Happy choristers at Arundel Cathedral display their Archbishops’ Chorister Medals Photo by Elizabeth Stratford Laudate The Magazine of the Guild of Church Musicians

Laudate is typeset by Michael Walsh HonFGCM and printed by St Richard’s Press No 101 May 2020 Leigh Road, Chichester, West Sussex PO19 8TU [email protected] 01243 782988 From the Editor of Laudate www.

e are living in strange and unsettling times and it is looking as if we will be very fortunate if church services are allowed to resume before the end of the year. WMany enterprising organists and choir directors are seeking ways to keep their choirs together via Zoom and other platforms, although those of you who have tried singing together in this way will have probably dissolved into fits of giggles before the end of the first line of music! Perhaps some of you will have taken this opportunity to listen to more music, perhaps exploring repertoire and performances you have been meaning to listen to but have always managed to be distracted by other things. Some may well have started to use this time to do some research, even to study for a diploma or some award. Patrons: Rt Revd & Rt Hon Dr Richard Chartres, former Lord Bishop of London The Guild has lots of avenues to explore if that is your intention and I can do no more than encourage you all to Professor Dr Ian Tracey, Organist Titulaire of Liverpool Cathedral visit our new Guild website at www.gcm.org.uk. We are indebted to Ken Cope who has worked tirelessly Dame Patricia Routledge, internationally renowned soprano & actress to get our new site up and going. There is still more to be added, especially about some of the new ventures I Master: Rt Revd Dr Richard Fenwick have written about on pages 2 and 3 of this issue. Above all, let’s see this as a golden opportunity for renewal Secretary General: John Balsdon Membership Secretary: Mandy Balsdon and for exciting new developments in the life of our Guild. Treasurer & Magazine Editor: Dr Michael Walsh I pray that you all keep safe and well. he Guild of Musicians and Singers was formed in Oxford in June 1993 with the aim of bringing together amateur and professional musicians in working and fraternal Tways. One major aim has always been to encourage young musicians in the pursuit of their studies and the Guild has set up a fund with bursaries for students to help them with examination fees and other aspects of their careers in music. The Guild is non-denominational and covers all genres of music. CONTENTS The Guild has many distinguished musicians among its Hon Fellows, including Sir Mark Elder, Dr Vasily Petrenko, Dame Evelyn Glennie, Dame Patricia Routledge, Dr. A Message of Hope from the Acting Warden ...... 1 Francis Jackson, Andrew Carwood, Benjamin Grosvenor and Rick Wakeman. The Guild as we find ourselves in May 2020 ~ The General Secretary...... 2 Academic Dress is available and membership is only £20 a year. This Joyful Eastertide ~ The Revd. Dr Gordon Giles...... 4 Full details are available from the Guild’s website: All the young Organists – where are they? ~ Anna Hallett...... 7 www.musiciansandsingers.org.uk CD Review – Hugh Benham : Sacred Choral Music...... 9 Notes from the Treasurer ~ Robert Andrews...... 10 The Guild is proud to announce that it is working in association with: Report on the Guild meeting at Arundel on 1 February ~ Barry Williams...... 12 Reflections on ‘Where is Church Music going?’ ~ Revd Canon Dr Mark Gretason...... 13 The National College of Cathedral Music in Troubled Times ~ Martin White...... 14 Music & Arts, London Obituary: Dr Jennifer Bate ~ Barry Williams...... 17 Stephen Harrow ~ Barry Williams...... 18 he National College of Music & Arts, London was established over 125 years ago and specialises in external Revd. Canon Alan Luff ~ Rt Revd Richard Fenwick...... 18 music examinations and speech subjects. The College has Musical Affekt: A comparison of three mass settings ~ Dr William Clark...... 21 T music examination centres throughout the United Kingdom and The new organ at the Australian Guild Church ~ Brett McKern...... 25 in various countries overseas. Reassessing Christopher Smart and his hymns for children ~ Phillip Willatt...... 28 Established 1894 Incorporated 1898 The College has recently introduced two new diplomas which Obituary: Emeritus Professor Nicholas Temperley...... 31 might well be of interest to Guild members: FNFCM – Fellow of the National Federation of Church Musicians and Cover image: Daffodils at Salisbury Cathedral by Ashley Mills www.ashmills.com AFNCollM – Associate Fellow of the National College of Music. YOUR ARTICLES AND OPINIONS ARE EAGERLY SOUGHT Both these diplomas attract academic dress. It would be good to receive more feedback from Guild members about what you want to see in Laudate. Full details may be obtained by visiting the College’s brand new website: You are welcome to contact the Editor by any of the following means: By post at 5 Lime Close, Chichester, West Sussex PO19 6SW Tel: 01243 788315 or at [email protected] www.ncm-london.co.uk Please visit our brand new website – www.gcm.org.uk A message of Hope from the Acting Warden

