CHURCH MUSIC QUARTERLY JUNE 2019
THE MUSIC OF HEAVEN CONTENTS
5 EDITORIAL 38 SIMPLE WORSHIP SONGS ON THE ORGAN Miles Quick and Tom Bell provide tips for playing worship songs 6 IN ACTION on the organ. A look at a recent Strengthen 13 for Service event in Salisbury 40 CONGRATULATIONS Members’ successes and 8 WHAT’S ON RSCM awards Highlights of RSCM events across the UK, June to October 2019 42 HYMN MEDITATION Gordon Giles meditates upon 13 THE MUSIC OF Walford Davies’s God be in my head. HILDEGARD OF BINGEN Jennifer Bain looks at the music of Hildegard of Bingen and provides a 19 practical guide to using Hildegard’s 44 NEWS FROM music across the church year. PUBLISHING A look at the upcoming RSCM publication In Every Corner Sing, Book Two 19 FIVE HUNDRED YEARS OF NEGLECT Olivia Sparkhall considers the prominence of women composers 47 NOTEBOOK: from the 15th century to the NEWS AND EVENTS present day. News from the world of church music
32 24 FROM THE DIRECTOR 49 READERS’ LETTERS Hugh Morris talks about the RSCM’s new Strategic Plan. 51 OBITUARIES 26 RSCM NEWS News and reports across the RSCM’s international network 52 REVIEWS CMQ evaluates the latest church music books and CDs. 32 MY FAVOURITE HYMN Brian Kay talks to CMQ about 36 his favourite hymns and about 56 PUZZLES conducting The Really Big Chorus.
57 LOOKING TO 36 BRANCHING OUT THE FUTURE Jenny Yates, RSCM South Africa, CMQ talks to organist and conductor describes bringing sacred music Helen Smee. to some of the poorest schools on the Eastern Cape. 58 CLASSIFIED ADS 38 EDITORIAL
Welcome to the June issue of CMQ. It’s been ten years since In this issue we talk to Brian Kay about the motion picture CMQ last underwent a makeover and we thought it would Amadeus, The Really Big Chorus and the beauty of Bach’s benefit from a few changes. Take a look around: not only Passions. In Looking to the Future we shine a spotlight upon does the magazine have a fresh look, it has new features, too. musicians at the start of their careers, which, in this quarter, At the front you’ll find our new In Action pages, dedicated is Helen Smee, prize winning organist and conductor. On to covering RSCM events wherever church musicians meet page 36 you will find Branching Out, an outlet for the RSCM’s to learn, play and worship. Turn over the page and you’ll global family to tell us about events and developments in find What’s On, a snapshot of events going on across the their countries. Elsewhere you’ll find From the Director, UK across a five-month period (this issue covers June to and news about forthcoming RSCM Press publications. October). The What’s On pages are grouped by event type, The puzzles page has also made a comeback, and this not region, so if you’re an organist or conductor looking for quarter contains a little music theory. help, check under ‘workshops’, while if you are looking to Our main features this issue focus upon little-known female attend one of the RSCM’s flagship festivals, take a look at composers of sacred music. In Five Hundred Years of Neglect, the ‘Area Festivals’ list. The events featured are not Olivia Sparkhall walks us through a broad survey of women exhaustive, nor do they contain every detail about each. composers from the 15th century to the present day. Then, To learn more about a particular event, or for a complete list from Jennifer Bain, we have an in-depth look at the music of what’s going on, visit our website or get in touch using the Hildegard of Bingen, including a practical guide to help you contact details provided. www.rscm.org.uk/search-events/ incorporate Hildegard’s plainchant into the liturgical year. A little further into the magazine you’ll find My Favourite We hope you enjoy reading this issue of CMQ as much Hymns, a light-hearted opportunity to talk to figures from as we enjoyed making it. the church music world about their favourite music and to share some anecdotes.
CONTRIBUTORS
Jennifer Bain is Professor of Brian Kay is an English broadcast- Tom Bell is Royal College of Music and of Gender and Women’s er, conductor and singer. He is Organists director for the north of Studies at Dalhousie University. principal conductor of The Really England, north Wales and the Isle Her articles and editorial projects Big Chorus and of the Burford of Man. Formerly, he was organist focus on the music of Guillaume Singers. He was the founder bass and choirmaster of St Michael, de Machaut and Hildegard of of the King’s Singers and sang Chester Square in London. Bingen, and the development of 2000 concerts worldwide with digital chant research tools. She is the group between 1968 and 1982. currently editing the Cambridge Companion to His broadcasting career has involved writing and Hildegard of Bingen. Her book, Hildegard of Bingen presenting thousands of programmes for BBC Gordon Giles is Vicar of St Mary and Musical Reception: the Modern Revival of a Radio 2, 3 and 4. Brian is a vice president of the Magdalene, Enfield and Director Medieval Composer, was published by Cambridge Royal School of Church Music. of Post-Ordination Training for the University Press in 2015. Edmonton area of the Diocese of London. He has written many books on church music and hymnody, Helen Smee is a conductor, and was one of the editorial team Olivia Sparkhall is a choral organist, accompanist and a for the new Ancient & Modern. conductor, composer and head of prize-winning graduate of the academic music at Godolphin choral conducting course at the School, Salisbury. A passionate Royal Academy of Music. Among advocate for equality, Olivia is other things, she is currently Geoff Weaver is a freelance co-director of Multitude of Voyces, director of music at St Mary, conductor, animateur and an organisation determined to Merton in London. composer with an extensive address the underrepresentation of international ministry. His women composers in church music. passion is to enable musicians to do their work more effectively Jenny Yates is a long-standing member and to ensure that they sing of the RSCM and is currently chair of the from the heart. RSCM STAFF CONTRIBUTORS: Eastern Cape Branch, South Africa. Hugh Morris, RSCM Director Helen Bent, RSCM Head of Ministerial Training
THE ROYAL SCHOOL EDITOR ACCOUNTS CMQ JUNE 2019 Review materials to the OF CHURCH MUSIC Stefan Putigny T +44 (0)1722 424842 Front cover photo: Reviews Editor, Ashleigh House, Cirencester Registered Charity No. 312828 E [email protected] Karin Bolstad © 2016 Hildegard Von Bingen Road, Minchinhampton, Stroud GL6 9EL. Company Registration GENERAL ENQUIRIES www.karinbolstad.com T +44 (0)7879 406048 No. 00250031 T +44 (0)1722 424848 VOLUNTARY NETWORKS Design and origination by Smith & Gilmour E [email protected] 19 The Close, Salisbury, SP1 2EB F +44 (0)1722 424849 T +44 (0)1722 424848 Printed by Stephens & George Ltd Display advertising copy/ www.rscm.org.uk E [email protected] E [email protected] Views expressed in signed articles, enquiries to Stephen Dutton, letters and advertisements are not Church Times, Invicta House, Director Hugh Morris MUSIC DIRECT RSCM MEMBERSHIP ENQUIRIES UK necessarily those of the editor, 108–114 Golden Lane, Deputy Director (Operations T +44 (0)845 021 7726 (incl. Ireland) publisher or staff. London EC1Y 0TG. & Finance) Stephen Mansfield F +44 (0)845 021 8826 T +44 (0)1722 424848 Articles, letters, classified T +44 (0)20 7 776 1011 Deputy Director (Education E [email protected] E [email protected] advertisements and members’ news E [email protected] & Voluntary Networks) Rosemary Field www.rscm.org.uk/get-involved/ for the September 2019 issue Head of Publishing Tim Ruffer EDUCATION AND COURSES Australia, Canada, New Zealand, by 1 July 2019 to: T +44 (0)1722 424843 South Africa and USA Magazines Editor RSCM, E [email protected] Contact your local branch for details 19 The Close, Salisbury SP1 2EB. CHURCHOther MUSIC countries QUARTERLY See website for details JUNE 2019T +44 (0)1722 424845 www.rscm.org.uk/get-involved/5 E [email protected] IN ACTION STRENGTHEN FOR SERVICE
The RSCM and its volunteers stage hundreds of events across the UK each year. This quarter, In Action takes a look at one of the Revd Helen Bent’s Strengthen for Service workshops. For other workshops taking place in your Area, see the What’s On pages in this issue of CMQ, or visit the RSCM’s website: www.rscm.org.uk/search-events/
HELEN BENT
usic matters! It plays an integral part in together openly in an atmosphere of mutual respect worship to bring glory to God and to uplift and trust. Mthe congregation. We all have a view on We have a remarkably rich worship history from the use of music in worship whether we describe Judaism and the Christian church, which has been ourselves as musicians or not, whether we are served by both professional and amateur singers and worship leaders or members of the congregation. musicians across the centuries. As we trace the roots Over the past five years, Strengthen for Service of our worship back to biblical times, we see many residentials have become a well-established and resonances with the ways in which we worship today. valuable part of the RSCM ministerial education All course participants are given a timeline that programme. The course is aimed at all those, lay provides an overview of our musical heritage in the or ordained, who are involved in preparing and form of a smart wall chart. Participants hear musical facilitating regular worship. No prior musical examples as they trace different worship strands: expertise or training is required. This course is liturgical settings, psalms, hymns, choral and carefully designed to instruct, encourage and instrumental music. build confidence, whatever our starting point. The course is full of practical help and useful tips to take away. Case studies are used to bring a more objective view and to open up discussion I am a lay leader in my parish and in a pastorally sensitive way. The scenarios cover I have learnt a lot about the range common issues taken from real churches. One-to- of resources available to me one surgery time is also offered to every participant on a subject of their choice. Regarding publications, participants come away better informed and Having recently moved from a suburban parish equipped to tackle practical challenges, such as: in South Yorkshire to a multi-benefice in rural Addressing the tensions between traditional Northamptonshire, I have realized afresh the and contemporary repertoire diversity of traditions and worship experiences represented by the congregations within my four Choosing the best new hymnbook to suit their need new churches. This is what makes Strengthen for Enabling congregational singing when resources Service particularly helpful to those in times of are limited transition from college to curacy, curacy to incumbency, church to church. Introducing new material to an elderly congregation. Occurring three times a year in different parts of the country, Strengthen for Service has been described The course is punctuated by services showcasing as ‘a retreat with input’. The courses are deliberately different liturgical and musical styles from plainsong small and intimate, adopting a conversational to contemporary worship songs. Wherever possible approach which encourages participants to explore we will worship in a local church or cathedral for at
CHURCH MUSIC QUARTERLY JUNE 2019 6 ENDORSEMENTS We have been given fresh ideas for things we can put into place, not only with fellow musicians, but with the congregation as least one service. There is always time set aside a whole. for valuable review and reflection after each service. This enables us to appreciate our heritage in a more I am just about to start my first incumbency, informed way and to embrace the contemporary I now hope I can go in and not upset the choir! with integrity and discernment. The highlight of the course is frequently the final Pilgrimage service, The course has a great span across different created by the participants themselves. These vary worship styles. hugely depending on the location, but each one has proved poignant and meaningful. The course has definitely given me hints We are also able to offer a day version of the course, and tips to help make music in church more on request, at a more local level. This enables core worship leaders to come together with others from relevant to younger people. The course their churches, giving a greater number of people immerses you in what you are studying. opportunity to take part and be enthused. With a smaller number of ordained ministers and a greater number of lay worship leaders who facilitate services, this type of course will be increasingly important to inspire, develop and sustain regular worship and music in every community in the future. HIGHLIGHTS OF RSCM EVENTS IN YOUR AREA WHAT’S ON JUNE TO OCTOBER
AREA FESTIVALS
REGION ONE SOUTH EAST WALES AREA LICHFIELD AREA Bradford Festival Choral Festival Massed Choirs Festival Saturday, 8 June » 10:30 to 15:15 Saturday, 15 June » 11:00 Saturday, 5 October » Bradford Cathedral BD1 4EH Llandaff Cathedral CF5 2LA 13:45 to 18:30 Join us for a feast of fantastic music, Choral festival. Repertoire to include, Lichfield Cathedral WS13 7LD and to take part in Thy Kingdom Stanford in C, Tallis If ye love me. Utilising the brilliant new annual Come, the global wave of prayer. Adults £5, under 18s £3. Contact festival book. £6. Contact Music copies to buy. Contact Emma Gibbins on 07952 514117 or at Cathy Lamb on 07747 444 047 or at Ann Foster on 07977 067391 or at [email protected] [email protected] [email protected]
GLOUCESTERSHIRE AREA 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 SUSSEX AREA WINCHESTER AREA Gloucester Cathedral Choir. Contact Choirs Festival Steve Goodwin on 07831 671820 or at Festival Service with Saturday, 8 June » 14:15 to 18:30 [email protected] Presentation of Awards Chichester Cathedral PO19 1PX Saturday, 5 October » 13:45 to 18:30 Come along and sing Choral Evensong Winchester Cathedral SO23 9LS for a summer’s evening. Bronze and Choirs and individuals are all Silver awards will be presented during welcome. Music has been selected the service. Contact Shirley Linford from Where Shall Wisdom be Found?. on 01903 783692. An additional Free, but must have a copy of Where festival will be held on Saturday, Shall Wisdom be Found?. Contact 15 June. Times, venue and contact Philip Dowd on 023 8084 1679 or at details remain the same as 8 June. [email protected] ROCHESTER AREA Area Choirs’ Festival Saturday, 5 October » 14:15 to 18:30 Rochester Cathedral ME1 1SX Choirs from across the diocese and beyond invited to sing the Fauré Requiem as we approach the centenary of the Armistice at the end of WWI. Contact Sue DERBYSHIRE AREA BRISTOL & SWINDON AREA Moore on 020 8859 6997 or at Choral Festival [email protected] Diocesan Choir Festival Saturday, 8 June » 10:00 Saturday, 12 October » 11:00 to 16:30 St Mary & St Laurence, Bristol Cathedral BS1 5TJ Bolsover S44 6HB Where Shall Wisdom be Found? A special Choral Festival in the An opportunity for choirs from across historic town of Bolsover, Derbyshire the Diocese to come together to sing with music to celebrate the birthday in the cathedral and with the of Her Majesty, Queen Elizabeth. cathedral choir. £6. Contact Sarah Contact Mrs Elin Heron on 01773 Townsend on 0786 0439146 or at 821262 or at [email protected] sarahtownsend251@ btinternet.com
CHURCH MUSIC QUARTERLY JUNE 2019 8 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS
AREA FESTIVALS CONTINUED
IRELAND AREA OXFORDSHIRE AREA DEVON AREA Festival Day and Voice Annual Choirs’ Festival Choral Festival for Life Service Saturday, 12 October » 14:00 to 18:00 Saturday, 26 October » 10:45 to 17:00 Saturday, 5 October » 11:30 to 17:30 St Mary, Henley RG9 2AU Exeter Cathedral EX1 1HS St Fin Barre’s Cathedral, Cork City Choral evensong for members of Come and join with us and other Join us for RSCM Ireland’s annual affiliated choirs in the Diocese of singers for a wonderful day of singing festival day. The day will culminate Oxford. £10 adults, £8 under 18s. and to celebrate with those who are in a service incorporating the Contact Janet Low on 01865 777257 to receive RSCM awards. £7. Contact presentation of awards. Contact or at [email protected] Joy Winzer on 01364 642448 or at Thérèse Gaughan on +353 877 624 380 [email protected] or at [email protected] GUILDFORD AREA Choirs’ Festival and Awards Sunday, 13 October » 15:00 Guildford Cathedral GU2 7UP Annual Area Choirs’ Choral Evensong. Singing the service is a wonderful experience for parish choirs to sing together in the beautiful setting of the cathedral. £10. Under 18s free. Contact David Crick on 07850 709461 or at rscm.guildford. [email protected]
FESTIVAL REHEARSALS
GUILDFORD AREA WINCHESTER AREA BRISTOL & SWINDON AREA Area Festival Rehearsal Festival Service Rehearsal Rehearsal for Choir Festival Thursday, 12 September » Martin Penrose Wednesday, 2 October » 19:30 to 21:00 Tuesday, 10 September » 19:30 to 21:30 19:00 to 20:30 St Peter’s Church, Frimley GU16 7AQ St Thomas, Lymington SO41 9ND Bristol Cathedral BS1 5TJ Area choirs’ festival regional Festival Service rehearsal for Regional rehearsal for Diocesan rehearsal. Contact David Crick individuals and choirs in the New Choir Festival. Contact Sarah on 07850 709461 or at Forest. £5 and must have Where Townsend on 0786 0439146 or at [email protected] Shall Wisdom be Found? festival [email protected] service book.. Contact Philip Dowd Friday, 13 September » on 023 8084 1679 or at Tuesday, 8 October » 19:30 to 21:00 [email protected] 19:00 to 20:30 St Mary, Chiddingfold GU8 4QA St Sampson, Cricklade SN6 6AT Wednesday, 11 September » Saturday, 14 September » 19:15 to 21:00 16:30 to 18:00 Weeke Methodist Church, St John, West Byfleet KT14 6EH Winchester SO22 6EG Contact Canon Gary Philbrick Monday, 23 September » on 01425 839622 or at 19:30 to 21:00 [email protected] St Mary, Ewell KT17 2AY Tuesday, 17 September » 19:30 to 21:30 St Michael, Basingstoke RG21 7QW Contact Ian Rees on 01256 326654 or at [email protected]
CHURCH MUSIC QUARTERLY JUNE 2019 9 WHAT'S ON
WORKSHOPS
WINCHESTER AREA BERKSHIRE AREA ISLE OF WIGHT AREA Using Instruments Meet the Director A Day with Philip Stopford alongside Voices Wednesday, 26 June 2019 » and His Music Wednesday, 5 June » 19:00 to 21:30 19:00 to 21:30 Saturday, 13 July 2019 » St John, Hartley Wintney St Mary, Sulhamstead Abbots 10.30 to 14.00 RG27 8ED RG7 4ED All Saints Church, Ryde PO33 3AF A look at ways of using instruments Conversation, guidance and support A whole day workshop with to enhance worship and bridge-build under the leadership of Hugh composer Philip Stopford working between traditions. £5, (£7 non- Morris. Contact Mary Delaney on his own music. Contact Hilary affiliates). Contact Ian Rees on 07824 on 0118 940 3121 or at Spurgeon on 01983 615551 or at 686147 or at [email protected] [email protected] [email protected]
ST ALBANS HERTFORD & BEDFORD AREA Taizé and Iona Workshop Saturday, 8 June » 10:00 to 17:00 St Mary, Ware SG12 9BA Come and join us for an inspiring day looking at music from the remarkable GUILDFORD AREA communities of Taizé and Iona. £3, school children free. Contact Lift Up Your Voice and Celia Higson on 01992 461376 or at Pick Up Your Instrument ROCHESTER AREA www.ehcca.co.uk Saturday, 6 July » 14:00 to 17:00 St Paul, Dorking RH4 2HT Three-Day Evensong Miles Quick on ways to encourage Course for Adults congregations where there is Monday, 21 October to Wednesday, WESSEX AREA no established 4-part choir or 23 October » 14:15 to 18:15 Plainsong Workshop and experienced organist, and/or Rochester Cathedral ME1 1SX Service of Compline a desire to introduce new vocal An opportunity for adults of Sunday, 16 June » 16:00 material. £10. Contact David reasonable musical standard to St John, Tisbury SP3 6NH Crick on 07850 709461 or at rehearse and sing cathedral evensong This is a workshop for all who enjoy [email protected] on three consecutive days. £45 adults, singing plainsong or would like to £30 for 15–18s with RSCM Bronze/ learn how to read and perform Silver/Gold Awards. Contact Sue plainsong from scratch! Contact Moore on 020 8859 6997 or at PORTSMOUTH AREA David Duvall on 07855 947104 or at [email protected] davidduvall@ btinternet.com Bob Chilcott Workshop Saturday, 14 September » 10:30 to 16:30 Portsmouth Cathedral PO1 2HH Whether you are young or old, experienced or new to choral singing, brush up your vocal technique under the direction of Bob Chilcott. £13, under 18s free (non-RSCM members £20, under 18s £9). Contact Sachin Gunga on 023 9282 3300 or at [email protected]
CHURCH MUSIC QUARTERLY JUNE 2019 10 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS
WORKSHOPS FOR ORGANISTS
BRISTOL & SWINDON AREA ROCHESTER AREA SUSSEX AREA Question Time for Existing Practical Organ Workshop Organist Workshop: Baroque and Would-Be Organists Saturday, 29 June » 11:00 to 14:30 Repertoire for Liturgical Use Saturday, 1 June » 10:30 to 15:30 All Saints, Belvedere DA17 4JE Saturday, 13 July » 14:30 to 17:30 St Bartholomew, Corsham, A day of exploration and discussion, St Michael & All Angels, Lancing Wiltshire SN13 0BY practical demonstration of BN15 8AJ An open and informal day to give registration and technique, and Bring a piece of music that fits help on all aspects of organ playing. suggestions for new repertoire. the theme and work on this in £5. Contact Robin Jackson on Contact Sue Moore on 020 8859 6997 a group learning environment. 01249 713809 or at or at rscmrochester@ outlook.com £15. Contact Imogen Stewart robin.jackson77@ btinternet.com on 01903 209107 or at [email protected] WEST WALES AREA ESSEX AND EAST LONDON AREA Improve Your Organ Skills Saturday, 6 July » 14:00 to 16:30 Organ Workshop – Give the St Davids Cathedral SA62 6RD Best Service you Can! Meirion Wynn Jones will lead a Tuesday, 11 June » 19:00 to 21:30 practical workshop on organ playing. Chingford Parish Church E4 7ED £35 (£40 non-members), £7 observers An evening designed to help players at (£10 non-members). Contact all levels brush up their Nigel Morris on 01570 481336 or at accompaniment and service playing. [email protected] Contact John Rippin on 020 8524 1591 or at [email protected]
COURSES
SCOTLAND AREA NORTH AND EAST NORFOLK AREA YORKSHIRE AREA Dunblane Summer School RSCM International Monday, 15 July to Thursday, 18 July Choral Singing Weekend Summer School Dunblane Cathedral and Cathedral Saturday, 3 August to Sunday, Monday, 5 August 2019 to Sunday, Halls FK15 0AQ 4 August 11 August 2019 Contact Brian Baker on 01786 821294 Manchester Cathedral M3 1SX Belsey Bridge Conference Centre, or at [email protected] Cost: £15. Contact Craig Cartwright Ditchingham NR35 2DZ on 07508 805621 or at For further information and prices [email protected] contact RSCM Education on 01722 424844 or at [email protected] NORFOLK AREA IMYC Summer Course for NORFOLK AREA singers aged 12 to 16 SOMERSET AREA Thursday, 1 August to MYC Summer Course Monday, 5 August (ages 15–23) Bath Summer Course The Horstead Centre, Norfolk Monday, 5 August to for Young People (ages 8–23) NR12 7EP Sunday, 11 August Now fully booked! Cost: £345; £275 (second sibling). Norwich Cathedral NR1 4DH Monday, 19 August 2019 to Sunday, Contact RSCM on 01722 424843 Contact RSCM Millennium Youth 25 August 2019 to Kingswood or at [email protected] Choir on 01722 424843 or at School, Bath BA1 5RG [email protected] Contact RSCM Education on 01722 424843 or at [email protected]
CHURCH MUSIC QUARTERLY JUNE 2019 11 THE MUSIC OF HILDEGARD OF BINGEN Hildegard of Bingen (1098–1179), long celebrated as a saint but only officially recognized as such in 2012 by Pope Benedict, was a nun, a founder of two convents at Rupertsberg and Eibingen on the Rhine.
