CHURCH MUSIC QUARTERLY JUNE 2020

REJOICE AND BLOSSOM Tradition, Quality, Innovation, Style.

We offer four brands of organ each with their own identity, sounds, appearance, technology and style. All our brands share valuable characteristics such as technological innovation and the best sound quality, which is never a compromise. All provide the player with a unique playing experience. A great heritage and tradition are our starting points; innovation creates the organ of your dreams. Contact us for tickets for our ‘Autumn Shades’ concert at Shaw on Saturday 3rd October 2020 Makin | Copeman Hart | Johannus | Rodgers

www. .co.uk

For more details and brochures please telephone 01706 888100 Tradition, Quality, CONTENTS

5 WELCOME 35 SINGING SHENG Innovation, Style. Hannah Emmrich writes about the wonderful blend of musical styles 6 IN ACTION found in Nairobian churches. A report about the first RSCM Membership Conference 12 38 HYMN MEDITATION Gordon Giles discusses ‘The head 8 WHAT’S ON that once was crowned with thorns’. Highlights of RSCM events across the UK, June to October 2020 42 BRING THE GLAD TIDINGS 12 DIPLOMACY Susan Jane Matthews shares her IN SONG, 1520 excitement at discovering the music Magnus Williamson looks at of Fanny Hensel and Jeanne the musical dimension of the Demessieux. Field of the Cloth of Gold. 20 46 BRANCHING OUT 18 FROM THE DIRECTOR Ginny Arnott-Wood explains the Hugh Morris on positive narratives diverse work of RSCM Canada.

20 COPY-WRONG, 48 OBITUARIES COPY-RIGHT Stefan Putigny offers advice about copyright law. 49 CLASSIFIED ADS

25 GOTTFRIED 50 MY FAVOURITE HYMN HEINRICH STÖLZEL Peter Gould talks us through some of 29 Warwick Cole draws attention his favourite hymns and organ music. We offer four brands of organ each with their own identity, sounds, to an often overlooked 18th-century composer. appearance, technology and style. All our brands share valuable 51 READERS’ LETTERS characteristics such as technological innovation and the best sound 29 RSCM NEWS News and reports across the 52 REVIEWS quality, which is never a compromise. All provide the player with a RSCM’s international network CMQ evaluates the latest church music books, DVDs and CDs. unique playing experience. A great heritage and tradition are our 34 CONGRATULATIONS starting points; innovation creates the organ of your dreams. Members’ successes and RSCM awards Contact us for tickets for our ‘Autumn Shades’ concert 35 at Shaw on Saturday 3rd October 2020 Makin | Copeman Hart | Johannus | Rodgers

www. .co.uk 42

For more details and brochures please telephone 01706 888100 THE OUSELEY CHURCH MUSIC TRUST A Registered Charity has supported the Anglican choral tradition for over 20 years by making grants totalling more than £2½ million to churches and choral foundations. We help with school fees where a child is singing on a regular basis in a cathedral choir. Please see our website at

www.ouseleytrust.org.uk

ORGAN BURSARIES The Nancy and Sidney Hibbs Organ Scholarship Fund is available to offer bursaries to assist with tuition fees of organists-in-training who are learning to accompany Prayer Book services. It is a requirement that at least some of the services at which the student will play are BCP services; and also that the applicant’s tutor is sympathetic towards and knowledgeable about BCP services and the requirements upon organists who accompany them.

Anyone wishing to apply for a grant from the scheme is invited to contact the Prayer Book Society on 0118 984 2582 or pbs.admin@ pbs.org.uk For information about The Prayer Book Society or to join please ring the above number or go to www.pbs.org.uk Registered Charity No. 1099295 and Co Limited by Guarantee No. 4786973 Regent CMQ June 2020.2.qxp_Layout 1 27/04/2020 18:23 Page 1

REGENT RECORDS New and Recent Releases

Browse our growing number of releases available for download or streaming

OUR FATHER IN THE HEAVENS Anthems by Sir Edward Bairstow Tewkesbury Abbey Schola Cantorum Simon Bell (director) Carleton Etherington (organ) REGCD543 Thirteen anthems by this iconic composer of Edwardian sacred music, including the first recording of ‘Of the Father’s love begotten’.

Timothy Parsons plays the organ of EXETER CATHEDRAL The ENGLISH CATHEDRAL Series Vol. XX REGCD523

Music by Mendelssohn, Locke, SS Wesley, Vierne, Blatchly, Elgar, Muhly, Brahms, Messiaen, and Duruflé. ‘The Cathedral, and Timothy Parsons, should be rightly proud of this highly satisfying and well-executed programme.’ ★★★★ Choir and Organ ‘It demonstrates not only the many different colours of the cathedral organ, but also the virtuosity and sensitivity of its performer.’ The Cornopean

REGENT RECORDS, PO Box 528,Wolverhampton, WV3 9YW Tel: 01902 424377 www.regentrecords.com (with secure online ordering). Retail distribution by RSK Entertainment Ltd, Tel: 01488 608900, [email protected]. Available in the USA from the Organ Historical Society www.ohscatalog.org. THE OUSELEY WELCOME

CHURCH MUSIC TRUST THE ROYAL SCHOOL OF CHURCH MUSIC The RSCM has since March been providing a range of resources designed to help Registered Charity No. 312828 church musicians stay sharp and choirs retain some sense of togetherness. Our website, A Registered Charity Company Registration for example, features free Hymns of the Day, and Sunday Self-Services. For choristers No. 00250031 has supported the Anglican choral tradition for over 19 The Close, Salisbury, SP1 2EB of all ages there is our recently launched Showbie app (explained in CMQ March 2020), 20 years by making grants totalling more than www.rscm.org.uk which has support materials for RSCM Bronze, Silver and Gold Awards. In addition, we £2½ million to churches and choral foundations. Director: Hugh Morris have been running twice-daily webinars, which you can join live (to ask questions and We help with school fees where a child is singing on Deputy Director (Operations & Finance): to comment) or watch later as a video bought from our webshop. Topics covered include Stephen Mansfield vocal coaching, aural skills, support for organists, Voice for Life coaching, and the a regular basis in a cathedral choir. Deputy Director (Education & Voluntary Please see our website at Networks): Sal McDougall teaching of Lift up your voice repertoire. This issue also contains the usual What’s On Head of Publishing: Tim Ruffer pages listing RSCM events in your local area. Readers are advised, however, that events EDITOR may be subject to cancellation. www.ouseleytrust.org.uk Stefan Putigny The main feature in this this issue marks the 500th anniversary of the Field of the GENERAL ENQUIRIES Cloth of Gold (June 1520), an extravagant event that formed part of a summit between T +44 (0)1722 424848 King Henry VIII of England and King Francis I of France. Henry understood the F +44 (0)1722 424849 E [email protected] political value of the arts and worked hard to attract the best musicians from far afield, ORGAN BURSARIES including from overseas. As author Magnus Williamson explains, the movement of The Nancy and Sidney Hibbs Organ MUSIC DIRECT Scholarship Fund is available to offer bursaries to T +44 (0)845 021 7726 musicians from one princely court to another was a key factor in the spread of an assist with tuition fees of organists-in-training who F +44 (0)845 021 8826 international style of polyphonic music during the mid-15th century. Print was the are learning to accompany Prayer Book services. It E [email protected] is a requirement that at least some of the services main means by which musical styles were disseminated, yet it is possible that the at which the student will play are BCP services; and also that the EDUCATION AND COURSES intermingling of court musicians at the Field aided in the propagation of the French applicant’s tutor is sympathetic towards and knowledgeable about T +44 (0)1722 424843 chanson – which itself played a role in the development of the ‘Anglican’ anthem. BCP services and the requirements upon organists who accompany E [email protected] them. Is Gottfried Heinrich Stölzel due a renaissance? On pages 25–27, author Warwick ACCOUNTS Cole brings some much-needed attention to this overlooked 18th-century composer. T +44 (0)1722 424842 Anyone wishing to apply for a grant from the scheme is invited to E [email protected] Despite his prodigious output, most of Stölzel’s music has been lost and he remains contact the Prayer Book Society on 0118 984 2582 or pbs.admin@ a relatively obscure figure: a name you recognize, but perhaps whose music you pbs.org.uk VOLUNTARY NETWORKS For information about The Prayer Book Society or to join please ring T +44 (0)1722 424848 have never heard or performed. Yet, what music survives is, in Warwick’s words, the above number or go to www.pbs.org.uk E [email protected] ‘consistently high quality’. Much of it is also within the reach of amateur singers Registered Charity No. 1099295 and Co Limited by Guarantee No. 4786973 and instrumentalists. Why not take a look? Regent CMQ June 2020.2.qxp_Layout 1 27/04/2020 18:23 Page 1 RSCM MEMBERSHIP ENQUIRIES UK (INCL. IRELAND) T +44 (0)1722 424848 E [email protected] STEFAN PUTIGNY www.rscm.org.uk/get-involved/ Australia, Canada, New Zealand, REGENT RECORDS South Africa and USA: Contact your local branch for details CONTRIBUTORS New and Recent Releases Other countries: See website for details www.rscm.org.uk/get-involved/ Browse our growing number of releases available for download or streaming Ginny Arnott- Hannah Emmrich Susan Jane CMQ JUNE 2020 Wood is a native has been music Matthews, OUR FATHER Front cover photo: The Crowned Rose of Toronto and has director at All ARSCM, is director Motets presented to King Henry VIII. been singing for Saints’ Cathedral, of music at St. Paul’s IN THE HEAVENS © British Library Board. All Rights Reserved / as long as she can Nairobi since the Episcopal Church, Anthems by Sir Edward Bairstow Bridgeman Images remember. She end of 2017. Before Burlingame, Tewkesbury Abbey Schola Cantorum Design and origination by Smith & Gilmour has sung with the choir of Trinity moving to Nairobi, she read California, and founding director

Simon Bell (director) Printed by Stephens & George Ltd College, University of Toronto, the modern languages at Cambridge of St. Paul’s Choir School. Views expressed in signed articles, letters Carleton Etherington (organ) REGCD543 parish choir of St Peter, Erindale and did a Masters in piano She was principal organist of and advertisements are not necessarily in Mississauga, Ontario, and performance at the Guildhall Grace Cathedral, San Francisco. Thirteen anthems by this iconic composer of Edwardian sacred those of the editor, publisher or staff. currently sings with the choir School of Music and Drama before A passionate advocate for music, including the first recording of ‘Of the Father’s love begotten’. Articles, letters, classified advertisements of Christ’s Church Cathedral, freelancing for several years as a women musicians in the church, and members’ news for the September 2020 Hamilton. Ginny has served on the classical pianist, community and she specializes in the organ works issue by 1 July 2020 to: board of RSCM Canada since 2011. church choir director and teacher. of Jeanne Demessieux and Timothy Parsons Magazines Editor, RSCM, piano works of Fanny Hensel. 19 The Close, plays the organ of Warwick Cole is Peter Gould Salisbury SP1 2EB a freelance cellist, went to the Magnus EXETER CATHEDRAL T +44 (0)1722 424845 harpsichordist and Royal Academy of Williamson is The ENGLISH CATHEDRAL Series Vol. XX E [email protected] writer on music. Music. He spent professor of early Review materials to: REGCD523 He directs the 40 years working music at Newcastle Reviews Editor, Ashleigh House, period-instrument in cathedrals as University, general Cirencester Road, Minchinhampton, Corelli Orchestra with whom he an organist and also worked in editor of the British Music by Mendelssohn, Locke, SS Wesley, Vierne, Blatchly, Elgar, Stroud GL6 9EL recently recorded two discs of schools in Huddersfield and Academy series Early English Muhly, Brahms, Messiaen, and Duruflé. T +44 (0)7879 406048 music by William Hayes, including Derby. He is currently chair of Church Music, and principal ‘The Cathedral, and Timothy Parsons, should be rightly proud of this highly E [email protected] the early oratorio The Fall of the Portsmouth RSCM committee, investigator of The AHRC satisfying and well-executed programme.’ ★★★★ Choir and Organ Display advertising copy/enquiries to: Jericho. He has written articles on president of the local Organists project, Tudor Partbooks: Stephen Dutton, Church Times, Bach performance practice, lute Association, membership secretary The Manuscript Legacies of ‘It demonstrates not only the many different colours of the cathedral organ, Invicta House, 108–114 Golden Lane, music and the early piano. His of the Cathedral Organists John Sadler, John Baldwin but also the virtuosity and sensitivity of its performer.’ The Cornopean London EC1Y 0TG. current research focuses on the Association and a council member and their Antecedents. T +44 (0)20 7 776 1011 liturgical music of G.H. Stölzel. and Diocesan Rep for the Friends REGENT RECORDS, PO Box 528,Wolverhampton, WV3 9YW E [email protected] of Cathedral Music. Tel: 01902 424377 www.regentrecords.com (with secure online ordering). RSCM STAFF CONTRIBUTORS Retail distribution by RSK Entertainment Ltd, Tel: 01488 608900, [email protected]. Hugh Morris, Director Available in the USA from the Organ Historical Society www.ohscatalog.org. Stefan Putigny, Magazines Editor CHURCH MUSIC QUARTERLY JUNE 2020 5 IN ACTION MEMBERSHIP CONFERENCE

ANDY BROCKWAY

It was a pleasure to welcome so many RSCM members from across the UK and around the world (from as far away as India) to the very first RSCM Membership Conference, which was held in Derby on Saturday 7 March 2020. What a thought-provoking and reflective day it was! he event was opened by Hugh Morris sessions and workshops, and also contributed (RSCM Director) and Andy Brockway uplifting elements to the opening and closing acts T(RSCM Membership Officer), with Anna Hallett of worship. (RSCM Pipeline Scholar) performing a piece using Information boards and stands provided insight one of the digital Makin organs that had been kindly into how different areas of the RSCM function, and donated for use by Church Organ World. There were visuals explained how your membership fees are used also prayers and lively hymn singing. to further the RSCM’s mission. An RSCM Music Direct The conference was packed with sessions and stand sold publications at greatly reduced prices, workshops, expertly led and presented by our special including the 2020 festival service book God’s Church guests Dr Noël Tredinnick, Andy Bodkin (from Same for God’s World. Sales were understandably brisk. Boat Music, part of the Out of the Ark family), the In the afternoon, everyone joined together for a Revd Dr Sam Wells and Dr Andrew Earis, as well demonstration and discussion of the St Martin-in- as RSCM staff and council members. Many topics the-Fields’ Great Sacred Music programme including were covered across the day, including: the Revd Dr Sam Wells, Dr Andrew Earis and the St Martin-in-the-Fields’ musicians. This was followed „ Fresh ideas for developing musicians within by a reflection from the RSCM Chair of Council, different church communities the Very Revd Dr John Hall KCVO, and a closing act „ Using various genres of music, instrumental of corporate worship led by Noël Tredinnick and set-ups and service formats for outreach musicians from All Souls, Langham Place. A large hall „ Being a more confident, key individual, capable was packed full of individuals representing some very of continuing and developing the musical and different church communities, who joined as one to liturgical life of our churches, schools and create a jaw-dropping sound that lifted heavenward organizations in a culmination of praise. „ Using Voice for Life as developmental tool As an addition to the conference, the nearby parish „ Helping and inspiring churches with limited church of St Peter, Littleover kindly hosted a service musical/liturgical resources to develop their of choral evening prayer using beautiful but simple corporate worship musical resources. The service was led by Andrew Earis and the musicians from St Martin-in-the- Delegates were also able to attend individual Fields. It was well attended and positively received and small-group tutorials for organ playing and by all. conducting. Many people commented on how The conference was a huge success and had a vibe valuable these were. of worship, learning, sharing, openness, fellowship, Professional musicians from the London churches strengthening and empowerment, which is exactly of St Martin-in-the-Fields and All Souls, Langham what we prayed for at the start. Our special thanks go Place gave awe-inspiring musical support to the to Derby High School for letting us use their facilities. Thanks also to the staff of Sacred Bean Coffee, a Derby-based Christian organization who served refreshments throughout the event despite the large A packed hall full of individuals joined numbers of delegates present: a much-needed as one to create a jaw-dropping sound presence at such an event. And thank you again to everybody involved for all your support.

CHURCH MUSIC QUARTERLY JUNE 2020 7 HIGHLIGHTS OF RSCM EVENTS IN YOUR AREA WHAT’S ON JUNE 2020 – OCTOBER 2020

For more highlights of events being held across the period June 2020 to October 2020 and for full details of the events listed below visit our website: www.rscm.org.uk/search-events/ or contact the named person. Readers are advised that all events scheduled to take place before 31 July 2020 have been postponed or cancelled. Please contact the named person if you are unsure whether an event is going ahead. AREA FESTIVALS

service of evensong. 15:30 rehearsal; SOUTH EAST WALES AREA Area festival rehearsals 16:30 break; 17:00 rehearsal; 18:00 Tuesday, 8 September » Choral festival evensong; 19:00 end. For more details 19:30 to 21:00 Saturday, 20 June » 11:00 and to book your place, please email St Thomas, Lymington SO41 9ND St German, Cardiff CF24 0JY [email protected] or call Martin Penrose will lead a rehearsal Annual South East Wales choral 01332 202231. Or contact Alexander using RSCM service book God’s festival plus awards presentation. Binns on 01332 202231 or at Church for God’s World. Contact Registration at 11:00 for 11:30 start. [email protected] Ian Rees on 07824 686147 or at £5, £7 non-members, £2 children. [email protected]. No charge. ContactCANCELLED Emma Gibbins on 07952 514117 or at emmagibbins1978@ Wednesday, 9 September » REGION ONE gmail.com 19:30 to 21:00 Wakefield festival St Boniface, Chandlers Ford Sunday, 21 June » 14:00 to 17:30 SO53 2FT Wakefield Cathedral, Gary Philbrick will lead a rehearsal DERBYSHIRE AREA Westmorland Street WF1 1PJ using RSCM service book God’s Church Derbyshire choral festival Festival service with presentation of for God’s World. Contact Ian Rees Sunday, 21 June » 15:30 to 19:00 RSCM awards. £1.50. Contact as above, or Hugh Benham at Derby Cathedral DE1 3GP Geoffrey Lockwood on 01484 688487 [email protected]. No charge. Join choirs from across Derbyshire, or at [email protected] under the baton of Alexander Binns, Tuesday, 15 September » for a choral festival that culminates in 19:30 to 21:00 evensong at Derby Cathedral. Music St Michael, Basingstoke includesCANCELLED Dyson in D and Wesley’s epic RG21 7QW anthem Ascribe unto the Lord. Free to Ian Rees will lead a rehearsal sing and free to attend the final using RSCM service book God’s Church for God’s World. Contact Ian Rees on 07824 686147 or at [email protected]. No charge.

