrator, Mrs Janet Roberts, at office@ St Philip and St Etheldreda, Usedorganmusic.co.uk are specialists berkswellchurch.org.uk, or 01676 529123. Newmarket in second-hand classical sheet music for Post of Organist organ. We buy and sell second-hand sheet Organist/Director of Music We are looking to appoint an organist to music for the organ together with books St Peter & St Paul, Edenbridge play for the 9.30am service each Sunday. on organs and church music. Please view We wish to appoint an Organist/Director Remuneration will be based on RSCM the current catalogue of items for sale of Music for our friendly and busy guidelines. The post comes with on the website. Contact Roger Molyneux traditional Anglican parish with an opportunities for weddings and funerals ([email protected] or accomplished SATB and junior choir. with fees. A relief organist is available. 07902 176744). Responsibilities include weekly choir Occasional cover is also required for practice, playing for weekly Sunday morning other churches within the parish. Eucharist and BCP sung Evensong, with an For more information email anthem at both services. Additional services [email protected] at Easter and Christmas and Full Choral Evensong at Festivals. Christ Church, Radyr, Cardiff The recently upgraded 3-manual pipe We wish to appoint a Director of Music organ is well-maintained and regularly to develop the place of music within tuned. It has West and Chancel sections worship in the parish; initially to which can be played separately or together. strengthen the existing adult choir and in WHO READS YOUR COPY OF CMQ? Remuneration in accordance with due course establish a junior choir. The Do share your copy among the other RSCM recommendations, plus fees for key requirements of the post are ability/ musicians in your church, pass it weddings and funerals. For more experience in training choirs of both round the vestry or staff room – and information please contact the Parish adults and young people, and a encourage others to become Friends Office on 01732 862258 or email: knowledge/appreciation of church music. or Members of the RSCM and receive [email protected] The appointee will be supported by the their own copy. www.edenbridgeparishchurch.org existing team of organists but a

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 52 PUZZLES

QUIZ

Q1 • Whose house was damaged by a Q5 • Who said: ‘it was not without Q8 • Which two of these composers Cromwellian cannon ball? reason that the fathers and prophets were at the same school at the same Henry Purcell wanted nothing else to be associated time? Thomas Tomkins as closely with the Word of God as John Rutter John Blow music. Therefore, we have so many Lennox Berkeley hymns and Psalms where message Herbert Howells Q2 • In which cathedral city did the and music join to move the listener’s John Tavener above composer live? soul, while in other living beings and William Matthias [sounding] bodies music remains Worcester Benjamin Britten a language without words.’ Lichfield Hereford John Calvin Q9 • Which of these hymn writers J.S. Bach was a friend of US presidents? Martin Luther Q3 • Which English composer wrote Fanny Alexander Irish Tenebrae and Epiphany, as well Dwight L. Moody Q6 • Who said: ‘It may be that when as settings of the evening canticles Fanny Crosby and a Missa Brevis? the angels go about their task praising God they sing only Bach. I am sure, Judith Bingham Q10 • Which of these organists however, that when they are together Cheryl Frances-Hoad did not serve at South Lambeth? f en famille they play Mozart.’ p b q h Roxanna Panufnik Ralph Vaughan Williams Karl Barth f Sydney Hugo Nicholsonq p Dietrich Bonhoeffer Q4 • Who wrote: John Ireland ‘As some to church repair, Hans Kung  U Not for the doctrine, but the music there.’ Q7 • Which of these composersh wasw p U discouraged by her brother from John Dryden publishing her music? w q Alexander Pope John Milton Maria Mozart & w p b Fanny Mendelssohn Betty Beethoven f w Answers on page 58 &

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1 2 3 4 5 6 CHURCH7 MUSIC8 QUARTERLY9 SEPTEMBER 2019 53 q h & w f  U p b THE MUSIC AND THE CAMARADERIE ORGANIZING THE THREE CHOIRS FESTIVAL