ow often have we experienced that moment of transcendent bliss when, the performance over, Hthere is a poignant silence in which we are nearly overwhelmed by a flood of meaning? We do not need reminding that music is not just sound, but also silence – and, most particularly, the interaction between the two. This past month has deprived us of most of the usual ways of making live music for worship, but nothing prevents the God whom we worship from communicating with us, sharing with us the life offered to us through the death and resurrection of Jesus. We may not have gathered in our local churches or cathedrals this year to sing the great hymns of Passiontide, nor flocked to sing “Jesus Christ is risen today!” on Easter Day, but many of us will have found the texts of those hymns coming to the forefront of our thoughts nonetheless. And perhaps this most unexpected and unusual of times has shown to us some of the fruits of habits that are so much part of us that we no longer register them. Did we, for instance, find snatches of Mrs Alexander’s children’s hymnThere is a green hill ... running through our minds? Then, without the usual routines of singing the hymn at a Good Friday service, we might have found ourselves wondering at the cleverness of the text, the way in which each verse sets out another of the classic theories of the atonement – simply setting them before us, inviting reflection and deeper engagement with this work of God in order that ‘all may be saved and come to the knowledge of the truth.’ Or, Watts’ incomparable When I survey the wondrous cross may have attracted a moment of our attention. Here we may wonder at the intimacy and passion, but without any sentimentality, the ability to cast a hymn in the first person without losing objectivity. Again, we may have been given a moment to ponder the extraordinary power of some of the great Latin hymns of the Passion – Vexilla Regis or Pange lingua – mostly introduced to us through the translations of John Mason Neale and other Tractarians. We could go on: there are so many rich texts amongst the Passiontide hymns, but what of Easter? Once we reach the feast of feasts there are again many familiar and much loved texts, but surely few that achieve comparable theological sophistication. Wesley, as ever, gives us real food for thought in Love’s redeeming work is done! and one of the finest Easter hymns is surely the paraphrase of the Latin office hymn At the Lamb’s high feast we sing; and we might add another adaptation from a Latin original, Ye choirs of new Jerusalem. The majority, however, cannot bear too much scrutiny of the text. This is not altogether surprising: the mystery of the Resurrection is still beyond our grasp. Our imagination struggles to gain a foothold. Only when all our resources are harnessed and drawn together do we catch glimpses of the truth that God sets before us. Rather than pondering the texts of Easter hymns we might do better to immerse ourselves in James MacMillan’s Symphony – Vigil (1997), the third part of his response to the Triduum, Maundy Thursday, Good Friday and Holy Saturday. None of us would have chosen this time, but surely there have been gifts in the midst of the darkness. Above all, may we all have renewed confidence in the God who raised Jesus from the dead and gave him glory that we might have faith and hope in him.

Fr Peter Allan cr

May 2020 1 The Guild as we find ourselves in May 2020

Dr Michael Walsh, General Secretary am sure that it will come as no surprise to you all to have discovered that our two I planned events for June this year have had to be postponed. I say postponed rather than cancelled, for it is my fervent hope that we will be able to mount these events on a suitable date in the future, maybe on the equivalent dates in 2021. I would also like to hope that by the time the next issue of Laudate reaches you at the start of September I will be in a stronger position to give you some better news, but as things stand as I write this at the end of April, it doesn’t look too promising for the rest of this year. However, the enforced lockdown has enabled the Guild Council to spend a lot of time via phone, email and Zoom into developing future projects Membership of the Guild with electronic and we do have some exciting prospects in view. version of Laudate supplied online £25 Before I get to the good bits, I do have one rather Membership of the Guild with the printed important thing to mention first. After a lot of version of Laudate as currently supplied £35 thought and deliberation, the Guild is going to be increasing the subscription from The Guild Council are very aware that this is a January 2022, but please note NOT from significant price increase, but when compared with There are a number of reasons next year, 2021. other church music organisations it still doesn’t for this, but the principal one is that the Guild bring us close to the rates charged by others. For cannot afford to carry on producing this magazine example, RSCM individual membership costs £66 in its current form. Each issue of this magazine costs if paid by direct debit. For the majority of you who us in the region of £5.33 per person per issue and pay this way it is going to mean the inconvenience of with three issues per year you will understand that altering your payment and we do apologise for this, this doesn’t really give the Guild much change from but we cannot afford to see our funds disappearing £20 for much development in our work. any faster than they currently are. Further details Several members have already stated that they on how this change will work will be given in the would be happy to receive Laudate online as a September Laudate. .pdf document. Some like to keep and build up Now to more cheerful stuff! a library of the magazines, but many others read The is now going live! After the them and either recycle them or pass them on. Junior Guild successful launch of the Archbishops’ Chorister The Australian branch, for example, only receive it Medal, Elizabeth Stratford has been busy designing electronically. From 2022, we are proposing two a membership package for our Junior members levels of membership : which will incorporate a membership badge,

2 Laudate 101 certificate of membership and regular newsletters No charges are usually made for this, and the service sent by post, plus online materials. The only thing is available to all churches, whether members of missing so far ... is a NAME for the Junior Guild! The Guild or not. However, the mediators would We are hoping that some bright chorister will expect to be reimbursed for any travelling or come up with a suitable title and there will be a other essential expenses incurred. Enquiries about prize for the winning name. mediation should, in the first instance, be addressed The first items in the Guild Publications to the General Secretary. series are soon to be available for purchase. The Passacaglia by Ralph Vaughan Williams can Perhaps the most important new development to now be ordered from the General Secretary. The be announced is the creation of our new Guild General Editors for the series will be Hugh Benham Website! Please make a note of our new domain: and Roger Wilkes. gcm.org.uk HYMN-TUNE WRITING COMPETITION It is now live and the old website, if you click on As a competition, the Guild invites settings of it, has now disappeared and you will be directed a given three-verse hymn by 31 October 2020. to the new one. Email addresses for the Guild’s The prize for the winning entry is £100, plus the Officers are being set up (mine isgensec@gcm. prospect of its being sung at a Guild event (God ) and those for other Guild Officers will willing) in 2021. Visit the Guild’s new website at org.uk be announced in the September issue. gcm.org.uk for an application form, which will be available from 1 June 2020. The text to be set Following on from the Archbishops’ Chorister (by kind permission of its author, Bishop Timothy Medal, which is designed for choristers up to the Dudley-Smith) will be sent to each applicant, on age of 18, we are in the process of reshaping the receipt of the application form and an entry fee Archbishops’ Award to make it lead on from of £10. the Medal more effectively. Having revised the Entries will be accepted from members of the Guild ACertCM in recent times, the requirements of the (other than members of the Council, Academic Award are in some areas more stringent than the Board, or Advisory Panel) and from non-members. Certificate. By revising it to appeal to the 16-30 age range it could prove a useful qualification for We are also re-establishing a Guild Advisory those who have moved on to secondary education Panel made up from experienced, active and university, and should appeal to those singing in musicians who are engaged with church music school or chapel choirs and choral scholars. It also in cathedrals, churches and schools. Full details attracts academic dress, which is often appreciated of those participating will be published in the by young singers at the start of their careers. September issue. The hope is that the Panel will not only advise and encourage but will feel able So where does this leave our future plans? to participate in a range of Guild activities, rather As you will have read in Laudate 100, we have an than just be names on a list to add kudos to our event booked for 19 September at St Chad’s activities. Cathedral in Birmingham and at the moment, The Guild of Church Musicians now offers a this event has, to the best of my knowledge, not Mediation Service to churches for cases been cancelled. Please keep your eyes open for where there are disputes involving church music. more details on our new website about this, and The team of mediators includes a former Director I will confirm the decision in the next edition of of the Royal School of Church Music, an Anglican Laudate at the start of September. Bishop with particular experience of church music (previously Dean of a major Cathedral), and two I do hope that you are keeping cheerful and safe lawyers. and look forward to being in touch later in the year.