Area festival service Saturday, 26 September » WINCHESTER AREA 14:00 to 18:30 Winchester Cathedral SO23 9LS Area festival workshop Hugh Morris will be directing this » Saturday, 18 July 10:00 to 13:00 year’s festival, based on the new St Michael, Basingstoke RG21 7QW RSCM service book God’s Church for Ian Rees will lead a workshop to look God’s World. Rehearsal 14:00–17:00, at the RSCM service book God’s service 17:30–18:30. No charge. Church for God’s World as a Contact Ian Rees on 07824 686147 preparation for the Festival on 26 or at [email protected] September. For more information and to buy a copy of service book (£6.00) contact IanCANCELLED Rees: 07824 686147 or at [email protected]. No charge for workshop.

CHURCH MUSIC QUARTERLY JUNE 2020 8 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS

AREA FESTIVALS CONTINUED

World, which is extraordinarily OXFORDSHIRE AREA good value for money. Donations GUILDFORD AREA asked for help with tea costs. Books Annual diocesan choirs’ festival Area choirs’ festival and will be purchased through the Saturday, 26 September » presentation of awards online shop. Contact Cathy Lamb 14:00 to 19:00 Sunday, 11 October » 15:00 on 07747 444 047 or at Christ Church Cathedral, Guildford Cathedral GU2 7UP [email protected] Oxford OX1 1DP Annual Area choirs’ choral evensong. Choral evensong for choirs from A wonderful experience for parish Oxford diocese and beyond, plus choirs to sing together in the beautiful individual RSCM members. £10 ROCHESTER AREA cathedral. Area awards will be adults, £8 juniors. Contact Janet Low presented during the service. Regional Area choirs’ festival on 01865 777257 / 07549 886561 rehearsals will be arranged for Saturday, 10 October » or at [email protected] September with the dates tbc. Keep 14:15 to 18:30 up to date by visiting www.facebook. Rochester Cathedral ME1 1SX com/RSCMGuildfordArea/ or on RSCM Rochester invites choirs from Twitter at @rscmguildford. £10 to BIRMINGHAM AREA across the diocese and beyond to join include music, £5 under 18s (award together to sing choral evensong, Annual festival and awards service winners free). Contact David Crick on including works by Stanford, Howells Saturday, 3 October » 07850 709461 or at rscm.guildford. and Bruckner. Conducted by 10:00 to 17:00 [email protected] Francesca Massey. Details of local Birmingham Cathedral, rehearsals will be circulated in due Colmore Row B3 2QB For all choirs and individual singers. course. Cost tbc (music booklet will DEVON AREA Using the 2020 festival service book be available to buy). Contact Sue Moore on 020 8859 6997 or at God’s Church for God’s World, the Festival service [email protected] service celebrates the variety and Saturday, 24 October » unity of God’s world. Event includes 11:00 to 17:15 the presentation of awards to Exeter Cathedral EX1 1HS candidates successful in the RSCM SOUTHWELL AND NOTTS Our annual celebration of church Bronze, Silver and Gold examinations. AREA music in Devon with the presentation Under 18s must be accompanied by of RSCM chorister and organ awards. Choirs’ festival a parent or choir/church leader. £6 Rehearsal from 11:00, service Saturday, 10 October » participants, £4.50 award winners, to from 16:00 to 17:15. £7 for singers. 11:30 to 19:30 include book. Contact Alison Vining on Collection for congregation. Contact Southwell Minster NG25 0HD 07971 265702 or at [email protected] Nicholas Brown on 01297 560493 Annual choirs’ festival including the or at [email protected] presentation of Silver and Bronze Awards. The service will be evensong. Cost £9.00, including music service book. Contact Michael Worth on 0115 970 REGION ONE 1238 or at [email protected] Chester diocesan festival Saturday, 31 October » 13:00 to 18:00 Chester Cathedral CH1 2HU Annual Chester diocesan festival. A chance to use the book God’s Church for God’s World under the direction of Daniel Cook, master of the choristers and organist of Durham Cathedral. £2. Contact Karen LICHFIELD AREA Salisbury on 07854 171308 or at Annual massed choirs’ festival [email protected] Saturday, 3 October » 13:45 to 18:30 Lichfield Cathedral WS13 7LD Utilizing the brilliant new annual festival book God’s Church for God’s

CHURCH MUSIC QUARTERLY JUNE 2020 9 WHAT'S ON

COME AND SING AND SOCIAL

SOMERSET AREA DERBYSHIRE AREA SOUTH EAST WALES AREA Come and Sing choral Sing evensong Songs of praise evensong with Simon Lole Sunday, 13 September » Saturday, 10 October Sunday, 28 June » 15:30 16:30 to 19:30 St David, Merthyr Tydfil CF47 0BA St Mary Magdalene, Church St Oswald, 5 School Lane, A service celebrating hymnody. Square, Taunton TA1 1SA Ashbourne DE6 1AN Times tbc. Cost tbc. Contact We are delighted to welcome The annual favourite Come and Sing Emma Gibbins on 07952 514117 or Simon Lole, former director of music evensong in Ashbourne includes at [email protected] at Salisbury Cathedral, to direct a music by Harwood, Reading, Brahms service of choral evensong at this and Rutter under the direction magnificent church with its of Michael Halls. 16:30 rehearsal, BIRMINGHAM AREA newly-restoredCANCELLED organ. Following 18:30 service. No charge, donations an afternoon rehearsal, tea will be welcome. Contact Michael Halls Schools’ festival available before the service. All music at [email protected] Monday, 19 October » 10:30 to 15:00 will be provided. Retiring collection. St Chad’s Cathedral, Birmingham Contact Jerry King on 01278 734777 B4 6EU or at [email protected] An inspiring service for upper or equal voices, devised to encourage worship in school, church and community. We will be using the RSCM Young Voices publication, God’s Green Planet. Cost of resource book: £26 per school. Contact Mick Perrier on 07967 595881 or at [email protected]

SUFFOLK AREA Residentiary Choir Monday, 3 August – Sunday, 9 August St Edmundsbury Cathedral IP33 1LS The Residentiary Choir is next meeting in St Edmundsbury Cathedral in August 2020 for a week SWANSEA & BRECON AREA of cathedral services, directed by Silas Wollston.CANCELLED One-to-one vocal coaching Come and Sing Fauré’s Requiem is included as part of the week, along Saturday, 26 September » with work on a varied repertoire of 14:15 to 18:00 choral music in the company of other Brecon Cathedral, Powys LD3 9DP experienced adult singers. £245 course Come and Sing Fauré’s Requiem with fee (B&B available at extra cost). Stephen Power, director of music at Contact RSCM Education on 01722 Brecon Cathedral. Registration from 424843 or at [email protected] 13:30 with a rehearsal from 14:15 to 16:15 and followed by a performance at 17:00. Bring your own copies of the Requiem, but copies will also be available on loan if needed. £5, free to those in full-time education. Contact Stephen Power on 01874 624837 or at [email protected]

CHURCH MUSIC QUARTERLY JUNE 2020 10 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS

WORKSHOPS AND COURSES

The 48-hour residential version of the SOMERSET AREA SOMERSET AREA course, including group discussions, Quantock schools singing day Bath summer course study sessions and individual time Wednesday, 17 June » for young people with the course leader explores the 10:00 to 15:30 Monday, 17 August – opportunities and challenges in your Various schools ending at Nether Sunday, 23 August church, and worship in a wide variety Stowey Church Centre TA5 1LJ Kingswood School, Bath BA1 5RG of styles. £350 residential (including A schools singing day for years 4, A summer residency for young full board accommodation, materials 5 and 6 children from four church singers. Singers undertake a full and resources); £375 non-member schools in the Sedgemoor area: programme, including care and residential; £250 non-residential Enmore,CANCELLED Nether Stowey, Spaxton developmentCANCELLED of the voice, music (incl. lunch and dinner). Contact & Stogursey primary schools. tuition, Voice for Life training, RSCM Education on 01722 424843 Free to participating schools. recitals and choral services. or at [email protected] Contact Jerry King on 01278 734777 SOLD OUT. Please email education@ or at [email protected] rscm.com to be added to the waiting list MUSIC forMISSION andMINISTRY

LINCOLN AREA NATIONAL Millennium Youth Choir Survival kit: organ SWANSEA & BRECON AREA summer course scholars’ course MUSIC Monday, 10 August – Wednesday, 26 August – Autumn singingfor MISSION workshop Sunday, 16 August Thursday, 27 August Thursday, 15 Octoberand MINISTRY » 18:45 to 21:30 Lincoln Cathedral LN2 1PX 10:00 to 16:00 Clyne Chapel, Mayals, Save the date. Full details to follow. Contact RSCM Education on 01722 MUSICSwansea SA3for 5BT Contact RSCM MYC on 01722 424843 or at [email protected] MISSIONA singing workshopand directed by 424843 or at [email protected] MINISTRYDr William Reynolds who has recently CANCELLED been appointed RSCM regional Intermediate Millennium co-ordinator for Wales. The workshop SWANSEA & BRECON AREA for Youth Choir summer course will end with a short actMUSIC of worship Wednesday, 12 August – Organ workshop followed by light refreshmentsMISSION and an and Sunday, 16 August Saturday, 26 September » opportunity to socialize.MINISTRY £5. Contact The 2020 iMYC Summer Course 10:45 to 13:00 Prof Tony Davies on 01792 429543 offers opportunities for experienced Brecon Cathedral, Powys or at [email protected] singers aged 12–16 to develop their LD3 9DP vocal and musicianship skills through This is an opportunity to bring MUSIC for a varied and enjoyable programme. along a prepared piece to play on MISSION and ROCHESTERMINISTRY AREA www.rscm.org.uk/start-learning/CANCELLED the cathedral organ with advice from national-and-regional-choirs/imyc/ Stephen Power, director of music Three-day evensong Logo tryout 4.indd 3 25/09/2019 14:00:30 application-materials. £345; £275 at Brecon Cathedral. 11.00–11.15, course for adults for additional siblings. Contact demonstration of the Brecon Cathedral Monday, 26 October – Wednesday, RSCM iMYC on 01722 424843 organ showing its potential. 28 October » 14:15 to 18:15 or at [email protected] 11.15–12.30, workshop on participants’ Rochester Cathedral ME1 1SX prepared pieces. 12.30–13.00, short An opportunity for adults of reasonable recital by selected participants musical standard to rehearse and (optional). £5. Contact Stephen sing cathedral evensong on three Power on 01874 624837 or at consecutive days. A full music list [email protected] for each day will be circulated to registered participants in advance. Choristers aged 15–18 with RSCM REGION ONE Bronze, Silver and Gold Awards are particularly encouraged to join the Music for Mission and Ministry group. £45 adults, £30 for 15–18s with Tuesday, 29 September (14:00) RSCM Bronze/Silver/Gold Awards. – Thursday, 1 October (13:30) Contact Sue Moore on 020 8859 6997 Whalley Abbey, Lancashire BB7 9SS or at [email protected]

CHURCH MUSIC QUARTERLY JUNE 2020 11 DIPLOMACY IN SONG, 1520

MAGNUS WILLIAMSON

t takes determination, sharp eyes and a detailed grounds, no vestige remains. The castle of Guînes, map to locate one of Renaissance Europe’s most Henry VIII’s headquarters during his family’s sojourn Imythologized diplomatic events, the Field of the in the Pale of Calais, was demolished by the Spanish Cloth of Gold, which took place in June 1520. The site in the 1590s. Cardinal Wolsey’s monumental of Henry VIII’s great conference with François I of expenditure has bequeathed no physical monuments; France has long since reverted to type: one of those indeed the meagre diplomatic benefits from this showy innumerable arable fields in the Pas-de-Calais extravaganza – the English delegation alone guzzled that you pass as you speed along the aptly-named food and drink costing £7,410 (or several million Autoroute des Anglais. Of the temporary royal palace, pounds at today’s prices) – were one of the charges banqueting house, tented pavilions and jousting laid against him when he fell from power in 1529.

CHURCH MUSIC QUARTERLY JUNE 2020 12 Left: Field of the Cloth of Gold (c.1545), artist unknown, showing Henry VIII and his retinue at Guînes, June 1520. Courtesy of the Royal Collection Trust © Her Majesty Queen Elizabeth II.

By virtue of its insular geography, England was less susceptible to this kind of migration. A few Englishmen appeared in continental courts, such as the composer Robert Morton (c.1430–79), who sang in the Burgundian ducal chapel (1457–76), and English music had circulated widely in continental manuscripts during the second quarter of the 15th century. But this arguably stemmed from the special circumstances of the 1420s and 1430s, when the English occupied much of northern France following Henry V’s victorious campaigns of 1415–22. The resident household of John, Duke of Bedford, England’s regent in France from 1422 to 1435, included the composer John Dunstaple (c.1390–1453), whose music played a key role in the emergence of the international style. Henry V cast a long military shadow, but in its impact upon music the Field of the Cloth of Gold followed not the pattern of war and occupation but the tradition of medieval diplomacy. Numerous treaties, negotiations and conciliar meetings are known to have spawned musical compositions or consequences: these included the marriage negotiations of the soon-to-be Edward III in the 1320s; John of Gaunt’s conference with Charles VI of France at Amiens in 1392; the Treaty of Canterbury, between Henry V and the Emperor Sigismund in 1416; the Council of Constance (1414–18), the period’s most important single meeting of secular The Field of the Cloth of Gold neatly symbolizes and spiritual leaders; the marriage of Margaret of the disappointments of its age: the dubious legacy York to Charles the Bold, Duke of Burgundy, in 1468; of Thomas Wolsey, Henry VIII’s talented but flawed and the marriage of the young Margaret Tudor to minister; the King’s magnificent but inconsequential King James IV of Scotland in summer 1503. feats of arms, and his six near-fruitless marriages; When princes of church or state met in conference, the kingdom’s unrealistic geopolitical ambitions; their retinues often came with them. This provided and the vertiginous inequalities that underlay such rare opportunities for household musicians from ostentatious performances of princely puissance. each party to hear each other perform, to suss out If the Field of the Cloth of Gold looks like a their competitors, to exchange ideas, and to make magnificent folly, however, it tells us much about copies of unfamiliar pieces. Practices and repertories 16th-century politics. In particular, it shines a that would normally never leave the parish were light on the role of music and ceremony in dynastic thereby enabled to cross international borders. statecraft. Music and musicians were integral At this point it is worth pausing to consider the to the Royal Household, especially under the scale of the retinues meeting in 1520. By the treaty Tudors, who understood the political value of of 12 March, the retinue of the King of England alone the arts. Attracting the best musicians from far comprised 3,997 people and 2,087 horses. These afield audibly demonstrated the discernment all needed accommodation, and for this purpose and power-projection of a Renaissance prince; Guînes Castle was converted into a royal residence, in the 15th century, singers from northern Europe a temporary courtyard palace erected adjacent to it, had migrated over the Alps to work in Italian rooms commandeered in town, and elaborate tented princely courts. This was one of the key factors pavilions erected in the open fields. The temporary behind the spread of an international style of Palace of Guînes was built to Cardinal Wolsey’s polyphonic music during the mid-15th century. own specifications; its rectangular courtyard plan,