RODERIC DUNNETT

he Three Choirs Festival is the world’s oldest Alexis has proved an inspired appointment, musical gathering. In the 1700s it was dubbed and brings a vivacious personal touch. Ta ‘meeting’, uniting the choirs of Gloucester, Hereford and Worcester for choral music and the You feel there’s a sense of camaraderie – in the imbibing of much good ale. By the mid-1800s it was chorus, and among audience members who come a major event, featuring massive choral forces and back each year. Yet we also want the festival to orchestra. Nowadays it’s simply terrific. reach out to as many as possible – to inspire Of course, such events do not just happen. The numerous people, broadening their horizons. organization involved is massive, for the Three Choirs Our latest scheme is ‘Festival Firsts’. Anyone who is also, as its chief executive, Alexis Paterson, explains, hasn’t been to a festival before is donated a pair of ‘the only festival aside from Edinburgh and the Proms seats. Rehearsals are open to all: anyone can drop to stage programming of such scale night after night’. in. It gives people a wonderful sense of familiarity Alexis is the best kind of mover and shaker, handling and of belonging. Hopefully it will encourage some, all major aspects of administration. You’d think it an including younger listeners, to come again. exhausting strain, but she loves it. For her, organizing the Three Choirs is all go: ‘dealing with emails, financial When it comes to choosing the repertoire, Alexis’s documents, discussion papers for the Board, sharing starting point is to sit down with Adrian Partington policy ideas on how to improve any aspect, plus planning (Gloucester), this year’s Festival’s Artistic Director. ‘We future festivals. Then there’s our resident orchestra, the explore what repertoire they’d ideally include. Adrian Philharmonia, who guarantee fabulous high standards; was keen to include Karl Jenkins’s The Armed Man for plus composers, soloists, agents, publishers; fixing the its splendid choral content, and the late John Joubert’s venues; dealing with local councils.’ An English Requiem.’ In addition, Partington wanted to

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 54 honour Berlioz’s 150th anniversary dramatically items, but a coherent festival evolve. Sometimes, by with La Damnation de Faust, while Edward Gardner – this juxtaposition, you hear stunning connections a former Gloucester chorister – conducted Verdi’s you’d otherwise miss. Requiem. James MacMillan’s 60th birthday figured extensively in a midweek broadcast evensong; they 2019 highlighted Indian music – an idea that also cheekily signed him up to referee the ‘Three Deans struck Alexis following a lucky chance conversation. penalty shootout’ (being a noted football addict). Alongside western classical repertoire, notably It’s a case of balancing the old and the new. ‘New Holst (a Hindu devotee) were items of classical music has been a passion of mine since I was a music Indian music (the Carnatic Raga, the Bharatanatyam). student myself,’ says Alexis. ‘I think revivals are really Above all, Alexis says, ‘I love the week of the festival important too. To bring back some terrific modern itself. There’s nothing like the buzz of seeing years pieces should be one key aim: Joubert, Gabriel of planning come together in a vibrant, celebratory Jackson, Judith Weir, Ian Venables. Especially gathering, with audiences that are so committed exciting was our premiere of Bob Chilcott’s Christmas and knowledgeable about the music. Oratorio, thanks to a generous donor: the festival’s It inspires her: ‘I’ve always enjoyed mucking in support from individual donors is absolutely vital.’ at festival time: sometimes now I miss the physical Yet equally, ‘an invaluable proportion of income dashing around that goes with a front-line role. But stems from ticket sales,’ she says, ‘as much as 50%. if you’re passionate about working with like-minded The orchestra is naturally our most expensive item, people, that’s a joy in itself.’ but the Philharmonia players enter into the spirit and are really open to tackling works that are not their regular bread-and-butter repertoire. They and The Three Choirs is the only festival the 170-strong choral concerts are really the festival’s aside from Edinburgh and the Proms beating heart.’ to stage programming of such scale As chief executive she receives help and night after night encouragement from the three committees, such as Gloucester’s, chaired by Dr Timothy Brain. Planning takes place far ahead: Rest assured, Alexis is still doing a lot of dashing, mucking in and making that buzz happen: she’s We’ve already largely mapped out Worcester 2020 nothing if not passionate. Let’s hope all that courage, – even Hereford 2021 is in our sights. Designing leadership and hard work she puts in, year on year, repertoire is quite a jigsaw! Samuel Hudson, proves truly fulfilling. Worcester’s new organist, and I shared a lot of ideas Top left: Three Choirs Festival Music Directors: Adrian Partington by email (Sam being organist in Blackburn). I think (Gloucester), Geraint Bowen (Hereford) and Samuel Hudson a pretty amazing programme has emerged, (Worcester). Photograph: michaelwhitefoot.co.uk embracing some surprises! Top middle: Adrian Partington and soloists following the last night’s It’s exciting, piecing together a programme, how performance. Photograph: michaelwhitefoot.co.uk a theme gradually emerges. You see not just random Top right: Sir James MacMillan.