JENNIFER BAIN THE MUSIC OF HILDEGARD OF BINGEN
on convent land while Hildegard insisted that he ildegard of Bingen (1098–1179), long celebrated had confessed to his priest and was in communion as a saint but only officially recognized as such with the church at the time of his death. In her letter in 2012 by Pope Benedict, was a nun, a founder H to the prelates insisting that they remove the sanction, of two convents at Rupertsberg and Eibingen on the Hildegard explained the necessity of performing the Rhine, a visionary, a writer, and most importantly for Divine Office and the dire consequences that will church musicians, a composer. In the late 20th and befall those who have forbidden it: early 21st centuries, Hildegard’s music has been heard most often in concert settings rather than Consider, too, that just as the body of Jesus Christ liturgically in church services, but her music was was born of the purity of the Virgin Mary through composed in traditional liturgical genres for traditional the operation of the Holy Spirit so, too, the liturgical occasions and could be performed more canticle of praise, reflecting celestial harmony, frequently that way today. is rooted in the Church through the Holy Spirit. The liturgical context for her plainchant is not The body is the vestment of the spirit, which has surprising given her long status as a Benedictine nun. a living voice, and so it is proper for the body, in Hildegard was enclosed at the Abbey of Disibodenberg harmony with the soul, to use its voice to sing on 1 November 1112, along with another girl her age, praises to God. … the younger Jutta, and their spiritual mother, the Therefore, those who, without just cause, elder Jutta of Sponheim; by the time Hildegard died impose silence on a church and prohibit the as an octogenarian in 1179, she would have sung the singing of God’s praises and those who have on liturgy of the Divine Office for almost seven decades. earth unjustly despoiled God of his honour and The year before she died, Hildegard articulated in glory will lose their place among the chorus of a letter just how important the Divine Office was angels, unless they have amended their lives for the spiritual life of her community. As we learn through true penitence and humble restitution. from the letter, the nuns at Rupertsberg had been forbidden from singing the Office by prelates in Her threat is not subtle: either remove the sanction Mainz, because of Hildegard’s refusal to exhume or spend eternity in hell. the body of a nobleman buried in the convent’s Hildegard’s devotion to the sung practice of the cemetery; the prelates insisted that the man was liturgy went beyond her daily participation, and an ex-communicant and so should not be buried extended to adding compositionally to the plainchant repertory through her own poetic texts and music. Most of her plainchant falls within the standard medieval liturgical genres of antiphons, responsories, hymns and sequences, although she was creative in her application of the hymn and sequence structure, employing variation rather than strict melodic repetition. She also wrote a Kyrie, a Marian Alleluia with a verse, and three chants referred to somewhat ambiguously as symphonia (after rubrics that appear for two of them in the musical manuscripts), as well as a substantial liturgical drama, the Ordo virtutum. While her Kyrie could be performed for any Mass or communion service, the rest of her plainchant is designated for specific saints (such as St Rupert or St Ursula), for regular liturgical feasts (Trinity Sunday and the Dedication of a Church), or for groups of saints following standard common of saints designations: for virgins, for widows, for apostles, for martyrs and for confessors. In a church setting today, a choir (and/or a congregation) could sing Hildegard’s Kyrie on any Sunday of the year and could also follow the practice of the modern Hildegard Abbey in Eibingen and sing
CHURCH MUSIC QUARTERLY JUNE 2019 14
Hildegard’s music has become possibly the most widely recognized plainchant from the Middle Ages
texts to some of her other chant melodies to create a complete Mass Ordinary. The Gloria is based on her responsory, ‘O magne Pater’ (called ‘O magne Deus’ in the edition), the Sanctus and the Agnus Dei on the respond and verse respectively of her responsory ‘Ave Maria’, and the ‘Ite missa est’ and ‘Benedicamus Domino’ on the opening of her Kyrie. Hildegard’s Ordo virtutum, a lengthy drama set to music, is the one work by Hildegard whose associated liturgical occasion is less certain. Scholars have speculated that it might have been performed for the the Kyrie on Hildegard’s feast day, 17 September. As dedication of the church at Rupertsberg sometime found in the table below, some of the standard feasts after Hildegard moved her nuns there (c.1150). Luca for which she composed music could be adopted by Ricossa discovered that the chant that opens the Ordo church choirs for liturgical use, including Trinity virtutum, ‘Qui sunt hi qui ut nubes’, long recognized Sunday (in May or June), the feast of John the as a biblical quotation from Isaiah 60, is also a direct Evangelist (27 December) and the feast of the Holy musical and textual quotation of the opening of a Innocents (28 December). Hildegard’s Marian chants responsory that is associated with the office of the could also be adopted liturgically for almost any of the Apostles, and he suggests that as a liturgical occasion. Marian feast days including the Nativity of Mary and The responsory is found as well for the office of the Annunciation. An unusual and ambitious project common of the Evangelists and individually for liturgically would be to perform the so-called Messe Matthew, Luke and John, and in several manuscripts de Sainte Hildegarde, a 1933 publication by the it appears in the office for All Saints on 1 November; Benedictine monks at Solesmes who added to of all of these it is All Saints that is the most Hildegard’s Kyrie by setting the rest of the Ordinary compelling as the liturgical occasion on which the
CHURCH MUSIC QUARTERLY JUNE 2019 15 Her threat is not subtle: either remove the sanction or spend eternity in hell
some time, and both manuscripts are now available digitally: the manuscript formerly held at the Saint Peter and Paul Abbey in Dendermonde, Belgium and held now in Leuven is available on the IDEM database hosted by the Alamire Foundation, and the so-called Riesencodex in Wiesbaden, Germany is hosted on the Hochschule RheinMain website. Barbara Newman has published English translations of Hildegard’s musical texts with commentary, while Marianne Richert Pfau has published a modern Ordo virtutum might be sung, since it commemorates performance edition of almost all of Hildegard’s music the day that Hildegard (and her spiritual mother, (except for the Ordo virtutum). The most interesting Jutta) entered monastic life. of the numerous editions of the Ordo virtutum is Luca Most recordings of Hildegard’s music follow a Ricossa’s gorgeous colour edition, which reproduces more soloistic concert performance style, often with the original notation with the Latin text and French stunning results musically and aurally. The nuns at translations interspersed throughout. the modern Hildegard Abbey, however, have modelled While Hildegard’s music does not appear to have a liturgical approach to Hildegard’s repertory. They had wide circulation in the immediate centuries sing Hildegard’s antiphons as they would have been after she composed it, since its first modern sung in a medieval context, with the antiphon sung performance in 1857 under the direction of a parish by the group preceding the intonation of a psalm priest in Eibingen, Ludwig Schneider, it has become or the Magnificat (the intonation with a solo/group possibly the most widely recognized plainchant alternation), which is followed by a return of the from the Middle Ages. Yet even in the only full-length antiphon sung once again by the group. For the feature film about her life,Vision aus dem Leben responsory, ‘O vis aeternitatis’, a group sings the der Hildegard von Bingen, directed by Margarethe respond as well as the repetendum (the end of von Trotta (2009), Hildegard’s music is not sung the respond) after each verse is sung by a soloist. in a regular liturgical context by the nuns in her For Hildegard’s sequences, the choir alternates a convent in the film; one nun accompanies herself group response to a soloist to capture the pairing on a medieval stringed instrument while singing of the musical lines in the sequence structure. ‘O quam pretiosa’ in the infirmary, and another nun For choral directors and singers, there are many sings ‘O vis aeternitatis’ as a solo in the chapel while resources easily accessible for bringing Hildegard’s the other nuns pray. Perhaps readers of the Church music liturgically to modern congregations. The two Music Quarterly will take up the challenge of using main manuscript collections of her music have been some of Hildegard’s music liturgically as we await available in beautiful colour facsimile editions for the 850th anniversary of her death in 2029.
CHURCH MUSIC QUARTERLY JUNE 2019 16 HILDEGARD’S PLAINCHANT ACCORDING TO LITURGICAL OCCASION: A PRACTICAL GUIDE
Liturgical occasions with fixed dates in the Church calendar:
Date Saint / Occasion Chants
8 Dec. Conception of Mary Antiphons: O splendidisima gemma, O tu illustrata, Hodie/Nunc aperuit, Quia ergo femina, Cum processit factura, Cum erubuerint, O quam magnum, O frondens virga Responsories: Ave Maria o auctrix vitae, O clarissima mater, O tu suavissima virga, O quam pretiosa Alleluia: Alleluia O virga mediatrix Sequence: O virga ac diadema Symphonia (?): O viridissima virga Hymn: Ave generosa gloriosa
8 Dec. Eucharius Responsory: O Euchari columba Sequence: O Euchari in laeta via
27 Dec. John the Evangelist Antiphon: O speculum columbae Responsory: O dulcis electe 28 Dec. Holy Innocents Responsory: Rex noster promptus est 2 Feb. Purification of Mary See 8 Dec. 24 Feb. Matthias (Apostle) Hymn: Matthias sanctus per electionem 25 Mar. Annunciation See 8 Dec. 15 May Rupert of Bingen Antiphons: O felix apparitio, O beatissime Ruperte, Quia felix pueritia Sequence: O Jerusalem aurea civitas 29 May Maximin Sequence: Columba aspexit 31 May Queenship of Mary See 8 Dec. 5 June Boniface Antiphon: O bonifaci 2 July Visitation of Mary See Dec. 8 15 Aug. The Blessed Virgin Mary [Assumption of Mary] See Dec. 8
8 Sept. Disibod Antiphons: O mirum admirandum, O beata infantia Responsories: O viriditas digiti dei, O felix anima Sequence: O praesul verae civitatis 8 Sept. Nativity of Mary See 8 Dec. 17 Sept. Hildegard of Bingen Kyrie eleison 2 Oct. Guardian Angels Antiphon: O gloriossimi lux vivens angeli Responsory: O vos angeli qui custoditis 9 Oct. Patriarchs Antiphon: O spectabiles viri Responsory: O vos felices radices 21 Oct. Ursula and companions Antiphons: O rubor sanguinis, Studium divinitatis, Unde quocumque venientes, De patria etiam, Deus enim in prima muliere, Aer enim volat, Et ideo puellae iste, Deus enim rorem, Sed diabolus Responsories: Favus distillans Ursula virgo, Spiritui sancto Sequence: O ecclesia occuli tui Hymn: Cum vox sanguinis Ursulae 21 Nov. Presentation of Mary See 8 Dec.
Liturgical occasions with flexible dates:
Saint / Occasion Chants
Any Eucharist Mass Ordinary: Kyrie eleison Trinity Sunday Antiphons: O magne pater, O aeterne deus, O virtus sapientiae, O quam mirabilis, (first Sunday after Pentecost) O pastor animarum, O cruor sanguinis, Spiritus sanctus vivificans, Caritas abundat, Laus trinitati Responsory: O vis aeternitatis Sequence: O ignis spiritus Hymn: O ignee spiritus Dedication of a church Antiphons: O virgo ecclesia, Nunc gaudeant, O orzchis ecclesia, O coruscans lux stellarum For Virgins Antiphon: O pulchrae facies Responsory: O nobilissima viriditas Symphonia: O dulcissime amator For Widows Symphonia: O pater omnium For Apostles Antiphon: O cohors militiae Responsory: O lucidissima apostolorum For Several Martyrs Antiphon: O victoriosissimi triumphatores Responsory: Vos flores rosarum For Several Confessors Antiphon: O successores fortissimi Responsory: O vos imitatores
CHURCH MUSIC QUARTERLY DATE XX 17 FIVE HUNDRED YEARS OF NEGLECT WOMEN COMPOSERS IN EUROPE
OLIVIA SPARKHALL FIVE HUNDRED YEARS OF NEGLECT
ick any recently published anthology of music composing music for use in the liturgy which, off the shelf and you will see that one or two crucially, she arranged to have collected together on Ppieces, three at best, are composed by women. her behalf and written down in one, huge illuminated Have a look at the programme of concerts given by manuscript. There are 77 such pieces, consisting your local choral society or at the music list for of antiphons, votive antiphons, responsorial psalms, evensong at your nearest church, abbey or cathedral hymns, sequences, a Kyrie and an Alleluia. In 1981, and see if you can spot a similar trend. Emma Kirkby and Gothic Voices, directed by It seems perfectly normal nowadays to have women Christopher Page, recorded an entire album of authors, artists, singers and instrumentalists. Almost Hildegard’s music: A Feather on the Breath of God. all of our church choirs, be they parish churches or The album won the Gramophone Early Music Record cathedrals, have a girls’ choir or a mixed top line. of the Year. It brought her music to a wider audience, There are even women singing alto in several sold 500,000 copies, and established her name in the cathedral choirs. So where is the sacred music previously all-male musical canon of the day. composed by women? The most obvious answer is that women can’t compose sacred music: a perfectly reasonable THE PROBLEM OF AUTHORSHIP conclusion, were it not for the overwhelming But what of the many hundreds of women composers evidence to the contrary. Gaining a historical housed in convents in the 15th and 16th centuries? perspective can help us to put this into context, Following the success of A Feather on the Breath of and enable us to make informed repertoire God, one might expect a flurry of similar recordings. choices in the future. That these did not manifest is due to two issues: the necessary rediscovery of manuscripts and the identification of the authors of these manuscripts. THE MUSIC OF THE CONVENT Authorship is the single most tricky hurdle to It has been estimated that up to 20 per cent of all overcome when considering the music of the women in Renaissance Europe were housed in a convents. Much of the extant manuscript goes convent, a figure that rose to as much as 70 per cent unattributed, with the remaining pieces bearing among women of minor nobility. Unlike the male- anything from the enigmatic ‘Anon.’ to a pseudonym voice choirs of chapels such as the Sistine Chapel, that cannot easily be traced back to its originator. Duke Ercole’s chapel in Ferrara and the Medici A case in point is Eleonora d’Este (1515–75), the Chapels (all essentially private chapels and therefore youngest daughter of Alfonso I d’Este and Lucrezia not accessible to the public), the music of the convent Borgia. Leonora was brought up in Ferrara, in a was available for all to hear. Anyone could walk into convent famed for its musical excellence, where the external church of a convent and, from behind she received a high-quality education in music and demonstrated real expertise in composition. In 1543, a collection of 23 motets in five equal parts Many unpublished manuscripts were was published anonymously. For such a significant lost in fires, languished in drawers, collection to bear no name presumably means that it was either by a member of the nobility or by a nun. or were forgotten as tastes changed Renaissance scholar Laurie Stras has identified evidence that points to the motets’ authorship. However, the act of publishing these motets, possibly a grilled screen or from a gallery, hear the voices of a commercial venture of the convent in order to cash nuns singing the office at regular intervals throughout in on the thriving tourist trade of the time, failed the day. Not only were these nuns performing to secure their legacy. together, they were undoubtedly composing much Unpublished manuscripts were the most transient of the music heard, taking advantage of the periods of documents: some were lost in fires such as the each day set aside for work of this sort. one at Eleonora d’Este’s convent in 1667, but many Although many of these talented women’s names languished in drawers, forgotten as musical tastes are not known to most of us, their predecessor, changed and as decrees from bishops stipulated what Hildegard of Bingen, most certainly is. Hildegard could and could not be sung in church. Only recently ran a convent near Bingen, in modern-day Germany, has a great deal of early music been rediscovered and
CHURCH MUSIC QUARTERLY JUNE 2019 20 ‘Women, in general, possess no artistic sensibility’ Jean-Jacques Rousseau
for her Holy Week compositions in particular. There were major, public events that drew huge congregations to the Medici Church and Chapels of San Lorenzo for which Caccini provided the music, but the majority of her work was for private settings at the heart of court, music that was intensely personal for the individual listener. Caccini is just one example of a prolific Baroque composer. The superstar, Élisabeth Jacquet de la Guerre (1665–1729), wrote exciting sacred cantatas on a range of Bible stories: 12 in total, for instrumental ensemble and voice. In her dedication performed, and unsurprisingly those responsible for to Louis XIV, Jacquet de la Guerre describes the texts its rediscovery have gravitated towards manuscripts as containing the ‘most significant deeds of Holy that are both clearly autographed and written for the Scriptures’. A Te Deum sung in the chapel of the particular voice-types in choirs of today. As Laurie Louvre in thanksgiving for the recovery of Louis XV Stras explains: ‘The more we look the more we will from smallpox was probably her last work. find … Only in the last decade has there been some A classical-era composer, Marianna Martines momentum gathering around noticing that nuns (1744–1812), had the good fortune of living in the are spoken of, in the chronicles, and noticing that same apartment block as the poet Metastasio, singing a manuscript might have a nun’s name on it and teacher and composer Nicola Porpora, and Franz therefore might be composed by nuns or certainly Joseph Haydn! Martines took keyboard lessons from sung by nuns.’ Haydn, singing lessons from Porpora and received a thorough education from Metastasio. By the age of 16, Martines was already composing for St Michael’s, BEAUTY, INGENUITY AND NOBILITY the parish church of the Imperial Court. Her Mass In early 17th-century Italy, the Medici state was in C impressed those in attendance at the service, run by Christine of Lorraine. Christine was more as did the oratorios, motets and settings of psalms than happy to appoint the 20-year-old Francesca she produced subsequently. The Dixit Dominus, Caccini (1587–1641) to the role of ‘musician to the in particular, sent the members of the Accademia Grand-Duke of Tuscany’, a role that involved vocal Filarmonica of Bologna into raptures. They could performances (singing in church and in secular not ‘express sufficiently their amazement at the settings), instrumental performances and composing. combination of beauty, ingenuity, nobility of She worked alongside several other women, fulfilling expression, and an astonishing correctness in her employer’s demands for music. Caccini was the compositions’, according to Viennese press expected to write for the church year and was feted of the time.
