S O U N D B O A R D S E P T E M B E R 2 0 1 2 1 SOUNDBOARD CHURCH MUSIC AND MUSICIANS

THE MAGAZINE OF CHURCH MUSIC DUBLIN ▪ Giving worship a vibrant voice through music ISSUE 27 SEPTEMBER 2012

Sharper service IN THIS ISSUE Welcome to another edition of Soundboard, packed with articles and titbits that we hope you will find interesting. We discuss the recent Eucharistic Congress and also include short reports about summer schools. Did you manage to get to a course this summer? Perhaps not, but nevertheless you visited a church while on holidays and were inspired (or maybe not!) by something you experienced. We all need to rethink our role from time to time; even if only to affirm that we are doing our best within the circumstances. Attending courses seems to be part of modern working life, whether to up-skill individuals or to comply with new regulations. Many musicians continue to study and learn, ICMA SUMMER SCHOOL … 2 attending masterclasses and courses regularly. If you are not one of these, perhaps you need some encouragement: THE MUSICIAN AS THEOLOGIAN Do it for you – we should never feel that improving our skills is being selfish. BY HOUSTON MCKELVEY … 3

The better you are, the more benefit to the church. It is good to engage with new material, ideas and people. If you later wish to move to a different church, it will aid your application. Do it for your church – musicians have particular skills to assist our corporate worship. If your ideas are fresh and innovative, then people will be inspired. Your church should be pleased to meet half the cost, or even more (as suggested in the diocesan remuneration guidelines). Ask! Show them this article if you are shy! Churches have budgetary constraints, like everywhere else; however, worship is the one activity that differentiates the Body of Christ from the local club down the road. If we do not invest in equipping the key people involved, the main calling of the Church will falter. If funds are scarce, select vestries ought to give priority to expenditure on worship. The clergy of our THE SPIRIT OF WORSHIP dioceses attend a conference each year, usually returning with a spring in their TECHNOLOGY & LICENCES … 5 step. We all need encouragement: to be able to engage with new material and ideas, away from the demands of the weekly commitment; and to share our CONSIDERING THE experiences with others (perhaps you will inspire someone else at the course – CONGREGATION … 5 yes, you!) If you are a member of the clergy, please encourage your musician to attend something and explain why they should do so– they may not wish to spend a week learning a skill they feel unsure about using. Failing that, as a first step, ask them to attend Living Worship next January/February. You could come along too! Courses and seminars of varying length are available at different times of year and Church Music Dublin will be glad to suggest some. Elsewhere in this issue, we hear from Gloria’s Tim Thurston about an exciting project based around Bach’s organ works, from the former Dean of St Anne’s Cathedral, Belfast Houston McKelvey about the role of the parish musician, and from Colin Mawby on spirituality in liturgical worship. A feast of interesting material for you to enjoy as autumn gets under way. In more strictly practical terms, copyright compliance is part of the Church’s responsibility. It is always THE EUCHARISTIC CONGRESS … 6

nice to see a friendly face behind the logo, so Chris Williams from CCLI tells us a A SIMPLE HYMN ACCOMPANIMENT bit about himself and his work with churches of all shapes and sizes. There is an for St George’s Windsor … 7 article on the church musicians as theologian, discussion about the role of the organ voluntary, an update on the proposed supplement to the hymnal, BACH WORKS ON GLORIA … 8 spirituality in music and lots more, including letters and reflections from YOU, THE RSCM … 9 the readers. Finally, if this issue brings anything to mind that you would like to share with AROUND THE COUNTRY … 11 the rest of us, please contact us—details as usual are on page 12. Enjoy!

2 S O U N D B O A R D S E P T E M B E R 2 0 1 2 News from the Executive Committee The Archbishop of Dublin’s Certificate in Church Music Exam Results, May 2012 Year 3 (Final) Róisín Rowley-Brooke, Nenagh Distinction Róisín Burbridge, Zion Honours Helen Dawson, Christ Church Cathedral Group Honours

Year 2 Inga Hutchinson, Geashill Distinction Jamie Boshell, Christ Church Cathedral Honours Beth Burns, Geashill Honours

Year 1 Joseph Bradley, Newcastle Distinction Matthew Breen, Taney Distinction Stephanie Maxwell, Clontarf Distinction Joseph Bradley, recently appointed TCD , with director of chapel music Dr Kerry Houston & Margaret Bridge, choir director Committee appointments Tristan Clarke, who teaches at St Columba’s College, and Philip Foundation organ / keyboard course Good, assistant organist in the parish of Castleknock and Plans are at an advanced stage for a 4-module foundation course Mulhuddart with Clonsilla, have been co-opted to the Executive offering practical training in leading singing from a piano, Committee. Both are recent ACCM graduates. Tristan tells us that keyboard or organ. Topics will include introducing new hymns he accepted the invitation because he wants to help with the and songs, how to practise, and other useful tips. There will be a excellent work Church Music Dublin is doing to help educate and mix of group and individual sessions and the rectors of the encourage church musicians at all levels. Philip sees joining the sponsoring parishes will attend the first module, with their Executive as an opportunity to help maintain and improve the musicians. The first course will be launched early in 2013 in a high standard of choral music in the dioceses. The other parish away from Dublin. members of the Committee are Archdeacon Ricky Rountree, Jacqueline Mullen, Maedhbh Abayawickrema, Judy Cameron, Ann Soundboard subscriptions Keary, David McConnell, Donald Maxwell, James Pasley, Derek If you have not yet renewed for 2012 - please do so! If not Verso, and Fraser Wilson. already a subscriber - please consider becoming one. It costs only €15 / £13 per annum. You will find payment details on page 12. Living Worship 2013 We encourage all readers of Soundboard to share it with their This popular course wlll take place again on Saturdays 12,19 and choir, clergy, and friends; for extra copies, contact 26 January. Speakers will include Dr Peter Thompson, rector of [email protected]. Donaghmore parish (Armagh diocese) and Secretary of the Hymnal Committee, and the Revd Stanley Monkhouse, rector of www.churchmusicdublin.org Port Laoise group (Leighlin). When did you last visit our website? It contains a huge amount of interesting and relevant information, including the findings of the Training Video 2011 Survey of Church Music in the Dublin and Glendalough Responding to a clear need, a short training video on choosing dioceses. And don’t overlook the Links page, which will direct you music for the Eucharist will be launched later this year. The video to other sites of interest. Please also check whether there is a link will be on the website with optional supporting documentation from your church’s website to Church Music Dublin. If not, available for download. perhaps you could have a chat with your website administrator! The Irish Church Music Association Summer School