CHURCH MUSIC QUARTERLY SEPTEMBER 2019 55 AUTUMN & WINTER AT SARUM COLLEGE

Lunchtime Concerts at Sarum College • Fri 4 October 2019: Diana Brekalo (piano) • Fri 1 November 2019 Din Ghani (lute), Gillian • Wormley (soprano) • Friday 6 December: Christopher Guild (piano) • Fri 31 January 2020 Robert Blanken (clarinet), Karen Kingsley (piano) Richard Moore (bassoon)

£12/£60 sarum.ac.uk/lunchtimeconcerts

Sarum Singing Break Friday 4 to Sunday 6 October 2019

A weekend for anyone who enjoys singing liturgical church music, led by Nigel Groome, Director of Music at St Matthew’s, Westminster.

£150/£250 sarum.ac.uk/singingbreak

Digging Into Isaiah 40-66 Monday 4 to Thursday 7 November 2019 This course will offer the opportunity to read all the text of these 27 lyrical, carefully-edited chapters, which are much-quoted in the New Testament. We will look at the famous Servant Songs, and consider the text’s use in historical sermons, poetry, music, and art. Through calm attentiveness, exploration of this text will refresh and fortify our hearts for faith and mission.

Tutor: Howard Peskett studied Herbrew in Cambridge and in Jerusalem. He encourages and trains people to read and dig into the Bible.

£250/£415 sarum.ac.uk/event/biblical-study-break digging-into-isaiah

Sing Gregorian Chant Saturday 9 November 2019

Experience and sing Gregorian chant in a friendly context. £70/£60£50 19 The Close, Salisbury, SP1 2EE sarum.ac.uk/event/2019-sing- [email protected] gregorian-chant 01722 424800 sarum.ac.uk/events a @SarumCollege