CHURCH MUSIC QUARTERLY JUNE 2020 13 DIPLOMACY IN SONG, 1520

328 feet square, provided separate lodgings for virtuosity with the Chapel Royal itself: Henry’s King Henry, Queen Catherine, Mary the king’s sister suspicion that Wolsey’s might be better than his own and dowager queen of France, and Wolsey himself. was confirmed in an arranged sing-off and sight- The combined workforce included 250 carpenters, singing test. The Cardinal’s colleagues and rivals 100 joiners, 60 sawyers and 40 plasterers. in the nobility would also have maintained chapel A large chapel projected from one of the sides of choirs, and secular singers and instrumentalists this palace. It probably included an organ. Although served in their retinues. Until his execution in 1521, none is mentioned in the building records, an organ Edward Stafford, Duke of Buckingham, employed had been despatched to Tournai in 1513 for Henry both a chapel choir and an ensemble of secular VIII’s royal entry into that town (following one of his singers for his private apartments. The king himself early military adventures). A good instrument would maintained just such an ensemble, directed by the make a favourable impression on visiting diplomats: Fleming Philip van Wilder from the 1520s until while visiting the court of the Emperor Philip the that composer’s death in 1553. Fair in Augsburg in 1513, the diplomat Sir Robert Edward Hall’s chronicle, perhaps the most vivid Wingfield had observed in the imperial chapel account of the 1520 festivities, makes comparatively ‘the best organs that ever I heard’. Wolsey, the little mention of religious ceremonies, but the king’s logistical mastermind behind the festivities of chapel at Guînes was lavishly furnished. A great 1520, is also unlikely to have omitted such a detail. statue of the Virgin Mary was shipped out to France: As chief minister, Wolsey had oversight of the serjeant of the vestry paid 3s. 4d. (around £150 ecclesiastical, foreign and domestic policy. During today) for a leather case to carry her in; above the the plague epidemic in 1518 he had quickly put altar was a rich canopy ‘of merveilous greatnes’, Oxford and London into lockdown to curb the and the walls and choir stalls were lined with cloth contagion. On 22 March 1520 he issued injunctions of gold. Silken copes once donated by Henry VII for Augustinian Canons, tightening up rules around to Westminster Abbey were borrowed back for the exclusion of women from cloister and enforcing vows duration, and a whole new set of vestments was made of obedience and poverty. His ceremonial provisions from Florentine cloth embroidered with red roses. show a detailed knowledge of musical practices: the Similar effort was made on a pop-up chapel erected canons should sing psalms neither too quickly nor in the Field itself during the festivities. Here, on too slowly, but with perfect expression of the words Saturday 23 June, the combined royal courts of and moderate pauses between verses; chant was to England and France attended Mass celebrated be sung by the professed monks without ‘lascivious cum nota by Wolsey himself. The gentlemen and boys of the Chapel Royal provided polyphony for this event. The 10 boys Music and musicians were integral were directed by their master, the composer and impresario William Cornysh (1465–1523). The 30 to the Royal Household, especially or more gentlemen included several more composers: under the Tudors, who understood foremost, Dr Robert Fayrfax (1464–1521), whose the political value of the arts name heads the list of chapel men attending the king in France; the priest John Lloyd, whose cryptic compositional degree exercise is preserved in melody’ to tickle the ears or division of notes, but Cambridge University Library (in manuscript Nn.6.46); plain and modest song that would guide the listener Thomas Farthing, once a chorister of King’s College, heavenwards; the brethren were to sing no polyphony Cambridge; and, from the next generation, Robert (‘pricksong’) in the monks’ choir, but might instead Jones and William Crane (not a composer, but who employ lay clerks and boys to sing polyphonic music would succeed Cornysh as master of the children). at votive masses in the Lady chapel, where organ The composers serving in Henry’s chapel belonged playing was also permitted. primarily to an older generation whose mastery as Wolsey’s detailed knowledge of musical practices is spinners of florid melisma made heavy demands on no surprise. He himself had been a fellow of Magdalen their performers, in terms of vocal agility, confidence College, Oxford. He also maintained a household and musicianship. Meeting and hearing their worthy of a great prince of church and state, whose French counterparts must have been an eye-opener. chapel included three organs and a number of music On the French side, the chapel of François I books. By 1520 Wolsey’s chapel choir vied in size and comprised 32 adult chantres, a chapel master, and

CHURCH MUSIC QUARTERLY JUNE 2020 14 DIPLOMACY IN SONG, 1520

Sermisy’s chanson, D’où vient cela. Setting a poem by Clément Marot, this was printed by Attaingnant in 1528. Here, a Tudor music teacher, perhaps not a fluent French speaker, has extracted the Contratenor part in British Library MS Royal Appendix 56 and 58, with incipit ‘Dum vince la bellegi vow’, while the other three voices are arranged in keyboard score in the corresponding RA56. © British Library Board: Royal Appendix 56 and 58.

an organist. Like his English contemporary, Fayrfax, included the indisputable giant, Claudin de Sermisy the senior chapellain and maître de la chapelle (c.1490–1562). Like so many star singers a native Antoine de Longueval (d.1525) was gentry. He had of Picardy, Sermisy was also a singer at the famous previously served aristocratic patrons in Savoy and Sainte-Chapelle and, more importantly, the paramount Ferrara, where he was described as ‘contrabasso’. master of the Parisian chanson. His chansons included His St Matthew Passion was widely circulated in settings of fashionable texts by the court poet Clément Lutheran Germany and his compositions gained Marot (1496–1544), and circulated in print and wide circulation in print. His famous colleague manuscript throughout Europe. Jean Mouton (d.1522) was a canon of Saint-Quentin. The French chanson was arguably the most A master of the motet and de facto court composer, important medium for spreading new continental Mouton produced encomiastic motets to mark royal methods of composition in England: the early coronations, victories, births, deaths and recoveries. ‘Anglican’ anthem is perhaps its most surprising Mouton’s compositions exemplify the art of pervasive stylistic progeny. Practical evidence for the impact imitation or fuga, a method of composition not yet of French chansons on Tudor musicians can be normative in England. His sacred music first reached found in a modest-looking pair of Henrician music England in the Anne Boleyn Music Book (Royal manuscripts, previously from the Royal Library but College of Music, MS 1070), which the future queen now in the British Library: Royal Appendix 56 and 58. took from the French court to England, perhaps Both are important manuscripts in the history of a year or two after the festivities of 1520. keyboard music: RA56 is an early source of English The chapelle of François included some composers organ music, while RA58 contains music for stringed equally obscure as Jones and Farthing: Mathieu keyboard. But both manuscripts contain arrangements Gascongne, composer of various Masses, also a priest of chansons by Sermisy and his colleagues, the voice in the diocese of Cambrai; and Antoine Rycke or parts distributed between the two books, probably Riche (Latinized as Divitis), a Flemish choirmaster for teaching purposes. who had fled his creditors to join French royal service The most likely conduit for these chansons was an in 1510. But the younger generation of the chapelle imported copy of Attaingnant’s pioneering collection

CHURCH MUSIC QUARTERLY JUNE 2020 15 DIPLOMACY IN SONG, 1520

Above: A transcription of Sermisy’s chanson, D’où vient cela. Text underlay in italics and notes in brackets are found in Sermisy’s chanson but not in its Tudor adaptation.

Chansons Nouvelles, which was printed in 1528. LEGACY Before the 1520s, only the more privileged English English musicians were already turning their eyes listeners and performers had encountered Franco- towards the Continent before the Field of the Cloth of Flemish polyphony in the form of Latin motets copied Gold. William Cornysh had already written French- into prestigious choir books such as BL Royal MSS texted songs with pervasive imitation in the 1510s: 8.G.VII and 11.e.XI. These continental choir books one such song, Adieu mes amours, is found in the were copied or imported as diplomatic trophy gifts so-called ‘Henry VIII Manuscript’ (BL Additional intended to win royal favour, and therefore out of MS 31922), which was copied several years before general circulation almost from the moment of their the events of 1520. The Field of the Cloth of Gold arrival. Chansons, on the other hand, were generally accessible, short, easy to sing, non-liturgical and, in the case of printed collections hot off Attaingnant’s presses, fashionable and affordable.

The French chanson was arguably the most important medium for spreading new continental methods of composition in England

Right: The anonymous pitch-spiral motet Salve radix, notated in circular staves around a heraldic Tudor rose. Copied in the mid-1510s, this prestigious royal choir book evokes the elevated sociability of the Henrician court. British Library Royal MS 11.e.XI, f. 2v.

CHURCH MUSIC QUARTERLY JUNE 2020 16 left as few discernible musical legacies as it did college chapels and collegiate churches, parish diplomatic ones; indeed, print was probably more churches and religious confraternities, aristocratic important in introducing the chanson to English and episcopal households, even in the chapel on listeners, and the most widely circulated single London Bridge. Students of history and readers composer of chansons was a Fleming, Philip van of Hilary Mantel will know what happened next: Wilder (1500–54), whose reputation was propagated the King’s ‘Great Matter’, the break from Rome, largely by his having lived and worked in England, Dissolutions, Reformation, and the near-death of as director of Henry VIII’s secular consort of the English choral tradition, but the musical future Privy Chamber singers. looked bright in the summer of 1520. It also looked The Field of the Cloth of Gold nevertheless rather French. symbolizes an important moment in the history of English church music. Following the lead of their king, English musicians looked increasingly towards continental ideas and genres, particularly the chanson. At the same time, the flourishing native tradition of choral singing had never been – and never again would be – more widespread or more diversely Above: Henry VIII’s three-man part-song, Pastime with good cultivated. Henrician England was home to many company (British Library, Add. MS 31922 (the ‘Henry VIII Book’), ff. 14v-15). Nothing would seem as emblematically Henrician as hundreds of choirs in a huge variety of different this song, but it owes much to continental models, including contexts: cathedrals, monasteries and hospitals, its main melodic idea.

CHURCH MUSIC QUARTERLY JUNE 2020 17 2 Listen to brand new FROM THE choral music from Oxford DIRECTOR Top-quality performances of new music available to stream now HUGH MORRIS Discover the latest carols for Advent and Christmas 2020, as well as beautiful secular, sacred, and liturgical repertoire, performed by professional singers, directed by Bob Chilcott, and produced, engineered, and edited by John Rutter.

Including brand new pieces by: MALCOLM ARCHER IAN ASSERSOHN DAVID BEDNALL DAVID BLACKWELL ALAN BULLARD ANDY BROOKE BOB CHILCOTT MICHAEL HIGGINS GABRIEL JACKSON CECILIA MCDOWALL BECKY MCGLADE SARAH QUARTEL tories are powerful things. All of us can recall everyone who engages with us assumes we must tales told to us as children. They form an be funded by someone else. Our title suggests lots JOHN RUTTER BENEDICT SHEEHAN HOWARD SKEMPTON Simportant part of the collective experience of of connections: royal implies wealthy endowments; OLIVER TARNEY WILL TODD JAMES WHITBOURN families – tales that are told and retold around the school implies some sort of state support; church MACK WILBERG TOBY YOUNG dinner table. The language that is used in such stories implies we can access funds from the church. But is important. Sometimes, of course, the language is none of these is true. The RSCM is not funded by prone to amplification, but that is usually done to the monarch, the state or the church, which means make the story more compelling, memorable, and we have to work on building our development appealing to listeners. Of course, there are few capability. If you live outside the UK, you would storytellers who managed to achieve so much recognize that more explicitly being referred to meaning as Jesus Christ. His parables are powerful as fundraising. examples of how carefully chosen, relevant words But our story has much to tell. It can speak of how can share a clear message that resonates to wide we can help connect church and community through groups of people across time and space. music. There are still times in life – including the What relevance has this to the RSCM? The answer uncertain times in which we now live – when people, is that if we are to build the RSCM’s ability to make in what one might term the liturgy of life, look to a positive difference now and into the future – and it music, and specifically church music, for reassurance. is my firm belief that not only is that desirable, but We are working hard to innovate, to reimagine, and Search for ‘OUP Choral’ on Soundcloud, or ‘Oxford Choral 2020’ on deeply necessary – then we have to be able to build to enable new and exciting ways of building a positive Spotify or many other well-known streaming platforms that on the foundations of a positive narrative. The future. The raft of recent resources we have created purposes of that story are two-fold. First, it enables us online to support people through the ‘general pause’ to reach out to new supporters who can engage with of church life is an example of that. The story still Explore more at www.oup.com/sheetmusic our work, and who can spread news of it (a perennial has pages to be written and I invite you to join me Follow Oxford Choral on Facebook for news, inspiration, and resources for the choral world problem we have is that much of our work is seen as in writing them. valuable and of good quality, but by a group much smaller than we might want to engage with). Second, You can now instantly download or print a wide range of Oxford sheet music from and it’s not unrelated to the first, we need to reach You can find links to the RSCM’s resources created in response anywhere in the world. Choose from hundreds of top-quality pieces from our out and find new sources of financial support. One to Covid-19 at www.rscm.org.uk/rscm-digital-resources-and- support-to-help-in-the-current-climate/ trusted retail partners, including: of the challenges we have as an organization is that

CHURCH MUSIC QUARTERLY JUNE 2020 18 2 Listen to brand new choral music from Oxford Top-quality performances of new music available to stream now

Discover the latest carols for Advent and Christmas 2020, as well as beautiful secular, sacred, and liturgical repertoire, performed by professional singers, directed by Bob Chilcott, and produced, engineered, and edited by John Rutter.

Including brand new pieces by: MALCOLM ARCHER IAN ASSERSOHN DAVID BEDNALL DAVID BLACKWELL ALAN BULLARD ANDY BROOKE BOB CHILCOTT MICHAEL HIGGINS GABRIEL JACKSON CECILIA MCDOWALL BECKY MCGLADE SARAH QUARTEL JOHN RUTTER BENEDICT SHEEHAN HOWARD SKEMPTON OLIVER TARNEY WILL TODD JAMES WHITBOURN MACK WILBERG TOBY YOUNG

Search for ‘OUP Choral’ on Soundcloud, or ‘Oxford Choral 2020’ on Spotify or many other well-known streaming platforms

Explore more at www.oup.com/sheetmusic Follow Oxford Choral on Facebook for news, inspiration, and resources for the choral world

You can now instantly download or print a wide range of Oxford sheet music from anywhere in the world. Choose from hundreds of top-quality pieces from our trusted retail partners, including: COPY-WRONG, COPY-RIGHT COPYRIGHT LAW FOR UK CHURCHES

STEFAN PUTIGNY

he RSCM’s publications department receives Why does copyright law exist and what many enquiries regarding copyright. This does it do? Tarticle answers some of the most commonly Put succinctly, copyright law provides protection asked questions, but is intended only as a guide. for intellectual property. Laws differ from country If you have any questions regarding UK law, you to country, but UK law stops people from stealing the should consult a professional legal advisor. identity of your products or brands, your inventions, the design or look of your products, and the things The legislation you write, make or produce. Some of these Copyright law in the United Kingdom is set out in protections are applied automatically (literary the Copyright, Designs and Patents Act 1988, with works, sound records, film, music, photography subsequent amendments. These amendments often and art are all covered automatically at the point derive from European Union Directives (you may of creation), while others need to be applied for have heard, for example, of the EU’s recent and (patents for inventions, for example). controversial Directive on Copyright in the Digital Copyright law therefore prevents people from Single Market, particularly Articles 11 and 13). copying your work, from distributing it or selling Various legal precedents and even landmark it, renting or lending it, performing it, adapting it, rulings have also established principles. or putting it online. To do any of those you need

CHURCH MUSIC QUARTERLY JUNE 2020 20 permission from the copyright owner, who will typically, but not always, require a fee in order to grant you a licence.

Where did the idea of copyright law come from? Legal cases, trials and arguments over copyright became more prevalent across Europe following the invention of the printing press in the 15th century. The world’s first copyright statute was the British Copyright Act of 1710. The Statute of Anne, as it was sometimes called, granted publishers 14 years of protection for any published book, with an option to renew for an additional 14 years. It also had the effect of creating the ‘public domain’: a term meaning that a work has passed beyond the number of years covered by copyright law (in 1710, a maximum of 28 years) and can therefore be reproduced without licence or charge. The Statute of Anne was replaced by the Copyright Act 1842, itself replaced in 1911.

The duration of copyright in literary and musical work The duration of copyright is no longer 28 years as it was in 1710. The Copyright and Patents Act states that: ‘copyright expires at the end of the period of 70 years from the end of the calendar year in which the author dies’. It is important to remember, however, that where a work has more than one author, Above: The Statute of Anne, 1710. copyright expires 70 years after the death of the last person to have been involved in its creation. and that particular edition is under copyright for 25 years. Of course, older editions are no longer Copyright law prevents people from covered by the 25-year rule. The music, words and typography are therefore all in the public domain copying, distributing, selling, renting, and may be photocopied and used free of charge. lending, performing, adapting, or putting online any protected work without Can I photocopy music resources? permission from the copyright holder If the work is in the public domain, both as a composition and as a piece of typography, then yes, you may adapt or copy the resource. The music of Henry Purcell (1659–95) is in the public domain Matters become slightly more complicated because because the author has been dead for more than of the laws regarding typography. Typographical 70 years. Pieces of Purcell’s music printed more than arrangement – meaning the style, composition, layout 25 years ago are also in the public domain. The same and general appearance of a page of a published work rules apply to arrangements. For example, Benjamin – expires 25 years from the end of the calendar year Britten’s arrangements of Purcell’s music are still in which the edition was first published. This means under UK copyright because the author of the that a piece of music currently in the public domain arrangement died in 1976; they are therefore still cannot be photocopied if the setting is taken from protected under the 70-year rule. Editions are also a publication less than 25 years old. protected by copyright law. In 2001, Ex Cathedra, a If a publishing house produces an edition of leading English choir and early music group, recorded S.S. Wesley’s Lead me, Lord (1861), they are creating four sacred works by Michel-Richard de Lalande a piece of original notesetting, typesetting and layout, (1657–1726) for Hyperion Records. They used,

CHURCH MUSIC QUARTERLY JUNE 2020 21 It is often said that you can photocopy 10% of any publication without breaking the law, but this is not the case

performing them in a way that might harm the author’s reputation. This rule is not really designed to prevent a choir master from making a few small adjustments to a piece of music for their own church choir to sing on Sunday – providing changes made are respectful and are not intended to be published. If, however, your performance is going to be broadcast, or if you are seeking to publish the arrangement, you are advised to seek permission from the copyright holder.