Marty Haugen led this year’s ICMA Summer School in the first week of July, with a gentle grace, encouragement and passion for the liturgy, which inspired all present. ‘Marty’ is a liturgical composer, workshop presenter, performing and recording artist and author from Eagan, Minnesota. The week consisted of the usual heady mix of liturgies, rehearsals, tutorials, meals and fun! Over 200 parish musicians from all parts of Ireland took part in tutorials which included: Repertoire, Primary Schools Music, The Parish Cantor, Liturgical Composition, Irish Music for the Liturgy, Choral Direction and Conducting, and Organ Tuition. While the celebration of the Eucharist in Maynooth College Chapel was the focus and highlight of each day, there were special events throughout the week. On Tuesday evening, participants and guests celebrated Evening Prayer in St Mary's Church of Ireland at the College gates and heard a stimulating address by Archbishop Michael Jackson. On Thursday evening, Haugen launched The Collected Masses of Fintan P. O’Carroll (Veritas, Dublin), and adapted for the third edition of the Roman Missal, by the composer’s son, Kevin O’Carroll. The week provided the opportunity for old friends to greet each other once more and was also marked this year by a large number of first-timers. A noticeable trend in recent years is the sizeable cohort of young people. Young and old alike prayed and sang together in a week that refreshed spirits and renewed hearts. In continuing the theme of the recent Eucharistic Congress, people were inspired to 'become what you receive' - or, as was posed to participants during the week: to 'become “whom” you receive.'

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A half-century’s service David Lawrence retired recently having played the organ in the Tullamore, Co. Offaly group of churches for over 50 years. On 30 March, St Sinian’s Church, Tyrrellspass, was packed for Songs of Praise, at which David selected and accompanied ten well-known hymns. It was a very enjoyable finish to a fulfilling career. Afterwards, he received a presentation from rector, Canon Gerald Field, on behalf of the parishioners. David had an early start on Sunday mornings, as the service at Tyrellspass is at 9.15. He also played at Newtownfertullagh until the church closed in 1989. Music flows through the Lawrence family. David’s mother, a very competent and committed organist, played at Rochfordbridge for many years. His daughter Sandra, plays occasionally, and his grandson Diarmuid O’Brien is organist at St Michael’s Church, Castletown Geoghegan.

The musician as theologian HOUSTON MCKELVEY reflects on the role of the parish musician For me, the role of an organist/choirmaster - call the post what Ask most people in any local congregation or parish who the you will – involves much more than musical knowledge and theologian is, and they will point you to a clerical figure. Mark ability. It is not simply a matter of producing sounds, no matter Gorman, writing in the Duke Divinity School Magazine,1 recently how pleasing they are to the human ear. An organist/choirmaster suggested that congregational musicians, because of their will be a person of vision, who knows his/her choir’s abilities and shared leadership of worship with the clergy, have a can gently and responsibly take them to new levels of responsibility for the practical daily theology of most worshiping endeavour. But I stress that he/she must also be a practical groups. Making decisions about which hymns to choose, which theologian, an enabling moulder of faith within the parish anthems to pair to specific biblical texts can have as much community. My views are based not just on reading and study impact on how those texts are understood by the congregation but on two seminal experiences in my own faith journey. as anything the preacher says from the pulpit. And that means, he said, that congregations need to make sure that their I think firstly of the small rural parish in which I was raised in the musicians have the resources and training they need to faith and tolerated in the choir. Despite our small numbers we accomplish that work. maintained a tradition of sung services - Matins and were the orders of that day, prior to the parish communion Mark Gorman continued: movement affecting Ireland. Usually we had good and faithful “In most churches, the musicians are not world-class performers, local musicians as organists. But during one interregnum a but volunteers or part-time workers, often overworked and underappreciated. startling development occurred. There were two military bases nearby, RAF and Royal Navy, and these occasionally brought our “Musicians, whether or not they are aware of it are shaping way singers and musicians, some of whom enlarged our vision congregations theologically through their music. Congregations, and capabilities. One such was an organist and choirmaster who even if they don’t explicitly know it, are formed theologically by not only got this small rural choir to sing items from Messiah but the music of their worship services, just as they are formed by the also to record them. This was the era of wind-up record players sermon, the prayers, and the sacraments. Vibrant worship, and we cut our one and only disk in bakelite. But the experience therefore, requires that both church musicians and the did a lot for our choral confidence, our faith, our vision, and our congregations they serve become more sensitive to the theological commitment as choir members. It was obvious that our musical work of music.” catalyst had the confidence and support of our rector. Clergy and church musicians are in the business of soul shaping A later experience was during the fourteen years while rector of a and their efforts must share the same goal. That the overall Connor parish – a large public housing estate where we also theological direction of a parish is the responsibility of the sang Matins and Evensong, complete with two different sermons incumbent and the bishop is a basic legal and doctrinal fact of which I had to craft for each Sunday. The greatest gift available the Church of Ireland’s way of being church. But where there is to me in terms of worship was the organist and choirmaster, Christian respect for each other and a sense of mutual Ernie McCleary. He too had been raised and nurtured in the accountability, there is room for two theologians in a parish, Church of Ireland. He was familiar with the Church’s year and was expressing the same truths in complimentary ways. Our constant sensitive to the flow of the liturgy. He chose the hymns and aim must be: the Word, spoken and sung, shaping, nourishing anthems and, as this was the period of the Ulster Workers’ Strike and nurturing the People of God in a manner which truly and attempted bombings and killings in the immediate area, I reflects the ethos and identity of the Church of Ireland in the was mighty glad of his assistance. More often than not, the totality of its worship. choice of hymns, particularly the hymn after the sermon, was 1Duke Divinity School Magazine (North Carolina), Fall 2011 more appropriate and sensitive than if I had done the job. Ernie – a boarding school teacher and superb cricketer, footballer and The Revd Houston McKelvey is a former Secretary of the General golfer – would have told me to feel my head if I said he was a Synod Board of Education (N.I.) and was Dean of Belfast from practical theologian. But that is what this organist and 2001 to 2011. He currently is editorial adviser to choirmaster was. www.churchnewsireland.org

4 S O U N D B O A R D S E P T E M B E R 2 0 1 2 Reflections on the Hymnal Supplement PETER THOMPSON, Secretary of the Hymnal Sub-Committee, provides an update