May 2020 3 This Joyful Eastertide

The Revd Dr Gordon Giles This Joyful Eastertide, Away with Sin and Sorrow My Love, the Crucified, Hath sprung to life this morrow:

Had Christ, that once was slain, Ne’er burst his three-day prison, Our faith had been in vain: But now hath Christ arisen.

My flesh in hope shall rest, And for a season slumber: Till trump from east to west Shall wake the dead in number:

Death’s flood hath lost its chill. Since Jesus crossed the river: Lover of souls, from ill My passing soul deliver:

Words: G.R Woodward (1848-1934) Tune: THIS JOYFUL EASTERTIDE Charles Wood (1866-1926)

he Church year is marked out not only sealed in 1215. In 1348 the Black Death killed half by Holy Days and special readings and the population of England. The Great Plague of Tprayers, but also by particular hymns and 1665-6 killed an estimated 100,000 people, almost songs. This means that as we approach Easter we a quarter of London’s population, in 18 months. look forward to singing those great Easter hymns: The next bubonic plague pandemic known as the “Thine be the Glory”, and “Jesus Christ is risen ‘Third Pandemic’ lasted from 1855 to as recently today”. The unfortunate flip-side of this is that, just as 1960, emerging at various places in the world as it is considered odd to sing Christmas carols throughout that period. In the global influenza between New Year’s Day and December, the annual epidemic of 1918 approximately fifty million people opportunity to sing Easter hymns is all too brief. around the world died. People felt symptoms in the But this year has been different. In order to slow morning and were dead by nightfall. In the United down the infection rate, churches are still closed States bodies were picked up from front porches and clergy told to stay away. The last time this to be carted away to graves dug by bulldozers. A happened was in 1208 when King John refused to man was shot for not wearing a mask. That was accept Pope Innocent’s Archbishop of Canterbury, just a century ago, to some extent a part of history Stephen Langton. So the pope put England under shrouded by the First World War. an ‘interdict’ which endured between March 1208 As I write, the pandemic and isolation measures and May 1213, and clergy could not celebrate are by no means over yet, and even if we are not the sacraments. Magna Carta was effectively a infected we are affected: we are isolated at home, product of this internecine strife and that was alone or in close company, and there is no exit

4 Laudate 101 strategy. And for the first time in living memory, implications of which are still very much with us. we are being constantly told that what we do, how So there is something special about Easter music, as we behave, how we live, has a real impact on the life there is about all seasonal music, and without Easter and death of others. We must not be the crowd music the Easter season would lack something that who can thoughtlessly sentence others to death. enables us to relate to the events and truths of the Amidst all this we have missed our Easter resurrection in a very particular way. hymn-singing, that great communal outpouring Woodward’s celebratory text, which is often sung of celebratory praise to and about the risen by the choir as an introit, states the Easter truth Christ. And yet, every day we celebrate Christ’s simply: Jesus is risen, thereby doing away with the resurrection, and every Sunday is a celebration and causes of sorrow, and wiping away sins. He echoes reminder of Easter day, that day when the crucified St Paul’s claim in 1 Corinthians 15 that without the Jesus ‘burst his three-day prison’, rising to life and resurrection our faith would be in vain, underlining declaring the death of death. The spirit of Easter the fact that the resurrection of Jesus lies at both can and should be sung all year round. the base and the centre of Christian faith. Without Some Easter hymns are date-specific though, and the resurrection, the whole story falls apart. And Woodward’s ‘This Joyful Eastertide’ is one of the resurrection is that singular act of God which them. Convention and calendars dictate for how contravenes all the laws that we may care to think long Easter hymns can be sung. We can think of of. We do not need to worry too much about the Easter period as being between Easter Day whether God was able to raise Jesus, but in fact and Pentecost, but even so, “Jesus Christ is risen didn’t (as some have said): rather, it is the other today” can only really be sung on Easter day, and way around: God did it, and thus the question as to “This Joyful Eastertide” suffers similarly. On the whether he is able to doesn’t need asking! other hand, when you can only sing certain hymns at Jesus, ‘our Love’, as Woodward calls him (as indeed certain times, they take on more than just a flavour did George Herbert), did spring to life. Woodward of the season. There is something very special uses a very active verb, ‘rising’ can suggest an about words of a hymn that speak of ‘now’, “but now ethereal, levitational, almost passive event, but no, hath Christ arisen” – not only has it happened, it here we have Jesus ‘springing’ to life. It is far more has happened now: we have arrived, and the Good enthusiastic, more dynamic, more alive. News is particularly good now! Being able to locate In the second verse of the Easter hymn, Woodward ourselves in the moments we celebrate is a delight, goes on to suggest that after death, the human soul a privilege and brings us into special contact with rests, sleeping until the day of the last trumpet when our Lord, the events and significance of whose life great numbers of the dead shall be raised. Perhaps we are particularly celebrating today. Whether we there are even hints of a trumpet fanfare in the are in lockdown or not, Easter Day is still Easter refrain, as the word ‘arisen’ is repeated, each time Day. And every day is Easter day, paradoxically. rising up the scale, before concluding each time It is the same at Christmas, when, either at the with a descent all the way down the F major scale. Midnight Service, or on Christmas Day itself we The music itself is based on a Dutch Psalm tune can sing those words from “O come all ye faithful” of 1687, which the Irish composer Charles Wood which liturgical convention forbids at any other harmonised at the turn of the 20th century. The time: “Yea, Lord we greet thee, born this happy tune begins with an upward rise, appropriate morning”, or on Maundy Thursday, at the eucharist, for a resurrection hymn, and in spite of having there is a tradition of adjusting the Eucharistic a tremendous vocal range, is eminently singable. Prayer such that the priest says of Jesus, “Who Some congregations prefer to leave it to the choir on this night that he was betrayed, took bread and though, as it does go up to a top F in the refrain! gave you thanks...”. The immediacy of the account Most hymns have smaller ranges than this, confining brings us closer to those events of long ago, the themselves to an octave of eight notes, and it is