CHURCH MUSIC QUARTERLY JUNE 2019 21 Francesca Caccini was feted for her Holy Week compositions, but most of her music was composed for private settings at the heart of court. It was intensely personal NO ARTISTIC SENSIBILITY It was difficult to be a woman composer in the late 18th and 19th centuries. Musicologist Matthew Head explains that, referring to Germany, ‘patterns of exclusion and hierarchy served the economic interest and cultural capital of a professional, male elite.’ Elsewhere, Jean-Jacques Rousseau helped to perpetuate this myth by proclaiming, in an essay published in Amsterdam in 1758: ‘Women, in general, possess no artistic sensibility.’ Rousseau’s influential words had a profound effect on people’s opinions of women’s ability to thrive in the arts. In Victorian England, where social mores affected every aspect of life in polite society, women became However, it is taking a long time for their music to restricted not only by the expectations of society but become established in the repertoire of our schools, also by their own ingrained beliefs in what was first colleges, churches and cathedrals. The organization seemly and second actually achievable by a woman. Multitude of Voyces noticed the dearth of sacred No more so than in the almost entirely male world music anthologies of women composers and, to of the church. While women occasionally fulfilled make it easier for choir directors to programme the role of assistant organist, it was men who were women composers, will bring out the first such in charge of the music, and the vast majority of sacred anthology in late 2019. Louise Stewart explains composers of the time were those men who were thus further: ‘we noticed how underrepresented women’s employed as Organist and Master of the Choristers. compositions are in music for the liturgy and It is possible to ascertain the standard of these choirs considered the many reasons why that might be. by considering the repertoire being composed for Weeks, months even, can go by without the music them by their choirmasters. Famous examples of this, lists of our churches and cathedrals containing such as the story about how S.S. Wesley wrote/ any such works. In order to address this arranged Blessed be the God and Father for one bass underrepresentation, we decided in 2017 to devise and a treble line, demonstrate how the repertoire was a service for International Women’s Day in which tailored to the forces available, and how the organist- all of the music was composed by women, including composers of the late 18th and 19th centuries worked. the commissioning of new works. We have just had The belief that women were inferior to men our third highly successful service, with fresh continued into the 20th century, making it difficult repertoire each time, of course. It is our intention for women to publish their compositions. Elizabeth to publish, soon, a series of anthologies of women’s Maconchy remembers Lesley Boosey of Boosey and sacred music compositions so as to make the Hawkes being particularly hostile, refusing to take on sourcing of such repertoire easier for everyone.’ what she offered and saying the only thing they would As a choir director, this is an initiative I welcome. consider publishing by a ‘young lady’ was ‘a few It is important that the choristers in the choirs songs’. Even harder to break into was the resolutely I conduct grow up singing music composed by women all-male domain of church employment. It was not and men. I am sure that my colleagues who are until 2007 that Church of England cathedrals started responsible for choosing repertoire for their choirs appointing women to their senior music posts, and will also welcome sacred music by women becoming to this day there are still only a handful of women more easily accessible, and will take advantage of fulfilling this role. the opportunity to redress the balance in their In 1987, the now woefully out-of-date International choirs too. I look forward to a time when the music Encyclopaedia of Women Composers listed some of our schools, churches and cathedrals is more 6,000 entries and, thereafter, there has been a steady representative of women’s compositions, and that stream of publications about women composers, and these are not only programmed once a year on of women composers’ anthologies. Now, an estimated International Women’s Day! I feel sure that this time 40% of all living composers are women, and they have will come soon, and eagerly await the publication composed a vast amount of sacred vocal music either of the Multitude of Voyces’ sacred anthologies, for use in the liturgy or for concert performance. which will make this easier still.
CHURCH MUSIC QUARTERLY JUNE 2019 23 FROM THE DIRECTOR
HUGH MORRIS
hen I speak to those outside the RSCM, happens. This new-look CMQ is one of the practical the question is frequently asked: what examples of the process. Have a look at the list and Wdoes the RSCM do? It’s quite hard to consider which of the strands you think it fits with: respond succinctly, given that we do rather a lot: from it’s often more than one. We also have in mind that centrally organized education courses for choristers, the RSCM’s centenary is just around the corner in instrumentalists and clergy, through to a myriad of 2027. That will be a significant source of celebration different local events of all shapes and sizes. We also, and the focus for all sorts of events. But more of that of course, do much more than run events, including in the years to come! acting as a resource point for churches, and as a The second thing to come from my conversations positive, informing voice for church music. How do with people is that they have their own idea of what you hold all the threads of this diverse and vibrant the RSCM should be about, usually based upon their organization together and make them part of a unified own preferences. There is nothing wrong with that, whole? Ultimately, that’s part of the role of the but in an age where division seems rife we should Strategic Plan. Over the last few months, council remember that we are a diverse organization that members and senior management have been working supports all kinds of music-making. Even if we had to create a plan to see the RSCM through the unlimited resources, we could not recreate supposed next three years. We have defined the vision, clarified ‘glory days’ of the past. What we can do is reinvigorate the mission, and identified five key strands for the present and inspire the future. I recently developing our work. They are: conducted a come and sing evensong event in Ely. It was striking that a number of the participants 1. Influence the church, and wider society had no previous experience of singing evensong at all. The words cantoris, decani, canticles, responses 2. Advance our mission were completely unfamiliar to them. Yet, the rest of the group made them welcome and helped them Build financial sustainability 3. along, and everybody went away smiling and 4. Develop effective communications promising to come back again. The willingness to be open, and to welcome new members has to be 5. Optimize our impact through technology one of the key ways we can help church music grow. We need to encourage everyone to be open thinking You can visit www.rscm.org.uk/our-mission/ and open facing, and not closed off. At the very top to read the plan in full. of our new strategic plan is a vision for ‘a church Of course, in the background there is also a working drawn closer to God through music’. Let us all play business plan to make sure all this actually our part in helping to achieve that.
CHURCH MUSIC QUARTERLY JUNE 2019 24 RSCM NEWS
THANK YOU PHOTOGRAPHERS NEEDED – TO EVERYONE A REMINDER WHO SUPPORTS Are you a keen amateur, a semi-professional, or even a professional THE ROYAL photographer with an interest in church music? If so, the RSCM needs you! SCHOOL OF We are looking for people who are willing to attend some of our events across CHURCH MUSIC the UK and to take good-quality images that can be used to showcase the work of the RSCM. Perhaps you already attend various local events and also happen We are immensely grateful to all to be a good amateur photographer. Maybe you know a member of a local the hundreds of volunteers who photography club who might be willing to turn up one Sunday and take some bring the RSCM’s work to life images of you and your congregation taking part in, for example, one of our right across the country. National Lift up your Voice events. Or perhaps you are a student looking for experience Volunteers’ Week, celebrating the and a way to bolster your CV. Well, here is your chance to get your photographs role of volunteers, runs from 1 into CMQ, a widely circulated and professionally published magazine. to 7 June, and a number of local All photographs will be credited to the photographer, and we will send you events take place around that time, complimentary copies of the edition of CMQ in which your photographs all made possible by volunteer feature, whether or not you are affiliated with the RSCM. support. There’s a ‘Question Time and Open Forum for Existing and Would-be Organists’ in Wiltshire on 1 June, an ‘Instrumental Workshop’ in Hampshire on 5 June, and on 8 June a ‘Taizé and Iona Workshop’ in Hertfordshire and a ‘Come and Sing’ service with the RSCM’s Director in Cumbria. We are bringing in new ways of engaging as we roll out our Area NEWS FROM ACROSS THE UK Restructuring programme. So, if you think you could lead an event, sell tickets, offer a venue, make cups of tea or anything else that CANTORION SANCTAIDD may help, we would love to hear Cantorion Sanctaidd was formed in from you. Have a look at January 2013 when our musical team www.rscm.org.uk/get-involved/ discovered a mutual interest in sacred volunteer/ for more details. and spiritually inspiring music. Since then we have performed locally and at Gloucester and Exeter cathedrals and at Shrewsbury Abbey. On Saturday 30 March we gathered to take part in the inaugural Usk Choral Festival, where 19 choirs performed six concerts over three days. We opened our programme with John Carter’s He is my joy, followed by Welsh composer Robat Arwyn’s quieter, legato Benedictus, and John Rutter’s left the audience feeling exhilarated Look to the Day, offering a message with enthusiastic approval. of hope for all. It is hoped that the Usk Choral Amazing Grace was delivered very Festival will now take place in alternate earnestly, followed by Rutter’s moving years and attract choirs from far A flower remembered. We concluded and wide. For more details visit with an Amen, a jazzy-sounding, www.cantorion-sanctaidd.org.uk/ floor-tapping song, full of life that Ken Hunt
CHURCH MUSIC QUARTERLY JUNE 2019 26 BRINGING OUT THE COLOURS OF THE ORGAN IN NOTTINGHAM
It was good to welcome Adrian Lucas to St Peter, Nottingham Training – an excellent new resource published by the RSCM. on the evening of 8 March, where he worked with the choir The post-lunch session was devoted to organ of St Peter’s on a range of repertoire from Byrd to Stanford accompaniment, as Adrian worked with St Peter’s sub-organist and Imogen Holst. Working with a conductor of such Michael Leuty on the fearsome accompaniment to Stanford’s experience and accomplishment was a privilege and, of For lo, I raise up. It was fascinating to observe and we all course, highly instructive. The following day, we welcomed came away with fresh ideas to try. As one delegate to St Peter’s directors of music and organists from around commented: ‘I thoroughly enjoyed the day and have much the Southwell & Nottingham Area for masterclasses on food for thought that I hope to put into practice in both my conducting and organ accompaniment. The conducting conducting and organ playing. It was particularly interesting masterclass was facilitated by the massed choral scholars to see Adrian working with Mike and it has encouraged me to of St Peter, Nottingham and St Mary, Newark, who sang think differently about how I register pieces, using my with great responsiveness for the five brave conductors orchestral hat to bring out the colours of the organ.’ to whom Adrian gave extremely useful advice. We were Dr P.A. Siepmann, organist & director of music, St Peter, also introduced to the new Voice for Life Guide to Choir Nottingham
MOTHERING SUNDAY AT ST SAVIOUR, OXTON
On Mothering Sunday, the choir of St Saviour, Oxton, in the The idea for the visit came during the Revd Christine’s Wirral, visited its ‘mother’ church – Holy Cross, Woodchurch. recent induction as Rector of Woodchurch. ‘We came Visiting the mother church on Mothering Sunday – the to sing at that service, too,’ said Dr Glyn Mon Hughes, fourth Sunday of Lent – is a centuries-old tradition and it director of music at St Saviour’s, ‘so we thought it could was good that choir members from Oxton could join their be appropriate to sing a celebratory choral evensong on colleagues at Woodchurch to sing choral evensong. ‘We Mothering Sunday. What was particularly striking was that were delighted to welcome the choir and members of the we sang music by Henry Purcell, who died almost 325 years congregation from our daughter parish,’ said the Revd ago. Parts of Holy Cross were already at least 500 years old Christine Broad, rector of Woodchurch. ‘In among all the when he was writing the music we performed, and that is a commercial pressure to celebrate Mother’s Day, it was good sobering thought. We are also grateful to the conductor for to share some quiet time for reflection and to revive an the evening, Mark Cleave, and the organist Gill Locke.’ ancient practice of visiting the mother church during Lent.’ Glyn Mon Hughes SONGS FOR SIGHING: PSALMS FOR LENT A Saturday in March was an ideal opportunity for a workshop with the Revd Dr Adam Carlill at St Mary Magdalen, Reading, using his book Psalms for the Common Era (see CMQ December 2018). The four one-hour sessions were liberally separated with opportunities for tea or coffee and cakes, as well as time for chat with other participants and members of the Berkshire Area Committee. Adam gave us insights into his process of translation from Hebrew and then putting the text into verse form, using modern English words and phrases where they were appropriate. Hymn tunes had been chosen to match the mood of each psalm and we sang many examples during the day. We had enough people to sing in four-part harmony and even to split into two ‘choirs’ so that we could sing alternate verses in long psalms to avoid straining our voices. The topics for Lent were quite intense and at times emotional, but Adam led us through those with explanations and teaching, so that we didn’t have to sing some parts if they made us feel uncomfortable. It was a rewarding day and we would encourage anyone who has an opportunity to try similar workshops (but probably at different times with different topics) to go along and see how these could be used in your church. Mary Delaney
CHORAL FESTIVAL WITH ORCHESTRA IN BIRMINGHAM CATHEDRAL CANDLEMAS AT CHRIST Over 70 singers gathered to sing choral evensong in CHURCH CATHEDRAL, OXFORD Birmingham Cathedral accompanied by a full symphony Despite snowfall and ongoing building work, a disparate band orchestra. of RSCM singers, all crammed into the north transept, joined The singers were from choirs affiliated to the RSCM in the cathedral choir under its new and inspiring director of the Midlands, and the orchestra was the concert orchestra music, Steven Grahl. The service was led by the precentor, of the King Edward VI Camp Hill Schools in King’s Heath, the Revd Dr Grant Bayliss, with readings and prayers by Birmingham under the baton of Simon Palmer. At the college personnel and RSCM choir members. organ was Darren Hogg. The cathedral choir opened from the antechapel with The music was a balance of old and new, with attractive Tallis’s atmospheric O nata lux. Other music included two modern hymns: I, the Lord of sea and sky and Brother, sister, contrasting motets, the beautifully restrained When to the let me serve you, as well as classical favourites such as ‘How temple Mary went by Eccard (1553–1611) and Charles lovely are thy dwellings’ from Brahms’s German Requiem. Wesley’s words ‘Christ whose glory fills the skies’ in an The canticles were Walmisley in D minor, and sounded unfamiliar setting by Harold Darke (1888–1976), as well as particularly effective with orchestra. The orchestra also Stanford’s Nunc Dimittis in C, and Ave Maria by Victoria played movements from Peter Warlock’s Capriol Suite (1548–1611). The service ended in the grandeur of Charles before the service. Wood’s O thou the central orb. In the magnificent baroque surroundings of St Philip’s The hymns were ‘Angels from the realms of glory’, Cathedral, the orchestra and choir combined to make a ‘Lord let your light shine’ and ‘Hail to the Lord who comes’ wonderful sound. The cathedral was pleased with the event, (new words to the tune Highwood). The four movements and members of the congregation said afterwards how of Mendelssohn’s Sonata No. 4 were played before and after effective the service was. the service by the senior organ scholar, Makoto James. Simon Palmer, Head of Music Many thanks to Janet Low and other RSCM organizers, and to the Iffley team for providing refreshments. Ian Heriot, Hilary Pearson and Terence Carter
CHURCH MUSIC QUARTERLY JUNE 2019 28 RSCM NEWS NEWS FROM AROUND THE WORLD
UNITY IN NEW ZEALAND CAPE TOWN ‘… the greatest of these is love.’ 1 Corinthians 13.13 RSCM BRANCH The above quote proved to be representative of New Zealand on Colleen Hart arranged the first course the blackest Friday in its history (15 March 2019), and particularly of 2019 with Pipe Organ Basics on of Christchurch in the South Island, which is still recovering from Saturday 2 March at St Andrew’s devastating earthquakes. Presbyterian church, Green Point. A lone gunman slaughtered people at prayer in its Deans Avenue Once again, we recognized the urgent mosque. He then drove undetected to the Linwood Ave mosque to need for education, motivation and continue his murderous plans. Fifty are dead and the same number encouragement of organists using a wounded, some critically. Welfare services swung to the rescue at both hands-on approach. Participants aged 10 years and older learned how the sites. What’s more, ordinary citizens nearby rushed to the aid of those organ works, looked at the various injured or helped move others to shelter from the line of fire. What types of organ pipes and discussed the emerged, in spite of this evil event, is the goodwill that dominates the best ways to accompany services and spirit of NZ. Though the event took place in Christchurch, the whole play the organ. of New Zealand bonded together to express love for our fellow citizens – Cape Town Branch wishes to regardless of race, ethnicity, religious affiliation or language. acknowledge the sterling work of the Only a few days earlier, RSCMNZ affiliate St Mary’s Pro-Cathedral, Revd Malcolm Chalmers, our National Christchurch, was the venue for the world premiere of Ian Bolton’s Chairperson for South Africa (Gauteng Song for Refugees, performed exquisitely by violist, Anatoly Zelinsky. Branch). We wish him and his wife, This was to welcome a group to NZ from some of the world’s war-torn Janet, well as they relocate to the UK regions, as part of our willingness to open our home to people in need. in April this year. We thank God for No matter the adversity, the work of RSCM continues strongly in his guidance and advice in helping our branch be fully functional. NZ. At this time of year, Branches are preparing for Annual General This year we are excited to announce Meetings and consolidating plans for the rest of the year ahead: these that Port Elizabeth will be hosting a include workshops, concerts, and Music Sunday. This involves clergy Winter School from 24 to 30 June at leadership, singing congregations, soloists, choirs, organists, and Collegiate Girls School. This promises instrumentalists all joining in expressions of love and praise to God. to be an unforgettable event with Robert Tait, RSCMNZ Lindsay Gray (Director Emeritus RSCM) as director of music and Justine Stone as the organist. Cedric Williams
CHURCH MUSIC QUARTERLY DATE XX 29 12 DAYS TILL A NEW HYMN BOOK FOR SOUTH AFRICA CHRISTMAS Over the past two decades it has will reflect in more modern hymns. become increasingly evident that What will be of interest is a new hymn St Oswald’s Church and RSCM Cape the Anglican Church of South Africa about the feminine qualities of God. It Town were privileged at the end of last needs a supplementary hymn book sits among a great many hymns which year to welcome conductor, musician that includes a rich variety of local reference God in masculine terms. and musical entrepreneur, Richard languages and musical styles. A South Significantly, a number of hymns Cock, to St Oswald’s for a benefit African Multilingual Hymn Collection, have been written to address specific concert called ‘12 Days till Christmas edited and compiled by Andrew-John Southern African situations. Take, for with Richard Cock’. The purpose of Bethke, is a response to this need. example, hymn 35, which is a response the concert was to promote awareness An important aspect of this to the xenophobic attacks that rocked of the RSCM locally and to raise funds collection is a number of newly South Africa in 2008 and 2015. for its work in the neglected area of composed hymns that embody The collection includes a selection musical education in our churches. contemporary theological of local choruses for liturgical use. A highly entertaining evening was understandings of rites such as Many parishes use choruses already. In presented with readings, light-hearted baptism and confirmation. For this collection they have been ordered anecdotes and fun interspersed with example, confirmation is no longer according to the church seasons along musical interludes which were sung seen as the completion of baptism, with the other hymns and songs. by Siyabonga and accompanied on allowing candidates admission to The Anglican Church of Southern the piano by Richard. the Eucharistic table, but rather Africa (ACSA) covers several The audience were not left out. as a commissioning to Christian countries, all with languages and They participated enthusiastically discipleship. Thus, baptism becomes traditions of their own. This has been in the programme by joining in and the principal entrance rite to the reflected through the inclusion of heartily singing favourite Christmas Christian community, allowing full songs and hymns from all the countries carols. We were also privileged to have access to Eucharistic fellowship. that comprise ACSA. While a Colleen Hart (ARSCM) and Cedric By and large, the newly composed collection like this only offers a small Williams (St Oswald’s organist) assist hymns are written in modern English sampling of the rich heritage we have with accompaniment on the organ. and are often sensitive to issues of at present, there is no reason why In a wonderful coincidence Richard gender equality and the gender of God. future editions cannot include more unwittingly chose to read from the Naturally, this is a gradual process, and more local texts and music. writings of Archbishop Emeritus and in time newer ideas of equality Andrew-John Bethke Desmond Tutu and found that he was reading to the man himself, who graced us with his presence at the concert that evening. There were Christmas mince pies and wine afterwards, where audience and performers mingled and SUMMER SCHOOL IN SYDNEY continued the evening with the spirit RSCM New South Wales is hosting a national winter school called SydneyinSpires of good Christmas cheer begun earlier. 2019. Information about this is available at http://rscmaustralia.org.au/?page_ Deirdre Russell id=3385. The dates are 6–14 July. Registration is done by members independently of the local Branch, but it would be helpful if you could let us know that you plan to go by emailing Ken Taylor at [email protected].