Last May, General Synod overwhelmingly songs in use in 2011-12 are not readily churches or on many occasions, and endorsed the work done so far on a available to most parishes in the Church of whether it is specific to a particular time, supplement to Church Hymnal and asked Ireland. The new supplement will include place or event. the Hymnal Sub-Committee of the most of these in a format that is accessible To keep costs to a minimum, most of the Liturgical Advisory Committee to bring to parishes with even the most modest work is being done in-house by members detailed proposals to the 2013 Synod. A musical resources. of the LAC and the Hymnal Sub- supplement containing 150 hymns and Every year new hymns and worship songs Committee. It is envisaged that there will songs and liturgical material is envisaged are written – some gain popularity; many be only two editions available: words-only and, while a publication date has not been pass out of the memory quickly. The and a full music edition. All this will help to mentioned, it is reasonable to hope that Hymnal Sub-Committee aims to make a keep costs low without compromising the Supplement will be in the pews by the selection after sifting what has become quality. We hope that every parish will use end of 2015. The provisional list of available in the past two decades and then the Supplement and find their worship contents is available on the web at by evaluating what is gaining in popularity. enriched and enhanced by a range of new churchmusicdublin.org/supplement. Sometimes we will get this right – and music. Some may wonder why we need a sometimes not – just as for any other For parishes that do not have the benefit supplement so soon after the publication hymnal. of live music each Sunday, recordings will of Church Hymnal, fifth edition, in 2000. be made available too. It is also hoped that Others may question whether, in current a book similar to Companion to CH5 will financial circumstances, the cost to be produced to tell the stories behind each parishes is justified. While it is only twelve hymn, so that we may sing not only with years since CH5 was published, it is the spirit, but also with understanding, and eighteen years since General Synod that all we do may be to the glory of God. appointed (1994) a committee to start the planning process, which involved agreeing The LAC has launched a competition to the contents, editing texts and music, ‘name that book’. Entries to the musical obtaining copyright permission, and editor ([email protected] or St meticulous proof-reading. So by the time Michael’s Rectory, 66 Main Street, the proposed Supplement is released, Castlecaulfield, Co Tyrone, BT70 3NP) The consultation process has revealed a before 31 December 2012. The winning some two decades’ worth of new material real demand for new material, from all will have become available. title will be announced at General Synod parts of the Church of Ireland. We have 2013. Each year CCLI (Christian Copyright received suggestions of over 1,500 items

Licensing International) produces a list of from clergy, musicians, and others. One the most popular songs, based on licence frustrating aspect of our work is the reality returns from across the UK and Ireland. Of that we can use only about one out of The Hymnal Sub-committee: Bishop Harold the current top 25, only 8 are printed in every 10 suggestions received – and so our Miller (chair), Peter Thompson (secretary), CH5. It is staggering to realise that over criteria include how wide an application a Julie Bell, Alison Cadden, Donald Davison, two-thirds of the most popular hymns and hymn has, whether it is sung in many Jacqueline Mullen, and Derek Verso

Pressed into service! How DONALD MCLEAN became an organist

I was very interested in the recent article in Soundboard dealing with simplified hymn tunes. I am a parishioner in Straffan Church, Co. Kildare and am a past member of 1st Dublin Company of the Boys’ Brigade, where I joined the band and started learning the cornet, later progressing to the trombone. This gave me a lifelong interest in music and instruments: piano, guitar, clarinet, saxophone, flute, double bass, and sweet patio (search the internet for this one!). In 1991 the organist, who had played for many years, felt that she would like a break. After many requests to the Rector to find a replacement, with no results, she issued an ultimatum: she was retiring and he would have to find a new organist. The Rector arrived at my home one evening and arranged with my wife that I would play. I learned of this the next morning! I requested six weeks to practise and told an organist friend what I had agreed to. While she may have thought me crazy, she gave me a copy of A good innings!

the simplified hymns tunes book, which I still have. I picked three of the simplest and Ann Keary is pictured receiving a best know hymns and practised until I could play without the book. No pedals at that presentation from Canon David Moynan stage, of course. on behalf of the parish in recognition of At that time there was virtually no choir in Straffan and the Rector, who had a very loud her 28 years’ service as organist of voice, bellowed out of time while a lady who sat in the choir seats sang out of tune Kiltiernan Parish Church. Ann (also a loudly and raucously. It came to the Sunday of my first appearance as organist and the member of the Church Music Dublin lady in question decided to sit right behind me to provide moral support. Readers will Executive) is moving home to Shillelagh, appreciate my unease - but because of my six weeks learning period, I was like a robot Co. Wicklow, and so the church is seeking and able to survive. Once the previous organist discovered I could scrape by, she a new organist. Details of this and other returned and we played on alternate Sundays and she also played for special services. vacancies can be found on the Church By using the book I was eventually able to add the pedals and extra harmony. This did Music Dublin website. not suit four-part singing but was better than nothing. We wish Ann good luck in her move and the church as it begins its search for her We hope to publish Donald’s article about music in Straffan in the future – Ed.) successor.