Left: A Scottish publisher named Alexander Donaldson (1727–94) caused great controversy by printing works no longer covered by EXCEPTIONS the 1710 British Copyright Act. The decades of legal cases that followed became known as The Battle of the Booksellers and resulted in 1774 in a ruling against perpetual copyright. The decision If you want to copy or use a copyright work you of the Court of Session, upon the question of literary property (1774). Courtesy of the University of Glasgow. usually have to get permission from the copyright owner, but there are a few exceptions where you can copy or use part or all of a copyright work without permission. For example, students currently in education may make copies under certain conditions – likewise teachers in the classroom. however, editions prepared by a scholar named Lionel Sawkins, who sued Hyperion and won. The Can I photocopy 10% of a book? High Court ruled that Dr Sawkins’s edition was It is often said that you can photocopy 10% of any ‘sufficiently original in terms of the skill and labour publication without breaking the law, but this is not used’ to warrant copyright on three of the four motets. the case. Many academic institutions allow students The decision, although controversial, established to copy a percentage of a publication, or one chapter, a precedent and saw Hyperion hit with £1,000,000 for purposes of study. Such institutions will, however, in legal fees and damages. It cannot be stated enough have a licence from the Copyright Licence Agency that if you wish to photocopy musical resources that allowing them to make copies within certain you think may be protected by copyright law then boundaries and under the principle of ‘fair dealing’. you need to contact the licence holder to obtain all relevant permissions. What if I already have copies of the music? It is often repeated that if you own a number of Can I adapt or arrange a copyrighted copies of a piece of music then you may make copies composition? commensurate to the number of printed copies Copyright lines often include a clause about the purchased. This is not the case. If you want to author asserting their ‘moral rights’. As set out in the photocopy music that is under copyright, you need to 1988 Act, these rights protect the author’s integrity contact the rights holder for permission. When asked, and prevent others from altering their works, or from some publishing house may allow you to make copies

CHURCH MUSIC QUARTERLY JUNE 2020 22 COPY-WRONG, COPY-RIGHT

of music already purchased for certain purposes. pay one organization, who then make payments For example, a publisher may allow you to make to hundreds of different publishing houses and 20 copies of an anthem to use for choir practice if you copyright owners all around the world, without already own 20 copies of the music in another printed the need for you to contact those rights holders form (perhaps as part of a large, bulky collection that is individually every time you wish to print a lyric difficult for the choir to use). In all instances, however, sheet or screen a TV show in Sunday School. you will need to speak to the rights holder(s).

Blanket licences In 1976 a Christian songwriter and publisher GETTING A LICENCE named Dennis Fitzpatrick filed a suit against the Archdiocese of Chicago in the USA. He claimed that What do I do if I want to photocopy resources 238 churches in the diocese were photocopying his still in copyright? music illegally. In 1984 Mr Fitzpatrick won his case You need to contact the copyright holder. Copyright and was awarded over $3.1 million in damages. It was lines are included on printed music to let you know clear that copyright licensing for churches needed that the work is under ownership, but also to tell you to change. who to contact should you need to reproduce, adapt or use their material. An address will sometimes be included as part of the copyright line, but if it is not Copyright lines are included on then further details are often printed on the inside printed music to let you know that cover on sheet music or the reference pages in large printed works. If you still need a point of contact, the work is under ownership, but a quick internet search will in most cases bring up also to tell you who to contact should the publisher’s website and contact details. you wish to use their material Legal repercussions Breach of copyright law can have serious A solution for churches everywhere was found repercussions. Conviction at the Magistrates (and adopted in the UK as well as the USA) in the Court carries a maximum penalty of six months’ form of collective licences. These licences represent incarceration and/or a fine of up to £50,000. an easy way to cover your church, building, or school More serious offences are passed to the Crown from prosecution by paying an annual fee (or fees, Courts and can lead to 10 years’ incarceration depending on the breadth of the licence) to use and an unlimited fine. copyrighted material in a variety of ways. The best-known examples are One License and the Christian Copyright Licensing International (CCLI). Such licences allow churches to copy and print resources and – depending on the type of licence obtained – project lyrics, stream services, copy and scan music, playback films and television, and hold concerts and recitals. They work by allowing you to

If you wish to consult The Copyright, Designs and Patents Act 1988, you can download it in full (all 328 pages) at: https://www.gov.uk/government/publications/copyright-acts- and-related-laws

The Code of Fair Practice issued by the Music Publishers Association covers such things as making a photocopy to ease a difficult page-turn or emergency use. This useful and short document is at https://www.mpaonline.org.uk/ wp-content/uploads/2017/09/The_Code_of_Fair_Practice_ Revised_Apr_2016.pdf

CHURCH MUSIC QUARTERLY JUNE 2020 23 Try the Church Times for £10 for 10 weeks

01603 785911 churchtimes.co.uk/new-reader New UK readers only. See website for full terms and conditions.

PIPE ORGAN SERVICES ORGAN BUILDERS A professional pipe organ company dedicated to high quality service. We offer: TUNING AND MAINTENANCE - A nationwide service covering most areas CLEANING AND OVERHAULS - All types of organ RESTORATION AND REBUILDING WORK - All mechanisms of every kind NEW ORGANS -For practice or small church, mechanical or electric COMPETITIVE PRICING - QUALITY CRAFTMANSHIP We look forward to being of service to you.

For further details please contact Alan W Goulding at: 33, Sutton Lane, Granby, Nottinghamshire, NG13 9PY Mobile (07831) 767241 Email [email protected] Web www.pipeorganservices.co.uk Try the Church Times for £10 GOTTFRIED for 10 weeks HEINRICH STÖLZEL REDISCOVERING A COMPOSER VALUED BY J.S. BACH

WARWICK COLE

ometime around 1725, Anna Magdalena Bach originally sung by the title role. To judge from the (1701–60) took time to copy out several vocal libretto, the opera was a hugely lavish affair and a Spieces into her personal music notebook. Among major achievement for the 28-year-old composer. the items by various members of her immediate family, Of the music, only this and a handful of other arias one aria has subsequently proved particularly popular: survive in a manuscript collection now in the 01603 785911 Bist du bei mir. The text speaks of life-long devotion Sing-Akademie, Berlin. The only other source churchtimes.co.uk/new-reader and how departure from this world will be that much is Anna Magdalena’s copy. New UK readers only. See website more joyful in the presence of a loved one. It offers a Quite how or why Frau Bach had access to this for full terms and conditions. tantalizing and endearing glimpse into the domestic music is uncertain. But what is clear is that her music-making of the Bach family: it is tempting to husband appreciated Stölzel’s music enough to have imagine Bach accompanying his wife with her ‘good, acquired copies and performed significant amounts clear soprano’ as they shared this charming piece. of it. From the researches of Tatiana Shabalina in The aria was long thought to be by Bach himself St Petersburg, we know that Bach performed a Stölzel and was listed in Schmieder’s catalogue as BWV 508. Passion in Leipzig in 1734 and he is thought to have But it is now known to be by Gottfried Heinrich presented a complete cantata cycle by Stölzel at about Stölzel (1690–1749). Taken from the opera Diomedes, the same time. Later, in the 1740s, Bach returned to produced in Bayreuth in November 1718, it was the Passion, reworking one of the arias as Bekennen

Assessment of PIPE ORGAN SERVICES Stölzel’s legacy is ORGAN BUILDERS hampered by the fact that much of A professional pipe organ company dedicated to high quality service. We offer: his enormous output TUNING AND MAINTENANCE - A nationwide service covering most areas has been lost CLEANING AND OVERHAULS - All types of organ RESTORATION AND REBUILDING WORK - All mechanisms of every kind NEW ORGANS -For practice or small church, mechanical or electric

COMPETITIVE PRICING - QUALITY CRAFTMANSHIP Left: Originally attributed to Johann Sebastian Bach We look forward to being of service to you. and copied by his second wife Anna Magdalena Bach, Bist For further details please contact Alan W Goulding at: du bei mir is now attributed to Stölzel. Copyright Lebrecht 33, Sutton Lane, Granby, Nottinghamshire, NG13 9PY Music & Arts / Alamy Stock Mobile (07831) 767241 Photo. All rights reserved. Email [email protected] Web www.pipeorganservices.co.uk

CHURCH MUSIC QUARTERLY JUNE 2020 25 Above: The stage of the Ekhof theatre at the Schloss Friedenstein in Gotha (Friedenstein Palace), the oldest baroque theatre in the world with its stage machinery still working. Stölzel was appointed Kapellmeister at the Friedenstein Palace in 1719 and remained in post until his death.

will ich seinen Namen (BWV 200). Stölzel’s work suggests a young musician who was widely respected influenced aspects of Bach’s ownChristmas Oratorio. and much in demand: in addition to the appointments And previously in 1720 he had transcribed a keyboard he lists, we know too that he turned down a position partita for his son Wilhelm Friedemann, adding a trio at Sondershausen. The extensive list of dramatic to the final minuet. works, both serenatas and operas, that he produced Since Bach clearly valued Stölzel’s music, it is in his twenties – often set to libretti that he wrote odd that much of it remains unperformed in modern himself – indicates a network of wealthy patrons and times. This year sees the 300th anniversary of a wide appreciation of his musical and poetic skills. Stölzel’s appointment to the court of Saxe-Gotha, and Any assessment of Stölzel’s legacy is hampered by although the musical world likes to celebrate births the fact that much of his enormous output has been and deaths – 2020 is of course a Beethoven year – lost. The catalogue of his works, both sacred and it seems appropriate to mark this point in Stölzel’s secular, instrumental and vocal, easily sets him on career since it is only from 1720 onwards that we a par with Telemann, Graupner or Fasch in terms have any real idea of the quality of his music. of productivity. According to his obituary, of the 12 So, who was Gottfried Heinrich Stölzel and why complete annual cycles of cantatas, eight were double should we take any notice of him? Much of what we cycles; he wrote 14 passion settings and Christmas know of his life comes from the autobiographical Oratorios, as well as numerous occasional pieces and sketch he provided for Johann Mattheson’s instrumental works. Like many university-educated Grundlage einer Ehren-Pforte (Hamburg, 1740). musicians of his time, he pursued an active interest in He was born in the small village of Grünstädtel near the theoretical, ‘scientific’ aspects of music, becoming the historic border between Saxony and Bohemia. He a member (before Bach) of Mizler’s Corresponding studied at Leipzig University, where, like Telemann Society of the Musical Sciences and contributing before him and his contemporary Fasch, he fell under a treatise on recitative. That his personal archive the spell of the student Collegium Musicum and the seems to have been discarded in the latter part fledgling opera, and where he received the patronage of the 18th century is nothing short of tragic. of Melchior Hoffmann, organist of Neukirche. After a number of short-term appointments in Silesia, Gera and Naumburg, Stölzel travelled to Italy where he met, among others, Vivaldi and Gasparini. Three Opposite: The opening of the cantata Siehe, das ist Gottes Lamm, written for Estomihi Sunday (Sunday before Lent) in 1721, years spent in Prague were followed by a short stint in and recently identified as an autograph composing score by Bayreuth and Gera again before his eventual appointment Warwick Cole. Despite having to compose, rehearse and perform at least two cantatas every week, his fluency as a composer at the Friedenstein palace in Gotha. The somewhat is evident in the relative scarcity of corrections. Zürich, transitory nature of his career prior to this point Zentralbibliothek, Musikabteilung. Used by permission.

CHURCH MUSIC QUARTERLY JUNE 2020 26 GOTTFRIED HEINRICH STÖLZEL

Three factors, however, have contributed to the the library in Sondershausen has a major holding partial survival of his music. First, unlike Bach, he of Stölzel’s music. Among hundreds of cantatas are seems to have taken a pragmatic approach to his copies of his Brockes Passion (1725), and parts for composition. His music makes comparatively few the 1720 Passion subsequently performed by Bach. technical demands on the performers. For example, This last work is Die leidende und am Creutz the forces required in the first Jahrgang (1720/21), sterbende Liebe Jesu (also known by its opening a cycle comprising 144 cantatas of which 94 survive, chorale incipit as Ein Lämmlein geht und trägt die are modest, for the most part requiring only a single Schuld). It is a distinctive work and one that deserves oboe, strings and four voices. The solo vocal writing is predominantly syllabic, with only the occasional melismas to highlight key words in the text. The Stölzel’s poetic skill is matched by a fertile chorus writing is similarly restrained in its demands. melodic fluency that makes his music Perhaps unsurprisingly, his poetic skill is matched extremely approachable. Much of his by a fertile melodic fluency that makes his music extremely approachable. Second, Stölzel seems to liturgical music is well within the scope have nurtured a network of clients to whom his works of amateur singers and instrumentalists were distributed. Because of this, there are multiple secondary manuscript sources that survive. And from printed libretti, we know that his music was widely wider recognition. The libretto – by Stölzel – is set as performed throughout Protestant Germany. Third, a series of tableaux and follows a regular pattern not having declined a post at Sondershausen, he was dissimilar to that of the first part of Bach’sSt Matthew appointed external Kapellmeister, which required Passion: a section of narrative set as secco recitative him to provide a regular supply of music. As a result, is followed by an accompagnato and aria where the allegorical figure ‘the believing soul’ reflects on the spiritual significance of the unfolding drama. Each section concludes with a chorale verse in a plain four-part setting as sung by ‘the Christian church’. Within this rather structured format Stölzel injects an immediacy into the narrative in that, following Aristotelian principles, the drama plays out in real time. Each of the four sections is intended to be performed as part of separate liturgical events mirroring the Passion accounts. The first recounts the Thursday evening of Holy Week, the final one the crucifixion. To underline the point, and presumably again to provide a sense of immediacy, Stölzel’s verse paraphrase of the Gospel narrative is set entirely in the present tense, thus removing any sense of the reportage that we experience in Bach’s and others’ settings. What remains of Stölzel’s music is of a consistently high quality. Although various recordings have been made in the recent past, there are vast quantities still to be explored, and much of his liturgical music is well within the scope of amateur singers and instrumentalists. Perhaps, then, marking the 300th anniversary of his appointment in Gotha may signal the start of a much-deserved renaissance of Stölzel’s reputation as a leading figure of German music in the 18th century.

Warwick Cole’s edition of the 1720 Passion Die leidende und am Creutz sterbende Liebe Jesu is to be published by A R Editions (Madison, Wisconsin) later this year.

CHURCH MUSIC QUARTERLY JUNE 2020 27

RSCM NEWS

STAFF NEWS

MUSIC SUNDAY 2020 GOING AHEAD We are uncertain what Music Sunday will look like this year, The RSCM will be putting together a special service for but inevitably it will be different. There is a chance that we Music Sunday featuring this year’s Music Sunday anthem will have returned to gathering in our churches, but with the Hymns and psalms and sacred songs by Thomas Hewitt likelihood of social distancing measures remaining – even if Jones, which you can download from the RSCM’s webshop other restrictions are eased – we may still be joining together and learn in advance of the day. We hope that many of our remotely. Either way, the current experience shows more individual and friend members, as well as affiliate members than ever how we must value our church musicians and the in their homes or churches, will join us on Sunday role they play in the church. Many are suffering financial 14 June to celebrate and support church musicians. For hardship and isolation at this time. Many are grappling with more information see www.rscm.org.uk/music-sunday/. new digital technologies to help choirs and congregations keep some sense of togetherness, all the while wondering what will happen when these days have passed.

NEWS FROM ACROSS THE UK

PROVIDING FOR THE NEXT GENERATION OF ORGANISTS Churches across Wrexham have joined forces to provide a scholarship for a teenager from the town to learn to play the organ. Cerys Owen, who is 17 and from Coedpoeth, is studying weekly at St Giles’s Church alongside her A-level courses at Coleg Cambria. Cerys is already an accomplished musician, playing both the piano and the violin, and was selected from a number of applicants for the scholarship. Her tutor, Chris Pilsbury, the organist at St Giles, said:

The number of organists is declining, yet the repertoire of organ music is probably the largest for any instrument. This scholarship will enable us to develop the next generation of organists and ensure the instrument continues to be played in churches and cathedrals across the country. Historically organists were often men and it is Above: Cerys Owen at the organ alongside her tutor Chris Pilsbury. only in recent years that has changed, and we’ve begun to see women take up positions as cathedral organists. We’re delighted that Cerys was selected for the scholarship. She’s already showing huge potential.

CHURCH MUSIC QUARTERLY JUNE 2020 29 CHURCH MUSIC QUARTERLY JUNE 2020 30 RSCM NEWS

NEWS FROM ACROSS THE UK CONTINUED

A SPLENDID EUCHARIST It was once again a delight to have David Noble direct a singing afternoon (1 February) for RSCM Coventry and Warwickshire, at the church of the Assumption of the Blessed Virgin Mary, Lower Tysoe, in the Warwickshire Cotswolds. Over 40 singers from across the diocese of Coventry prepared music for a Candlemas Eucharist and made a splendid sound. The service ran as follows: Introit: Hail! gladdening light (Paul Ritchie); gathering hymn: ‘When candles are lighted’ (Lourdes); Gloria, Sanctus, Benedictus, Agnus Dei: St George’s Service (Paul Ritchie); Celtic alleluia (O’Carroll/Walker); offertory hymn: ‘Thou whose almighty Word’ (to Bowen by Bob Chilcott); post-communion hymn: ‘A great and mighty wonder’ (to Partington by Bob Chilcott); Nunc Dimittis: Stanford in B flat. Above: A Candlemas Eucharist in Warwickshire. The Chilcott tunes are wonderful and from his recently written Christmas Oratorio. The singers really enjoyed them! Jill Tucker

RSCM CHORAL EVENSONG AT DUNBLANE BIRMINGHAM CATHEDRAL SUMMER SCHOOL An annual fixture in the Birmingham RSCM calendar is the Come and The Dunblane summer school Sing choral evensong held in St Philip’s Cathedral, Birmingham on the was due to take place Monday 13 last Sunday of January. Every year, Simon Palmer directs a massed choir to Thursday 16 July 2020, but sadly made up of RSCM-affiliated churches and schools, accompanied by the has been cancelled. The school, very proficient concert orchestra of the King Edward VI Camp Hill Schools which has been running for 23 years, (girls and boys) which he directs, with Darren Hogg playing the organ. consists of four enjoyable days of On 26 January, a fine turnout sang some favourites that many of the music-making, learning, reflection choirs may not be able to resource at home. The service included Stanford in and worship based in the beautiful C and Rutter’s For the Beauty of the Earth, along with hymns, a responsorial medieval cathedral, directed by psalm and ferial responses. The climax was Parry’s I was Glad. As director Matthew Beetschen alongside of an RSCM-affiliated boys’ prep school chamber choir, I was pleased to Frances McCafferty (vocal coach) give my singers the opportunity to sing in an SATB+ choir. and Kevin Duggan (organ). There The choice of music when singing with orchestra is somewhat governed are vocal masterclasses and by the availability of the parts. Stanford and Rutter both provide interesting optional skills workshops given orchestrations that enhance the music over their standard organ by distinguished tutors. accompaniments. (Parry’s coronation opus is an orchestral piece Around 50 singers attend this from the outset in any case.) course each year. They appreciate the The rehearsal took 90 minutes and was followed by a short break opportunity to learn new repertoire for refreshment and robing. The service began at 15.30, during which and to improve their music skills, and we were supported by a full congregation of families and supporters. they value the fellowship and worship. The congregation agreed that it was an inspiring and worthwhile service. Services follow the traditions of both Many thanks to cathedral precentor, the Revd Canon Dr Josephine the Church of Scotland and the Scottish Houghton, for leading the service and to Simon Palmer for organizing Episcopal Church, and are led by clergy and conducting. of different denominations. Much of Mark Lawrence the music used will be suitable for small choirs but there will also be works to challenge. We welcome singers from across the British Isles and beyond. The sharing of experiences from church choirs all over the world is particularly Opposite: Instrumentalists and singers at evensong valued by the participants. See in St Philip’s Cathedral, Birmingham. www.rscm.scot for further details.