CHURCH MUSIC QUARTERLY JUNE 2019 30 MY FAVOURITE HYMNS
An interview with BRIAN KAY
Our interviewee this issue is Brian Kay, broadcaster, Sir Neville conductor, former King’s Marriner asked Singer and Vice President of the RSCM. if I would like to sing the part of Papageno, along CMQ Brian, one little-known fact about you is that you feature with my wife in the Academy Award-winning (Gillian Fisher) film Amadeus where you provided as Papagena. the singing voice for actor Simon Callow in his role as Papageno I was, of course, (The Magic Flute). How did that delighted! come about? Did you get to meet any of the cast? BK My good friend the late Sir Neville Marriner, who was in charge of the music for Amadeus, asked if I would like to sing the part of Papageno, along with my wife (soprano Gillian Fisher) as Papagena. I was, of course, delighted to be asked, though a little surprised, as I had recently (this was Left: Still from the filmAmadeus . in 1983) ‘retired’ from the King’s Opposite: Brian Kay conducting. Singers and thought a young up- and-coming singer might have been preferred. ‘Oh no,’ he replied, ‘we want BK This is one of the most exciting Even without rehearsal it just gets it to sound like an actor trying to sing’! parts of my working life. To conduct better every year and I am constantly We had great fun recording the music a cast of thousands in the Royal Albert amazed at how wonderfully together and even having a meal with Peter Hall in several of the greatest choral it is – most of the time! So many of the Schaffer, though we didn’t manage and orchestral works (Handel’s singers come back year after year and to meet any of the cast – apart from Messiah, Requiems by Fauré, Mozart great friendships (and even marriages) Simon Callow who was there for the and Verdi, The Armed Man, Vivaldi’s have resulted from these events. recording sessions. It’s a wonderful Gloria, etc.) is a huge excitement, film and we were both thrilled to be every time. I was lucky enough to CMQ You must have a favourite a very small part of it. succeed Sir David Willcocks as piece of choral music? But what principal conductor and, as well as the is it and why? And is it also your CMQ You’ve been involved for Albert Hall concerts, we take members favourite piece to conduct? many years with The Really Big of TRBC to many exotic locations BK This is like asking me to Chorus which, for those who don’t around the world, along with singing choose ten records for that famous know, is the UK’s largest choral cruises and a summer school each desert island! – almost impossible society. Every year you invite year. But the ‘big one’ is always the to choose. Messiah is right up there thousands of singers from all annual Messiah, where up to 4,000 at the top and it is always a joy to across the world to turn up at singers turn up and sing their hearts conduct. But if you believe, as I do, the Royal Albert Hall and sing – out. It’s a glorious sound and thrills me that Bach was the greatest composer no rehearsal, and no previous to bits every year. I need to make very who ever lived, then the two Passions experience required! How on earth large gestures so that the singers – – St Matthew and St John – have do you go about conducting up to many of whom are sitting a long way to take the top slot, musically, 3,000 unrehearsed strangers? away from me! – can actually see me. emotionally and spiritually. I’m not
CHURCH MUSIC QUARTERLY JUNE 2019 32 My favourite hymn? ‘Angel-voices ever singing’, with that line ‘craftsman’s art and music’s measure for thy pleasure all combine’ NEW CHURCH RESOURCE The Royal School of Church Music INSPIRING MUSIC IN WORSHIP We are delighted that Inspiring Music in Worship has been receiving lots of positive feedback from local parishes across the UK. Inspiring Music in Worship encourages parishes to make the best use of music to enhance worship, even when there are very little resources available.
“It looks great, we will
What does it mean to be a worshipping person? beSession ordering 1 more copies” The more deeply we think about worship, the more we can see that it is complex and multi-faceted, and therefore every definition or model will limit in some way. Worship is so much more than what is said: we inhabit it and experience what is done and how it is done. It is a corporate activity of the whole people of God, bringing the church together and making it visible.
Consider too the different elements of worship. Word and sacrament, expressed “I will be taking it to choir through liturgy, music, prayer and action all play their part in revealing more of who God is and what God has done, and they enable us to participate Music and mission and make some kind of response. Worship is an essential part of our daily discipleship. At its best, guided by the Holy Spirit, every act of worship will be on Thursday” unique and mysterious, giving us fresh glimpses of God. Back in your pairs, consider these discoveries further and compare them with Session 3 For group discussion your own findings: • How does this relate to your own experiences •of Whatworship? will inspire and enable the worship and prayer of visitors in an empty church? sure I could easily choose between uplifting tune (Guiting Power) setting • How would you define worship? • What will inspire and enable the worship and prayer of visitors in a Session 5 To conduct a cast of • What helps you to connect with God and with othersregular in worship? service? the two of them: it’s usually the one Michael Saward’s words in ‘Christ The Law Part 2: What the Bible says § The content of our worship will either draw people in or put them off. ‘Inspiring’ Now what I am commanding you today is not too difficult for you or beyond your I’m conducting at the time! It was the triumphant, ever reigning, Saviour, “As we just had a new • Look at the scriptures overleaf. Read each sectionworship aloud should in turn. contain profound ‘So this is God!’ moments, which may be reach…No, the word is very near you; it is in your mouth and in your heart so that you thousands in the Royal converting and transforming both individually and corporately. may obey it...For I command you today to love the Lord your God, to walk in his ways, • Leave space to reflect on any words or phrases that stand out. and to keep his commands, decrees and laws; then you will live and increase, and the Worship can be a launch pad for mission. We hope to take the whole Lord will bless you in the land you are entering to possess. same when I was a singer and even Master, King!’ • Read through all the scriptures a second time with different voices. Deuteronomy 30.11, 14, 16 NIV Rector installed I congregation, both regulars and visitors, on a journey which intentionally Albert Hall in several of History • Which of the texts really speaks to you? Why?encourages them to engage with God and helps them grow in their understanding as a member of an audience: there’s When the builders laid the foundation of the temple of the Lord, the priests in their • Share your thoughts as a group. Does this lookand at the discipleship. Bible modify Ideally, your this worship will inspire and energise regular vestments and with trumpets, and the Levites (the sons of Asaph) with cymbals, took immediately showed her earlier thoughts about worship? worshippers while simultaneously welcoming strangers, offering a safe place their places to praise the Lord…With praise and thanksgiving they sang to the Lord: nothing that moves me quite so much the greatest choral and For more information about this of exploration for the searcher and a place of sanctuary for those in need or ‘He is good; his love to Israel endures for ever.’ And all the people gave a great shout of distress. Inspiring worship really is crucial to the mission of every local church. praise to the Lord, because the foundation of the house of the Lord was laid. But many of the older priests and Levites and family heads, who had seen the former temple wept – apart, perhaps, from the same orchestral works is a huge year’s Really Big Chorus events visit the copy and she is For your own notes For group discussion aloud…while many others shouted for joy. Ezra 3.10–12 NIV • Which elements of worship inspire the congregation to grow and Psalms composer’s monumental B Minor www.trbc.co.uk deepen their faith and discipleship? Praise the Lord. Sing to the Lord a new song, his praise in the assembly of the saints…Let them praise his name with dancing and make music to him with tambourine and harp. excitement, every time looking at it, possibly • How will regular worship inspire us to ‘go out and make disciples’? For the Lord takes delight in his people; he crowns the humble with salvation. Let the Mass. Having said that, it’s rather • Which elements of worship might reveal something of God to saints rejoice in this honour and sing for joy on their beds. newcomers to a service? The Prophets unfair to make me select one as there www.trbc.co.uk to run the course. The word came to Jeremiah from the Lord: ‘Stand at the gate of the Lord’s Psalmhouse 149.1, and 3–5 NIV Part 2: What the Bible says there proclaim this message: “Hear the word of the Lord, all you people of Judah who • Look at the scriptures overleaf. Read each section aloud in turn. come through these gates to worship the Lord. The Lord Almighty, the God of Israel, is so much life-enhancing choral says: Reform your ways and your actions...and deal with each other justly...and I will let • Leave space to reflect on any words and phrases that stand out. It looks great” 11 § you live in this place, in the land I gave to your forefathers for ever and ever...”’ • Read through all the scriptures a second time with different voices. Jeremiah 7.1–3, 5, 7 NIV music to choose from. time I ever appeared on television – The Gospels • Which of the texts really speaks to you? Why? As he looked up, Jesus saw the rich putting their gifts into the temple treasury. He also way back in 1962 – was as a sixth- saw a poor widow put in two very small copper coins. ‘I tell you the truth,’ he said, ‘this • Share your thoughts as a group. Does this look at the Bible modifypoor your widow has put in more than all the others. All these people gave their gifts from CMQ You are organist at the former at Rydal School, where five earlier thoughts about worship? their wealth; but she out of her poverty put in all she had to live on.’ The Epistles You have come to Mount Zion, to the heavenly Jerusalem, the city of the living God.Luke 21.1–4You NIV church of St James the Great, of us sang the hymns unaccompanied For your own notes have come to thousands upon thousands of angels in joyful assembly, to the church of the firstborn, whose names are written in heaven…Therefore, since we are receiving a kingdom that cannot be shaken, let us be thankful, and so worship God acceptably in Fulbrook. Which hymn has a as the school chaplain preached the Price £5.95 33 reverence and awe, for our ‘God is a consuming fire.’ Hebrews 12.22–23a, 28–29 NIV Revelation special place in your heart? Sunday morning sermon. I so well Then I heard every creature in heaven and on earth and under the earth and in the sea, (RSCM Member Discount Applies) and all that is in them, singing: ‘To the one seated on the throne and to the Lamb be BK blessing and honour and glory and might, forever and ever!’ The four living creatures We are very lucky in Fulbrook remember Angel-voices ever singing said, ‘Amen!’. And the elders fell down and worshipped. as we have no fewer than four villagers and this has remained a firm favourite ISBN: 9780854022717 Revelation 5.13–14 NIV who can play the organ (a bit of a with that specially appropriate line 58 luxury these days!) so we share the ‘craftsman’s art and music’s measure https://www.rscmshop.com/inspiring-music-in-worship.html honours. Again, it’s hard to know how for thy pleasure all combine’. For a to select any one particular favourite. man like me who loves words and As organist, I love pulling out all the music, that just about says it all. Of available stops and encouraging the the more modern hymns, you’d be hard Above: The Really Big Chorus at the To order your copy, please contact congregation to give of its all. The first to beat John Barnard’s wonderfully Royal Albert Hall Music Direct 0845 021 7726 or email [email protected]
CHURCH MUSIC QUARTERLY JUNE 2019 34 facebook.com/rscmcentre @RSCMCentre rscm.org.uk 01722 424848 NEW CHURCH RESOURCE The Royal School of Church Music INSPIRING MUSIC IN WORSHIP We are delighted that Inspiring Music in Worship has been receiving lots of positive feedback from local parishes across the UK. Inspiring Music in Worship encourages parishes to make the best use of music to enhance worship, even when there are very little resources available.
“It looks great, we will
What does it mean to be a worshipping person? beSession ordering 1 more copies” The more deeply we think about worship, the more we can see that it is complex and multi-faceted, and therefore every definition or model will limit in some way. Worship is so much more than what is said: we inhabit it and experience what is done and how it is done. It is a corporate activity of the whole people of God, bringing the church together and making it visible.
Consider too the different elements of worship. Word and sacrament, expressed “I will be taking it to choir through liturgy, music, prayer and action all play their part in revealing more of who God is and what God has done, and they enable us to participate Music and mission and make some kind of response. Worship is an essential part of our daily discipleship. At its best, guided by the Holy Spirit, every act of worship will be on Thursday” unique and mysterious, giving us fresh glimpses of God. Back in your pairs, consider these discoveries further and compare them with Session 3 For group discussion your own findings: • How does this relate to your own experiences •of Whatworship? will inspire and enable the worship and prayer of visitors in an empty church? • How would you define worship? • What will inspire and enable the worship and prayer of visitors in a Session 5 • What helps you to connect with God and with othersregular in worship? service?
The Law Part 2: What the Bible says § The content of our worship will either draw people in or put them off. ‘Inspiring’ Now what I am commanding you today is not too difficult for you or beyond your “As we just had a new • Look at the scriptures overleaf. Read each sectionworship aloud should in turn. contain profound ‘So this is God!’ moments, which may be reach…No, the word is very near you; it is in your mouth and in your heart so that you converting and transforming both individually and corporately. may obey it...For I command you today to love the Lord your God, to walk in his ways, • Leave space to reflect on any words or phrases that stand out. and to keep his commands, decrees and laws; then you will live and increase, and the Worship can be a launch pad for mission. We hope to take the whole Lord will bless you in the land you are entering to possess. • Read through all the scriptures a second time with different voices. Deuteronomy 30.11, 14, 16 NIV Rector installed I congregation, both regulars and visitors, on a journey which intentionally • Which of the texts really speaks to you? Why? History encourages them to engage with God and helps them grow in their understanding When the builders laid the foundation of the temple of the Lord, the priests in their • Share your thoughts as a group. Does this lookand at the discipleship. Bible modify Ideally, your this worship will inspire and energise regular vestments and with trumpets, and the Levites (the sons of Asaph) with cymbals, took immediately showed her earlier thoughts about worship? worshippers while simultaneously welcoming strangers, offering a safe place their places to praise the Lord…With praise and thanksgiving they sang to the Lord: of exploration for the searcher and a place of sanctuary for those in need or ‘He is good; his love to Israel endures for ever.’ And all the people gave a great shout of distress. Inspiring worship really is crucial to the mission of every local church. praise to the Lord, because the foundation of the house of the Lord was laid. But many of the older priests and Levites and family heads, who had seen the former temple wept the copy and she is For your own notes For group discussion aloud…while many others shouted for joy. Ezra 3.10–12 NIV • Which elements of worship inspire the congregation to grow and Psalms deepen their faith and discipleship? Praise the Lord. Sing to the Lord a new song, his praise in the assembly of the saints…Let them praise his name with dancing and make music to him with tambourine and harp. looking at it, possibly • How will regular worship inspire us to ‘go out and make disciples’? For the Lord takes delight in his people; he crowns the humble with salvation. Let the • Which elements of worship might reveal something of God to saints rejoice in this honour and sing for joy on their beds. newcomers to a service? The Prophets to run the course. The word came to Jeremiah from the Lord: ‘Stand at the gate of the Lord’s Psalmhouse 149.1, and 3–5 NIV Part 2: What the Bible says there proclaim this message: “Hear the word of the Lord, all you people of Judah who • Look at the scriptures overleaf. Read each section aloud in turn. come through these gates to worship the Lord. The Lord Almighty, the God of Israel, says: Reform your ways and your actions...and deal with each other justly...and I will let • Leave space to reflect on any words and phrases that stand out. It looks great” 11 § you live in this place, in the land I gave to your forefathers for ever and ever...”’ • Read through all the scriptures a second time with different voices. Jeremiah 7.1–3, 5, 7 NIV The Gospels • Which of the texts really speaks to you? Why? As he looked up, Jesus saw the rich putting their gifts into the temple treasury. He also saw a poor widow put in two very small copper coins. ‘I tell you the truth,’ he said, ‘this • Share your thoughts as a group. Does this look at the Bible modifypoor your widow has put in more than all the others. All these people gave their gifts from earlier thoughts about worship? their wealth; but she out of her poverty put in all she had to live on.’
The Epistles You have come to Mount Zion, to the heavenly Jerusalem, the city of the living God.Luke 21.1–4You NIV For your own notes have come to thousands upon thousands of angels in joyful assembly, to the church of the firstborn, whose names are written in heaven…Therefore, since we are receiving a kingdom that cannot be shaken, let us be thankful, and so worship God acceptably in Price £5.95 33 reverence and awe, for our ‘God is a consuming fire.’ Hebrews 12.22–23a, 28–29 NIV Revelation Then I heard every creature in heaven and on earth and under the earth and in the sea, (RSCM Member Discount Applies) and all that is in them, singing: ‘To the one seated on the throne and to the Lamb be blessing and honour and glory and might, forever and ever!’ The four living creatures said, ‘Amen!’. And the elders fell down and worshipped. ISBN: 9780854022717 Revelation 5.13–14 NIV 58 https://www.rscmshop.com/inspiring-music-in-worship.html
To order your copy, please contact Music Direct 0845 021 7726 or email [email protected]
facebook.com/rscmcentre @RSCMCentre rscm.org.uk 01722 424848 BRANCHING OUT TEACHING AND ENRICHMENT
From RSCM South Africa comes an inspiring story of how sacred music was brought to some of the poorest schools on the Eastern Cape.