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How Are We? THEO SAUNDERS reflects I expect that Soundboard is read mainly by people who are actively involved in church music, whether as singers, players, or conductors. But how often do we consider those who listen to music in church without performing it? Yet these people make up a pretty good proportion of the church on any Sunday morning. I would argue that we should all take time to listen properly, whether it be to our neighbours, our selves, or indeed God. And what is the best starting point for listening? I consider total silence, and stillness to be a very good place; but others may argue that we should be listening in the midst of our daily activities. Perhaps they both have their place, regardless of our own preferences. No doubt, listening is an excellent prelude to good prayer. So, when we go to church, what does the music at the beginning of the service do? Does it calm us down, and bring us to a point of stillness – or does it excite us, and thus prepare us for a rousing opening hymn of praise. Well, sadly, sometimes it does neither. How often do we encounter a few chords hastily thrown down onto the Swell organ, regardless of the key of the first hymn – or indeed some strumming on the guitar with the tapping of the microphone to the vocalisation of the words, Testing, Testing, Testing. Whatever your preference – and you may have other ideas about pre-service music – do think about it from time to time, and be prepared to ask others what they like, and don’t like: or better still, find out what is beneficial, thus avoiding our likes and dislikes. Is this something worth discussing with your Rector? Come to think about it, perhaps I had better take a leaf out of my own book and do the same tomorrow morning – listen! Theo Saunders is organist and master of the choristers at St Patrick’s Cathedral, Armagh. We were delighted to learn that Theo recently returned to work after a lengthy illness. [email protected] Encouraging the spirit of worship CHRIS WILLIAMS describes how changing technology is being used to convey the Christian message As a school leaver I had great plans for my life. Like most boys of old brass instruments to be refurbished and fixed so as to hand my age I was going to be a pilot, fireman, or rock star. It’s strange them on to the children in his local area. These instruments, how we can end up in a career that’s a million miles away from trumpets, trombones etc, come with free lessons. While the what we planned in the school playground. I joined Christian children are learning in the lounge their parents are in the Copyright Licensing International (CCLI) in the winter of 1991 at a kitchen doing an impromptu Alpha course. Or there’s the church time when churches across the UK were going through some in Birmingham which has invested in bean-bags and a popcorn quite radical changes. These were mostly to do with styles of machine to use with their special film nights for children. sung worship, live bands versus organs, None of the CCLI team, to the best of my and the technology within the church knowledge, is passionate about copyright building, i.e. how it was to be used. licences. But as many of the team are When I became a Christian in 1983 at a worship leaders and pastors in their local very small Anglican church in the West churches, we get quite excited to see how Midlands the congregation was singing sung worship, though diverse in sound from a mixture of hymn books, songbook and delivery system, is very much alive - supplements and bright coloured song dare I say evolving. The vision statement sheets that were produced on a bad- at CCLI is to Encourage the Spirit of tempered Gestetner printing machine Worship. When I first started at CCLI down in the dark chambers of our there were 6,000 churches licensed with building. To be honest, I hated that one type of licence. Today, CCLI licenses machine, which distributed ink to every over 23,500 churches and 14,000 schools part of my body and clothing and hardly with six different licences covering music any to the paper for which it was performance, song projection and the use intended. Oh happy day when a man took of films. Churches are embracing all of the our Gestetner away and delivered our first different means of multimedia available to basic photocopier which looked cheap and plastic but cost the them. The Apostles travelled the Roman roads and Martin Luther same as a small family car. We could now photocopy from books, had the printing press to deliver the gospel, so it is easy to newspapers and other sources. A whole new era of publishing believe that the internet is to play a strong role in current church had arrived. We then purchased a strange machine that projected communication. A number of Roman Catholic churches in my through clear plastic acetate sheets – the Overhead Projector. own area are now streaming their services live to local old This, in addition to introducing a new style of ‘hands free’ people’s homes and those not able to get to church because of worship, also introduced us to bad spelling as the acetates were illness. Websites are great communication tools providing maps, usually written in felt-tip pen by someone with a very shaky hand. testimonies and even a means of hearing last week’s sermon, Today, many churches are looking at new technology in the form which has been made available as a downloadable Podcast. of LCD projectors to deliver words stored on a computer, with So the message remains the same but the styles, people groups screens that either pop-up out of pews or roll down from the and technology change. I believe strongly that we should never ceiling at the click of a switch. What's next? Perhaps we'll be fear change, but also that change should never control us. As for handing out iPads to visitors at the door pre-loaded with the future I’ll keep travelling the miles meeting leaders to try to readings and hymns for today's service. break down some of those fears and misunderstandings that can Whichever song delivery system is used for church services, my quite easily creep into matters such as these. I hope to hear new role as Key Account Advisor at CCLI is to educate and encourage testimonies from churches who have found ways to use modern churches about the benefits of having the appropriate copyright technology and resources to communicate the gospel in the licences to ensure hymn/songwriters are properly rewarded for language and understanding of society around us – in short…to the reproduction of their work. This role takes me to pretty much keep on Encouraging the Spirit of Worship. every denomination head office across the UK and Ireland, Catholic and Protestant, charismatic and traditional, large and Chris Williams is Key Account Manager for Christian Copyright Licensing small. What constantly surprises me, over the many miles and International (CCLI) and is an elder who heads up the worship team at years, is how alive the gospel is in all corners of the Church. A ChristChurch, a New Frontiers church in Hailsham, East Sussex. leader at a Salvation Army Citadel once told me how he gathers [email protected]

6 S O U N D B O A R D S E P T E M B E R 2 0 1 2 Have we lost the plot? Controversy about the music used at the International Eucharistic Congress prompts DAVID MCCONNELL to reflect on singing the liturgy

Criticism of the music used during the concluding Mass at the of a paper2 on the use of strophic hymns in Anglican and recent International Eucharistic Congress (IEC) has raised Catholic worship, Fr Mark Woodruff (a former Anglican cathedral questions that every church musician should reflect on from time organist) argues that “when English hymnody is used just to give to time: What is the purpose of music in worship? How is that the congregation something to do, as if assisting through other purpose best fulfilled? parts of the liturgy was doing nothing, it distorts its purpose in the non-Catholic traditions that formed it, and undervalues the Speaking at a meeting of American church musicians in Salt Lake use to which it can be put in the Roman liturgy”. On the other City on 27 June, the Executive Secretary of the International hand, he continues, when Anglicans uses strophic hymns with Commission of English in the Liturgy (ICEL) launched an thought and sensitivity, such hymns can become a means of outspoken attack on changes to Roman Catholic worship mental engagement and active participation in the liturgy, as introduced since the Second Vatican Council. Msgr Andrew opposed to simply ‘joining in’. Wadsworth instanced the closing Mass of the recent IEC in Dublin as harking back to immediately after Vatican Two, with its Frs Wadsworth and Woodruff are among a growing number of absence of Gregorian chant and Latin. He complained of the thoughtful people who feel that worship in many Catholic appalling banality of much liturgical music and the lack of any parishes has become banal to an extreme, has been dumbed true liturgical spirit in the use of music. down and has lost the sense of awe which many instinctively long for. Musicians in the Church of Ireland would do well to be Fr Wadsworth complained that at the Mass in Croke Park on 17 aware of these views which, in essence, call for increased June, none of the antiphons of the proper were sung for the reflection and discussion about what constitutes ‘music of entrance offertory and communion processions, and he spoke worship’ as opposed to merely ‘music in worship’ – a subtle, but scathingly about the “celebrity spot during the distribution of important differentiation. Holy Communion” when three clerical tenors sang “the impossibly sentimental song ‘May the road rise to meet you’” Liturgical worship in the Church of Ireland “What is wrong”, he asked, “with the Communion antiphon and Liturgical worship is a fundamental aspect of our Church of psalm?” Ireland / Anglican tradition. In the Office (Morning and Evening Prayer) the Psalms and canticles such as Benedictus and However, Fr Paddy Magnificat have been sung Jones, Director of the to for over National Centre for 300 years. More recently, Liturgy at Maynooth successive speakers at the described the annual Living Worship comments as “unhelpful course in Dublin have drawn and unfair and not attention to the key reflecting what those importance of encouraging who were present are the whole worshipping saying.. He said “there’s assembly to sing at least lots of loose language some of the unvarying parts in his criticism of the of the Eucharistic liturgy closing Mass”. Fr Kevin (Kyrie, Gloria in excelsis, Doran, Secretary Acclamations, Sanctus) to General of the IEC, simple melodies. wrote that he felt that Msgr Wadsworth’s When the use of strophic concerns “were more hymns (those that repeat about the Second metrical verses to the same Vatican Council than melody) became widespread the Eucharistic Congress. The Congress simply happens to be a in the Church of Ireland in the mid-19th century, their value was convenient target for him”. probably seen mainly in terms of conveying the religious meaning of services, nourishing popular devotion with Scriptural Catholic Liturgical Music substance, and helping to put faith into words and practice. In Whatever one’s view of Msgr Wadsworth’s comments (and I more recent times, and reflecting the extent to which the believe many musicians will privately concur to some extent), it is Eucharist has moved centre-stage in Church of Ireland worship, worth exploring a little of his thinking. A starting point is an the concept of liturgical hymnody has developed, as evidenced address1 he gave in London in May 2012 to a meeting of church by official and quasi-official publications. musicians from the Archdiocese of Westminster. He spoke about the value of liturgical chant, In 1990, in its report Silent Worship?3 the Joint Committee for Church Music (representing the Church of Ireland Choral Union “which enables the word of truth to be expressed in the beauty and RSCM), stated that “Church Music means singing the Liturgy, of song in a way which is not adequately described by the regularly every Sunday. The function of church music is to comparatively sterile designation of the individual elements of emphasise and intensify significant parts of the Liturgy (e.g. words and music. In our Catholic tradition, liturgical chant is first Gloria, Sanctus, Benedictus and Magnificat). Hymns and psalms and foremost cantillation, a song which arises from the text, a are our response to hearing and receiving the word of God in the song which is essentially a heightened proclamation of a verbal Liturgy.” message and which takes its emphases from the natural accentuation of the text and finds its melodic rhythm from the More recently, the 2004 edition of The Book of Common Prayer cadence which is already in within the words.” directs that “in the selection of hymns, careful attention should Others deal with this subject. At the conclusion of the first part be given to ensure that they are appropriate to the Bible