May 2020 5 partly for this reason that this piece, which is a and share our faith again with those whom we hymn in the proper sense of the word, is more can see and touch. Meantime we remember what often performed as an anthem by choirs. happened on that Easter Day: Jesus came behind In the last verse Woodward uses water imagery, lockdown doors and offered the disciples peace and speaking of Christ as having ‘crossed the river’. Like hope (John 20:v.19). He showed them the marks Mr Valiant-for-Truth in John Bunyan’s The Pilgrim’s of passion which proved his resurrection, but like Progress, (set so strikingly by Vaughan Williams in his Mary in the garden (v.17), they did not touch him. Pilgrim’s Progress) death is seen as another ‘side’ to Yet when he returned he invited Thomas to touch which we all cross, the way having been led by Jesus. and hold him. The time was right. It is important Again Woodward’s idea is not new: pre-Christian, to be able to touch and hold others, their bodily Greek myths speak of the River of Death, the presence is as important as emotional and spiritual River Styx, which is crossed only by boat, steered presence. In the faith, hope and love the risen by Charon, the mysterious boatman. Christ gives us, we have all three: spiritual faith, emotional hope and loving touch. These three As Christians, we may be more inclined to think of abide, and they abide, as the risen Christ himself the River of Life, mentioned in Revelation 22, and of does, in us, with us and through us. The ability to the waters of Baptism, through which we pass from touch others again will be restored. Meantime we death to eternal life. In the early church, and still can infect others with faith, hope and love at huge today, there is a strong tradition of Easter baptism, distances, through walls and behind closed doors. the preparation for which takes place during Lent. And there is an exit strategy: resurrection life. That Thus at Easter, there would be a double celebration is truly Good News for all of us, at home or out of new: new life in Baptism into the new life in and about, inside or out, now and always. For the Christ, symbolically and spiritually brought about risen Christ is with us always, to the end of the age through baptism in water. Water is crucial to our (Matthew 28:20). So we are Easter People, and existence: it cleans us, nourishes us, and makes us ‘Alleluia’ is our song. what we are, for we are approximately 70 per cent made of water. Give us your Easter joy O Jesus, that we may be freed to be your people in this world, and inspired by your Nevertheless our churches, swimming pools and resurrection hope may look forward to that day when shopping centres are empty, as empty as the tomb we shall sit and eat in your Kingdom, Amen. on the third day. Where has everyone gone? We are in our homes, fearful of an unseen enemy, wondering when it will end and hoping for some good news about an exit strategy. We are worried about ourselves and our loved ones. Some are in the isolation of grief as others die. Hundreds of people are dying every day. Let us remember them in our prayers. For as Christians, we have a job to do at this time. Jesus has burst the ‘three-day prison’ of the grave leaving a tomb emptier than our streets. This is our faith and our hope. Others have lived and died through more challenging times than this, which is not to say with the current emotional, spiritual and physical challenges and privations are not significant. But with an Easter faith to celebrate, we are the lucky ones. The empty tomb gives us hope to pray The Revd Dr Gordon Giles will soon take up the post for the time when we can fling wide our doors of Canon Chancellor of Rochester Cathedral.