JENNY YATES
he stood at the front door of her humble home, children were often hungry. For some, a daily surveying the poverty and hunger round her ration of porridge from the School Feeding Scheme Sin this, a very poor part of Port Elizabeth. The was their only meal. On top of which, we desperately schools looked drab. Inside, the young children’s needed more funding. voices were feeble. Saddened, yet inspired, she felt God calling her to share her choir experience. And so, this retired committee member approached me (I was Children don’t just sing beautifully, then Branch Chair) with her idea of offering help to they have to be taught schools in her area. I gladly gave my blessing. Soon she was to set off with her somewhat battered copy of Voice for Life on a journey that would have Nonetheless, interest and numbers grew steadily extraordinary results. (we now had a sixth school on board). It was time to take the children out of the school environment and THE RSCM IN ACTION expose them to the wider world of music. Over time, Children don’t just sing beautifully, they have to be the children took part in: taught; and in these schools, so did their teachers! The annual Schools’ Concert presented by the It was here that the RSCM was to play its part. Organ Society. Words cannot describe the jaw- Effective teaching could not be done by rote, nor by dropping reaction of 300 under-privileged children teachers who could not read music. So, how was it to experiencing the grandeur of the venue and the be done? First, they needed money, and after months sound of the mighty organ! of struggling to find funding, the Branch received a generous grant from the National Lottery! An RSCM Participation in cultural festivals, singing secular Branch project team was formed, a project overseer and sacred songs in one of the area churches. employed, and five schools supplied with full sets Ascension Day: a day of great reverence in this of primary school music teaching equipment – community, a day of great pride – the combined everything from percussion instruments to choirs of the six schools (now known to us as the song books. RSCM children’s choir) were invited to sing at one of the main services. The hearts of the thousand- PROGRESS AND CHALLENGES strong congregation were deeply moved. The five school choirs grew in musicality and in number, reaching about 40 choir members per school. The RSCM Christmas Concert in the cathedral, Descant recorder groups were introduced. Even more with its excellent acoustics complimenting importantly, we were teaching the teachers, largely a glorious treble soloist and the RSCM musically untrained people. In this regard, workshops children’s choir. by Tim Lees and Gordon Stewart were invaluable. Progress was slow, the challenges considerable. The project has been wholly uplifting. It has We faced resistance to relinquishing old methods. expanded beyond all our expectations, and we hope Worse, we were working against a background of it will grow even further as time goes on. ‘Lead us, poverty, alcohol, drugs and gangsterism (the schools Heavenly Father, lead us’ – our constant prayer were closed at various points due to rioting). The as we seek further funds!
CHURCH MUSIC QUARTERLY JUNE 2019 36
PLAYING WORSHIP SONGS ON THE ORGAN
An interview with TOM BELL
CMQ How would you define themselves to solo use on the organ TB If we are talking about using the a worship song? without a lot of effort. It might be organ alone, using a well-prepared and TB Perhaps the neatest, though necessary to explain gently to others well-registered organ accompaniment, imperfect, definition would be (without appearing obstructive!) that however simple, can present a richer something written in a pop idiom. it would be difficult to make such a and more supportive sound to the It might have an off-beat, syncopated song work as hoped on the organ. So, congregation than would playing a melody; it might have a verse–chorus one has to be discerning. I do think, piano, keyboard or guitar. I think it’s structure (as of course do some however, that most songs can be made a different matter if it’s just between hymns), perhaps a bridge, and be to work if you play the melody on one an organ and a full band, because the orientated around simple chords – manual, chords on another, and a simple latter would be preferable in this style. predominantly chords I, IV and V. bass line for the feet, or if that is not If, however, a full band is not available, practical, the left hand. It won’t sound the organ can provide a solid bass. CMQ Worship songs are more like a band, but you could support and That’s the advantage the organ has in often associated with worship lead a congregation in that way, though terms of leadership over another solo bands and some would say that the it won’t sound quite like Hillsong! instrument. This helps to undergird organ is not suited to this repertoire. However, this approach will go some the congregation and make them feel However, the wish to use worship way, as long as there are people in the more secure. If there is a piano or songs in a situation where the congregation who know it and are guitar available then the organ can organist is the only instrumentalist singing with you, as with a new hymn make a big difference just by playing needs to be addressed. What can in more traditional style. With this in the bass at 16ft pitch. an organist do to get the best effect mind, perhaps take the time in when playing a worship song on advance to practise it with some CMQ What pitfalls should be the organ? willing members of the congregation. avoided? TB You have to think critically. TB A lot of printed arrangements There are some songs (for example, CMQ What are some positive of worship songs are reworkings of by Hillsong) that are conceived for benefits to using an organ in this a piano improvisation (which choirs a large band and probably don’t lend repertoire? can resent because there is nothing
CHURCH MUSIC QUARTERLY JUNE 2019 38 AN INTERVIEW WITH TOM BELL
for them to do other than sing the For example, the band will sometimes be creative interplay between both melody). If the left-hand part is drop out entirely, which organists styles and a new and productive leaping around all over the place almost never do. On a bigger level – synthesis created. As C.S. Lewis pointed in arpeggios, organists will struggle, similar to when an organ joins in with out, you can be more blessed in church unless they are trying to display their the orchestra – you can enrich the by the music you don’t like than the pedal virtuosity, which clearly is overall sound of a larger band, even if it music you do, in that you are charitably not the point of the exercise. is only a single bass note transforming subordinating your own taste to that a particular moment. This can be a of your neighbour in Christ. Hopefully, CMQ Are there good ways of revelation to worship leaders, and they will do the same! simplifying an accompaniment for probably to organists as well. It can be use on the organ? huge fun playing in a band, and if the CMQ What would your top tips TB Yes. Play the melody with the organist is contributing in a positive be to an organist aiming to play, right hand, thin chords (two or three and creative way, you start to win friends for example, Graham Kendrick’s notes) in the left hand – perhaps on and build a cooperative relationship. Servant King or Meekness and a separate manual if available – and I think it’s tragic – not too strong a word Majesty on the organ? use pedal to provide the bass line if – that this can often be missing and TB I would suggest the following: possible. That should be simple and instead we can end up with the equivalent Simplify the bass line. So, if it jumps playable, assuming the rhythm of the of the Berlin Wall! Organists often around but the guitar chord stays the melody has been properly learnt. It is have experience of running choirs and same, just hold a sustained note or certainly a workable starting point. managing and encouraging people, repeat the same note in a rhythmic way. Of course, it may be necessary to do which can be helpful in the context of a Ensure the rhythm is correct, some homework in advance. You could band. Additionally, organists often have especially if it is syncopated. Once sketch out the melody for one hand, some knowledge of harmony and can be a congregation has got used to singing block chords underneath (often these willing to experiment a bit to give a wider it wrong it is hard to correct. can be taken from the guitar chords harmonic palette – just substituting Maintain a solid pulse. This can marked in) and a pedal line (which one chord for another in a worship often come from the bass line. It is could be very simple). Taking things song can sometimes really transform hard to recover once the rhythm to the next stage, you can aim for a the feel of a particular verse and drifts in a syncopated piece. four-part arrangement, a bit like the underline the words. Or, being willing ones you can see in Singing the Faith, to play what’s usually a guitar riff on CMQ Could you give some the Methodist hymn book. These are a the organ. That can be quite cool. examples of recent worship songs bit more choral-friendly and they sound that you feel work particularly idiomatic on the organ. I recently well with the organ? wrote an article for Sunday by Sunday TB In no particular order: giving some simple guidance towards Playing what’s usually Keith Getty and Stuart Townend: creating a four-part, hymn-like a guitar riff on the organ Speak, O Lord arrangement of a worship song [Issue can be quite cool! Richard Simpkin’s new tune for 80, March 2017]. Another point is that ‘How firm a foundation’ the music can often be simplified by Vikki Cook: Before the throne leaving things out, especially if there Keith and Kristyn Getty: There are elaborate, pianistic inner parts CMQ So, a musical compromise is a higher throne in the arrangement. may be necessary when involving the organ in this repertoire. Can CMQ Do you have a favourite CMQ How can an organist best you elaborate? bible quote that sums up the right contribute to the teamwork in TB If there is a tension between way for organists to approach a worship band? two styles of music, where perhaps a worship song, and indeed their TB If the band is a small one, the one half of the congregation wants whole ministry? organist can, at the very least, provide traditional and the other half doesn’t, TB Do nothing from selfish a bass line, and with that a richness of I think there has to be a move towards ambition or conceit, but in humility texture that would otherwise not be the blending of styles where perhaps regard others as better than yourselves. there. With backing chords as well, each week you’d have a different Let each of you look not to your own skilful use of registration can also help balance of contemporary and interests, but to the interests of others. the dynamic range and simulate the traditional. This is preferable to Philippians 2. 3–4 effect of a bigger band. This can make doing all of one and none of the a world of difference to how the other and thereby cheesing off half This is a good one for band members band sounds and how well the of the congregation. If the organist as well, and vicars and churchwardens, congregation sings. walks away when a new vicar starts and, for that matter, PCC members, It is interesting that band-led introducing worship songs, then the coffee rota members and so on and worship often has a greater dynamic traditional music could die entirely. so forth! It sums up how we should range than organ-led worship. Instead, think about how there could do church.
CHURCH MUSIC QUARTERLY JUNE 2019 39 CONGRATULATIONS
GOLD AWARD TWIN MOTHERS AND THEIR DAUGHTERS Four choristers, Lyn Winnel and her daughter Sarah Winnel, and Lyn’s twin sister Jenny Prince and her daughter Dianne Prince, all therefore from the same family, have been presented with the RSCM Gold Award. They are from St Matthew’s Anglican Church, Albury. There are only nine recipients in Australia of this prestigious award. It involved much preparation and hard work including a highly demanding exam that they completed by travelling to England. The Gold Award was a special project that they focused on and found uplifting and fulfilling. They enjoyed researching significant events in the religious calendar, exploring different pieces and 75 YEARS OF LOYAL SERVICE composers as well as analysing choral music to formulate their Congratulations to Ian Roebuck on achieving 75 years of unbroken service ideas and opinions for their in the choir at St Michael and All Angels, Mottram in Longdendale. Ian portfolios. Their commitment joined the choir in January 1944 as a treble, then sang as an alto, then for to the choir and general musical many years a tenor. He now sings bass. Ian was recently presented with a competence and experience brings loyal service medal and certificate by our vicar, the Revd James Halstead. great rewards. This preparation John Brandreth has strengthened their faith; it has served to assist them with the musical ministry within the choir. Bronwyn Powell
A NEW MINISTRY Congratulations to Dr Jonathan White, who has just been appointed Director of Religious Music at Christ Church Cathedral, Montreal. Dr White worked extensively with the RSCM, as committee member and secretary of the Oxfordshire Area Committee and director of the Annual Three-Day School for Choristers. He will begin his new ministry in June, 2019. Cynthia Hall
CHURCH MUSIC QUARTERLY JUNE 2019 40 CONGRATULATIONS
85 YEARS – AN AMAZING RSCM VALIDATED SINGING AWARDS RECORD! VOICE FOR LIFE SINGING AWARDS On Sunday 17 February, we celebrated Lionel Jones’s 85-year membership of our choir at St James the Great, Dursley. The These results are listed William Russell (Bury St Rector presented Lionel with an alphabetically under RSCM Regions, Edmunds, St Mary), Chloe Beeston , engraved tankard, and he was Areas and Countries. Michael Harland (Ipswich, St photographed with the choir after (F) = RSCM Friend, (IM) = Mary-le-Tower), Theo Geileskey , the service. Eighty-five years in one Individual Member, (S) = Student Harry Upton (St Edmundsbury church choir is a remarkable member, if candidate’s choir not Cathedral). affiliated. record, and Lionel’s commitment BRONZE STANDARD to our music is exemplary – he is Honours 90%+ (Gold) Region One: Izzy Reid , Eleanor seldom away! Highly commended 85%+ and Riesen (Macclesfield, St Michael & When Lionel joined the choir in Commended 75%+ (Bronze/Silver) All Angels), Molly Burrows , Laura 1934, there was a waiting list for Jarvis , Nathan Monk (Mellor, boy trebles as the choir stalls only St Thomas). Lucia Cirillo , SILVER STANDARD Dyfed: accommodated 16 singers. In 1938 Heledd Richardson , Milo Sheldon he was one of three Dursley boys Region One: Rosie Allen (Sale, (St Davids Cathedral). Ely: Harriet who sang at the festival in the St Paul). Derbyshire: Ella Brown , Richards (Cambridge, St John Scott Butterly, Jonathan Dixon, Royal Albert Hall. By 1940 his Evangelist). Guildford: Junior Leo Silverwood (Derby Cathedral). Brown , Julien Early , Harry voice had broken and he began to Dyfed: Rhian Goodson , Jasmine sing tenor; he is still doing just that Naylor (Witley, King Edward’s Morris , Christian Pearce , Lowri School). Lincoln: Jenny Seddon all these years later! However, Richardson (St Davids Cathedral). (Pickworth, St Andrew). Lionel is not just a choir statistic. Ely: Sophie Seed (Cambridge, Peterborough & Northampton: As an electrical engineer he has St John Evangelist). Guildford: Christopher Butts (Finedon, St several patents to his name and, as Yasmin Berezicki-Stevens, Freddie Mary Virgin). Portsmouth: Evie a keen local historian, wrote a book Davies , Kieran Kenyon , Will Warringer (Alverstoke, St Mary). Munroe , Beth Payne , Lydia Southwark & E Surrey: Alexandre detailing the history of the firm of Spruce, Cai Thomas (Farnham, Mawdsley’s for which he worked. Bernard , Kojo Budu-Arthur , St Thomas-on-the-Bourne), Imogen Kevin Croos, Alex Lovely , Amber Much as we are delighted to Attwater , Ben Charles , Monty Nodder , Tahlyah O’Brady, celebrate the long service of our Nelson, Richie Zhang (Witley, Mayowe Olatidoye, Aman Ram , older members, we are always King Edward’s School). Lincoln: Lachlan Seymour , David Vaughan, happy to welcome younger singers! Liz Munday (Folkingham, St Aarna Wangoo (Croydon Minster), Anne Shipton Andrew), Theodore Jones , Maya Corbin, Shanan McFarlane- Katherine Rees (Lincoln, St Raveneau (East Dulwich, St John Nicholas). Peterborough & Evangelist), Barbara Verco (Horne, Northampton: Fiona Allen- St Mary Virgin), Chloe Ellam , Benham (Higham Ferrers, St Mary Matthew Hopkins, Victoria Virgin). Southwark & E Surrey: McDade (Merton, St Mary), Caleb Carpenter , Benjamin Naylor Kenn-Ryan Kouadio-Amalaman (Croydon Minster), Laura Corbin , (Plumstead Common, SS Mark w Sue O’Neill (East Dulwich, St John Margaret), Arvind Benedict , Arvin Evangelist), Sophie Bisson , Tallis Kinigama , Alexander Golder , Hill , Olivia Priestland (Merton, St Deyan Patel (Wimbledon, King’s Mary), William James College School). Wessex: Benjamin (Wimbledon, King’s College Jacobs (Salisbury, St Thomas). School). Suffolk: Rona French,
CHURCH MUSIC QUARTERLY JUNE 2019 41 HYMN MEDITATION
GOD BE IN MY HEAD
GORDON GILES
Jesus soit en ma teste n 6 September we mark From 1919 to 1926 Davies was a et mon entendement. the 150th anniversary of professor of music at Aberystwyth Jesus soit en mes yeulx et mon the birth of the English and in 1924 was appointed a professor regardement. O composer Sir Henry Walford Davies. of music in the University of London, Jesus soit en ma bouche et mon parlement. Born in Oswestry in 1869, he was a succeeding Frank Bridge (who was Jesus soit en mon cueur et en chorister at Windsor Castle and was Benjamin Britten’s teacher). In 1927 mon pensement. pupil assistant to Walter Parratt he returned to St George’s, Windsor Jesus soit en ma vie et mon between 1882 and 1990. In 1890 he as organist and was involved in the trespassement. Amen. won a composition scholarship to fledgling work of the BBC and the study at the Royal College of Music Welsh National Council of Music. He God be in my head, and in my under both Parry and Stanford. was knighted in 1932 and, after Elgar understanding; Then, in 1895, he became a teacher died, became Master of the King’s God be in mine eyes, and in my of harmony and counterpoint there. Musick in 1934. He wrote a book looking; Meanwhile, he was successively called The Pursuit of Music in 1935, God be in my mouth, and in my organist at St George’s in Kensington, which became popular in its day due speaking; God be in my heart, and in my St Anne’s in Soho, and Christ to his ability to explain music in both thinking; Church, Hampstead, and in 1898 technical and lay terms. Similarly, he God be at mine end, and at my he became organist at the Temple was involved in early broadcasting departing. Church, a post he held for 21 years. and recordings for schoolchildren. Between 1903 and 1907 he directed He died in Wrington, Somerset on the Bach Choir, and in 1918 was 11 March 1941. Words: French, c.1490, appointed Director of Music for the Davies’s legacy is clearly more tr. Sarum Primer (1558) newly formed RAF, composing their than compositional. Alongside the Tune: God be in my head celebrated March Past, which RAF march, many will know and Sir Henry Walford Davies combines the rhythm of the bugle love his Solemn Melody (1908). (1869–1941) call of the Royal Flying Corps with They will also know the anthem Let that of the Royal Naval Air Service. Us Now Praise Famous Men, a brief Unfortunately, his other music choral work that appears in most of is much less well known: two the major hymn books. Let us now symphonies, an overture and praise may take barely more than a an impressive setting of Robert minute to sing, but it occupies a Browning’s poem Prospice. beloved place in the English choral According to Grove’s Dictionary, music repertoire. First published in only three of his choral works were 1910, it soon found its way into the performed at all between 1960 and Festival Service Book of the London 2000, ironic given that Everyman Church Choir Association and was (1904) held popularity on a par with used in St Paul’s Cathedral in 1912. Elgar’s Dream of Gerontius in its The text had only recently day. Revival of some of these works resurfaced in the Oxford Hymn Book may well prove enlightening and of 1908. Nevertheless, it has had satisfying. several other settings, now much
CHURCH MUSIC QUARTERLY JUNE 2019 42 HYMN MEDITATION
less used. The first modern tune, which is death itself as we depart in body parts and their function used in the Oxford book was called in peace into the arms of Christ. gives spiritual power to the Poplar, by T.B. Strong, who was Nevertheless, it is worth noticing inevitable dualism we unthinkingly Dean of Christ Church, and later that in the French the text refers live by. Head, eyes, mouth and heart, Bishop of Oxford. This was included to Jesus and there is an Amen. The these are considered to be the in the second supplement to the translators have made the change instruments of thought, insight, second edition of Ancient and without apparent reason. The gist speech and love, and this ancient Modern (1916). Other tunes include and thrust of the prayer are hardly prayer asks that they may be Constantia by R.O. Morris, David changed, but in modern times we attuned to the will of God so that by George Wallace Briggs, and might consider the English version at our lives’ end we may depart in Lytlington by Sydney Nicholson. to be more inclusive, and perhaps peace to the glory of resurrection Nonetheless, it is Davies’s tune that also more of a statement of light and life. Whether our seeing claims the first line as its name: intention (‘that God be in my head’) truly is located in our eyes, our ‘God be in my head’. rather than a direct request (‘Jesus, speaking in our mouth, and so on, Some hymn books omit Davies’s be in my head’). Whatever one is a philosophical point now much original marking of Andante, which makes of this difference, it is surely informed by modern neuroscience, is to say that it is all too easy to labour incidental, or even accidental. physiognomy and psychology. it. The simple organ introduction The suitability of the short hymn Whether we see this as is the musical equivalent of the for funerals is evident in the final metaphorical or literal, there is a opening of hands in prayer (the line and the piece complements the similarity to and a resonance with orans position adopted by the priest reading or singing of the Nunc the Irish lorica (St Patrick’s
The suitability of the short hymn for funerals is evident in the final line and the piece complements the reading or singing of the Nunc Dimittis beautifully at the Eucharist), a gesture of Dimittis beautifully. It works Breastplate), which seeks to clothe welcome and inclusion that typifies particularly well immediately the Christian in spiritual protection. the spirit of the text. Some omit it, before or after the Commendation, The lorica is the outward spiritual feeling that it is an unnecessary before the deceased is carried out of vesture, while ‘God be in my head’ giving out of pitch to the choir. the building. Originally in medieval concerns the inner content and Either way, this is a personal French (but found in the British outward expression of faith. As a devotion to be sung corporately Museum), the text can be found on musical prayer, and because it is (rather than a communal prayer the frontispiece of a Book of Hours singable with limited choral often said alone, as the Lord’s of the Blessed Virgin (published resources, it is a useful and Prayer often is). From the tonic of in 1514 by Richard Pynson), now profound expression of a subtle A major it moves confidently preserved in the library of Clare desire and expansive hope, in the through E major and F sharp minor College, Cambridge. Inclusion of midst of death and life. before a spine-tingling pause on a translation in the Sarum Primer ‘heart’ with a dominant ninth chord (1558) and in John Cosin’s A Holy Jesus, may our heads be filled that carries us through to a cadence Collection of Private Devotions with your wisdom; our eyes with in D major. The final line roots us suggests that the prayer may well your light; our heart with love for firmly back in A major as the brief have found frequent use before you and on our lips be found words prayer concludes. There is no Amen or after a Daily Office service. The of witness until that day when our in the English version, which turns words need little commentary, time to depart this life comes and it into an open, almost unconcluded save perhaps to notice that the we are drawn by eternal hope to prayer, the Amen (‘let it be so’) to invocation of the presence of God your resurrection life. Amen.