S O U N D B O A R D S E P T E M B E R 2 0 1 2 7 readings and sermon”. (The compilers might usefully have added out of place. Though, interestingly, the piece is not mentioned that hymns also should be appropriate to their position within on the IEC website, so may have been a last-minute production the Liturgy.) Church Hymnal, 5th edition, unlike its predecessors, decision, to appeal to the television audience. has a separate liturgical section and it is heartening to know that Let Brendan Conroy, composer and leader of the young people’s the forthcoming Supplement will add to the existing official choir in Holy Cross Church, Dundrum, writing in The Irish Catholic provision. The clear implication of all this is that liturgical song is (26 July) have the final word. at least as important as strophic hymns and that great care is needed when selecting and positioning hymns. As Mark “I love Gregorian chant ... I love Taizé chant even more ... Woodruff succinctly observes, “It is not a matter of choice and Amazingly to me, I know some people who find both Gregorian favourites, but of design and fit.”’ and Taizé chant a little weird! And so we sing other songs that people judge to be prayerful, perhaps because in singing them Back to the I.E.C. people touch, in an intangible way, a profound truth that we all The programme of music used at the week-long IEC is still on the profess to believe, that we are really and truly the risen body of official website4. Broadly speaking, it reflects what is used in Christ on earth.” parish churches throughout Ireland Sunday by Sunday. If one of 1 The full text of Msgr Andrew Wadsworth’s address is on the the purposes of music in worship is to create a sense of Church Music Dublin website community and to point towards the Almighty, then most will 2 The Hymn Society Bulletin, Summer 2012 agree the choice was appropriate for the occasion. Perhaps, in 3 The report Silent Worship? is on the website retrospect, one of the Masses should have used the propers, 4 The list of IEC music is also on our website sung to traditional chant. “May the road rise to meet you” sung David McConnell is organist at Zion Church, Rathgar and the Church of by three priest-tenors certainly was an error of judgement and the Three Patrons, Rathgar. [email protected]

Simplified hymn accompaniments

Eight simplified hymn accompaniments are now on the Church Music Dublin website, including St George’s, Windsor, firmly associated with the Harvest-tide hymn Come, ye thankful people, come. The text, by the Revd Henry Alford, was first published in 1844. Henry Alford was a man of many literary gifts. He died in 1871, having been Dean of Canterbury since 1857. The original text was altered considerably by Alford and others. The version in CH5 closely follows an 1865 version. The tune, St George’s, Windsor, first appeared in 1858 and has been associated with the text since the first edition of in 1861. The composer, George Job Elvey, was Organist and Master of the Choristers at St George’s Chapel, Windsor from 1835 to 1882. Elvey wrote many Anglican chants, 17 of which are included in The Irish Chant Book. G.J. Elvey’s elder brother, Stephen Elvey (1805-1860), while rather less prolific, is also well represented in the ICB.

8 S O U N D B O A R D S E P T E M B E R 2 0 1 2 Bach organ music on Gloria TIM THURSTON suggests how organists can become involved with Gloria transmissions

For over 15 years I have had the pleasure every Sunday of sharing my love of sacred music of many sorts from many centuries over the airwaves and internet on Gloria on RTE Lyric FM. For the forthcoming church year, beginning on Advent Sunday, 2 December 2012, I intend to play approximately 15 minutes of Bach’s organ music every Sunday morning at around 9 am. Many of the chorale preludes are specific to particular Sundays and I will precede these with appropriate cantatas by Buxtehude or Schütz. Just as the cantatas astonish with one unknown musical delight after another, so the organ works are known to a tiny proportion of music lovers - I fear the airwaves are not over full of the sound of the King of Instruments - even by the King of Composers! Even rarer are performances of the superb works of his greatest predecessors. I would like to inform Irish organists which works may be heard, so they may if they wish play the same works live during - or before or after - their liturgies later on the same day. A detailed list of my selection will be on the Gloria page of the Lyric website and on the Church Music Dublin website. I also hope to set up a facility, possibly using Facebook, to advertise where the works may be heard live and every now and again I will mention on air the opportunity for Gloria listeners to visit their local churches to experience the "live event". For those organists who have been considering making a recording then this would be a good time to do so. The more Irish organists and instruments I can include the better - though I cannot guarantee inclusion! Keep an eye on www.rte.ie/lyricfm/gloria and www.churchmusicdublin.org/ for further developments. [email protected] Notes from the North