CHURCH MUSIC QUARTERLY JUNE 2020 31 NEWS FROM AROUND THE WORLD

CHALLENGES AND REWARDS A lovely afternoon was spent in the comfort of RSCM chairperson Dr Ashley Petersen’s residence on 22 February, when a group of like-minded people discussed the challenges and rewards of choir leading. Areas covered included how to cope with clergy changing music at the last minute, and helping choristers improve their music-reading skill. Colleen Hart shared how valuable the RSCM Voice for Life programme is and how easy it is to teach music using the system (which includes an instruction manual). We also COME AND SING IN SOUTH EAST WALES discussed the practicalities of teaching children a musical instrument as a way The first of this year’s South East Wales Area events got off to flying of improving musical literacy and start at All Saints, Barry. The event, held on 7 March, was a Come and encouraging involvement in the choir. Sing rehearsal and performance of The Crucifixion by John Stainer. The committee of RSCM Cape Town Despite the weather and the conflicting priorities of a certain rugby identified the need to contact every match, we were pleased to welcome over 80 people to the choir and member of every affiliated choir to congregation, which resulted in a rousing and memorable performance maximize publicity for forthcoming of the work. This was also due in no small part to our excellent events. Transport cost was identified as conductor Lindsay Gray, former Director of the RSCM, and to the prohibitive and fundraising ideas were inspirational performances of our two soloists and organist, Thomas discussed. Finally, a request for more Mottershead, Will Stevens and Philip Aspden respectively. We now day festivals and concerts was made. look forward to our annual summer festival to be held in St German, Colleen Hart Cardiff in June. Richard Rees

Above top: Lindsay Gray (director), Thomas Mottershead (tenor), Will Stevens (bass-baritone), Philip Aspden (organist) at All Saints, Barry. Right: A rewarding meeting for RSCM Above below: Singers at All Saints, Barry. Cape Town.

CHURCH MUSIC QUARTERLY JUNE 2020 32 RSCM NEWS

NEWS FROM AROUND THE WORLD

RESONATOR WORKSHOP Above left and right: Participants at a resonator workshop AT ST MICHAEL, PARIS in Paris discover how the human head produces sound. Our first venture of its kind, the teaching workshop dedicated to ‘Discovering and using your Resonators’, attracted almost 20 people to St Michael’s English Church in central Paris on a winter’s afternoon. Conducted by RSCM France vice-chair Joan Marie Bauman (who has given such courses to singers and instrumentalists across the United States), the afternoon proved to be a hands-on experience for the participants, all of them choir directors, singers in choirs or wind instrumentalists. For some it was their first contact with the RSCM. We all quickly set about learning how the human head produces sounds and how these can be controlled to best advantage when singing. As a flautist and lyric soprano who is professor at regional conservatoires in the Paris area, Joan used some well-tested techniques to enable the students to discover how breath control can make a considerable difference to the final result. A dramatic illustration of the technique of Tibetan ‘chant diphonique’ was given by Eric Arnal, Joan’s husband and a professional musician, while Joan herself introduced the notion of the ‘Pavarotti stretch’, a technique that can make all the difference to warming up voices for performance, either as choir members or soloists. Participants went away having experienced how to breathe more effectively when singing, how to acquire better posture, how to produce a more beautiful tone and how to blend with others more satisfactorily. All in all, the thoroughly participative experience proved stimulating, and it is likely that we shall run another such course in the near future. John Crothers

CHURCH MUSIC QUARTERLY JUNE 2020 33 CONGRATULATIONS SINGING SHENG RSCM VALIDATED SINGING AWARDS MIXING MUSICAL LANGUAGES IN NAIROBI VOICE FOR LIFE SINGING AWARDS

HANNAH EMMRICH These results are listed alphabetically Northumbria: Eliza Nicholson Anna Shiel, Conor Smith , Oscar under RSCM Regions, Areas and (Hexham Abbey). Oxford: Maria Sugre-Lynch (Dublin, St Mary’s Countries. Teresa Maddison (Frideswide Pro-Cathedral). Lichfield: Reece (F) = RSCM Friend, (IM) = Individual Voices). Southwark & E Surrey: Crocker , Otto Homer , Sophie Member, (S) = Student member, Chloe Ellam , Victoria McDade , Oakley , Lydia Osborne , Aaliyah if candidate’s choir not affiliated. Ellie Roberts (Merton, St Mary), Smith , Millie White (Lichfield Honours 90%+ (Gold) Arvind Benedict , Alexander Golder , Cathedral). Norfolk: Laila Barini Highly commended 85%+ and Arvin Kinigama , Deyan Patel (Norwich, St Peter Mancroft), Commended 75%+ (Bronze/Silver) (Wimbledon, Kings College School). Barry Tomlinson, Felicity Tomlinson Sussex: Isabella Barton (Sheringham, St Peter). (East Grinstead, St Swithun), Joshua Oxford: Nellie Lamond , Lizzie GOLD AWARD Crabb (Horsham, St Mary Virgin), Lawrence , Elsa Rea (Frideswide USA: Abigail Akers, Don Pettengill Marianne Barratt , Sally Bowles , Voices), Toby Best , Tom Cordle , (Burlingame, CA, St Paul), Carol Anne Angela Howitt , Jane Pentecost- Tom Scurr , Toby Weller , Anna Taylor (Dallas, TX, Cathedral Wild , Jacqueline Ward Wincott (Goring, St Thomas of Guadalupe), Andy Hubbard (Ticehurst, St Mary). USA: Natalie Canterbury). Rochester: Tabitha (Evansville, IN, First Presbyterian Dias (Burlingame, CA, St Paul), Surya Masinde (Belvedere, All Saints), Church). Dinesh , Akash Manickam , Ethan Jack Brown , Edward Leadbetter Yao (Dallas, TX, St Mark’s School), (Mereworth, St Lawrence). Nell Clay , Abby Greenwell , Lynne Southwark & E Surrey: Hannah SILVER STANDARD Thissen (Evansville, IN, First Kamau , Joyce Wooff (Plumstead Berkshire: Vicki Sperrey Presbyterian Church). Wessex: Fleur Common, SS Mark w Margaret), (Caversham, St Peter), Matthew Bell Taylor (Devizes, St Peter). Xander Insall , George Macklin , (Earley, St Peter). Birmingham: Teager Middleton , Thomas Savege Rosie Stubbs , Maisie May Werrin (Wimbledon, Kings College School). (Harborne, St Peter). Canada: Mark BRONZE STANDARD Sussex: Mary Howick (Whyke, Matterson (Erindale, ON, St Peter). Berkshire: Malcolm Moye St George). USA: Karl Breice Canterbury: Steve Ringer (Caversham, St Peter), Thomas (Burlingame, CA, St Paul), Abby (Hawkhurst, St Laurence). Ely: Nicole Leviss (Sonning, St Andrew). Fairbanks , Cian Ferrell, Tristan Pawellek , Harriet Richards Birmingham: Carol Andrews Poulosky , Kalah Weber (Champaign, (Cambridge, St John Evangelist). (Olton, St Margaret). Canada: IL, St John the Divine), Benedict Essex & E London: Priya Banerjee, Penelope Gampel, Thomas Wigle Barrington (Chicago, IL, St James Amelie See, Daniel Shaw, James Shaw, (Erindale, ON, St Peter). Cathedral), Peter Clark , Cooper Elijah Summers , Esther Summers, Canterbury: Deanna Pogson Guiler , Nathaniel Hochman , Ewan Woodhouse, Orry Woodhouse (Hawkhurst, St Laurence). Andy Li , Adrian Lutgen , Matten (Chingford PC), Oliver Waller Cornwall: Pippi Harris Mostafavipour , Lukas Payls (Epping, St John), Catherine Hobday , (Launceston, St Joseph’s School). (Dallas, TX, St Mark’s School), Jennifer Hobday , Lalita Jackman Guildford: Sacha Dow , Nancy Erwin , Greta Griffin , (Romford, St Edward Confessor). Harry Hollis (Farnham, Amelie Hubbard , Kathleen Weston Ireland: Cliona Barrett, Blathnaid St Thomas-on-the-Bourne). (Evansville, IN, First Presbyterian Doyle-Fox, Conor Gahan , Cormac Ireland: Clodagh Barrett , Niamh Church). Wessex: Ruth Davies Gilligan , Saoirse McSharry , Burke, Max Boylan , Joseph Dwyer , (Amesbury Abbey), Katherine Laura Murphy, Sean Murphy, Jack Emma Harding , Anna MacManus , Channing , Jasmine Hughes , O’Flaherty , J.J. Orange , Ava Simon Maughan, Maria Karen Murrell , Sally Westwood , Richards (Dublin, St Mary’s Motsonelidze , Aoife Murphy, Haydn Williams , Lisa Williams Pro-Cathedral). Norfolk: Carole Charles Vincent Nunala, Karl (Royal Wootton Bassett, Broadhead , Sylvi Sutton O’Connor , Blossom Pednekar , St Bartholomew), Elara Jacobs (Sheringham, St Peter). Rebecca Pierce, Lucia Ryan , (Salisbury, St Thomas).

CHURCH MUSIC QUARTERLY JUNE 2020 34 SINGING SHENG SINGING SHENG MIXING MUSICAL LANGUAGES IN NAIROBI

HANNAH EMMRICH

Kenyan friend once said to me that people in last July’s cold snap (it fell below 15°C) advertised who grow up in Nairobi don’t learn to speak electric heaters and blankets with the tagline Aany language well. They don’t speak their ‘#Usifreeze’ (‘Don’t freeze’). To linguists, Sheng is mother tongue properly (the language of their ethnic a fascinating phenomenon and an ingenious solution community, still the first language for the majority of to the difficulties of communication in a city with Kenyans) and, in his opinion, they don’t speak proper a multitude of different first languages. Yet many English or Swahili either. In fact, the language spoken Kenyans seem to speak about it rather ruefully, as most widely between Nairobians is Sheng, a fast- a corruption of both Swahili and English. evolving mash-up of Swahili grammar and English It struck me that the development of Sheng has vocabulary that finds its way even into popular songs a relevance to the worship at All Saints’ Cathedral, and advertising. A billboard at the bottom of our road Nairobi. All Saints’ was founded in 1917 and served

Below: Joe Kabuba, one of the young organists at All Saints’ Cathedral.

CHURCH MUSIC QUARTERLY JUNE 2020 35 a colonial congregation in a relatively High Church to evolve. Those first Kenyans who started tradition rather separate from the predominantly worshipping at All Saints came because they were Church Mission Society-led operations in the rest of drawn to its musical and liturgical traditions, and the the country. This history remains visible: the lectern cathedral continues to be valued for the same reasons. still bears a King’s African Rifles logo, and an Meanwhile, Nairobi has mushroomed to a city of intriguing plaque on the gate commemorates a about 6 million people and the cathedral has grown colonial officer killed by a lion. Some of our choristers to a congregation of around 5,000 on the average today were among the first Kenyan singers in the Sunday, with different services from widely varying traditions. The original cathedral choir is now one of eight, each like its own parish choir with a particular congregation and repertoire. All are non-auditioned Alongside the core Anglican tradition and most choristers learn music-reading as they go have come different styles: beautiful along, yet they are demanding in terms of rehearsal Catholic Swahili sung liturgy; traditional time and musical ambition. Alongside the core music from Kenyan communities; Anglican tradition have come different styles: gospel and spirituals; accessible beautiful Catholic Swahili sung liturgy; traditional music from different Kenyan communities; gospel hymn-anthems from America and spirituals; accessible hymn-anthems from American composers such as Mark Hayes; and contemporary worship music. At choir concerts, cathedral choir, and the annual choir photographs these styles mix with no particular distinction. In testify to the slow transformation of an exclusively a recent programme ‘How lovely are thy dwellings’ white congregation to an almost entirely Kenyan one. from the Brahms Requiem was followed by a Maasai What interests me about these photographs is that tune and then a chorale from Bach’s St John Passion. there is no sudden shift: rather new singers joined With eight different choirs comes the usual jostling steadily and became part of a tradition that continues between musical tastes and generations, as well as

CHURCH MUSIC QUARTERLY JUNE 2020 36 SINGING SHENG

Left: Professor and composer Arthur Kemoli (1945–2012), who brought complex counterpoint into his arrangements of Kenyan traditional music.

installed when the organ is restored, which I’m sure will be well used. As we raise funds to save this wonderful instrument for future generations, it is encouraging to me that the organ is embedded in the musical life of the cathedral as a whole, rather than seen as tied to one particular musical style. And, of course, there is a distinctiveness to the selection of music from different traditions. ‘You’ll probably have realized’, said one of the organists to me a few months ago, ‘that Africans really love Handel.’ This certainly goes beyond Kenya. An East African choirs’ festival in Dar es Salaam in 2018 featured Tanzanian choirs singing the Hallelujah Sheng, a fast-evolving mash-up Chorus in Swahili translation and a version of of Swahili grammar and English Zadok the Priest where the conductor did a twirl vocabulary, has found its way at the end. I think there’s something about the into popular songs drama and word painting in Handel that resonates for people, more perhaps than the harmonies of later western composers. We often sing songs by the music of professor and composer Arthur Kemoli (1945– 2012), who brought complex counterpoint into his bickering over major feasts. But I’m often struck by arrangements of Kenyan traditional music. I always the areas of consensus, the places where a confusion wonder if there is a conversation going on here with of different musical languages gives way to a Handel in particular, as the most recognizable and distinctive fusion, an All Saints house style – well loved of western classical composers. a Sheng, if you like. In many ways, it is the internet that makes this Take, for instance, the organ. All Saints has a lovely, possible. Kenyan musicians can, for the first time, if now desperately in need of repair, three-manual listen to a wide range of music online and develop Walker organ – the largest in East Africa – which is their own specific tastes; scores can be bought and still played in all services by a committed team of downloaded instantly, rather than waiting weeks for organists. All the choirs seem to agree that it is the paper copies to (hopefully) make their way through best instrument for almost any given music, whether customs. And as with Sheng, this exposure to paired with the congas for Swahili songs, with orchestra different musical languages can make us feel for the regular choir concerts, or for contemporary inadequate, as if we will never sing a particular style American choral music with accompaniments as well as the people who really ‘own’ it. Yet it can also obviously imagined for the piano. In the latter case, give rise to something genuinely new. As we go into I think it’s simply because the piano isn’t grand or lockdown for coronavirus, and churches across the loud enough. The organ plays into something very world move online, I’m intrigued to see whether we bombastic about the All Saints tradition: a style can learn a little more from each other as the global of hymn singing that sees no service as complete church, and have the courage to make different if the recessional hymn hasn’t ended with a big key musical languages part of our own. change and roaring descant on the last verse. In the last year, as we lost the use of several crucial stops on the Great, we thankfully gained two trumpeters who Readers of CMQ may be interested to know that the All Saints’ have temporarily helped us make up for lost oomph. Cathedral Organ Restoration project is planned to start in early 2021. You can find out more about it and donate here: Sitting in the corner of the organ loft, there is a gogetfunding.com/allsaintsnairobiorgan second-hand set of festival trumpet pipes to be

CHURCH MUSIC QUARTERLY JUNE 2020 37 HYMN MEDITATION

THE HEAD THAT ONCE WAS CROWNED WITH THORNS

GORDON GILES

The head that once was crowned with thorns is crowned with glory now: a royal diadem adorns the mighty victor’s brow.

The highest place that heaven affords is his, is his by right, the King of kings and Lord of lords, and heaven’s eternal light;

The joy of all who dwell above, the joy of all below, to whom he manifests his love, and grants his name to know.

To them the cross, with all its shame. with all its grace is given: their name an everlasting name, their joy the joy of heaven.

They suffer with their Lord below, they reign with him above, their profit and their joy to know the mystery of his love.

The cross he bore is life and health, though shame and death to him; His people’s hope, his people’s wealth, their everlasting theme.

Words: Thomas Kelly (1769–1855) Above: ‘St Magnus’ first appeared in Henry Playford’sThe Divine Companion Tune: St Magnus Jeremiah Clarke (c.1673–1707) (1707) as an anonymous tune.