6 Laudate 101 All the Young Organists – where are they?

Anna Hallett n 2018 Richard Hubbard published the InHarmony report which concluded that Ijust 4% of organists were under the age of 30. Being a young organist I was shocked by this and decided to do some research for myself. This resulted in the publication of Inspiring Organists of the Future: Does more need to be done? in February last year. The full report can be read on www. theorganmanual.com. Whilst the specifics of Hubbard report findings were shocking, the overall trend was not. It has long been reported that there is insufficient interest in keeping the organ alive. I believe there are many reasons for this, not least the fact that investment in music education has reduced over the years, and the organ, being largely available in religious buildings, independent school chapels and Oxbridge colleges is considered to be an elitist instrument. John’s Church, Devizes choir for a couple of years, Add this to (for example) the lack of planning by a when my Mum saw a poster advertising ‘Pipes PCC when the 80-year-old organist who has been in and Pizza’ organised by ‘Pipe Up!’ which is run in post for the past 50 years decides to retire; or the the Diocese of Salisbury. Of course, I’d heard the noticeable lack of appreciation for the organist in organ played many times before that, but it was post, who can spend hours preparing for a service, only once I played it for myself that I fell in love in particular a voluntary, to just be talked over whilst with it. Taster sessions and opportunities to hear the congregation catch up on news over coffee; the organ, perhaps outside worship, are therefore and the increase in a move to more modern ‘music very important to me. David Pipe (Director of groups’; and inspiration for the aspiring organist is Music at Leeds Cathedral and of The Organists hardly in abundance. Training Programme) is proactive in giving organ However, it is not all doom and gloom! During the demonstrations to year 7 and 8 pupils in schools course of my research I discovered many passionate to attract interest, as is David Baker (Director of young organists determined to ensure the King of Halifax Organ Academy) who offers workshops Instruments has a future. to school children so that they are, “…exposed There are youngsters, like me, who wish to see to the instrument at an early age. Without children the organ alive and playing for generations to getting to know the organ, whatever else is done will come. Initially of course, there has to be a desire be in vain.” Sadly, this proactive approach is not to play the instrument. My research showed many mirrored across the UK although it is something of those who play start by having been a chorister the RCO is looking to rectify along with raising the and/or a pianist, whilst others were inspired from profile of the organ. This is being done through a hearing the organ played. Not uncommonly, I was series of events such as La Revolte des Orgues in (and still am) a chorister and played the piano November last year and the National Organ Day before starting the organ. I had been singing in St on 18 April this year.

May 2020 7 Once an interest in the organ has been established, As well as training schemes, there are numerous it is not always easy to find a teacher. I was lucky; courses especially for younger organists. Naming my choirmaster Chris Totney offered to teach me just a few: The Organ Scholar Experience, Jennifer as soon as I expressed an interest to learn and he Bate Organ Academy and Oundle for Organists. has supported and encouraged me constantly in The individuals who attend these courses are the 5 years since my first lesson. More teachers passionate about the organ and do so to better their like him are needed. Simon Williams of the RCO instrumental skills by learning from enthusiastic, said that if there was one thing he could do, it inspirational and dedicated teachers like Daniel would be, “to make sure that there is a well-trained, Moult, Ann Elise Smoot and Tom Bell. Finance charismatic organ teacher who is a good player, in availability doesn’t stop at training schemes. All the every town of moderate size and above, with access to courses I have come across offer bursaries to allow a good instrument. Teachers are the key to recruitment individuals from all backgrounds to attend. Smoot and good teachers the key to a future pool of well- stated, “I have never had to turn away an applicant trained young organists”. I couldn’t agree more! due to lack of finance”, and Moult agreed that with The RCO accredited teachers’ scheme is helping the number of scholarships and bursaries available to improve the situation, although looking outside through the RCO there was no need for anyone the South East the teachers listed are few and far not to apply. between. So, is there enough out there to ensure there are However, there are a number of schemes available organists of the future? With charismatic teachers, to assist players of all levels and ages with the training schemes, courses and funding widely process of finding a teacher and the funding of available, I believe there is. But is it enough? organ lessons. Some of them are little known. I don’t think so. The schemes are not heavily advertised outside With this in mind I created The Organ Manual the church music world and are not easy to find website. This is a resource for organists of all ages in internet searches. Those who do play through and levels of experience as well as organ lovers. these schemes have come to know of them There are countless sites available to us all listing through word of mouth, Directors of Music, choral scholarships, funding, courses, competitions and events, Diocesan online media and leaflets. The more. There are numerous companies where you individuals who come across these schemes are can buy music or organist vestments. There are likely therefore to already be involved in religious many sites which list organ recitals in the days, music and this is a common source of recruitment. weeks, months or even years ahead. However, The bonus is that these individuals are aware of the until now, there has not been a place where all regular commitment required of church attendance this information is available as a one-stop location. and the dedication given to producing high quality The site doesn’t relist recitals, it doesn’t list all the music. teachers and it doesn’t sell anything, it just points The schemes vary in their aims and objectives. you in the right direction for the information you Some ensure a practice organ is available, some are after. Broken down into clean and easy to ensure the student plays at services each week and navigate categories, The Organ Manual really does some require the church, parents and pupil to ‘buy have something for everyone. into the scheme’. However, common to them all is You might ask if there is a need for such a site. I the mission to encourage young people to take up wondered and convinced myself there wasn’t on the organ in the hope they will become organists many an occasion when laying it out, collecting data, of the future. Schemes such as the Halifax Organ building and rebuilding it. However, it currently Academy and Pipe Up! are run at a local level by receives at least ten visits a day and I have had mails the Organ Association or Diocese, whilst RSCM from people who have found suppliers they were Pipeline and YOST cover the whole of the UK, as not aware of in the past. The Organ Manual website long as teachers are available. is supported by a Facebook page, Instagram and

8 Laudate 101 Twitter feed. These are actively managed and share of the RSCM) and Gerard Brooks (President of the organ news on a daily basis and feed through to RCO). The willingness of these individuals to give the website. They are also actively followed by over up their time to write an article for the site helps 500 individuals and companies. The website itself me believe it does have a purpose. is kept up to date with regular checks on the links Is it enough? Probably not, but it is my little part to ensure they are still live. Each month additions (other than learning and playing) in trying to keep and amendments to the site are highlighted in a the King of Instruments alive for generations to summary and a feature article is written by a guest come. blogger on any aspect of the organ they wish to Anna Hallett write about. I have been delighted to have posts Anna Hallett is 15 years old and learns the organ written by Paul Hale (Independent Organ Advisor) with Chris Totney whilst also singing in the choir at St and David Mason (Director Viscount Organs). Soon John’s Church, Devizes. She hopes to compose film to be published are posts by Hugh Morris (Director music scores on completion of her studies. CD Review