As I sit here, I’m watching the Olympic Games and the perfection seconds. Then some mains hum which got steadily louder and that is the Men’s 3 metre diving semi-finals. Such precision morphed into a nice few seconds of feedback. The volume makes this very much a niche sport, requiring a really special set control was swiftly pulled back and exactly the same procedure of skills, much the same as being an organist and choirmaster - followed as the guy on the sound desk tried in vain to find the although fortunately we don’t require the honed athletic frames right knobs. The bride had already been standing waiting to go to do our jobs!! for about a minute. She eventually decided that it wasn’t going Being summer, there isn’t a lot happening here apart from some to happen and set off, but a few steps in the sound man found of the local choirs doing their week’s residency in various the right switch or plugged a lead in or something, and we all cathedrals in the land, and of course it’s the season of weddings. got our ears cleaned out with the very elevated volume settings. These are fast becoming opportunities to further marginalise the I wonder would using the organ not have been better. She also organist’s unique and highly honed skillset to that of a simple went out to a CD of a pop song, but at that stage I was well on wallpaper provider, giving cover to the conversation beforehand my way on the open road. They had some crooner singing as the great and the good parade their wardrobe (and wallet) constantly below the note with piano accompaniment (ever skills, and catch up loudly and irreverently on the intervening heard Elton John’s “Your Song” using the chords I, IV, V & VI in C years. major?) and I’m afraid her rehearsal beforehand was enough for me. I tend not to do away gigs of this type. I find it too frustrating to chase money and deal with a set of people that I don’t know The second occasion was much more annoying. There I was in from Adam, and the music has always been selected without any the middle of the final movement of a Handel Organ Concerto input from me. So (if you’re lucky and getting ‘real’ hymns) you (on probably one of the worst toasters I have ever played) when see “Love Divine” and you think “Great! I wonder which tune the clergyman came over and said I had to stop now, he had an they are expecting”. You try to find the groom - he might know, announcement to make. I tried to tell him, whilst still playing, so you ask the clergyman. He is far from sure, he really only that I had just a minute to go till the end of the piece, and would knows the bride’s family, and can’t recognise the groom all he mind waiting. “No, I have to do it now” was the curt reply. I dressed up. So you end up asking one of the party who’s who, just lifted my hands off, and stopped. He then proceeded to do and see if you can get an answer about the tune - and also get the usual announcement about mobile phones and emergency your “envelope” rather than having to chase around outside exits. He then looked over and nodded expectantly. I shook my afterwards. head in disdain. Over he came, and said you can play again now. I said it really doesn’t work like that, treating music and musicians I did two weddings recently which I feel I must share with you. like that is not good. He replied that I was a guest in his church, First one was where the bride was coming in to a ‘proper’ and this was the way we do things here, and I should respect that performance of that awful piece by Pachelbel. I stopped at the appointed signal, and there was silence. A lot of it. Maybe fifteen and do as I was told. Doubleopenwood

ULSTER SOCIETY OF ORGANISTS AND CHOIRMASTERS With the regrettable demise during the 1970s of the Leinster Society of Organists, the Ulster Society of Organists and Choirmasters (USOC), is now the only such association in the country. The USOC publishes a monthly newsletter and its programme includes training events, recitals and an annual trip to a location outside Ireland. In May 2012, 30 members spent three days visiting and playing organs in and near Frankfurt. Annual subscription £20. www.usoc.org.uk

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THIS PAGE IS PRESENTED IN ASSOCIATION WITH The Royal School of Church Music in Ireland

RSCM Awards Service - 29 September 2012 at 5pm We are delighted that over 30 candidates successfully passed their Voice for Life examinations and Deirdre Macklin from Monaghan is the first person in Ireland to achieve the Church Music Skills award. Members of the RSCM from across Ireland will gather at St Bartholomew’s Church, Ballsbridge, Dublin 4, on Saturday 29 September at 5pm, when the award winners will receive their certificates in the context of Evensong.

Voice for Life provides a framework for choral singers to develop their vocal skills, their musical and liturgical understanding and their knowledge of repertoire. The scheme comes with a range of teaching material and supporting resources and gives plenty of advice on the practicalities of running a choir. It is intended to enable choir trainers and teachers to train their choir or group more effectively, and to help singers grow as people as well as musicians. www.rscmireland.com/voiceforlife/

Church Music Skills is an education programme designed to help practising church musicians to develop the skills and understanding they need for their role. www.rscm.com/education/skills.php

Come & Sing Fauré Requiem & Vivaldi Gloria: 20 October 2012 at 1.30pm Following the success of last year’s Come and Sing, a similar event will be will be held on Saturday 20 October, again at St Bartholomew's Church, Ballsbridge, to sing Fauré’s Requiem and Vivaldi’s Gloria.

1.30pm: Registration 2pm: Rehearsals (including refreshment breaks) 5pm: Performance (finishing at approx. 6.15) Details & booking at rscmireland.com/events/downloads/come-and-sing-barts.pdf

Forms should be returned by Friday 5 October. Please remember to bring your own scores if you have them, or indicate otherwise on the booking form. You are most welcome to invite friends and family to attend the performance which begins at 5pm. We look forward to seeing you on 20 October for what promises to be an exciting event!

RSCM IRELAND NEEDS YOU! There are many ways to become involved in the work of RSCM Ireland. Firstly, you can become a member of the RSCM and join a network of over 8500 schools, churches and individuals across the world. The support of our members enables us to offer education and training courses, published resources, and activities for all those involved in music in worship. RSCM membership is available both to organisations and individuals. Full details of how to become a member are available on the RSCM Ireland website or you can contact us direct on [email protected]. If you have any questions regarding your membership or wish to arrange a visit to your church, choir, school, or have any other queries, please use the above email address in the first instance.

RSCM COMMITTEE NEWS We seek someone to look after our website and publicity on a voluntary basis. If you or someone you know is interested, please contact Mark Bowyer (see below). Warmest congratulations are extended to the Revd Paul Arbuthnot, ROI committee treasurer, who has been appointed as Minor Canon (Precentor) at St Alban's Cathedral in the UK. Paul has carried out his role on the committee and as treasurer with diligence and always with a smile! We will miss him, and we wish him and Emma well as they plan their move later this year. We are now also on the lookout for a new treasurer for the ROI committee.