CHURCH MUSIC QUARTERLY JUNE 2020 38 HYMN MEDITATION

here is a natural order to our clear when or where he was born: joy of all those disciples of today observances and celebrations he was a chorister of the Chapel who celebrate the death, Tof Lent, Holy Week, Easter, Royal at James II’s coronation in resurrection and ascension of Christ Ascensiontide and Pentecost that 1685 and had left by 1691, his voice in the light of the sending of the Holy creates a great arc of spiritual presumably having broken. He Spirit at Pentecost. Yet we often find, journey that we trace and travel upon is listed in Winchester College’s not least in the life of Christ, that from year to year. Every year it is the records as being organist there, where there is such light and joy same, and every year it is different. 1692–95, and then he disappears there is often a poignant tinge of The narrative doesn’t change, but until appointed a vicar choral (lay pain or suffering. So it was for the we do: the content remains, but clerk) of St Paul’s Cathedral in 1699. disciples at Ascensiontide, and so it the context varies. Our lives have In November 1703 he was appointed is for so many since then and today. changed, so the rhythm of the pascal successor as almoner and master Thomas Kelly was a Church of mysteries reach parts of us hitherto of the choristers to John Blow (who Ireland priest who must surely be unknown. This year, like any year, became composer to the Chapel ranked as one of Ireland’s finest is no different in that it has been Royal in 1700). Blow had been his hymn writers. Born in Kellyville, different. Yet it has been unique former teacher and mentor at the his father was a judge, and he studied in living memory. Holy Week and Chapel Royal. In 1700 Clarke and for a legal career but gave up the law Easter services have been cancelled; his friend William Croft became to be ordained in 1792. His preaching most people have been confined, the joint organists and ‘gentlemen emphasized God’s grace, but he came weak and vulnerable especially so. extraordinary’ at the Chapel Royal, to the attention of the Archbishop of There has been darkness and light, and it was Croft who succeeded Dublin, Robert Fowler, who believed soul searching and heavenward Clarke as ‘Master of the Children of him to be too much like a Methodist gazing. We have suffered with our the Chapel Royal’ after his suicide, and banned him from preaching in Lord below, and looked above to about which there is some debate 1794. Undaunted, Kelly continued to fathom the mystery of God’s love, and hope has been our everlasting theme. The emotional upheaval to which ‘The head that once was crowned The emotional upheaval to which the hymn alludes with thorns’ alludes, and which the can be seen in the lives of both composer and the disciples must have felt, can also author of the words: Jeremiah Clarke committed be seen in the lives of both the suicide; Thomas Kelly was banned from preaching composer of the tune and the author of the words of the hymn. Jeremiah Clarke, who composed the fine tune St Magnus, knew the ups and downs as to the exact date. Most likely it preach in chapels and churches and of despair, depression and doubt was 1 December 1707, as described in 1802 he formed his followers into in trying times. He eventually in a broadsheet entitled: ‘A Sad and an independent sect, the Kellyites. committed suicide. He was an Dismal Account of the Sudden and He continued to be a prolific writer accomplished organist, whose Prince Untimely Death of Mr. Jeremiah of around 765 hymns, among them of Denmark’s March is widely used at Clark, one of the Queen’s Organists, ‘We sing the praise of him who died’, weddings today, not least in St Paul’s who Shot himself in the Head with and ‘The Lord is risen indeed’. His Cathedral, where he served from a Screw Pistol, at the Golden Cup in most famous is probably ‘The head 1699 until, unrequited in love, having St. Paul’s-Church-Yard, on Monday that once was crowned with thorns’. ‘a violent and hopeless passion for a Morning last, for the supposed It is a hymn about the disciples, very beautiful lady of a rank superior Love of a Young Woman, near not simply those of Jesus’ time, but to his own’ he shot himself in Pater-noster-Row’. about ourselves. We sing of them in St Paul’s Churchyard in 1707. He lies This tragic end seems far removed the third person, knowing that they buried in the crypt. This is the most from the joyfulness of his tune are us. Jesus’ disciples lived through famous fact about him, for there St Magnus, which fits Kelly’s words the rollercoaster of Jesus’ final days, is much we do not know. It is not so well and which emphasizes the Last Supper, arrest, trial, torture and

CHURCH MUSIC QUARTERLY JUNE 2020 39 HYMN MEDITATION

execution. They ate and drank, cross gives grace; Christ’s suffering and elevated theological thought doubted, denied, fled and betrayed yields the knowledge of the mystery is the very meaning of Easter, him, yet he returned, risen from the of God’s love. that ‘being found in human form, tomb and then met with them before These contrasting parallels remind he humbled himself and became being taken into heaven. Emotionally us that it has to be both/and. There obedient to the point of death – even they scaled heights and depths of is cross and resurrection, suffering death on a cross. Therefore God also high to low, from depression to and glory, height and depth, humans highly exalted him and gave him the elation. This hymn reveals that range on earth and saints in heaven. There name that is above every name, so and sews together those heights and is suffering belowand joy above, all that at the name of Jesus every knee depths seamlessly. In the first verse, of which hinge on the topsy-turvy should bend, in heaven and on earth the crown of thorns is contrasted goodness of that black Friday, when and under the earth, and every with the crown of glory, thereby a cruel act became the salvation of tongue should confess that Jesus balancing humiliation against the world and made something bad, Christ is Lord’ (Philippians 2.7–11). exultation, the royal diamond good. This parallelism is carried This is our everlasting theme as we replacing the skin-piercing thorn. throughout the hymn and climaxes look back on our strangely isolated The joys above and below are with the idea that the cross – a deeply Holy Week and Easter, look upwards compared. The joy of salvation won, wounding and damaging device on Ascension Day, and look forward experienced differently, but of the of torturous death – is actually to the renewing grace of Pentecost. same cause: above is achievement, something that brings ‘life and below it is hope. The shame of the health’ to the faithful. This profound

It is a hymn about the disciples, not simply those of Jesus’ time, but about ourselves. We sing of them in the third person, knowing that they are us

O Father in heaven, who reigns in glory with the Son and the Spirit, grant to all your people the comforting touch of your healing hands, so that those who suffer here below may be joined to those who raise a shout of triumph at the victory over death won by your Son. This we ask for the sake of the same, Jesus Left: Photograph of Christ, our risen, ascended Lord. a man thought to be Amen. Thomas Kelly (1769–1855). Date unknown.

CHURCH MUSIC QUARTERLY JUNE 2020 40

BRING THE GLAD TIDINGS A GREAT HOST OF WOMEN COMPOSERS

SUSAN JANE MATTHEWS

elebrations of Women’s History Month compositions under her own name. Despite their at St Paul’s Episcopal Church, Burlingame, isolation, they persisted to compose and to perform, CCalifornia drew their theme from Psalm to share their music without leaving their homes. 68.11b: ‘A great host of women bring the glad tidings’. I ordered some recording equipment, created a On International Women’s Day (Sunday, 8 March), YouTube channel (details below), studied, practised the choir premiered A Great Host by composer-in- and recorded with intense focus, and began to virtual-residence, Patricia Van Ness, a mesmerizing post stay-at-home videos of piano music by women aural depiction of a far-flung company of women composers, beginning with some favourites by joining together to sing for the world. Nadia Boulanger (1887–1979) and Fanny Hensel. As I sheltered in San Francisco at the start of the Throughout the Bible, one reads the poetry of Covid-19 outbreak in the United States, I felt uniquely women singing in response to good things: Miriam held and strengthened by the music of this great and her companions at the parting of the Red Sea host of women. I thought of Chiara Cozzolani (1602–76/78), cloistered at the Milanese convent Above: Collage of women musicians (including Sarah MacDonald of Santa Radegonda during the outbreaks of bubonic and Fanny Hensel) and clergy created as part of celebrations plague in northern Italy (1629 to 1631), and of Fanny of Women’s History Month 2020 at St Paul’s Episcopal Church, Burlingame, California. Some portraits by Peter Garrison. Hensel (1805–47), strictly counselled by her father Graphic design by Alejandro Magyaroff. Used by permission. and brother not to perform publicly or publish her All rights reserved.

CHURCH MUSIC QUARTERLY JUNE 2020 42 A GREAT HOST OF WOMEN COMPOSERS

(Exodus 15.20); Deborah, Judge of Israel, following a victory for her people (Judges 5.1–31); Hannah at the birth of her first son (1 Samuel 2.1–10); Israelite women after David’s defeat of the mighty Goliath (1 Samuel 18.6); and Mary at Gabriel’s message (Luke 1.46–55). From a millennium after Luke’s recording of Mary’s Magnificat, beginning with the 12th-century chant of Hildegard of Bingen (CMQ June 2019), one may look at music manuscripts composed by women and hear their music. From the 17th-century Baroque masses and motets of Milanese nun Chiara Cozzolani, to the 19th-century German Romantic vocal and chamber music of Fanny Hensel, to the 20th-century French organ music of Jeanne Demessieux (1921–68), to creations of countless Above: The Music Room of Fanny Hensel (née Mendelssohn) by contemporary women composers, a great host of Julius Eduard Wilhelm Helfft (1849). Thaw Collection, Gift of Eugene Victor Thaw Art Foundation. women have offered music to the world. Have you listened to their song? As a young graduate student, I heard a performance In 2018, a kind and talented choir member of St Paul, of the Te Deum for organ of Jeanne Demessieux, Burlingame, musicologist Jim Steichen, introduced exquisitely played in concert by Christopher Young me to the wedding organ music of Fanny Hensel. at the Fisk organ of Downtown United Presbyterian I was captivated by her music, which revealed to me Church, Rochester, New York. I was entranced by this the truth of the composer of the organ processional music that unexpectedly awoke my soul. In discovering at Fanny’s wedding. (Fanny’s younger brother Felix a picture of this legendary French women organist in a Mendelssohn Bartholdy never completed the promised 1992 article by Karrin Ford in The American Organist processional in time for her 1829 wedding, due to a magazine, I glimpsed dimly an image of my own self, cabriolet accident, though in 1845 he reused memories for Demessieux was another young woman who was of a sketch for the opening march of Sonata III.) In passionate about the organ, whose working-class family Fanny Hensel’s Das Jahr for piano, again I found the had selflessly supported the best musical training musical voice of a woman that gave me life, learning available, and who had died the very year I was born. a movement each month, through a challenging year as Demessieux’s music, and the story of her life inspired my mother’s health suddenly declined. Though Fanny’s and sustained me through the vocational vacillations extensive formal musical training did not include of the next 20 years of my life, including a pilgrimage preparations to be a church organist, she incorporated to the 12th arrondissement of Paris to see the modest chorales into the months of March and December and two-manual organ Demessieux played, hidden from a Postlude, chorales that represent respectively Easter, sight in the balcony of the Église du Saint-Esprit. Christmas, and the presence of the divine through the passing of each year. Fanny’s final version ofDas Jahr was not published until 2000, some 158 years after its composition. This musical calendar was very nearly lost to the world, since Fanny was counselled by her brother and father to remain invisible, to neither publish nor perform publicly – as appropriate for a woman of her upper-class standing, for whom music could only be an ornament, never a vocation. This counsel she followed, despite the urging of her supportive husband, the artist Wilhelm Hensel, until the last year of her short life when she began to publish her music. Meanwhile, several of her compositions had been published under Felix’s name; according to an anecdote recorded in Queen Victoria’s journal, Felix had to confess to the queen that her favourite Lied (Italien – ‘Schöner und schöner schmückt’) published under his name had been composed by his sister. Above: Jeanne Demessieux at Salle Pleyel concert hall, Paris (c.1946). Fanny funnelled her passion for music into private

CHURCH MUSIC QUARTERLY JUNE 2020 43 Far left: Fanny Mendelssohn in the guise of St Cecilia. Pencil drawing by William Hensel, 1829. © Staatliche Museen Preussischer Kulturbesitz, Nationalgalerie. Left: Portrait of Susan Jane Matthews (the author) by Peter Garrison, inspired by Wilhelm Hensel’s portrait of Fanny Hensel (2020). Used by permission.

Sunday concerts (‘Sonntagsmusiken’) at the Hensel In A Room of One’s Own (1929), Virginia Woolf opined home in Berlin, concerts to which prominent that ‘a woman must have money and a room of her own European musicians came to hear the music of both if she is to write fiction’. While in 1918 and 2020 we siblings, and to be inspired by Fanny’s performances celebrate a centennial of women’s suffrage respectively as a pianist and as director of her own choral ensemble, in England and the United States, women had held the the latter performing such works as her cantata right to vote for only a decade as Woolf wrote from her Lobgesang (‘Song of Praise’). Composed in 1831 for room in Sussex. She reflected that by walking together chorus, soprano and alto soloists and orchestra, the with women of the past, later generations of women in cantata Lobgesang was published for the first time some way could bring to life the fiction that had been in 2002. While Felix’s later Lobgesang of 1840 is still silenced – hidden, ignored, lost, even never written. frequently performed; Fanny’s is not well known. While the work of bringing to light music by women It has been a heartfelt joy to share the profound composers once invisible has just begun, I see a change music of these two composers, to allow the musical in heart percolating in publications and programming, voice of these women from 20th-century France and and in turn improved circumstances to inspire 19th-century Germany to be heard in the 21st century. composition of music by current and future generations Their life stories form a continuum with those of of women. Is the music of the great host of women truly women musicians today seeking vocations in the heard through the choral music lists you create, the church, performance opportunities and publication. music you teach your choristers, the music you offer in In the past year, I began more extensive research, to concerts and weekly to your parish? May choristers see commission, to study, to practise, and to share more role models of women in music leadership in the church, amazing music of women who have been overlooked including the most prestigious posts, as vocations open by the canon of classical music, both in the church to both men and women, vocations to which each of and in the world. I have found it increasingly surreal them might aspire? Does your church welcome girl to just be discovering in 2020 exquisite music written and women choristers to the choir stalls? by women in centuries past for the first time. As Dear musicians of this world, the music of the great Jeanne Demessieux and Fanny Hensel first appeared host of women composers may live through you. Pause to me, then followed Hildegard of Bingen, Chiara and listen to the new song of glad tidings this glorious Cozzolani, Undine Smith Moore, Patricia Van Ness, flock may bring, the song this vast and jubilant chorus Cecilia McDowall, Judith Weir, Eleanor Daley, Sarah of women sings for you. MacDonald, Melissa Dunphy and Elizabeth Kimble. In Patricia Van Ness’s evocative paraphrase of Psalm 68 Visit www.susanjanematthews.com for links to her YouTube channel for her anthem A Great Host, I am empowered to now see these women surround me as a ‘mighty throng; This article is based on ‘Girl Choristers, Invisible Women, and Breaking Through the Inertia in the Music of the Episcopal a vast and jubilant chorus, a multitude: a thousand, Church’, an article that was published in the Journal of the and ten thousand more; a glorious flock; a far-flung Association of Anglican Musicians, Volume 28, Nos. 7 and 8, September and October 2019 and portions are reproduced company; a vast and jubilant chorus of women with the permission of the Association. [who] bring the glad tidings!’

CHURCH MUSIC QUARTERLY JUNE 2020 44

BRANCHING OUT RSCM CANADA

GINNY ARNOTT-WOOD

he Canadian branch of the RSCM has been New projects for the future include: active in one form or another since the RSCM’s „ Creation of a programme director to assist our formation in 1927. Originally, Canadian T members with content and resources to facilitate churches would join the RSCM (in the UK) directly, workshops, events, and other programmes in but since 2007 RSCM Canada has been a separate their area entity with a close association to the RSCM and „ Plans to establish an ‘experts bureau’, which its activities. will mean that professionals located in different Today, the National Board of Directors oversees regions will be available to help facilitate four regional chapters: British Columbia/Alberta/ workshops and other events Prairies; Toronto/Ontario; Niagara/Huron, also in Ontario; and Eastern Ontario/Quebec/Maritimes. Many member choirs use Voice for Life. Across the Canada is vast. There are over 5,000 kilometres country VFL has been adopted as a tool for children from Vancouver Island on the west coast to St John’s, and for adult choristers who may not have had formal Newfoundland on the east. For perspective, all of musical training. the UK would fit inside British Columbia, just one Psallam spiritu et mente: as we embrace the dawn of our 10 provinces, with room to spare! Meanwhile, of a new decade, RSCM Canada looks forward to new our relatively small population (approximately opportunities to share the joy of music, as it connects 37 million) live mostly across the southern border, us to the heart of Christian worship, with our members concentrated in cities including Vancouver, the across the country and the communities in which Greater Toronto Area (where approximately we serve. 10 million people reside), and Montréal, Quebec. All this is to say that, far-flung as our members Below are some examples of the robust activity are, there are vibrant church music communities, within our members’ choirs: clustered in both the large centres, as well as smaller communities such as Victoria, Haifax, Edmonton, St. John’s, Winnipeg, Ottawa and London. Church The Chancel Choir of Marshall Memorial communities within a geographical area often United Church, Ancaster, Ontario is an integral collaborate, but the distances across the country part of the Marshall community and has helped make national (or even inter-provincial) the church maintain an active congregation. collaborations challenging. Comprising 32 versatile and dedicated singers, they manage a repertoire ranging from Handel The RSCM Canada board meets quarterly in Toronto. coronation anthems, Mozart and Brahms Masses, Some of the board’s recent projects include: and traditional Nine Lessons and Carols, to popular contemporary cantatas. As a member „  Cantabile, an online newsletter for members of the Niagara-Huron chapter, director of music „  RSCM Canada handbook (in final stages of Frank Pierce uses the many resources and service editing) to be made available to chapters outlines provided by the RSCM. In August 2019 „  Accreditation for new examiners for the nine members of the choir attended the singing awards International Summer School in Norwich, England. The experience inspired the choir to sing vespers based on that sung at St John the Baptist Roman Catholic Cathedral in Norwich.