Hugh Benham : Sacred Choral Music Alexander Norman directs Convivium Singers with organist Malcolm Archer Convivium Records CR050 eviewing Dr Benham’s CD has been a glorious revelation! Many of us know of his highly-regarded expertise on the Rmusic of John Taverner (c1490–1545) and his book Latin Church Music in England 1460-1575 (Barrie & Jenkins 1977) but to experience the breadth of his imagination as a composer has been a delightful surprise. On this CD, which is performed with great distinction by Convivium Singers under Alexander Norman and accompanied most sensitively by Malcolm Archer, we are treated to 22 tracks, which include a sonorous latin Mass, Veni Creator Spiritus, three organ solos and a cornucopia of works ranging for demanding scores for professional choirs to pieces composed for the modest forces of his church choir at Chandler’s Ford in Hampshire. Right from the start, it is clear that the composer is steeped in the British choral tradition, but other influences emerge: his harmonic palette is colourful enough to incorporate some whole-tone chord progressions and clusters and more than an occasional nod to Maurice Duruflé at times! Right from the start, even the more modest hymn-anthems such as the opening Glorious things are spoken and Love’s redeeming work amply demonstrate the composer’s melodic gifts. I enjoyed particularly Dr Benham’s unaccompanied works, especially the Mass Veni Creator Spiritus where his love of Tudor church music shines through right from the opening bars of the Kyrie. He also responds particularly sensitively to Latin texts as in the O sacrum convivium (quite my favourite track), Ave Maria and Ubi Caritas where the traditional plainsong melody weaves in and out from time to time, mixing with an English text most effectively. However, even his most modest compositions show a beautiful sense of line and a serenity of harmony – until the mood changes. His setting of Christina Rossetti’s Love came down at Christmas is a fine example, and There is no rose has some telling chromaticisms and incorporates the melody of Of the Father’s heart begotten, hinted at throughout but stated in full at the end. There are so many other gems here and space won’t allow me to describe them all, but his setting of the Magnificat and Nunc Dimittis for upper voices and organ and Malcolm Archer’s stirring rendition of a Trinity Voluntary are highlights. The setting of God be in my head rivals those by certain other well-known composers for its adventurous harmonies. This CD is highly recommended. MW

May 2020 9 Notes from the Treasurer

Subscriptions ubscriptions were due on 1 January. We have recently introduced a new accounting Ssystem and automatic reminders were sent to everyone who had not paid their subscription by the end of January. As a result, only 13 members (at the time of writing) still owe their 2020 subscription. If you are one of them this will be the last copy of Laudate you will receive unless we receive payment by 30 June. We now have the ability to accept payment by credit/debit card and this has already assisted many of our overseas members to pay. If you wish to use a card to make payment, please contact me. The Guild’s accounts Last year, I reported that we were seeking permission from Companies House to change the accounting year end from 30 September to 31 December. That has been approved therefore the Guild’s accounts for 2018-19 reflect the 15 month period from 1 October 2019 to 31 December 2019. The change brings our accounts in line with our subscription year and gives us the ability to hold our AGM in the summer months. The current Coronavirus lockdown means that whilst the accounts have been approved by Council they have not been seen by our Independent Examiner. The Charity Commission has given blanket approval for charities to defer their AGMs, but we will publish our statutory accounts on our website in due course once we return to some semblance of normality. However, in the meantime, a summary of the accounts is shown opposite on page 11. The accounts show a deficit of £10,427, but some £5,000 of this resulted from the decision of Council to employ a public relations consultant to enhance the image of the Guild and hopefully attract more members. His contract will initially cost a little over £10,000 therefore a further £5,000 will appear in the 2020 accounts along with the costs of designing our new website. It is important to note that the accounts now have an inherent shortfall because the cost of producing Laudate in its current form (£7,120) exceeds the total income received from subscriptions (£6,565). I mentioned this in my report last year and you will read elsewhere in this copy of Laudate of Council’s plans to address this problem. Since I became treasurer in 2010 the Guild has shown a deficit, averaging £7,000 per year, in 6 out of 9 years, and free reserves have consequently reduced from approximately £100,000 to only £57,000. We are reaching a critical point financially, but hopefully the decisions now being taken by Council will reinvigorate the Guild and lead to a more positive future both musically and financially. Robert Andrews Treasurer

10 Laudate 101 Guild of Church Musicians Summary of financial statements for the 15 months to 31 December 2020

Unrestricted Restricted Total Funds Total Funds funds funds 2018-19 2017-18 £ £ £ £ INCOME Voluntary income Subscriptions 6,565 - 6,565 6,635 Donations 232 - 232 920 Income tax recovered on Gift Aid 794 - 794 787 7,591 - 7,591 8,342 Income from Charitable activities Examination fees received 2,325 - 2,325 800 Courses & conferences 1,865 - 1,865 2,120 Sale of ties and badges 1,176 - 1,176 314 5,366 - 5,366 3,234 Income from investments Bank interest 538 422 960 536