YORK SUMMER SCHOOL 2013 After a five-year gap, the next RSCM International Summer School will be held in York from 12 to 18 August 2013. As usual, there will be a packed programme of workshops, seminars and worship. Something for all tastes and levels of ability. An opportunity to share experience, get fresh ideas, learn new skills. www.rscm.com/issc There was a significant Irish presence at the summer schools in 2005 (York) and 2008 (Canterbury), and there is a link to brief reports by Irish participants on the General Information page of www.churchmusicdublin.org

FOR MORE DETAILS on the work of the RSCM in Ireland please contact the co-ordinator, Mark Bowyer, who will be happy to discuss any queries and arrange a visit if necessary. [email protected] + 353 (0)87 117 2995

APPOINTMENTS I greatly benefited from the work of the RSCM, and its inspirational leadership. I The RSCM has appointed Andrew Reid to look forward to leading the RSCM forward be Director in succession to Lindsay Gray. in its work of inspiring, training, and Andrew Reid (right) has been Director of encouraging church musicians.” Music at Peterborough Cathedral since 2004. Before that he served in a number of Two deputy director appointments have assistant organist posts including at both also been made recently; Rosemary Field Westminster Abbey and Westminster will be Deputy Director (Education and Cathedral. “I am delighted and honoured Voluntary) taking over from Sue Snell, and to be appointed Director of the RSCM”, Stephen Mansfield will be Deputy Director Andrew said. “As a parish church chorister (Operations and Finance).

10 S O U N D B O A R D S E P T E M B E R 2 0 1 2

The importance of spirituality in liturgical music

The Sistine Choir recently visited Writing for the liturgy is a great I have also been much impressed by the London and sang at Westminster challenge for composers. Understanding congregational response to hymnody. Cathedral. It was a wonderful occasion. I of the text is essential and you cannot Hymns mean much and speak to want to focus on what for me was the write well without this. Technical people’s deepest feelings. The appeal of main thing that came out of this competence and vocal knowledge are a good hymn is universal. As the Pope experience of hearing this magnificent also important but the music must has said, sacred music is an important choir - and that is the vital importance spring from the composer’s own part of the process of evangelisation: of spirituality in liturgical music. spirituality. It must speak from the soul. this places a great responsibility on the shoulders of the liturgical musician. We In a way this is more important today The attitude of conductors and singers need to be aware of the meaning of than it has ever been in the past. The is another factor. Unfortunately for sacred music and our singing must be world is a violent and disturbed place some choirs, singing at Services is infused with prayer and religious and sacred music should provide a primarily a musical experience and the feeling. We must never allow our music space where people can not only take much wider context of spirituality is to become a ‘whited sepulchre’: it must refuge but also experience the love and overlooked. This will always show and always display a deep internal meaning. creativity of God. We question where cannot be hidden. A conductor has a the soul of sacred music comes from responsibility to ensure that a and it’s not easy to find a performance goes far beyond musical Colin Mawby KSG comprehensive answer – the mystery of and technical perfection. Both are music-for-church-choirs.com God is beyond our understanding. essential but they are a means and not an end. The choir is expressing beauty The quality of the music being and belief in a totally unique manner. performed is highly important. So much contemporary work is devoid of spirituality. Much of it is well written and ‘comfortable’ but unfortunately it is banal and meaningless. Christ so often said that one must take up one’s cross and follow him. The quality of pain is rarely to be found in contemporary liturgical music; happy clappy is fine but its expression is severely limited. The Resurrection came from pain and death, it didn’t happen as a result of undisciplined and unrestrained joy. Liturgical music needs to express the fullness of our belief. It will not bring lasting peace to people if the quality of anguish is missing.

It’s never too late! BARBARA HALL writes about becoming a church organist

Having taken to organ playing late in life, I would like to share my experience with those who might perhaps think it is too late to start – in my case it was in my mid-60’s. I was invited ‘just to play a few hymns’ and, frankly, I was quite terrified. I refused in the first instance but was persuaded otherwise. I had absolutely no experience in the art of organ playing – my only instrument having been the piano and, practising not high on my list of priorities in my youth, I had played strictly for my own entertainment. Now, being exposed to playing in public, this had to change and I found myself practising for hours on end – and enjoying it. The sense of achievement was a delight and surprise to me! I had no idea that I had now been introduced to what was to become my favourite instrument and for which I appeared to have more aptitude than I had had for the piano. I very gradually gained more confidence and started introducing simple voluntaries. In this I was ably assisted by the following publications:

Short and Easy Manuals Collection (Kevin Mayhew) Best-Loved Organ Music for Manuals, Book 1 (Kevin Mayhew) Wedding Album for Manuals, edited and arranged by C H Trevor (Novello) Old English Organ Music for Manuals 4, edited by C H Trevor (Oxford) Samuel Wesley: 14 Short Pieces for Organ, edited by R Langley (Oxford)

These are simply and beautifully arranged and have given me a feeling of competence I would not otherwise have had. Five years on, I am still plugging away and very grateful to the person who insisted that I give it a try. I am at present one of a team of four here in Killarney.

Barbara Hall is one of a family of church musicians. Her grandfather, Henry C. (Harry) Shellard, was organist at Christ Church Leeson Park, Dublin from 1901 to 1955 and his brother, Thomas V. Shellard, was a chorister in St Patrick’s Cathedral. Barbara’s brother, Kenneth, is organist at St Patrick’s Church, Dalkey, and her nephew, Stephen, is senior alto at Worcester Cathedral and founder of the Worcester Chamber Choir and Orchestra. [email protected]

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Pipeworks Summer School In June, thirty people attended the first Pipeworks Summer School which took place in Holy Trinity Church, Crosshaven, Co. Cork, using its fine new (2010) Henk van Eeken organ. Masterclasses were given by Harald Vogel (Germany) on the seventeenth-century North German school and liturgical accompaniment. He also delivered the keynote address at a symposium on identifying and nurturing a native organ tradition, and gave a public recital. On Sunday morning, music at the Eucharist was provided by the Crosshaven Consort (pictured, left, in rehearsal). The weekend was very successful and Pipeworks plans to develop the masterclass concept further, building on ideas put forward by Prof Vogel, focussing on hymn accompaniment and how it can enhance congregational singing. The symposium raised many issues, including the protection of our organ heritage and the need to identify the most important instruments in Ireland. A future symposium will, it is hoped, build on this.