CHURCH MUSIC QUARTERLY JUNE 2020 46 BRANCHING OUT

The picturesque city of Kingston, Ontario, is home to St George’s Anglican Cathedral and its three active choirs. Director of music, Michael Capon, oversees the children’s choir (ages 7–13), which rehearses weekly but sings one Sunday per month. The youth choir (ages 13–18) is an informal group that meets weekly and sings on occasional Sundays. The adult choir rehearses and sings services weekly on Sundays, as well as monthly choral evensongs and special festal services. Left: The choir of St George’s Cathedral, Ontario.

The Metropolitan United Church in London, Ontario has a unique liturgical children’s choir school. Led by director of music Dr Gregg Redner, 30 auditioned students aged 8–16 receive weekly lessons in sight-singing, ear-training and music theory. They participate in weekly services at the church as well as regular choral evensongs.

Trinity College School, Port Hope, Ontario has a long history of connection with the RSCM. A watercolour by the school’s founder shows the school’s first chapel choir, established in 1865. Affiliated with the RSCM in 1970, the choir lapsed for a time until it was revived in 1993. Now numbering 46 singers (including three faculty members), the choir benefits each year from new recruits as well as students who sing for their full eight years at the school. A motet is performed weekly at Monday matins, and daily chapel is still the norm. A handful of singers also join the choir of adults and children at St Mark’s Anglican Church for Sunday Eucharists. Director of music Randy Mills finds Christ Church Anglican Cathedral, Victoria, British that the Voice for Life program is an effective Columbia, director of music Donald Hunt, plays a valuable training tool for his choristers. A smaller choir role in the musical life of Canada’s west coast. The walls of 17, some of St Mark’s young singers have resonate with the sound of choirs and organs, a long-running achieved Bronze and Silver Awards and are concert series, as well as collaborations with artists and an energetic team outside of the choir stalls. groups from around the world. Like the Metropolitan United Above: Trinity College School Choir, Port Hope, Ontario. Church, Christ Church Cathedral also has a burgeoning Courtesy of Randy Mills. young Chorister Program that offers scholarships to children aged eight to thirteen who rehearse before class in the morning and sing at regular evensongs. From Ontario’s north, the Choir of St Luke’s Above: Choristers singing in Christ Church Cathedral, Victoria. Cathedral, Sault Ste. Marie made a pilgrimage Photo courtesy of Donald Hunt. to sing at Westminster Abbey in 2019.

CHURCH MUSIC QUARTERLY JUNE 2020 47 OBITUARIES

MICHAEL EWART CURRAH editorial board of the New Zealand speaking and church music. He Hymnbook Trust, producing resources also took on responsibility for the The Revd Michael Currah died on such as Alleluia Aotearoa (1993). newsletter. David will be sadly missed. 9 February 2020 aged 88. He trained Canadian musician Ron Klusmeier Pat Lynch, chair of RSCM Scotland for the ministry at Sarum Theological has described her hymns as ‘a breath College and was ordained priest in of fresh air for contemporary church Salisbury Cathedral in 1957. He served music composers … seeking meticulously a curacy at St Mary, Calne, and was crafted and gospel-grounded expressions NICHOLAS TEMPERLEY appointed vicar of Southbroom, Devizes, of faith reflecting the realities of our where he served until 1969. He then here and now’. Her themes include moved to Bridport, Dorset, and retrained social justice, peace, human rights, as a teacher in religious education. From the church year, concern for the 1969 until 1988 he was (jointly with his environment, and the voice of women. late wife) organist and choirmaster at Anne Harrison St Mary, Bridport. Later, they occupied similar positions in Taunton, Somerset. Michael was an active supporter of the RSCM and regularly despatched DAVID SUTHERLAND choristers to the excellent residential Professor Nicholas Temperley has died courses, including his three sons. at the age of 87. A British musicologist, His hymn tune Brushnorth (a ‘play’ he joined the University of Illinois on Southbroom, Devizes) appeared as musicology faculty in 1967 and became number 471 in Hymns and Psalms: A a US citizen in 1976. Never afraid to Methodist and ecumenical hymn book. pursue unfashionable paths, he caused Andrew Currah a stir with his Cambridge 1966 performance and edition of Loder’s Raymond and Agnes at a time when Victorian opera was ridiculed in the SHIRLEY ERENA MURRAY David had a background in dentistry UK. Equally unfashionable at the time – but those of us who knew him through was his scholarly interest in parish his involvement in the RSCM did not (as opposed to cathedral) church music. know about the day job. To us, he was a His 1979 The Music of the English Parish dedicated church musician who shared Church was a pioneering volume. his passion for the subject with his A theme throughout the book is the colleagues. He was a very competent incompatibility of ideals of artistic organist and a useful tenor. He loved performance and popular expression – liturgy and had a deep understanding a conflict from the Reformation to the of and feel for it. present day. That book was the start I first met David at Bangor University of much valuable research in church New Zealand hymn writer Shirley where a group of us had come for a music and especially hymnology. He Erena Murray (b.1931) died peacefully summer school in Sacred Music Studies. was general editor of Oxford Studies in January 2020 at the age of 88, after We introduced ourselves and I realized in British Church Music (1986–2002). a long illness. She was a distinguished that I had heard of David before I ever met From 1982 onwards, he directed a project wordsmith, recipient of an honorary him. He had embarked on a sponsored that resulted in The Hymn Tune Index: doctorate from the University of Otago tour of Scotland to raise money for the A Census of English-Language Hymn in 2009, and her hymn texts have found National Association for Colitis & Crohn’s Tunes in Printed Sources from 1537 their way into several British hymnals, Disease (UK) and for RSCM Scotland. to 1820, published in 1998 in four large as well as being published and sung David continued his studies in sacred hardback volumes and subsequently all around the world. Honoured by the music and was proud to be awarded an online. Editions of Haydn’s Creation, Queen in 2001 for services as a hymn RSCM Diploma for his hard work. After of Berlioz’s Symphonie fantastique and writer, she was admitted to membership he finished, he became more involved 20 volumes of The London Pianoforte of the New Zealand Order of Merit. She with the RSCM – he saw it as payback School are among the many areas where became a Fellow of the RSCM in 2006 for all that he had learnt from the SMS his work lives on in performance. His and of the Hymn Society of the United study course – and so became a valued final published article, ‘Men and women States and Canada in 2009. member of the RSCM Scotland all do sing’, surveying the origins of the Numerous composers set her texts to committee. He served as membership English hymn tune, was published music, notably Professor Colin Gibson, officer, then our publicity offer – in CMQ December 2019. who also served with Shirley on the combining his love of publishing, public Julian Elloway

CHURCH MUSIC QUARTERLY JUNE 2020 48 NICHOLAS TEMPERLEY JENNIFER BATE in Westminster Cathedral and I was taught by Nicholas while an subsequently recorded it under the undergraduate at Clare College, composer’s direction. Many other Cambridge, in the mid-1960s. He was, composers wrote for her during her of course, a scholar of formidable gifts long career. Her repertoire ranged and wide-ranging interests: the from early English organ music to the quintessential English gentleman, present day and her recordings include he was a kind, extremely patient and the complete works of Peter Dickinson, encouraging tutor from whom I learnt Messiaen, Franck and Mendelssohn. an enormous amount. He greatly extended She also founded the Jennifer Bate my existing interest in English sacred Organ Academy to develop girls’ music, and also introduced me to a wide organ performance skills. We report the death on 25 March range of English 19th-century music of the concert organist Jennifer Bate, – something for which I remain very who became Messiaen’s organist grateful. His lasting friendship has meant of choice. She premiered his much to me. May he rest in peace. Livre du Saint-Sacrament in 1986 Roger Wilkes

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

VACANCIES

St Luke’s Church, Maidenhead, Director of Music, St Michael and All Organist & Choir Master, St Michael’s Berkshire is looking to appoint an Angels, Bassett, Southampton. We are Bishop’s Cleeve, Glos. (See: www. Assistant Organist to support our looking for a choir director and organist to stmichaelsbishopscleeve.co.uk.) Following Director of Music in enhancing our worship, help enhance the church’s worship through a retirement, we seek an Organist & Choir which consists of a mixture of traditional the quality of singing and the breadth of Master who will play their part in enriching and modern styles. Duties will include repertoire. With both junior and senior the worshipping life of our church. 9.30am playing for 2 services per month and being choristers, we sing at Sunday morning Sung Eucharist, monthly Evensong plus an active member within our music team. services and two evensongs per month. festival dates. Mix of traditional and Salary dependent upon experience. We are committed to developing all our contemporary hymns, sung service settings, Additional fees for weddings and funerals. singers, through the RCSM Voice for Life responsorial Psalms and choir pieces. Small For an informal chat, please contact Adam scheme as well as providing opportunities Choir, seeking development and expansion, Went, Director of Music, on 01753 643974 for cathedral visits during the year. If you are of mixed ability & meet weekly. £5kpa, or [email protected]. have the qualities we need to maintain and 6 weeks paid leave pa. Optional extra develop our passion for choral-led worship, income from C18 weddings and 40 funerals we would love to hear from you. Salary is pa. Submit CV to admin.stmichael@gmail. commensurate with RSCM Main Town com with covering email outlining what FOR SALE fee range (family accommodation may be attracts you to this position with us. available as part of a package). Meet our usedorganmusic.co.uk – Specialists in choir at www.nsab.org.uk/choirvid. For second–hand classical sheet music for organ. a role description, details of how to apply, We stock thousands of pieces which are in closing dates and interview arrangements print but cost less that buying brand new. View or for more information, please see our ANNOUNCEMENTS the current catalogue of items for sale on our website www.nsab.org.uk/dom Competent Singers & Organists Required website. Hundreds of pieces are listed at the – Poscimur – Small, Friendly, Robed, bargain price of £1.50 each. Contact Roger Adult, SATB Choir, RSCM affiliated – sings Molyneux ([email protected] or in Cathedrals – UK Wide Membership … 07902 176744). Contact Catherine Thomas on 020 8857 9375; [email protected]; www.poscimur.co.uk

CHURCH MUSIC QUARTERLY JUNE 2020 49 MY FAVOURITE HYMN

An interview with PETER GOULD

Our interviewee this issue is unique, so I took with me a range took a long time to raise to the standards Peter Gould, music teacher, concert of music and didn’t choose the expected in a cathedral. It was only organist, chair of the Portsmouth programme until I arrived. I then put after that that I began to think about RSCM committee, president of the together a short programme (usually starting a second treble line. local Organists Association and of three contrasting pieces) that was cathedral organist for 40 years. appropriate to the instrument at hand. CMQ You have played recitals in I never played the same piece more many venues around the world. What than once per day. The few organs are some of your favourite pieces of CMQ After retiring in 2015 you without a full pedal board were organ music? Do you have a favourite embarked upon a number of organ challenging, meaning I occasionally composer of organ music? tours, first in Derby and then in the had to resort to improvisation. diocese of Portsmouth. Tell us a bit PG Bach features highly in my about these tours and the challenges CMQ You founded the Derby repertoire, and on both pilgrimages you faced. Did you stick to a set Cathedral girls’ choir in 1997. I almost always started recitals with repertoire? What changes have you seen in the a piece of Bach. I really enjoy the vast recruitment of girls into the world range of music available and try to PG I did the Derbyshire tour in of church music over your career? include music from several countries 2013–14 when I was still Master of the and several centuries too. I’m very Music in Derby Cathedral and found PG I introduced the girls’ choir, keen on 20th-century French music that touring the diocese was a great partly because I had a musical and throughout 2019 I learnt the piece of outreach and, as in the daughter and could see that she whole of Louis Vierne’s (1870–1937) Portsmouth pilgrimage, that I was would benefit from having the unique Symphonie No. 1 for organ, which able to talk to many local organists musical education that such a I played in my final recital of the and advise on their instruments, position would provide; she is now year at Portsmouth Cathedral. particularly concerning registration. a professional singer. However, my Most days of my pilgrimage first task after being appointed in 1983 CMQ What are some of your most contained anything from three to was to re-establish a boys’ top line, treasured hymns, and why? thirteen different churches, dashing something Derby had not had for many from one to the next. Each venue is years. This was not an easy task and PG I’m afraid that I’m a traditionalist and almost always prefer hymns that can be found in The English Hymnal, or NEH as it has become. There are some good modern hymns, but I wish that new words would always be accompanied by new tunes - as the proverb says, do not put new wine in old wine skins! I would like ‘The day thou gavest’ as one of the hymns sung at my funeral, but not all my favourites are so old. I was brought up with The English Hymnal and it has been my book of choice in my small family church in Portsmouth, and all three places where I have been organist: St Margaret, Putney, Wakefield Cathedral and Derby Cathedral. The original editorship of Ralph Vaughan Williams had given us a treasury of tunes and harmonies that I don’t think can be improved.

CHURCH MUSIC QUARTERLY JUNE 2020 50 READERS’ LETTERS

LETTER OF THE MONTH

WEST GALLERY I was interested to see Francis Roads’s article on West Gallery music, which included a reproduction of the tune Otford. I am organist and choirmaster at Otford parish church in Kent, the church after which this tune was almost certainly named, and we have used the tune (among many other WG tunes) for ‘While shepherds watched’. This was the only Christmas hymn authorized to be sung in church for most of the 18th century; there are of course well over 100 tunes for these words. My interest in WG music stems from my time singing in the Thomas Clark Quire. I note that Mr Roads refers to the difficulty of editing such music and deciding whether idiosyncratic harmony is just that, or whether it is a miscopying. The alto crotchet E three bars from the end of Otford is one such instance, as it appears as a D in my source, which I prefer because it sounds characteristically rustic! Kevin Grafton, Sevenoaks, Kent Above: St Bartholomew, Otford. © A. Barber

THE GOD OF ABRAHAM PRAISE FOOD FOR THOUGHT In the 1950s, I was a choirboy at breakneck speed and very full of I received my copy of CMQ yesterday Grace Church, Manhattan, New York. vigour. Going back to the Stainer tune, and was fascinated by your article The organist was Ernest Mitchell Mr Mitchell altered what’s in The on ‘The God of Abraham Praise’ and who had been there for about 30 years Hymnal 1940 by having us trebles its associated tune Leoni. So much so, when I started. Our services started swap the last four notes with the altos, that I did indeed reach for the hymn with the choir processing in from the thus giving us a nice high ending for book my church uses (Church of Honor Room in the south transept each verse. Give it a try and set the Scotland, so that’s CH4!) to compare and processing down the side aisle to heather on fire! the 12 verses in your article with the the west end and then up the central On becoming familiar with both, five in our hymn book. Well, I have aisle. We had a collection of hymns I’ve wondered if Covenant was Stainer’s absolutely no idea why the editorial that were used, all good rousing ones major reflexion of the minorYigdal ? panel chose those particular verses, The desire was to have us little ones Some other hymns used for starting but the article put an idea in my head sing our hearts out as we marched the morning service included: ‘I heard around the symbolism of the number around the building. the sound of voices around the great three – the three ‘sections’ of the The Stainer tune, Covenant, suited white throne’ to Patmos; ‘Ten original hymn, the three Abrahamic that purpose to a tee along with others thousand times ten thousand’ to faiths, etc. This may well culminate I suspect are now less familiar – Alford, ‘Rejoice, ye pure in heart!’ in a short article for our church consider Patmos by Henry Storer for to Marion by A.H. Messiter; ‘Onward, newsletter/magazine. Thank you ‘I heard a sound of voices’. It was only Christian soldiers’ to Sullivan’s for giving me food for thought. a lot later on, when singing in the West St Gertrude. What one notices of them Fiona Bain, via email London Synagogue, that Yigdal would all are their rousing nature. Perhaps return to my sight and then in a way the church could do with reminding WHO READS YOUR COPY OF CMQ? that I had not expected: taken at what of that effect on a congregation? Do share your copy among the other most Anglicans would think of as Tom Emlyn Williams, via email musicians in your church, pass it round the vestry or staff room – and encourage others to become Friends or Members of the RSCM and receive their own copy.