Untitled-1 1 09/08/2019 15:09 AUTUMN & WINTER OBITUARIES AT SARUM COLLEGE We note the recent death of June Cox, remembered for many things across his for many years chair of IOW Area. An life, but especially for the crucial role he appreciation will appear in December. played in the development of the Catholic Lunchtime Concerts at Sarum College church music tradition in this country. In paradisum deducant te angeli: • Fri 4 October 2019: Diana Brekalo (piano) JOHN MICHAEL EAST May the angels lead you to paradise. • Fri 1 November 2019 Din Ghani (lute), Gillian John Woodhouse, John Ainslie and • Wormley (soprano) John Michael East, music teacher, Paul Inwood. • Friday 6 December: Christopher Guild (piano) performer, conductor, former director • Fri 31 January 2020 Robert Blanken (clarinet), of the Church Music Association and former director of music at St ELIZABETH LAWRENCE Karen Kingsley (piano) Richard Moore (bassoon) Etheldreda, Ely Place has died aged 90. Born in 1929, East sang in the choir of Elizabeth Lawrence (née Bower) died £12/£60 sarum.ac.uk/lunchtimeconcerts Wakefield Cathedral during his studies on 17 April, age 85. Harrogate born, Liz for a Dip.Ed. at Bretton Hall (now part attended Queen Ethelburga’s School, the of the University of Leeds), during Royal College of Music, and then studied which time he was also an assistant organ with André Marchal in Paris. Sarum Singing Break organist in Wakefield. While teaching at Liz loved France, played in several Hillside School, Malvern, he sang in the churches and become expert in Friday 4 to Sunday 6 October 2019 Three Choirs Festival chorus and European cuisine and wine. She DEREK HOLMAN studied with David Willcocks. In 1957 and John met in France and married A weekend for anyone who enjoys singing liturgical he became assistant director of music at in 1969. Later they returned to Derek Holman (1931–2019) began his church music, led by Nigel Groome, Director of Music at St John’s College, Johannesburg. Harrogate, where in 1983 Liz began musical career as a boy playing hymns St Matthew’s, Westminster. In 1961 he became a Roman Catholic, 34 distinguished years as organist at for the Methodist chapel in Illogan near returned to England and became St John, Bilton. Choristers (including Redruth, Cornwall. He was a student at Truro school and later at the Royal £150/£250 sarum.ac.uk/singingbreak director of music at Stonyhurst in 1962. both my children) gained hugely from From 1965 he lectured at the University the thorough musical training she Academy of Music. He was awarded of London and later the University of delivered, which was always grounded three composition prizes while a student Notre Dame in London. He became in worship. Liz and John were great and graduated with a degree in music. Digging Into Isaiah 40-66 director of the Church Music company, and she was delighted when Later he obtained a Fellowship diploma Association in 1968 and embarked on a my son made of ‘Liz Lawrence’ the from the Royal College of Organists. Monday 4 to Thursday 7 November 2019 programme of ‘campaign’ to promote anagram ‘L. L. Winecraze’! For two years he was music master singing of new music for the new Mass John died suddenly in 1993. St John’s at the Westminster Abbey Choir School. This course will offer the opportunity to read all the text in English, in every diocese of England was full for his memorial service and From 1956 to 1958 he was assistant of these 27 lyrical, carefully-edited chapters, which are & Wales, starting in Westminster, then it was full again 26 years later for Liz. organist at St Paul’s Cathedral and at the much-quoted in the New Testament. We will look at the the north and gradually working down Many friends joined her own singers same time became tutor, later warden, famous Servant Songs, and consider the text’s use in towards the southern dioceses. in a 40-strong choir, mainly from local at the headquarters of the RSCM at historical sermons, poetry, music, and art. Through calm John spoke strongly of the need to churches but also from as far as Addington Palace. In this period, he was organist at Croydon Parish Church and attentiveness, exploration of this text will refresh and fortify build an indigenous tradition of English Newcastle. Simon Lindley played, Catholic church music, pointing out and Ruth Yarborough of St John’s founded the Croydon Bach Society. In our hearts for faith and mission. that ‘we have been looking for blooms directed us. 1965 he emigrated with his family to where we have sown no seeds.’ We’ll always miss Liz and John, but conduct the music programme at Grace Tutor: Howard Peskett studied Herbrew in Cambridge John was always a generous, friendly gratefully celebrate Liz’s lasting ministry. Church on-the-Hill in Toronto, Canada. and in Jerusalem. He encourages and trains people to and intensely musical spirit, full of Kieran Fitzsimons In 1967 he was awarded a doctorate read and dig into the Bible. perception and insight. He will be of music following the completion of a symphony and subsequently became a leading composer and exponent of £250/£415 sarum.ac.uk/event/biblical-study-break church music in Canada. In recognition digging-into-isaiah of his years of passionate teaching at the University of Toronto he was inducted into the Order of Canada in 2003. As a Sing Gregorian Chant choirmaster he was mentor to countless young people in churches and the Saturday 9 November 2019 Canadian Children’s Opera Chorus. His legacy as a composer includes Experience and sing Gregorian chant in a friendly context. choral works ranging from hymn tunes to full-scale oratorios, and songs for £70/£60£50 19 The Close, Salisbury, SP1 2EE sarum.ac.uk/event/2019-sing- solo voice and piano. [email protected] gregorian-chant John Rucklidge 01722 424800 sarum.ac.uk/events a CHURCH MUSIC QUARTERLY SEPTEMBER 2019 @SarumCollege 57

Untitled-1 1 09/08/2019 15:09

OBITUARIES

PATRICK WEDD Christ Church Cathedral, Montreal, a radio. As a composer and arranger, he position he held for the next 22 years. contributed 18 items to the Anglican Patrick Wedd was a part of church He was known as an organist, Church of Canada’s 1998 hymn book, music from the age of 12 when he harpsichordist, church musician and Common Praise. directed his first church choir. After choral conductor of a high standard. Patrick died on 19 May 2019 at the studying music at the Universities of Patrick was first guest director and age of 71. He is survived by his husband Toronto and of British Columbia, later artistic director of the Montreal Robert and sisters Penny and Pam. A Patrick served as organist and director Boys’ Choir Course for 22 years. He was celebration of his life took place on of music at Christ Church Cathedral, conductor of the Tudor Singers and Friday 31 May at Christ Church Vancouver. He moved east to Montreal’s founding director of the choral Cathedral in Montreal. Church of St Andrew and St Paul, then ensemble Musica Orbium, as well as a William Lupton St John the Evangelist and then to commentator and contributor to CBC

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