Total income 13,495 422 13,917 12,112

EXPENDITURE Direct costs Examinations expenditure 994 - 994 413 Academic Board expenses 118 - 118 - Annual award ceremony 285 - 285 1,639 Courses & conferences 2,443 - 2,443 1,705 Publishing Laudate 7,120 - 7,120 7,394 Publicity 1,485 - 1,485 168 Public liability insurance 176 - 176 928 Consultancy & professional fees 5,203 - 5,203 - Cost of robes & regalia 1,532 - 1,532 400 19,356 - 19,356 12,647 Support costs Postage 104 - 104 162 Stationery and office expenses 166 - 166 166 Sundries 963 - 963 412 Website maintenance 29 - 29 36 Bank charges 95 - 95 72 Gifts 93 - 93 745 1,450 - 1,450 1,593 Governance costs Independent Examiner's fee 100 - 100 100 Trustee expenses 3,016 - 3,016 1,274 3,116 - 3,116 1,374

Total expenditure 23,922 - 23,922 15,614

Net surplus (deficit) for the year (10,427) 422 (10,005) (3,502) Gains (losses) on investment assets - 169 169 (160) Total fund b/f 1 October 2018 67,301 22,644 89,945 93,607 Total funds c/f 31 December 2019 56,874 23,235 80,109 89,945 Represented by: Investment assets - 5,351 5,351 5,183 Bank and cash balances 52,641 17,884 70,525 81,208 Plus - stock of hoods/guild regalia 6,061 - 6,061 4,773 Plus - Debtors (money owed to the Guild) - - - 480 Less - Creditors (money owed by the Guild) (1,828) - (1,828) (1,699) 56,874 23,235 80,109 89,945

May 2020 11 Guild meeting at Arundel Cathedral on February 1st

Barry Williams rundel’s Roman Catholic Cathedral is, by any standard, a magnificent piece of Aarchitecture. Its arresting townscape, high on Parsons Hill, presents a wonderful sight when arriving, whether by road or rail. The Guild’s visit to Arundel on 1st February this year, close to the previous visit on 22nd September 2018, had a very special purpose, marking, as it did, the very first awards of an entirely new qualification in church music. Hugh Benham picked upon points from both speakers, while John Barnard spoke eloquently Members and friends gathered in the nearby St. about the difficulties that arise when musicians Mary’s Inn for lunch and fellowship, then moved to either cannot arrange music or cannot get good the cathedral for an organ recital by Robert Sholl arrangements. Eileen Eggington, a Reader from which was part of the cathedral’s formal series, London Diocese, asked about music suitable for rather than specifically for The Guild’s day, marking young people; examples were given by the speakers. the one hundred and fiftieth anniversary of the birth of Tournemire and Vierne. His playing was This session was far too short. Perhaps The Guild obviously well appreciated by the good number of could arrange for a re-run, with more speakers and people in attendance. longer discussions, later in the year. Members then moved to the cathedral hall for a After tea, Vespers was sung beautifully by the Presentation/Discussion under the heading ‘Church cathedral choir, including the difficult six-part Music – Where is it going?’ Dame Mary Archer ably anthem by Eccard, ‘When to the temple Mary went’. chaired the session, whilst the Registrar introduced Elizabeth Stratford produces cathedral standards of the speakers, likening her husband to Edgar the music from what is, essentially, a parish church set- Dragon. He was logical and concise, but fiercely up. It was impressive, as was the accompaniment critical of poor standards in church music, pointing by John Sharples, whose careful organ playing was out, with some force, that associations strike restrained and musical at all times. harder than styles. He drew a sharp comparison The Presentation of the Archbishops’ Choristers between genuine fertilisation in music and the mere medals was moving. The Registrar read a short transplantation of styles, using orchestral examples citation about each candidate – what an able to make his point. group they are – with many and varied talents and The second speaker, The Reverend Roy Woodhams, interests! newly made an Honorary Canon of Guildford The organ builder David Wells received the Cathedral, was a professional musician before Honorary Membership. His slightly shy, self-effacing ordination. His style was altogether more relaxed persona was eclipsed by the glittering account of his than the first speaker and he even introduced a very distinguished career which includes the rebuilding, funny story about a florist’s mix-up, which was well in 2006, of the Arundel Cathedral organ. received. He pointed out that ‘modern’ in church It was a superb day, with excellent music, good food, need not mean ‘bad’, but supported high standards conversation and fellowship, but the Presentation/ of performance. As Rector of Cranleigh in Surrey Discussion must be re-run on a larger scale and he was able to give examples of the broad variety with far greater publicity. The subject is much too of inclusive worship in his church/parish. important to let it remain in Arundel.