CHURCH MUSIC QUARTERLY JUNE 2019 43 NEWS FROM PUBLISHING IN EVERY CORNER SING BOOK TWO
GEOFF WEAVER NEWS FROM PUBLISHING
have been privileged over the years centred around One World Week, to have contact with many parts of Christian Aid Week or the Week of Ithe world church, and have come to Prayer for Christian Unity, but equally realize that, in their songs, Christians a resource for other times in the everywhere are able to express in a church’s year. I hope that you will find powerful way their joys and sorrows, these songs a rich resource enabling their hope and despair – and underlying you to express your unity with all is a powerful sense of community Christians throughout God’s world. that enables them to face life’s challenges. I have worshipped with Kenyan Christians, many of them desperately poor, on many occasions: to be caught up in the power of their These testimonies song and dance is exhilarating, and it of global and vital seems to me a good counterweight to faith can find the beauty and stillness of our choral evensong tradition. solidarity in our It is more than ten years since the voices and a place RSCM published In Every Corner Sing, in our hearts a ground-breaking collection of songs from Christian communities around the world. In the preface to that collection I wrote: ‘Singing global songs can be a transforming experience – it takes us out of our comfort zones, widens our horizons, and gives us a new sensitivity to and understanding of the lives of others.’ In the preface to In Every Corner Sing Book Two Professor Michael Hawn, a distinguished authority on global song, writes: ‘These songs are not just ethnic curiosities or examples of liturgical exoticism, but musical witnesses from Christian brothers and sisters who are living their faith, often in places of conflict, suffering and oppression.’ As you pray each week for different Christian communities around the world, you may find it helpful to sing a song from that part of the world. On a recent Pilgrimage of Song to the Holy Land, we found it a powerful experience to sing Ya hamalaLah, a Palestinian Agnus Dei, and as we journeyed through distressing situations we found energy and encouragement from the South African Hamba nathi, or in English ‘Walk with me for the journey is long’. This collection of songs cries out for imaginative liturgical use, perhaps
CHURCH MUSIC QUARTERLY JUNE 2019 45 COURSES & EVENTS AT SARUM COLLEGE
Francis and the Sultan Mon 16 to Tues 17 September 2019 This conference will explore the meeting in 1219 during the Fifth Crusade of St Francis of Assisi and Sultan Malik al- Kamil, as inspiration for Christian-Muslim dialogue today. Leader: Andrew Todd
Lunchtime Concerts at Sarum College Once-monthly from October 2019 to March 2020 Our annual series of lunchtime concerts are held once- monthly on a Friday in our Butterfield Chapel. The concerts feature top local, UK and international musicians and are followed by a light buffet lunch.
Sarum Singing Break Friday 4 to Sunday 6 October 2019 A weekend for anyone who enjoys singing liturgical church music. During this weekend we will rehearse and sing services in Sarum College Chapel and Salisbury Cathedral. The repertoire will cover music from Tudor times to present day compositions. Leader: Nigel Groome
Imaging Transcendence: From the Catacombs to the Gothic Cathedral Tuesday 15 October 2019, 10am to 4pm An illustrated introduction to how Christian faith found expression in the early Christian Roman catacombs, the Ravenna mosaics, in medieval Irish illuminated manuscripts and in the Gothic Cathedral. Tutor: Gesa Thiessen
For a free brochure visit sarum.ac.uk/brochure The Arts & Crafts Movement Friday 18 October 2019, 10am to 4pm 19 The Close, Salisbury, SP1 2EE A day exploring the influence of the arts & crafts movement, [email protected] arguably Britain’s greatest contribution to the international 01722 424800 art movements of the late 19th century and onwards. sarum.ac.uk/events Tutor: Peter Burman a @SarumCollege
SarumMayCMQ.indd 1 09/05/2019 14:24:52 COURSES & EVENTS NOTEBOOK AT SARUM COLLEGE NEWS & EVENTS
Francis and the Sultan INSPIRING ORGANISTS OF THE FUTURE 150 YEARS OF ST JOHN’S COLLEGE CHAPEL, Mon 16 to Tues 17 September 2019 Anna Hallett, 14 years old and a former Anna concludes that if we do not CAMBRIDGE This conference will explore the meeting in 1219 during RSCM Pipeline organ scholar, has put wish to see an ever greater number the Fifth Crusade of St Francis of Assisi and Sultan Malik al- together an insightful report on the of small parish churches without an The choir of St John’s College, Kamil, as inspiration for Christian-Muslim dialogue today. challenges facing young organists. organist, we must do more to provide Cambridge is set to release its latest She has also put forward her safe and welcoming spaces for young album, Locus Iste, on 26 April this year, Leader: Andrew Todd recommendations for addressing people to practise, do more to promote marking its 100th recording release some of the issues. access to funding for those outside as well as the 150th anniversary of the In her study, Inspiring Organists of the public school system, do more completion of St John’s College chapel. the Future, Anna argues that, while an locally to promote the existence of The title track is Bruckner’s Locus Iste, Lunchtime Concerts at Sarum College excellent range of scholarships have the organ to those who are interested with its opening line ‘This place was been established in recent years in becoming a musician (perhaps made by God’ offering a fitting sentiment, Once-monthly from October 2019 to March 2020 (notably the RSCM’s Pipeline and the by offering free recitals), and having been written the same year the Our annual series of lunchtime concerts are held once- Young Organists Scholarship Trust), establish a greater number of building was completed (1869). monthly on a Friday in our Butterfield Chapel. The information regarding access to a scholarships. Designed by great Gothic Revival concerts feature top local, UK and international musicians wider range of funding tends to be Anna’s report contains a lot of architect Sir George Gilbert Scott, the poorly disseminated. Anna also notes information for would-be organists, and are followed by a light buffet lunch. chapel of St John’s College was first that young organists often struggle to including information about consecrated on 12 May 1869. Its find a safe and welcoming place to scholarships and useful organizations construction was intended to reflect practise. As one responder to Anna’s you may wish to join. the College’s royal status as a foundation Sarum Singing Break survey put it, ‘even today, finding an of Lady Margaret Beaufort, mother of organ to practise on, where it is safe Anyone wishing to download the King Henry VII. It would be hard to Friday 4 to Sunday 6 October 2019 and warm and there is light, is a report in full or to get in touch with conceive of the College without the challenge and often costly too.’ the author can do so through Anna’s great Victorian chapel that is by now A weekend for anyone who enjoys singing liturgical Another noted that ‘some (organists) website: pipeskeysandchords.com so closely connected with its traditions. church music. During this weekend we will rehearse are distinctly possessive of their and sing services in Sarum College Chapel and Salisbury instrument and can, on occasions, Cathedral. The repertoire will cover music from Tudor be a touch superior – this does little times to present day compositions. to encourage the interest of potential young players.’ Leader: Nigel Groome Success tends to depend upon privilege, as does access to a teacher. Then there is the question of incurring high levels of student debt in order Imaging Transcendence: From the to obtain a degree. All of which make Catacombs to the Gothic Cathedral learning the organ prohibitive to all but a small number of (mostly) white Tuesday 15 October 2019, 10am to 4pm young males attending elite schools. An illustrated introduction to how Christian faith found Anna also points out that practising expression in the early Christian Roman catacombs, organists across the country, many of the Ravenna mosaics, in medieval Irish illuminated whom work tirelessly to keep sacred music alive in churches, feel let down manuscripts and in the Gothic Cathedral. by the clergy. A lack of musical training Tutor: Gesa Thiessen among the clergy was a common complaint, with several of those surveyed suggesting that those in For a free brochure visit charge of churches often want to ‘get The Arts & Crafts Movement rid of the organ, choirs, pews, anything sarum.ac.uk/brochure that carries on old traditions’. Many Friday 18 October 2019, 10am to 4pm are also more than happy to replace 19 The Close, Salisbury, SP1 2EE A day exploring the influence of the arts & crafts movement, musicians with recordings, having [email protected] arguably Britain’s greatest contribution to the international little understanding of the valuable role music plays in worship. 01722 424800 art movements of the late 19th century and onwards. sarum.ac.uk/events Tutor: Peter Burman a @SarumCollege
SarumMayCMQ.indd 1 09/05/2019 14:24:52 NOTEBOOK
BUCKFAST ABBEY LAUNCHES CHILDRENS’ CHOIR Buckfast Abbey in Devon has begun offering the opportunity for up to 25 boys and girls with ages between 7 and 11 to be part of its Choral Foundation. The first intake of choristers was recruited in the summer term and began rehearsing last September. The choristers are singing with the lay clerks of the Abbey choir at some of the services as well as performing at several concerts throughout the year. Each chorister receives a scholarship from the Abbey for individual vocal, piano and theory tuition with the Abbey’s professional tutor. They will also work towards singing and theory exams for the ABRSM.
For more information about choristerships at Buckfast Abbey, visit www.buckfast.org.uk/music
BUCKFAST ABBEY APPOINTS NEW ORGANIST Buckfast Abbey has announced the appointment of internationally acclaimed musician, David Davies, as its new organist. Mr Davies trained as an organist, pianist and conductor at Magdalen College, Oxford, and at the Institute of Sacred Music at Yale University in the United States. He has held church and cathedral appointments in the USA and in the UK, most recently as Assistant Director of Music at Exeter Cathedral. Commenting on the appointment, Philip Arkwright, Organist and Master of the Music at Buckfast, said: ‘I am delighted to welcome David Davies as Organist, to join a team of talented and dedicated THREE CHOIRS FESTIVAL GLOUCESTER, 26 JULY – 3 AUGUST musicians at the Abbey. His broad The celebrated Three Choirs Festival (28 July) and Rachmaninov’s beautifully experience and qualifications has revealed its full programme for this introspective Vespers (29 July), four provide a sure foundation on which year’s festival, which takes place in main programming strands weave to showcase our fantastic new organ.’ and around Gloucester from 26 July to through nine days of music-making, 3 August. The spectacular large-scale celebrating composer anniversaries, choral concerts at the heart of the new voices, song and discovery. festival are complemented by a wide To view the full programme, find out range of chamber recitals, talks, about the many ways to get involved, or exhibitions and family events. Full for further details of free ticket details are available from 3choirs.org, schemes for local and young audiences, with tickets already on sale. visit 3choirs.org. The festival welcomes Alongside blockbuster programmes applications from potential volunteers such as Verdi’s epic Requiem with and from keen singers aged 14–25 who superstar conductor Ed Gardner would like to join the youth choir.
CHURCH MUSIC QUARTERLY JUNE 2019 48 READERS’ LETTERS
HYMN BOOKS IN THE HAND I read Martin Draper’s ‘Kindle a flame’ with much interest. Not LETTER OF THE MONTH only do people in churches without hymn books miss the opportunity ‘to explore the book and discover MEMORIES OF DR NOEL RAWSTHORNE its riches’, they do not see a hymn as a whole piece of poetry when Reading your obituary to Dr Noel Rawsthorne (CMQ March 2019), only a verse at a time is displayed I feel I must add to the tribute. on screen, and often without In 1955 Noel was appointed organist at Liverpool Cathedral at the author’s name. age of 25, then the youngest cathedral organist in Britain. Those lucky When Singing the Faith was enough to have him as our teacher, including the organ students at published in 2011, I worked out St Catherine’s College, owe him a great debt of gratitude. a plan to read the book in a year in seasonal chunks of 30–40 hymns On Maundy Thursday 1970 I watched in awe as he invited me up a month, preferably from a words to the five-manual Willis organ in the cathedral and then let me loose only or melody only edition to avoid on it before the service. Afterwards, he gave me a lift to the Pier Head distraction from the tune. The in his battered old Austin A40. timetable appeared in church He was the first organist to be invited onDesert Island Discs, magazines and on a website. Also the supervised the rebuilding of the main organ, built his own harpsichord, annual Methodist Prayer Handbook was a keen amateur chef, watercolour artist, fly fisherman, sailor, and includes a hymn to be read daily the first organist recorded on the Great Cathedral Organs series of LPs. beside Bible readings. Hymn books He was also once arrested by the KGB while on a train in Russia! in the hand must be encouraged! Valerie Ruddle, Sevenoaks A lovely man. Thank you for all you did for us. Methodist Church Andrew Colwell, Liverpool
VOLUNTEER RESTRUCTURING: A RESPONSE In his article (CMQ March 2019), conductors and organist, and invited committee, and what roles can they Hugh Morris states that the volunteer choristers from the Branch area to play? I believe it is. A Branch chair and structure of the RSCM is changing form a choir. committee can, for example, foster, and explains why. In May of this year, a ‘Sing hymns encourage and promote all forms of I must admit that I was sceptical and songs old and new’ was held in church music, as well as coordinate and wary about any changes to a the church of All Saints Anglican activities in the Branch area. They system that I have been heavily church, Matamata, organized by the are also available to assist in such involved in for many years. However, organist (myself) and our Branch roles as conductor, organist and after reading the article and giving secretary. Members of the RSCM and pianist when required. The Branch some thought to the changes stated in all local church congregations will be chair and committee also form the the article to the volunteer structure invited to this session, which will be nucleus of a wider committee to of the RSCM, I realized that here in followed by afternoon tea, supplied by organize festivals in the Area. This New Zealand, in the Waikato Branch All Saints choristers. Then in July this can involve many volunteers, as of the RSCM, we have recently year our Branch committee, as part of mentioned in the article, in many adopted these changes in the a deliberate attempt to spread our roles. (The Waikato Branch has done structure of our Branch activities. activities throughout our region, has this for the past few years.) Finally, In February 2018, we had an organized a workshop-sing of Stainer’s the Branch chair and committee can invitation to present evensong in a Crucifixion. The conductor of the also inform all its members of visits church with no choir. Support and local choir will direct the workshop, of church musicians from overseas, involvement came from the priest and while the RSCM Branch committee and encourage people to attend many of the congregation, who took will supply an organist and assist these where possible. roles such as printing the service sheet with travel costs of the conductor. David Brookes, Matamata, and providing refreshments. The This raises the question: is it still New Zealand. RSCM Branch committee supplied necessary to have a Branch chair and
CHURCH MUSIC QUARTERLY JUNE 2019 49 READERS’ LETTERS
CHOOSING THE HYMNS At my present church we sing about There is also the matter of deciding a tune that people can hum on their 260 hymns each year and one of my on the actual hymns, and here my way home, but also to say something objectives is that, apart from principles are: summarizing the service. Christmastide and one or two other Sundays, we only sing any hymn once, The Introit, an introduction The nitty-gritty of all this is a except for the communion hymn as providing a welcome and a good sing. workbook on Microsoft Excel. It there aren’t enough of them. My The Gradual, something specifically has several worksheets, one for the sources of suggestions for any related to the theme of the service hymn numbers and special notes particular Sunday are: and usually more reflective at this (e.g. Remembrance Sunday) and point. This is often a shorter hymn. another for the first line of every The Lectionary The Offertory, generally fairly long hymn, psalm and anthem. Another is Sunday by Sunday (RSCM) with to give the president time to prepare for lists of the hymns for that Sunday suggestions for each Sunday and for the communion. Either a hymn set out for cutting up in slips for the other special services related to the theme of the service, or choir. The result is that I only need to The index at the back of the music one in preparation for the communion. enter the hymn numbers on one line edition of Ancient & Modern New The Communion, a reflective hymn, of the worksheet and occasionally a Standard Edition generally fairly short, sung when the note of a change of tune on the hymn The hymns we sang on the choir has returned to their places. list worksheet. I thus have a complete corresponding Sunday three years ago. For a joint or benefice service with a list of all the hymns, psalms and larger congregation I might have two. anthems since I started. Post Communion, a final hymn to Philip Bowcock, Organist of All Saints, a well-known tune for a good sing and Dunsden
LEAVING VAUGHAN ALTERING HYMNS SINGING SUITABLE KEYS? WILLIAMS ALONE I do agree with John Smith of the I was interested to see Mr Smith’s I read with interest the letter from Towcester deanery. My church letter (CMQ, March 2019) Rex Latter (CMQ, March 2018) purchased copies of Hymns Old and concerning Kevin Mayhew’s recent regarding Ralph Vaughan Williams’s New sometime after 1997, replacing One Family publication. Like you, Sine Nomine, and I am in complete our English Hymnals (sadly, in my I wonder if the compilers considered agreement with him. This great tune view!). As John says, many hymns the likely compass of the average should be left as the composer wrote have been transposed down. congregational singer. The average it. I am happy to say that the current Why? One friend made the comment must be B flat below middle C, and D hymnal used in the Anglican Church that he goes to church to be uplifted, or maybe E flat an octave and a half of Canada keeps the original version and bringing the hymns down doesn’t above. I would have expected the (Common Praise, 1998, #276). help. Worse still, perhaps, the words publishers to set the tunes in a key Unfortunately, in Emynau’r Llan of many hymns have been altered to to fit within that range rather than (1997), the Welsh language hymnal of expunge references to ‘man’ and a seemingly arbitrary tone and a half the Church in Wales, and presumably ‘soldiers’. The worst is in ‘The Lord down. I would certainly make an in some English hymnals, the will come and not be slow’, words by appropriate allowance for a high ‘dissonant’ notes in measures 5 and 6 John Milton, where the second verse tessitura, in ‘Hark, the herald angels have been ‘eliminated’, and many has been turned into doggerel. sing’, for example. organists may now be playing from Fortunately, our copies of HON Another reason I wonder about the corrupted texts. have now been replaced by a new usefulness of this book is that several My mother sang in Vaughan version of Hymns Ancient & churches now have electronic organs Williams’s choir, and I was told that Modern. A great improvement! with a transposing facility in semitone he definitely wanted all the notes in Juliet Chaplin, Cheam notches. I’d also like to think that any of his pieces to be played or sung those of us playing instruments as he wrote them. There is no good without such a facility would be reason to disagree with him. capable of transposing to a friendlier Keith Davies Jones, St George’s key. I did this at the church where I Anglican Church, Winnipeg, Canada play until I was rumbled by the altos! Charles Pipe-Wolferstan