CHURCH MUSIC QUARTERLY JUNE 2020 51 REVIEWS OF CDs, DVD and BOOKS

range. MacDonald allows the music For their latest offering, Siglo de Oro CDs & DVD space to breathe and wash over the focuses on early Renaissance music listener. Consisting mainly of anthems from Milan Cathedral. In particular, Worth hearing and motets, plus a set of evening the choir explores the sacred music Recommended canticles, a Mass and a couple of solo of Hermann Matthias Werrecore and Essential listening organ pieces, this CD is a well-thought- his predecessors and contemporaries. out retrospective of Iain Quinn’s Of Flemish origin, Werrecore was compositional output. His music is the cathedral’s Maestro di cappella accessible, tonal, and sublimely relaxing for more than 30 years from 1522. He SINGLE COMPOSER to listen to; it is deeply spiritual. My composed 30 motets, six of which are CHORAL CDS only quibble is the inclusion of the final recorded here. The excellent programme Toccata on ‘Victimae Paschali Laudes’: notes argue that Werrecore’s output  I can’t fault the piece or performance has been unfairly eclipsed by other HENRY ALDRICH: SACRED but it is the antithesis to the rest composers. Judging by this CD, and CHORAL MUSIC of the music on this brilliant disc. two large-scale motets Ave maris The Cathedral Singers of Christ Ian Munro stella and Popule meus in particular, Church, Oxford / The Restoration Werrecore was indeed a master of his Consort / David Bannister (organ) / craft. Josquin des Prez is among other James Morley Potter  Convivium composers represented; earlier he too CR052 had made the trek over the Alps to Although Henry Aldrich (1647–1710) MIXED CHORAL Milan. There’s confident, lyrical singing isn’t a familiar name, this attractive CDS from this small yet beautifully formed release celebrates an important figure group directed by Patrick Allies: an in 17th-century Oxford. James Morley  overdue fresh airing of fine music. Potter directs spirited performances PRIÈRES POUR NOTRE DAME: by the Cathedral Singers of Christ DUPRÉ, BOULANGER,  Church, Oxford (where Aldrich was DEMESSIEUX, POULENC REQUIEM: MUSIQUES POUR Dean from 1689 until his death), with Romsey Abbey Choir, Colin Walsh LES FUNÉRAILLES ROYALES sensitive organ accompaniment by – Cavaillé-Coll organ of St Ouen, ESPAGNOLES David Bannister. Some of the tempi Rouen / George Richford  La Maîtrise de Toulouse / Les may be a bit on the stodgy side, and Regent REGCD538 Sacqueboutiers / Mark Opstad  diction at times can be lost in the Credit must be given to the anonymous Regent REGCD551 complex polyphonic textures. The recording engineers and organ tuner Musicians based in Toulouse are soloists (credited in the accompanying Denis Lacorre for their sterling well represented in this CMQ. booklet) are choir members and make work making this recording a richly As well as the organ CD reviewed later, significant contributions. However, the rewarding listen. The Senior Girls here is a collaboration between a voices don’t always blend well together, of Romsey Abbey Choir under French choir school and an ensemble and intonation isn’t always accurate. George Richford are accompanied of early brass instruments. Founded Nonetheless, despite occasionally on the mighty Cavaillé-Coll organ in 2006, the Maîtrise de Toulouse is lacking in finesse, this is a valuable by Colin Walsh. This CD is more of a children’s vocal ensemble from the addition to the catalogue and a fitting a showcase for the organ than it is city’s conservatoire, augmented by and vital tribute to Henry Aldrich. for choir: Colin Walsh is obviously adults singing the lower parts. They having the time of his life exploring wind the clock back 400 years not to  the different colours and registrations. France but to regal Spain with, as a THE GARMENT OF HOLINESS: The choir responds to the technical centrepiece, Victoria’s Requiem of CHORAL AND ORGAN MUSIC demands of Poulenc’s Litanies à la 1603. At the time, this was performed BY IAIN QUINN Vierge noire and Lili Boulanger’s Pie in royal circles by niños cantorcicos Chapel choir of Selwyn College, Jesu effortlessly. Perhaps some of the (as young Spanish choristers were Cambridge / Shanna Hart, faster tempi are slightly too much for known) and the ministriles (wind Alexander Goodwin (organ) / this acoustic. The ethereal final phrase players attached to church foundations). Sarah MacDonald  Regent of the Litanies evaporates into the vast The CD notes include a contemporary REGCD503 church beautifully: it is a real delight. account of mourners who ‘maintain The opening Regina caeli and Christus Ian Munro their gravity while the musicians play est stella matutina set up the listener on furiously’. There is fine, clean and for 76 minutes of music-making of the  sustained singing here – the brass highest quality. The choir is in good MUSIC FOR MILAN instruments bring a refreshing health with brilliant intonation, CATHEDRAL perspective to Victoria’s music which excellent sense of ensemble, wonderful Siglo de Oro / Patrick Allies  we more often hear unaccompanied. vocal blend and a remarkable dynamic Delphian DCD34224 Stuart Robinson

CHURCH MUSIC QUARTERLY JUNE 2020 52 ALL THE LATEST REVIEWS ARE AVAILABLE ONLINE AT WWW.RSCM.ORG.UK/OUR-RESOURCES/MAGAZINES

in F minor (K 594), again arranged Tournemire’s L’Orgue Mystique Op. 56, ORGAN CDS by Holder, complete the disc. there’s the beautifully mesmerizing While other organist-composers Pentecost Communion followed by the  could lay a stronger claim to carrying exceedingly difficultFantaisie-choral. CÉSAR FRANCK on Bach’s organ-playing legacy, this Like several pieces on this CD, these recording is nonetheless a satisfying are based on Gregorian themes. John Challenger plays the 1876 programme. But the real star is the 1797 De Miguel can play with both élan Father Willis organ of Salisbury Holzhay organ. One gains a vivid sense and tendresse. The organ also performs Cathedral  www. of the instrument in the abbey, and the well: a comprehensive instrument salisburycathedral.org.uk This recording of music by César whole is set off by the intelligence and with beautifully voiced softer stops Franck (1822–90) was the last to vigour of the performances. and unmistakeably fiery French reeds. be made on the Father Willis organ Warwick Cole What’s more – this organ is in tune! of Salisbury Cathedral before its En fin we’re treated to Grunenwald’s  restoration. John Challenger certainly Jubilate Deo – complete with large and pulled out all the stops to give it a EUROPEAN ORGAN MUSIC loud, added sixth chord. Magnifique! fitting farewell.Pièce héroïque is a Colin Walsh plays the organ of Stuart Robinson gripping start and the full power of Lincoln Cathedral  Priory  the organ is well demonstrated. The PRCD1223 programme notes state that ‘some Much of the music here is ST ASAPH EXPERIENCE wind leakage and action noise may be Francophone in origin – Jongen, John Hosking plays the organ of audible at times’. The wind leakage is Franck, Duruflé, Mulet and Langlais, St Asaph Cathedral / Olivia Hunt particularly noticeable in the quieter, but there’s also a fair proportion of (soprano) / Bethan Griffiths (harp) more reflective passages ofPrélude, time given to the works of Enrico / Xander Croft (violin)  Fugue et Variation and the second Bossi. Colin Walsh opens with a fine Willowhayne WHR058 Choral. This isn’t a big irritation, nor display of grandeur with Bossi’s Entrée On the evidence of this CD, especially does it detract from enjoyment of pontificale. The CD notes quote Felix his performances of J.S. Bach’s C major Challenger’s wizardry in a flawless Aprahamian’s description, apropos of Prelude and Fugue BWV 547 and C.S. performance. This disc is a fine a 1966 recording, of ‘rolling diapasons, Lang’s Introduction and Passacaglia, testament to the instrument, with the roaring reeds, and prelates rolling up John Hosking is a formidable player. range and scope of not just dynamics and roaring down the aisle’. It’s easy The biggest piece is Sigfrid Karg-Elert’s but the various couplings and timbres to imagine the same here. There are Symphonic Chorale ‘Nun ruhen alle as impressive as Challenger’s playing. changes of mood, however. Franck’s Wälder’ for organ, violin and soprano Ian Munro Prélude, Fugue et Variation shows – rather thick and turgid for my taste, off the organ’s more intimate colours. although halfway through, the first  Walsh doesn’t hang about, though this time the violin enters pianissimo above BACH IST DER VATER, is a beautifully phrased interpretation. organ marked ‘visionär’, there is a WIR SIND DIE BUBEN There are some fine choices here: welcome moment of light. Other vocal Duruflé’s splendid ‘Soissons’ Fugue, music is by Boellmann, Lili Boulanger Peter Holder plays the 1797 Dupré’s Cortège et Litanie and the and John Hosking himself. A harp Johann Nepomuk Holzhay organ Langlais Te Deum to close – Colin toccata by Guillaume Connesson of Neresheim Abbey  Fugue State Walsh studied with the latter and and organ Variations sur un Noël Records FSRCD015 ‘Bach is the father, we are the children.’ clearly French organ music is in Bourguignon by André Fleury are also As Peter Holder points out in his his blood. The 1898 Father Willis part of this very mixed CD. The finale informative liner notes, Mozart wrote instrument is given a good airing is Dupré’s Toccata from his Symphony that referring to Emanuel Bach, not in this fine recording. No. 2, excitingly played with drive his father, but nevertheless it is ‘the and technical assurance.  immediate legacy of Johann Sebastian Judith Markwith Bach’ that this recording ‘seeks to SYMPHONIC ACCLAMATIONS  explore and celebrate’. & GREGORIAN PARAPHRASES The programme focuses on the Matthieu de Miguel plays the Puget ROULADE Bach family with lively and spirited organ of Notre Dame de la Dalbade Simon Earl plays the Nicholson renditions of the Toccata and Fugue (Toulouse)  Priory PRCD 1210 organ of Christchurch Priory  BWV 565, the D major Prelude and If in these distracted times you’re Priory PRCD1209 Fugue BWV 532 and the arrangement clamouring for a fix of Very Loud In this recording from Christchurch of the G major concerto of Prince French organ music, then look no Priory, Simon Earl offers a programme Johann Ernst BWV 592. Bach’s sons further. Matthieu de Miguel has designed to show off the many Friedemann and Emanuel – curiously, recorded, on the Puget organ in different colours and characteristics since neither is particularly known for Toulouse where he is titulaire, works of the Priory organ. More serious their contribution to organ repertoire by Widor, Langlais and Tournemire – compositions, such as C.V. Stanford’s – are represented in Holder’s staple composers surely in any Fantasia and Toccata and the Danse arrangement of a trio sonata for flutes gastronomie musicale. In addition, there macabre by Saint-Saëns are pitted (Fk 48), and the Sonata in A minor is a suitably entitled Vif et impétueux against more light-hearted works, such (H 85). A set of variations by Rinck by André Fleury – an astonishing piece as Nigel Ogden’s Penguins’ Playtime, and the Mozart Adagio and Allegro of virtuosity. By contrast, from and Seth Bingham’s Roulade, after

CHURCH MUSIC QUARTERLY JUNE 2020 53 ALL THE LATEST REVIEWS ARE AVAILABLE ONLINE AT WWW.RSCM.ORG.UK/OUR-RESOURCES/MAGAZINES which the CD is named. Simon Earl is brings this disc to life. The organ has developments) influenced builders at one with the organ and repertoire been excellently captured by the sound – the whole package is a cultural vocal score throughout, exploiting the vast engineer, and the disc and informative history, seen and heard from a dynamic capabilities of the instrument. booklet are presented in an attractive new perspective. Matched with sensitive playing, he collectors’ case. The first DVD is a three-part succeeds in offering a pleasant documentary on ‘The Long Beginning vocal score  listening experience. c.1500–1855’, ‘The Victorian Boom ORGAN PARTY VOL. 5 1855–1904’ and ‘Modernity and  GREEN AND PLEASANT LAND Nostalgia 1908–2017’. The other THE ENGLISH CATHEDRAL VOL. 3 three DVDs and three CDs provide SERIES VOLUME XX Kevin Bowyer plays the organ an abundance of further music and  Timothy Parsons plays the organ of King’s Lynn Minster Priory (on DVD) demonstrations of the of Exeter Cathedral  Regent PRCD 1201 and 1202 organs. Daniel Mould presents In addition to playing and recording A profound mediation on humanity and atonement by the composer of REGCD523 the documentaries and plays with The 20th release in Regent’s English much of the standard organ repertoire, astonishing virtuosity (where suitable) The Armed Man: A Mass for Peace, Requiem, The Peacemakers and Stabat Mater Cathedral series is the debut recording Kevin Bowyer is renowned for and always with an appropriate sense of Exeter Cathedral’s assistant championing lesser-known works. of style over nearly 500 years of music. organist, Timothy Parsons. It is also These two releases by Priory are no The 64-page booklet includes full the first recording to showcase the exception. Many of the composers, and stop lists and pictures of the 33 organs. Exeter organ since its major rebuild the majority of both playlists, are likely The UK retail price of £68.50 is a and restoration in 2014. As well as to be unknown to most listeners, but bargain for all that it contains, but works by such well-known composers Kevin Bowyer excels at bringing these at the time of writing there is a as Mendelssohn, Vierne, Brahms, little-known gems to life. Some familiar discounted price. It is easy to drown Alain and Duruflé, the recording names also feature among the extensive in superlatives when describing this roster of composers, including Ernest Jenkins, Karl affords us the chance to hear two works achievement of Fugue State Films. Miserere: Songs of Mercy and Redemption by composers who have an association Tomlinson whose seven-minute Judith Markwith Countertenor (Mezzo-Soprano), cello, with the cathedral – Matthew Locke Triumphal Overture is the longest and mixed choir, strings, harp and percussion and Samuel Sebastian Wesley. Pachelbel with a chorale prelude that Contemporary compositions by is the shortest track on the discs! Vocal/Piano Score BH 13677 · £ 15.99 See www.prioryrecords.co.uk for full Mark Blatchly and Nico Muhly www.boosey.com/miserere complete the varied programme. listings. The organ of King’s Lynn Minster acts as the perfect vehicle, This is a well-crafted disc, brought BOOKS 979-0-060-13677-1_Jenkins_Miserere_VSC_prelims-C_JA_050919.indd 1 12/09/2019 08:52:21 to life by the excellent playing of with all resources being used to good effect. These discs are fun and Timothy Parsons. His enjoyment MUSIC AND FAITH: good-humoured; they would make of the repertoire is evident from CONVERSATIONS IN a worthy addition to any collection. the outset, and his command of the A POST-SECULAR AGE Richard Brasier Exeter instrument is impressive. Jonathan Arnold Boydell & Brewer: 264pp.  H/B 978-1-78327-260-0 £30.00 PICTURES AT AN EXHIBITION ORGAN DVD Jonathan Arnold, formerly a Martin Baker plays the Ruffatti professional singer in several of organ of Buckfast Abbey   the top London chamber choirs, Ad Fontes AF001 THE ENGLISH ORGAN now ordained and Dean of Divinity Martin Baker’s recording consists of A Will Fraser film with Daniel at Magdalen College, Oxford, has works selected from his inaugural concert Moult as performer and presenter interviewed 12 writers, artists, on the organ of Buckfast Abbey. The  4DVD and 3CD pack  Fugue scientists and historians, some with instrument – the largest in the South State Films FSFDVD012 faith, some unchurched, some agnostic West of England – was the first in the I wish I were allowed to award a fourth and some atheist, mostly lay but some United Kingdom by the Italian builder star to this set of three documentaries clergy (indeed one bishop). In the Fratelli Ruffatti. The programme opens about the English organ, plus individual ‘conversations’ he explores how music with music by Dom Sebastian Wolff, films about 33 organs and ten hours and faith are intertwined in their the abbey’s long-serving monk, of specially recorded organ music experience and the effect that sacred composer and organist. Other works (on DVD and CD, stereo and surround). music has on them, whether as believer by Bach, de Grigny, Jongen and Widor The ‘English’ in the title refers to the or non-believer. It is not an easy read, explore the various tonal nuances of nationality of the organ builders, with partly because it covers such a wide the instrument, which is located in instruments filmed also in Scotland, area of experience, and the definition both the quire and west gallery of the USA, Australia and New Zealand. of ‘faith’ is broad, but readers who abbey church. The recital culminates Much of the music is by English persevere will find much to agree and in Martin Baker’s own transcription of composers more or less contemporary disagree with. Throughout there is an Mussorgsky’s Pictures at an Exhibition. with the instruments. But as well as encouraging belief that music matters While the instrument may not be to the instruments and the music there – indeed that what we sing is important, everybody’s taste, it is Martin Baker’s are the connections between them and for as the Bishop of Leeds says, ‘If you musical playing and highly imaginative wider history, and the way changes sing rubbish, you believe rubbish.’ transcription of the Mussorgsky that in society (as well as technical Julian Elloway

CHURCH MUSIC QUARTERLY JUNE 2020 54 vocal score For Sale: Continuo Organ

Built by FH Browne &vocal Sons score

Built in 2015 for the St Albans Organ Festival by FH Browne & Sons, this beautiful continuo organ is exquisitely cased; it features a highly crafted vine design, and has standard pitch of A440 but can also be transposed to A415 for Baroque repertoire. The organ has a large tuning latitude, so that all temperaments can be catered for. The organ features a stopped Diapason 8, Flute 4 and Fifteenth 2. (Dimensions: 1.33m x 0.8m x 1.26m). In very good condition and fully mobile, this is a quality instrument for the specialist whether in a concert hall, college, church or chapel. A profound mediation on humanity and atonement by the composer of The Armed Man: A Mass for Peace, Requiem, The Peacemakers and Stabat Mater

Jenkins, Karl Miserere: SongsPrice: of Mercy £20,000 and Redemption ono Contact Kirsten on 07967 197385 or [email protected] Countertenor (Mezzo-Soprano), cello, mixedSt Mellitus choir, strings, Church, harp Tollington and percussion Park, London, N4 3AG Vocal/Piano Score BH 13677 · £ 15.99 ALL PROCEEDS FROM THEwww.boosey.com/miserere SALE OF THIS CONTINUO ORGAN WILL GO TO THE RESTORATION OF OUR WW1 HUNTER MEMORIAL ORGAN

979-0-060-13677-1_Jenkins_Miserere_VSC_prelims-C_JA_050919.indd 1 12/09/2019 08:52:21 Choose the UK’s most trusted home insurance provider and we’ll donate £13 0 to your church

Take out a new home insurance policy with us before 31 December 2020, and we’ll donate £130* to a church of your choice through our Trust130 promotion. Find out more at www.ecclesiastical.com/trust130 or call our team on 0800 783 0130 and quote TrustCM.

* Terms and conditions apply and can be viewed on the offer website page above.

AUTUMN 2019

GOLD RIBBON CUSTOMER EXPERIENCE Home insurance

Ecclesiastical Insurance Office plc (EIO) Reg. No. 24869. Registered in England at Beaufort House, Brunswick Road, Gloucester, GL11JZ, United Kingdom. EIO is authorised by the Prudential Regulation Authority and regulated by the Financial Conduct Authority and the Prudential Regulation Authority. Firm Reference Number 113848.