St Nicholas Schola Cantorum is launched in Galway

A new choral initiative in Galway’s medieval Collegiate Church of St Nicholas reflects a partnership between the parish, the city, and NUI Galway. At the launch on 19 June, Mayor of Galway Hildegard Naughton observed that “at the core of the medieval college was the complementary relationship between daily sung worship and musical education. I congratulate the rector, select vestry and the parish community for reviving the ancient college Kilkenny travels to Cork through this new initiative.” Sunday 24 June saw the choir of St Canice’s Cathedral, Kilkenny visit Cork. In the Organist of St Nicholas’s and director of the new morning they sang in Crosshaven Church and in the afternoon joined Schola Cantorum, Mark Duley, outlined the Monkstown Chamber Choir to sing Evensong in St John’s Church (pictured fourfold structure, consisting of choristers above). The Chamber Choir, directed by Roger Ellis, is an eclectic group that (children aged 8-12) drawn from across the city, sings at weddings, concerts and other events in the Cork area. Malcolm Proud is choral scholars from the university, an all-comers the organist and choirmaster at St Canice’s, assisted by David Forde. adult group and the existing parish choir, each of At Evensong, Richard Ayleward’s setting was used for the and Responses, which will have a distinct role within the church’s the Service was by Herbert Sumsion and the anthem was Give us the wings of liturgical life. The choristers will receive a first faith by Ernest Bullock. The singers relaxed afterwards in the rectory, over a rate musical education through the RSCM Voice glass of wine provided by rector, Elaine Murray. for Life scheme. The choral scholars will be promising young singers drawn from NUI Galway, Other news from the Cork area and will rehearse twice-weekly within two semesters each academic year, each of which will The Crosshaven instrument continues to evoke much interest and early in contain a series of sung services of Compline. August a group of ten organists from Belfast visited Crosshaven church and Future plans, Mark Duley said, include the other organs in other Cork area churches, organised by Pádraig O’Donovan. establishment of an organ scholarship in partnership with Galway Cathedral. Dean of Arts The three-year training programme for organists provided by the Cork at NUI Galway, Dr Edward Herring, expanded on Diocesan Church Music Committee is a welcome initiative. It is similar to the this new link “between two great institutions in Church Music Dublin scheme, and further information is available from Dr Galway”, describing how the choral scholarships, Ursula O’Donovan, [email protected] and Malcolm Wisener, the Committee’s funded by the Galway University Foundation, chairperson. form part of the university’s holistic approach to education – a “cultural investment in students”. Companion to Church Hymnal – shortly out of print – special offer €40

Many musicians regard Companion to CH5, by Edward Darling and Donald Davison, as a must-have reference book and resource. Some churches keep a copy in their choir stalls! The volume contains background information on the text and music of every item in Church Hymnal, 5th edition. Also, an informative summary of the history of hymnody in the Church of Ireland; and a most useful chapter on the selection and use of hymns and helpful guidance for organists on how to play them.

The publishers have very few copies left. It is unlikely that the book will be Dr Edward Deering, Julie Feeney, Mark Duley, reprinted. It was retailing at €53. Soundboard has negotiated a reduced price of rector Gary Hasting, & Mayor Hildegard Naughton €40. If you don’t buy now, you may regret it. Contact David McConnell at Photo: The Connacht Tribune / Joe O’Shaughnessy [email protected] or +353 87 668 3998

12 S O U N D B O A R D S E P T E M B E R 2 0 1 2

St Bartholomew’s choir men, with Tristan Russcher, director of music (extreme left) and Bobby Barden (centre)

St Bartholomew’s Choir launches Friends Scheme Music has been a key feature of the worship at St Bartholomew’s, Dublin, since its consecration in 1867. During the past decade, the musical foundation has expanded with the addition of a girls’ choir and a varied concert programme. The music budget, €60,000 a year, is under severe pressure as parish income has fallen due to the current economic situation. The choir must raise a larger portion than before of its own expenses and has launched a Friends of the Choir scheme. A membership form may be downloaded from www.stbartholomews.ie/choirfriends and there is an online payment facility. The church’s most recent CD, And the house was filled with smoke, would be a most acceptable Christmas present for any musician and can be also purchased online! Bobby Barden has been singing in the choir for seventy years and has worked with ten Vicars and seven Directors of Music. On 25 March this year there was a special celebration to mark Bobby’s 80th birthday.

Notes and news

Pipeworks @ the NCH: Earlier in 2012, Pipeworks, in association with the RTÉ NSO

and the National Concert Hall, ran two early-evening organ recitals that explored

ideas in the NSO concerts that followed. A full season of five organ recitals will now take place as part of the 2012-13 NSO season. They will be given by Pipeworks SOUNDBOARD is published by Associate Artists: Mark Duley, David Leigh, David Adams and Colm Carey. Dates and Church Music Dublin programme details are on www.pipeworksfestival.com/events.html. which is appointed by the Dioceses of Dublin and Glendalough to support The Irish Church Music Scene: Harry Grindle’s wide-ranging and informative article and resource music and musicians on church music in Ireland is now on our website. The article first appeared in in local churches Organists Review in August 2011. Vacancies: We are pleased to publish church-music vacancies on our website. The ISSUE 27 (SEPTEMBER 2012) closing date for the St John’s, Sandymount vacancy is 14 September. Edna Wakely, who has been organist at St John’s for several years, has resigned and is to be Edited & designed by Fraser Wilson ordained deacon in September. Kiltiernan Parish Church also has been seeking a Photography by FW, named contributors, & public domain sources musician. Ann Keary resigned recently as she is moving home to Co. Wicklow (photo

on page 4). Correspondence and material for future issues should be sent to [email protected] SOUNDBOARD SUBSCRIPTION I wish to subscribe / renew my subscription Views expressed in signed articles and to Soundboard for 2012-13 and enclose remittance for €15 / £13 letters are not necessarily those of the editor or the Executive Committee Name: Chair Archdeacon Ricky Rountree Address: Secretary Mrs Jacqueline Mullen, 23 Ludford Park, Ballinteer, Dublin 16 Email: Telephone +353 (0)1 298 8923

Contact phone: email [email protected] website www.churchmusicdublin.org ► Post to Church Music Dublin, 18 Villiers Road, Dublin 6

Other payment options: By electronic funds transfer to: AIB Bank, Westmoreland Street, Dublin 2 NSC 93-12-25 Account name: Church Music Committee A/c No: 1031 8132 The next issue of Soundboard will be IBAN: IE86 AIBK 9312 2510 3181 32 BIC/SWIFT: AIBKIE2D published in December, so material By debit/credit card: please call David on +353 (0)87 668 3998 should arrive by 12 November please