CHURCH MUSIC QUARTERLY JUNE 2019 50 OBITUARIES
ARNOLD PUGH EDWARD ‘TED’ HAINES appointed organist of Holy Trinity, Leamington Spa, to succeed Harold Arnold Pugh made an invaluable Edward George Haines, known to all as Dexter. Following the sudden death of contribution to the musical heritage of Ted, died suddenly just a few minutes Peter Burton, Hurford applied for the Rugby during his active life as a musician, after playing the piano at home in vacant post of organist and master of composer, teacher, organist and director December 2018. Ted joined the choir of the choristers at St Albans Cathedral. of music at Rugby Parish Church. St Peter & St Paul, Grays, as a 12-year- He began his duties in January 1958. Born in Canada in 1935, Arnold old and soon learned to play the Hurford soon realized that the cathedral moved to England and studied the organ organ. He was deputy organist under organ (a four-manual Willis) was in with the late David Sanger, among other Len Nottridge and he married Audrey, a urgent need of attention. This was an notable teachers. Arnold taught piano member of the choir, in 1961. Ted later opportunity to design, along with Ralph and organ at Rugby School, with pupils became organist and choirmaster and, Downes, an instrument capable of including Christopher Betts, formerly six decades after he started, was still playing the repertoire of the last 300 a resident musician at Washington organist when he died. years. The work was undertaken by National Cathedral in the USA. Ted accompanied the Townswomen’s Harrison and Harrison, and completed Church music flourished at St Guild Choir, including events at St in 1962. Andrew’s during his long tenure, with Martin-in-the-Fields and Chelmsford In 1963 Hurford founded the several notable professional Cathedral and he conducted the joint International Organ Festival, also recordings, commissioned works from carol service for the parish church becoming its artistic director – a post he significant composers, broadcasts and combined with St Thomas’s choir for held up to 1978. Thanks to the driving choir tours in the UK and abroad. many years. force of Hurford, St Albans Cathedral The many boy choristers and Ted taught lots of local children to now possessed an instrument that was pupils taught by Arnold are grateful for sing in the choir, and to play the piano ideally suited to re-establishing the his guidance and encouragement; a and keyboard. Before retiring Ted was a organ as a major instrument. Hurford number have become professional primary school teacher working in stated the twin aims of the festival as musicians. This is a testimony to his Thurrock and Havering. being ‘to foster among young English inspiration, dedication, discipline and Ted will be sadly missed by all who organists a high standard of organ devotion to his art. knew him. He leaves his wife Audrey, performance through contact with Karl Dorman two daughters and four grandchildren. their contemporaries from abroad’ Peter Robinson, choirmaster and secondly ‘… to encourage the art of improvisation’. BARBARA ALIDA SMITHDORF Hurford had a long association PROFESSOR RUTH STEINER with the RSCM. Although not on Barbara Smithdorf, founding member of the full-time staff, he gave organ the parish choir of Holy Nativity, Cape The RSCM is sad to record the death of masterclasses and taught at the Town, South Africa, died on 10 January Professor Ruth Steiner FRSCM, a Addington Palace summer courses 2019. She was instrumental in many leading scholar of Gregorian chant. The from 1975 until 1994. In addition, projects undertaken by the choir, and RSCM’s principal focus is on practice, he gave a number of recitals on the served as choir treasurer for over 20 but that is underpinned by knowledge, newly installed Peter Collins organ years. A proponent of the Anglican scholarship and research. Professor in the Great Hall, some of which choral tradition, Barbara was always Steiner was a pioneer in promoting the were broadcast by the BBC. He was eager to improve and learn new music, use of digital technology as a tool for awarded the FRSCM in 1977. and felt that singing to the glory of God chant research, and the founder of the In 1978 he relinquished his post at was ‘food for the soul’. She will be internationally acclaimed Cantus St Albans to concentrate on recital work greatly missed for her angelic voice and database of Western chant. across the globe, and to undertake the inherent organizational skills. The Professor John Harper, Director recording of the complete organ works parish has undertaken to build a music Emeritus RSCM of J.S. Bach for Decca and BBC Radio 3. room – a space for pre-service In his entry in Who’s Who in Music, rehearsals and music training – in Hurford listed travel and silence as his memory of her. May she be kept in PETER HURFORD recreations. Although not a prolific perfect peace. We love you Barbs! composer of organ music, his Suite – Ashley Petersen Peter Hurford, born on St Cecilia’s Day in 1930, has died aged 88. He won an Laudate Dominum (OUP 1961) deserves organ scholarship to Jesus College, special mention. His short anthem Cambridge where he studied music and Litany to the Holy Spirit enjoys a law, obtaining degrees in both. continuing popularity on music lists. On leaving Cambridge, Hurford He was elected President of the Royal became a pupil of the French organist College of Organists 1980–82. André Marchal in 1951. In 1956, he was Trevor Jarvis
CHURCH MUSIC QUARTERLY JUNE 2019 51 REVIEWS OF CDs and BOOKS
As the cathedral’s patron saint is who was Bishop of Lincoln from 1885 CDs St Peter, I was slightly disappointed until his death. Now that is a local brew! that Britten’s Hymn to St Peter hasn’t Stuart Robinson Worth hearing been included but Anthony Piccolo’s Recommended Jesus walking on the waves is a Essential listening fascinating substitute. It’s described not as an anthem but a dramatic scena SORROW AND depicting Matthew’s Gospel account of Peter’s fear and faith during the CONTEMPLATION A YEAR AT . . . storm in which Christ calmed the waters. Jonathan Dove’s Seek him that maketh the seven stars rounds THE LAST JOURNEY: A YEAR AT EXETER off an excellent listen. REFLECTIONS FOR THE Choir of Exeter Cathedral / Another of Regent Records’ A Year at TIME OF GRIEVING Timothy Parsons (organ) / Timothy … series takes us to Lincoln Cathedral. Cathedral Singers of Chicago / Noon Regent REGCD524 As with the recording from Exeter, this Pamela Warrick-Smith (soprano) / is a collection of works reflecting Richard Proulx / John L. Bell A YEAR AT LINCOLN seasons of the church year interspersed SPCK 978-0-281-08002-1 £14.99 Choir of Lincoln Cathedral / with pieces of local interest and origin. Is this a CD of songs accompanied by Jeffrey Makinson (organ) / Aric Who better at Lincoln than to start a beautifully produced book or a book Prentice · Regent REGCD532 with William Byrd who was appointed of readings, prayers and meditations I’ve always had a soft spot for Exeter organist and master of the choristers accompanied by a hauntingly poignant Cathedral; during their latter years my in 1563! His Vigilate that opens this recording? It is both: unusual in late parents liked to attend Sunday CD takes care of the Advent offering, concept and format, but resulting choral evensong sitting in the return immediately followed by Ding dong, in an item to be read, listened to and stalls under the organ – truly a merrily on high in the increasingly treasured. Songs to accompany the ringside seat! popular arrangement by Mack Wilberg process of grieving have a long history, Listening to this CD of the cathedral and Peter Stevens. Looking down the not least in the songs of lament in the choir under the direction of Timothy list of 17 pieces, there are wonderful Book of Psalms. In this new CD/book Noon has evoked happy memories choices from the 16th century up to the songs begin and end with solidarity and it’s marvellous to hear them in the present day: S.S. Wesley, Parsons, with Jesus in his grief – starting with good voice. Taverner, Tallis, Brahms and Finzi, scripture ‘… Jesus wept’ and ending Regent’s A Year at … series continues with more contemporary pieces from with the spiritual ‘Nobody knows the to work well as a framework to reflect Bob Chilcott, Judith Bingham and trouble I’ve seen’. In between, John music-making at many of our great Mark Blatchly. Bell organizes the material to move cathedrals. Alongside the key Christian What mark out each of the A Year from ‘grief, fear and abandonment’ seasons such as Christmas and Easter, at … CDs are works that have begun life through ‘consolation’, then ‘leave local patron saints and other feast days in the featured cathedral and become a taking’ (a section that concludes are celebrated. Exeter’s collection part of its tradition. My dearest wish by with the Agnus Dei and ‘Lux perpetua’ begins with a rousing performance of Lincolnshire composer Patrick Hawes, from the Requiem) before reaching Howells’s Hymn to St Cecilia. There commissioned by the cathedral in the ‘saints in heaven’. are some excellent repertoire choices – 2010, is a case in point. This pleasingly The 17 musical items include original Robert Parsons, Philip Lawson, Tallis sonorous piece sets a text by the hymns by John Bell, biblical paraphrases, (11 wondrously soaring minutes of composer’s brother Canon Andrew liturgical texts and spirituals. Many Videte miraculum) and Purcell’s Hear Hawes who has served as a priest in the of the hymns have original tunes but my prayer. Also represented are key Lincoln diocese and as a prebendary at there is also effective use of folk pieces by John Blow, S.S. Wesley, the cathedral. In turn the text is drawn melodies including Iona boat song, Hadley and Stainer. from sayings by Bishop Edward King Lark in the clear air and O waly waly. The Genevan Psalm 12 tune, otherwise known as Donne secours, has a dance feel in John Bell’s catchy treatment for ‘Go, silent friend’. The 16-voice choir is accompanied at various times by flute, oboe, cello, piano and organ. The songs collectively embrace grief and loss with courage and, ultimately, a sense of hope and trust in God. Julian Elloway
CHURCH MUSIC QUARTERLY JUNE 2019 52 ALL THE LATEST REVIEWS ARE AVAILABLE ONLINE AT WWW.RSCM.COM/REVIEWS
recordings and an annual foreign tour, IN SORROW’S FOOTSTEPS the choir sings two choral services The Marian Consort / Rory a week in the college chapel. With six McCleery Delphian DCD34215 singers to a part under the direction Settings of two Holy Week texts – of David Rowland they make a fine namely the Stabat Mater and Psalm 51 sound in this thoughtfully constructed (the Miserere) – seem a curious choice programme. for a celebration. We’re told this CD It takes its title from an early work is a celebration of the Marian Consort’s by Herbert Howells; Even such is time 10th anniversary and its 10th recording is a setting of a text by Sir Walter with Delphian. Founded and directed Raleigh supposedly written on the by Rory McCleery, the Consort is night before his execution. There are among other favourites, give way to a mixed ensemble of up to 10 singers. two large-scale pieces of thoughtful Ola Gjeilo’s Ubi caritas and Morton They’ve made a name for themselves and sombre writing – Finzi’s great Lo, Lauridsen’s O magnum mysterium. with appearances throughout the the full, final sacrifice and Kenneth The daily singing of psalmody is UK and Europe and on BBC Radio 3. Leighton’s Crucifixus pro nobis. reflected here with beautifully The CD notes refer to ‘its engaging Herbert Howells’s Take him earth for unhurried performances of three performances and imaginative cherishing, written following the favourites, namely Psalms 23, 130 and programming; the group draws its assassination of President Kennedy in 121. Not a syllable is out of place. There members from the very best young 1963, is another searching musical are some unusual but pleasant pieces to singers on the early music scene today.’ exploration of grief and loss. Walton is close: Mo Li Hua (the Jasmine Flower Although the musical mood belies any represented by his setting of the hymn Song), a traditional Chinese piece celebration, this CD is a good example Drop, drop slow tears, Where does the arranged by Stephen Cleobury, and of both fine programming and singing. uttered music go and Set me as a seal. It the American folksong Shenandoah. At first hearing, a setting of theStabat is often said that composers’ finest As well as the splendid music-making, Mater by Gabriel Jackson makes for writing is reserved for Lenten and Holy mention must be made of the recording a strident opening but it is beautifully Week texts and there are plenty here! quality. The choir’s own label has gone sung and it should be: it was Yet Leighton’s Solus ad Victimam, from strength to strength and it’s evident commissioned by the Consort. It is a which closes this collection, contains a that there is a true understanding by heart-rending musical portrayal of glimmer of hope and triumph; the final Benjamin Sheen and others of the nature Mary’s grief at the foot of the Cross. line of Abelard’s text reads (in Helen of what must surely be one of the best Four Renaissance works including Waddell’s translation), ‘Heavy with recording studios in the world. three by Palestrina follow, including weeping may the three days pass to Stuart Robinson his take on the Stabat Mater. Allegri’s win the laughter of thine Easter Day.’ Psalm 51 is also included and, by Stuart Robinson contrast, James MacMillan’s more contemporary setting. It’s easy to hear ORGAN LOLLIPOPS how much the setting for the Sistine Chapel has influenced MacMillan in KING’S COLLEGE his work – the use of plainsong and FAVOURITES WORCESTER SPECTACULAR fauxbourdon writing in particular. Christopher Allsop plays the Andrew Mellor, in his programme notes, is fascinated by many musical Kenneth Tickell organ in Worcester THE MUSIC OF KING’S: points of comparison between the old Cathedral Priory PRCD 1214 CHORAL FAVOURITES This collection of organ lollipops and new settings of the texts. This CD FROM CAMBRIDGE is a thoughtfully devised programme. certainly has an arresting opening, The Choir of King’s College, namely Bach’s dramatic Toccata and Cambridge, Stephen Cleobury Fugue in D minor played with bravura KGS0034 EVEN SUCH IS TIME and panache. The fugue is fast but This CD was released earlier this year excitingly dramatic and energetic. The Choir of Christ’s College, in time for the choir’s USA tour in the Christopher Allsop was assistant Cambridge / David Rowland Spring. It opens with Monteverdi’s director of music at Worcester Regent REGCD511 sprightly Cantate Domino – sung with Cathedral from 2004 until 2018 and The choir of Christ’s College is also in an edgy Italianate feel. More baroque contemplative mood for this collection and renaissance fare follows with music of major choral writing from British by Scheidt and Palestrina and Lotti’s 20th-century composers, namely Crucifixus– the latter with a gentle organ Finzi, Leighton, Howells and Walton. backing. The press blurb describes this Music has played an important role collection as a ‘celebration of choral in the life of Christ’s College which music throughout the ages and around spans 500 years. For the past 40 years the world’. It is a splendid mix of there has been a mixed choir drawn familiar and the unfamiliar. Fauré’s Pie predominantly from the college’s Jesu (sung by Joseph Hall with assured own students. Apart from concerts, poise) and Mozart’s Ave verum corpus,
CHURCH MUSIC QUARTERLY JUNE 2019 53 REVIEWS OF CDS AND BOOKS will therefore be familiar with the Lichfield Cathedral, then organist of composition through its decline in Tickell instrument installed high St Augustine’s, followed by New College, popularity and subsequent revivals up in the quire in 2008. If you go to Christ Church Cathedral and St George’s and interpretations. The first chapter Worcester, you cannot miss the fine Chapel, Windsor (1933–61). All the describes the world into which Bach casework. In the pieces that follow while he taught (mainly at the Royal was born, starting ‘Thuringia is a we’re certainly given a comprehensive College of Music, where Howells rated pleasant region of wooded hills, stern tour of the organ’s varied tone colours. him highly), composed and conducted. castles, cobbled streets and tall church Ralph Vaughan Williams’s Prelude The authors of this richly illustrated towers soaring over wide market on the Welsh tune Rhosymedre and biography have not only written up squares in handsome medieval towns. Pietro Yon’s Toccatina show off the all the known facts of Harris’s life and Luther was born here – he and Bach gentler sonorities as well as some career but have augmented these with attended the same school in Eisenach delightfully ‘twinkly’ stops. This CD is innumerable comments from those two hundred years apart …’. And so it a comprehensive recital of short pieces who knew him, in addition giving continues, all told with a light touch. ranging from local musician Easthope fascinating background information There is also technical discussion Martin and Percy Whitlock to Louis about all the places where he worked. and music examples (especially in a Lefébure-Wély and Percy Fletcher. However, the value of this book is far chapter headed ‘The learned musician: Dubois’s Fiat Lux and Karg-Elert’s greater than that: pages 93–320 form Some technical aspects’), a good index Marche Triomphale on Nun danket alle a catalogue of his works (some 250 of and a seven-page chronology from 1685 Gott certainly show off the gritty reeds them), with facsimile music pages as (Bach’s birth) to 1955 (first volume of on an instrument with entirely new illustrations. This is very well done; it the Neue Bach-Ausgabe). Readers of pipework except for two historic ranks adds great musicological value to the David Stancliffe’s article ‘Bach and of pipes. The CD closes with a fine book. One error (p. iii): Petersfield Architecture’ last year (CMQ, March performance that popular Toccata by is in Hampshire, not Sussex. 2018) will find here a similar concern Widor, played at a good steady pace. As with other Jarvis / Henderson to understand what Bach wrote and why Stuart Robinson books, it is excellently produced he wrote as he did. The 10 judiciously (though I lament the use of the Gill chosen, full-colour illustrations are Sans font, with its lack of visual flow), all relevant to what is discussed in featuring an attractive line drawing of the text. It is a highly readable fusion Windsor Castle on the cover. of scholarship and storytelling. Paul Hale BOOKS RECOLLECTIONS OF A JOHANN SEBASTIAN BACH: ST ALBANS ABBEY CHORISTER A VERY BRIEF HISTORY TREVOR JARVIS COMPOSERS Andrew Gant Available from the author at RSCM, AND ORGANISTS SPCK: 124pp. 19 The Close, Salisbury SP1 2EB H/B 978-0-281-07957-5 £12.99; Cheques for £8.00 should be SIR WILLIAM HENRY HARRIS: P/B 978-0-281-07958-2 £7.99 payable to ‘Trevor Jarvis’ ORGANIST, CHOIR TRAINER This ‘very brief history’ is published at The listing of this title under the AND COMPOSER a very reasonable price and tells a story heading ‘Composers and Organists’ JOHN HENDERSON that is valuable for any reader singing, results from so much of the book being AND TREVOR JARVIS playing or listening to Bach’s music. about St Albans after a ‘new broom’ RSCM: 333pp. There are two sections, firstly ‘The arrived in the form of Peter Hurford, P/B 978-0-85402-279-3 £27.00 History (What do we know?)’ since with descriptions of Hurford’s placing Bach in his social, political ‘They were the best choristers I rehearsing, conducting and playing – and religious background is such a help ever had.’ This was an observation complete with biography and list to understanding the music. Then ‘The Sir William Harris (1883–1973) of his published choral works. It is Legacy (Why does it matter?)’ explores made to me shortly before his death – fascinating to read of the impression why he is still important today. It is a reference to his years as organist made on Trevor Jarvis, a chorister at a history of Bach’s music from its of New College, Oxford. Roy Massey St Albans, looking back 60 years later (then at Birmingham Cathedral) and at Hurford’s work there. Discipline was I (then at New College) had gone to tightened, repertoire broadened and visit him in Petersfield – Roy to talk to standards raised. Jarvis remembers him about St Augustine, Birmingham, his initial encounter with ‘someone where they had both been organist, and in a hurry – like a whirlwind – I to ask him about his New College days with a surfeit of nervous energy’. (1919–29). He was hard of hearing but In addition we have a valuable generous with his time and fascinating reminiscence of Hurford’s predecessor, to listen to. We left with inscribed Peter Burton, who died in post at the age copies of his latest (final?) choral of 41 in an accident while swimming, works, fresh from OUP. and more generally a description of life Harris’s 10 years at New College as a cathedral or abbey chorister in the were but one chapter in a varied career late 1950s, ranging from choir camps to beginning as assistant organist at royal visits, along with documentation
CHURCH MUSIC QUARTERLY JUNE 2019 54 ALL THE LATEST REVIEWS ARE AVAILABLE ONLINE AT WWW.RSCM.COM/REVIEWS of the daily routine of the choir. to the relevant page number in the in the first chapter. We read that One does not need to be a present ‘singer edition’ would have made the ‘Hymns Ancient and Modern has more or former chorister to enjoy reading pianist’s task easier when working or less disappeared from our churches; this well-researched evocation of with singers. the Anglican Hymn Book … is itself what is indeed a special world. One surprise is to come across being replaced by Mission Praise Julian Elloway Jerusalem notated with a minim which shows a marked preference for beat as if in 3/2 but given a 6/4 time the happy-clappy over the solemn and signature. This is even explained: patriotic’; the ‘old tunes’ have been ‘6/4 is six crotchets in a bar (in 3 replaced by ‘kitsch’. A recurrent theme SINGING groups of 2)’. Er, no! But otherwise this throughout the book is the distinction is a sound course that will encourage between kitsch or cliché and CHORAL AND VOCAL SIGHT pianists and choir directors to develop expressive sentiment. Readers who SINGING AND KEYBOARD their keyboard harmony skills while agree will hardly need this book to HARMONY working on sight singing. reinforce them in their views. Those Julian Elloway who disagree will find much to argue NANCY LITTEN with in these provocative but Alfred Music disorganized chapters. Singer edition: 56pp. P/B 20173UK £9.95 Pianist edition: 84pp. THINKING ABOUT HAUNTED BY CHRIST: P/B 20172UK £12.95 MODERN WRITERS AND MUSIC THE STRUGGLE FOR FAITH These books provide carefully graded RICHARD HARRIES sight singing practice at the same time MUSIC AS AN ART as teaching pianists keyboard harmony ROGER SCRUTON SPCK: 233pp. H/B 978-0-281-07933-9 £19.99; as they accompany the exercises from Bloomsbury: 261pp. P/B 978-0-281-07934-6 £9.99 chord symbols. The books are well- H/B 978-1-4729-5571-5 £25.00 structured and systematic in the way Much of Haunted by Christ is also Devotees of Sir Roger Scruton will new keys and chords are gradually based on previous publications or enjoy this book. It predictably attacks introduced. Each stage includes exercises lectures, but there is a structured Boulez, Adorno, Schoenberg and for the singers intended to be practised continuum from the opening Stockhausen among others along as well as sight read, along with discussion of Dostoevsky’s ‘Furnace with Marxism, controversial opera accompanied songs. I’m not sure in of Doubt’ to Marilynne Robinson’s productions, pop and rock music, even what way it is for ‘choral’ sight reading affirmation of a Christian life ‘taking a passing jibe at Islamists (who wish to more than any other sight singing book seriously the biblical revelation of a replace Western civilization, including – the vocal line throughout is a single wise and loving God’. Harries considers classical music, with barbarism). line and in the treble clef. the work of 20 writers within 15 It refers to ‘our generation’ or ‘my The ‘pianist edition’ encourages chapters. Emily Dickinson, Gerald generation’ (Scruton was born in 1944) pianists to experiment with varied Manly Hopkins, Auden, Eliot, Muir and and is uneasy with much of the culture examples of realizations of chords and Mackay Brown are among the poets of succeeding generations. David different styles of accompaniment. discussed who themselves referred Matthews (born 1943) is the only It also sensibly explains the ways to music and singing or wrote words living composer with a chapter to chords are described and makes easy that acted as stimuli for composers. himself. So far, so predictable – the sense of what can be otherwise be Although not a book specifically about author is renowned as a conservative confusing. It includes chord examples music, these reflections about how polemicist. What is disappointing is and practice routines, and at the back poets have wrestled with their Christian the lack of a structured argument are charts with every chord you are faith will resonate with many musicians. to take us through the book from likely to come across in every key. One Julian Elloway ‘When is a Tune?’ to ‘The Culture of chord per bar is used at first with more Pop’. No less than 8 of the 17 chapters frequent changes in later chapters. are adapted from previous publications Cross-references in the piano book or lectures and the individual parts are not welded into a bigger whole. Constant reference to the index will You will find reviews of recent printed music help the reader to jump to and fro as publications in this issue of Sunday by Sunday (no. 89). All the latest reviews are available necessary, so when, for example, we online at www.rscm.com/reviews read praise of George Rochberg (1918–2005) and his quartet variations Printed music and books (not CDs) reviewed by the RSCM, with the occasional exception of private on Pachelbel’s Canon, surprisingly at publications, can be obtained from RSCM Music the culmination of Chapter 16 ‘The Direct. Tel: +44 (0)845 021 7726; fax: +44 (0)845 Music of the Future’, a memory of 021 8826; email: [email protected] having encountered that name leads Items for review should be sent to the Reviews us via the index to the relevant pages Editor, Ashleigh House, Cirencester Road, in Chapter 5. Minchinhampton, Stroud, Glos GL6 9EL. Tel: Music as an art for use in worship +44 (0)7879 406048; email: [email protected] makes occasional appearances, mostly
CHURCH MUSIC QUARTERLY JUNE 2019 55 PUZZLES
ORGANISTS WORD SEARCH
N E Y D D Z M R X V B R Y O D S F A Z G X F E N M Edward Bairstow W E J R Z Q J P Q X Y I T U J D Y B B E D X N I U Ralph Downes U N T A U Y N G F V P L P J A P J G N O L R O P Y L Y I W J Q D U Q B I G G E F S U E L R L M E G P Alfred Robert Gaul S P I F K W L H K O L C R R G B R Y R G E U L Q Q William Henry Harris I K X J K W K V N Z Q Y G M Y G W B F E C P R W W Basil Harwood B C Z E F X I F S U C U V H U J R G W T R W A G D Peter Hurford W I L L I A M L I T T O N V I N E R I H U N W Z I Henry Purcell Y R E N M E B U L M V T D U Q V Y N I A P H S M T J D N T Q H W A J I X O J Z N U A R S L Y M T R I James Kendrick Pyne C N M W E S B G J T A R J G C V D T E B R X H F R George Thalben-Ball L E J O P B A T Z O M M R U I S G J N E N U O T A William Litton Viner G K S T U X Y R C W G N H L D X U P W N E K R X H Samuel Wesley F S S S Y W Y E A F N D C E G K B E O B H P N S G David Willcocks N E I R K P J B U T T G S C N L I T D A H T E A O H M E I E L G O D R D E U J V R T E H L M N Z M C Noel Rawsthorne B A E A J L Y R U H G S U R G X Y R P L Z M W U W X J Y B V Q E D B Z S M C Q P G B H L F E R X E T Y I L D P P G E Q Q Y Z X Z Z B I U A V Q U W L G A I Q R G W I R P M M M C O H U O R R R Y J U W X U L E A O K U F Z K A F X R O I M F I H R C N E V O P J W J R Z L B A S I L H A R W O O D H I F S P J G F D U W X A L Q N K E O Q I A R V S W G S L M E J Y E D N P G J F K D J W N L M D B Z W M K E S M D N E B H A M D A V I D W I L L C O C K S V Y U Answers on page 58 EDWARDBAIRSTOW RALPHDOWNES ALFREDROBERTGAUL WILLIAMHENRYHARRIS BASILHARWOOD PETERHURFORD HENRYPURCELL JAMESKENDRICKPYNE GEORGETHALBENBALL WILLIAMLITTONVINER SAMUELWESLEY DAVIDWILLCOCKS MISSINGNOELRAWSTHORNE NOTES U U œ œ ™ b 4 œ œ œ œ œ œ œ œ œ nœ œ ˙ & 4 œ 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 œ œ b 4 œ œ ˙ œ #œ
CompleteComplete the harmony the harmonyCom pwherele twheree th eindicated. h indicated.armony. T TheThehe ffinalinal c cadenceacadencedence iiss iinterupted,nterupted, andand youyou mmayay double doubl ethe th thirde thir ifd ineeded.f neede d. is interupted, and you may double the third if needed. Answers on page 58
Answer
CHURCH MUSIC QUARTERLYU JUNE 2019 U™ 4 œ œ œ œ œ b 4 œ œ œ œ œ 56 œ œ œ nœ œ ˙™ & œ œ 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 œ œ œ œ œ œ œ b 4 œ œ ˙ œ #œ
CMQ Music Puzzle with answers.indd 1 13/05/2019 09:35 LOOKING TO THE FUTURE
An interview with HELEN SMEE
CMQ Helen, thank you for organizations devoted to encouraging Widening access to organ playing agreeing to talk to us. Could women and girls to play the organ. is even harder, partly because the you tell us a little about how Even so, I’d like to see greater logistics of learning to play the organ: you got into music? cooperation between schools, junior availability of practice instruments, HS Thanks for having me! I joined conservatoires, churches and hubs shoes, expensive books, lessons – all a choir and started learning the piano to identify good keyboard players these combine to make it difficult. If when I was about five. At secondary of all genders at a good age. you don’t go to a school with an organ school, I added saxophone, clarinet, Personally, I’ve faced greater (and most people do not), you need violin and eventually organ to my challenges as a conductor than as local musicians to help nurture your instrumental study. I think my an organist. I think there is still development. At St Mary, our organ teachers thought I was spreading a generation who are profoundly scholarship scheme supports two myself too thinly, but with hindsight uncomfortable about being told what teenage players (and some younger I can see that my fascination with to do by a young woman. That sort students) with subsidized lessons, a new instruments was an obvious step of barrier is common and usually lending library of organ music and towards becoming a conductor. invisible, so it can be hard to find almost unlimited practice time. It’s far Later, the head of music at my allies who will take it seriously. from perfect, but I would encourage school mentioned the existence other parishes to think about what they of university organ scholarships. CMQ A disproportionate number can offer (local lessons? practice time? I applied to Cambridge and, much of professional church musicians the occasional opportunity for young to almost everyone’s surprise, won (male and female) are privately organists to contribute to a service?). a place. I was a very late starter at the educated and went to an elite organ, and had no experience of choral university. What is being done CMQ What advice do you have for evensong: I attended my first service in places such as your church other up-and-coming organists or at Cambridge! The learning curve was (St Mary, Merton) to encourage would-be directors of music? huge, but I was warmly encouraged children from a diversity of HS Never assume that you’re not by those around me and loved every backgrounds to get involved good enough to contribute. At 18, I was minute of it. I was lucky enough often in church music? so in awe of my ex-chorister, public to conduct the (very supportive) HS At least one of those labels school contemporaries that I nearly chapel choir , which I soon discovered applies to almost every single one didn’t apply for an organ scholarship. was really the natural end-point for of my colleagues. Realistically, young Everyone has a unique set of gifts and my all-rounder background and people looking to become professional talents – some musical, some not – assertive personality. After that, I was musicians need a huge amount of and yours are important and valuable. advised to consider the Royal Academy expensive one-to-one tuition. If For conductors, absolutely do not of Music’s wonderful course in choral their parents cannot afford it, underestimate the value of having conducting, led by Patrick Russill. that’s potentially the end of their lessons. Yes, you can work some of it out professional ambitions. on your own, but it is so much quicker CMQ As a woman, do you feel In general, I think choirs and church and less frustrating to learn some good that you ran up against barriers musicians need to make themselves technique early on – your singers and when trying to break into your much more visible. Interestingly, future self will thank you for it! chosen profession? modest social media advertising at HS It’s quite true that had I been St Mary, Merton has had a huge stmarysmertonchoir.com a cathedral chorister I would almost effect on the number and diversity certainly have started the organ much of prospective choristers – it reaches PLEASE VISIT earlier, and it was hard trying to catch those who would not otherwise hear www.societyofwomenorganists. up at 18. I’ve seen quite a few talented about our opportunities. Once they’re co.uk/, an exciting new initiative girls start the organ and give up in in the choir, they receive free vocal designed to promote and the face of more experienced boys. coaching, free theory tuition and the encourage girls and women Thankfully, there are now an offer of heavily subsidized piano into the organ world. increasing number of schemes and and theory lessons.
CHURCH MUSIC QUARTERLY JUNE 2019 57 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 details, email church@stjohnsand embrace a broad range of musical styles. stlukes.org.uk For an informal We are looking for a choir director who All Saints’, Milford on Sea, Hampshire conversation about the post, please can recruit, develop, and encourage Music Director call Rev Simon Dowson on 07735 532821. singers of all ages. They will develop the Is God calling you? Closing date for applications: musical life of the church and be excited All Saints’ Milford on Sea is looking for Monday 17th June 2019 by the opportunities that this post brings. a Music Director to help take our worship Salary will be based on RSCM guidelines, forward. We currently have a talented Director Of Music And Organist plus fees. This post is subject to an choir and a worship group and are keen to St Peter’s Church, Henfield, West enhanced DBS check. develop these twin strands of traditional Sussex For an informal discussion, or for and contemporary worship. Ideally The parish church of St Peter’s is the a job description please contact. you would also be available for the largest of the three churches in the The Revd Paul Doick | 01273 492017 | occasional offices. vibrant West Sussex parish of Henfield [email protected] The organ is a 3-manual Wyvern, with Shermanbury and Woodmancote. installed in December 1999, with We are seeking an enthusiastic and gifted a comprehensive stop-list. musician who will work with the organist This is a paid position. for full details at Shermanbury and Woodmancote ANNOUNCEMENTS of the church please go to our website Churches, to make a significant Competent Singers & Organists www.allsaintsmilford.co.uk If you are contribution to our worshipping life. Required – Poscimur – Small, Friendly, interested and would like further details, Sung services at St. Peter’s include a Robed, Adult, SATB Choir, RSCM please contact Revd. Dominic Furness Eucharist three Sundays a month, a Non affiliated – sings in Cathedrals – UK on 01590 643289, or e-mail – Eucharistic All Age Service on the first Wide Membership … Contact Catherine [email protected] Sunday, some Festivals, and quarterly Thomas on 020 8857 9375; Choral Evensong, which rotates around [email protected]; St John and St Luke, Bilton, Harrogate, the three churches of the parish. In www.poscimur.co.uk Post of Director of Music/Organist addition, there are a good number of We wish to appoint a Director of Music weddings and funerals. and Organist to continue our rich and The PCC is keen for the choral tradition FOR SALE varied musical tradition, centred around to be re-established at St Peter’s church, Usedorganmusic.co.uk are specialists our high-quality SATB choir. The with an emphasis on developing a children’s in second-hand classical sheet music for successful applicant will be expected and adult choir, and the successful organ. We buy and sell second-hand sheet to share in the ongoing development candidate will have the skills to exploit music for the organ together with books of worship in our two churches. Organ: the opportunities for recruitment that on organs and church music. Please view two manual with pedals and a number of our partnership with our Church of the current catalogue of items for sale beautiful solo stops. Remuneration will England Primary school brings. on the website. Contact Roger Molyneux be based on RSCM guidelines. The post Music is an important part of our life ([email protected] or 07902U™ comes with opportunities for weddings together as a church,4 and theœ successful 176744).œ œ œ œ œ œ ˙ &b 4 œ œ œ œ œ œ ˙œ œ œ œ œ œ œ nœ and funerals with fees. For further candidate will be someone who can œ œ ™ œ œ œ œ œ œ œ œ #œ œ œ ˙ {? 4 œ œ œ œ œ œ œ œ œ b 4 œ œ ˙ œ #œ ANSWERS TO PUZZLES ON PAGE 58 Complete the harmonyComple twheree the h indicated.armony. T Thehe ffinalinal c cadenceadence iiss iinterupted,nterupted, andand youyou mmayay double doubl ethe th thirde thir ifd ineeded.f neede d.
Name: ORGANISTS WORD SEARCH ANSWERSCreated with TheTeachersCorner.net Word Search Maker Answer
N E Y D D Z M R X V B R Y O D S F A Z G X F E N M MISSING NOTES ANSWERS W E J R Z Q J P Q X Y I T U J D Y B B E D X N I U U N T A U Y N G F V P L P J A P J G N O L R O P Y L Y I W J Q D U Q B I G G E F S U E L R L M E G P U U™ S P I F K W L H K O L C R R G B R Y R G E U L Q Q 4 œ œ œ œ œ &b 4 œ œ œ œ œ œ ˙ œ œ œ œ œ nœ œ œ ˙™ I K X J K W K V N Z Q Y G M Y G W B F E C P R W W œ œ œ œ œ œ œ œ#œ œ ˙ B C Z E F X I F S U C U V H U J R G W T R W A G D ™ œ œ œ œ ˙™ W I L L I A M L I T T O N V I N E R I H U N W Z I œ œ œ œ œ œ #œ œ ˙ {? 4 œ œ œ œ œ œ #œ œ œ œ œ Y R E N M E B U L M V T D U Q V Y N I A P H S M T b 4 œ ˙ œ J D N T Q H W A J I X O J Z N U A R S L Y M T R I C N M W E S B G J T A R J G C V D T E B R X H F R L E J O P B A T Z O M M R U I S G J N E N U O T A G K S T U X Y R C W G N H L D X U P W N E K R X H F S S S Y W Y E A F N D C E G K B E O B H P N S G N E I R K P J B U T T G S C N L I T D A H T E A O H M E I E L G O D R D E U J V R T E H L M N Z M C B A E A J L Y R U H G S U R G X Y R P L Z M W U W X J Y B V Q E D B Z S M C Q P G B H L F E R X E T Y I L D P P G E Q Q Y Z X Z Z B I U A V Q U W L G WHO READS YOUR COPY OF CMQ? A I Q R G W I R P M M M C O H U O R R R Y J U W X U L E A O K U F Z K A F X R O I M F I H R C N E V Do share your copy among the other musicians O P J W J R Z L B A S I L H A R W O O D H I F S P in your church, pass it round the vestry or staff J G F D U W X A L Q N K E O Q I A R V S W G S L M E J Y E D N P G J F K D J W N L M D B Z W M K E S room – and encourage others to become Friends or M D N E B H A M D A V I D W I L L C O C K S V Y U Members of the RSCM and receive their own copy. EDWARDBAIRSTOW RALPHDOWNES ALFREDROBERTGAUL WILLIAMHENRYHARRIS BASILHARWOOD PETERHURFORD Edward Bairstow James Kendrick Pyne HENRYPURCELL JAMESKENDRICKPYNE GEORGETHALBENBALL Ralph Downes George Thalben-Ball WILLIAMLITTONVINER SAMUELWESLEY DAVIDWILLCOCKS Alfred Robert Gaul William Litton Viner NOELRAWSTHORNE William Henry Harris Samuel Wesley Basil Harwood David Willcocks Peter Hurford Noel Rawsthorne Henry Purcell