12 Laudate 101 Reflections on the ‘Where is Church Music going?’ discussion The Revd Canon Dr Mark Gretason here are Church Musicians whose knowledge discussion around the appropriateness of various of worship is lacking and clergy whose styles of music was by no means absent in the 19th Tknowledge of Church Music is poor. One of century when some thought the tunes of Dykes the functions of the Guild is to enhance knowledge in A&M to be ‘parlour music’ and, as such, unfitted both of Church Music in itself and of its place in for use in worship. Bramley’s Carol Book reflects worship. There are, sadly, clergy whose brief (so they similar concerns by stating that some carols are feel) is to keep the show on the road no matter ‘fit for worship’, others not. The Parish and People what and who have been ill equipped in training to movement, ably charted by Peter Foster encountered think of Church Music in anything but an instrument the potential tension between what people wanted in that brief. (allegedly ‘found helpful’) and what was in principle The question ‘Where is Church Music Going?’ was desirable. addressed in two ways. Barry Williams highlighted The tensions between consumer preference and principles and how they might be applied: Canon excellence are magnified by the state of the churches Woodhams gave a description of how Church Music in the West (excluding the Orthodox) but perhaps it featured in his own parish. That it matters is within might be fruitful to take a step back from the subject Guild circles, a given. Dr. Benham described the matter of the discussion. A number of questions smorgasbord that is the offering (to congregants) might be posed: in his own parish. A train of discussion explored What is worship actually for? Is it primarily an provision for children of appropriate material. offering or a dialogue or an identity event? The infantilizing and feminizing of congregations Do Biblical models inform or bind as to its principles has tended to lead to a Christianity-lite culture given? (‘Morning has broken’, ‘Lord of the dance’ by way of Given that God is revealed in both Testaments if example) whilst the feminizing of Christian culture is Biblical insights offer us anything does Cain’s sacrifice mainly to be found in the marginalisation of ‘manly’ which was rejected (Gen 4:5) have any connexion hymns, especially those with (Biblical) but politically with worship influenced by egalitarian/populist incorrect emphases (‘Soldiers of Christ arise’, ‘O trends? Valiant hearts’ by way of example). Emotionalism, Do Old Testament sacrifices provide a (binding or if that may be regarded as ‘feminine’, is a strain of persuasive) model for New Testament worship? In Christian expression favoured by the uneducated particular is the excellence of Solomon’s temple and certain 19th-century writers whose health was indicative of how worship should be? uncertain, and is a trait that is prominent in Golden Do our Lord’s teachings about talents have any Bells and its quasi offspring Mission Praise bearing upon what should happen in worship? and to the some of hymns by the Wesleys and the Does St Paul’s image of the body of Christ (1 Cor products of pietism in general. 12:27) offer any guidance as to the principles worship Both speakers value Church Music, both investment and, if so, what? in music generally, and, by extension music in Church. Is it legitimate to use popular music/language in Both identified the opportunities to enhance musical worship on the basis of 1 Cor 9:22? appreciation outside the Church with the hope that To what extent, if at all, should St Paul’s imagery it might inspire that chiefest of its use, the offering of giving milk to infants (1 Cor 4:1-2) guide the of music in worship. provision of forms of music and worship for those Speakers perhaps might, given time, have drawn of limited musical/theological understanding? out the difference between ‘being Church’, church What implications if any arise from the idea that attendance and worship. Therein is some general worship should edify? (1 Cor 10:23 and other uses confusion which our consumerist culture tempts us of this word) To what extent is the preference of the to avoid. Pragmatically there is an understandable individual for particular styles of worship legitimate? concern for the survival of churches in this secular- What does the worship of God ‘in sincerity and truth’ minded country, but worship is neither about success (John 4:23-24) actually mean? nor survival. Does the imagery of worship in Revelation offer Faced with ‘secularism’ there are two basic possible applicable guidance as to our style of worship? reactions, retrenchment and accommodation. The Perhaps it is desirable from time to time to take a former finds expression in the cult of excellence step back from the immediate concerns of logistics and the latter produces ‘bundles’ of ‘Messy Church’. and local demands. Both of our speakers prompted ‘All age worship’, ‘Family Worship’, ‘Low Mass’, ‘Parish these thoughts and we might hope for some Eucharist’, ‘High Mass’ and so forth. development of some of the themes they raised in It is worth noting that concerns highlighted in the due course. Mark Gretason

May 2020 13 Cathedral Music in Troubled Times

Martin White

t has taken some years since my retirement as engineer in Hayes, Middlesex, I changed direction Organist of Armagh Church of Ireland Cathedral and became a student at the Royal Academy of Ifor my thoughts and reminiscences to crystallise Music, studying Organ under Professor Douglas as I peruse a time that coincided almost exactly Hawkridge, and Harmony & Composition with Dr with the period of political and terrorist turmoil Frederick Durrant, two very wise, accomplished and in Northern Ireland. highly respected teachers. By this time I was already I suppose it is inevitable that when one reaches a church Organist, at a church in Acton, London the age of late-seventies, one looks back on one’s W3, moving on to Ruislip Parish Church in 1960. life and career with some amazement that things My commitment to Anglo-Catholic worship and worked out as they did. I am firmly convinced that plainsong developed during those years, and I every person has a role to fulfil, and that in my case was privileged to assist on weekdays, playing for the Almighty intended me to oversee the music at Evensong on Wednesday and Thursday evenings in St Patrick’s Anglican Cathedral, Armagh, and that the famous church of All Saints’, Margaret Street, He provided me with the means to carry out the London W1. On those days during term-time, duties for 34 years, 1968-2002. I hesitate to use the Michael Fleming, the superb Director of Music word ‘vocation’, as this is usually applied for those at All Saints’, taught at the RSCM’s headquarters, called to the ordained ministry. then at Addington Palace, Croydon. There was a I was born and educated in London, and fortunate Choir School at the church, and the choir was to attend Mercers’ School, Holborn, in the City considered by many to be the finest in London at of London. The school existed for more than 400 that time. I also gave piano lessons to a number of years, but finally closed in 1958, when I was 16. the choristers. It transpired that All Saints’ Choir After 3 years working as a trainee electronics School eventually closed after Easter 1968, to be

14 Laudate 101 replaced by a professional adult choir. I moved to appreciative of our music, and I had good support Armagh in August that year. from the boys’ parents. In 1963 I had been appointed Organist & Because it was not always safe for the boys to Choirmaster at St Mary’s, Harrow-on-the-Hill, walk to weekday choir-practices at the cathedral’s where there was a large and much-admired choir choir-practice room, known as the Music Hall and a fine musical tradition. Also, in 1964 the where rehearsals were held, I transferred these Gregorian Association needed an organist to play to a music room at the Royal School, where the for its festival service in St Paul’s Cathedral, as Sub-Organist, Dr Joe McKee, was Head of Music. their regular organist was unable to appear due This arrangement continued for nearly 30 years, to illness. Both Michael Fleming and Dr Durrant and suited most of the choristers, whose homes were asked to recommend a suitable player, and and schools were mostly on that side of the City. both mentioned my name. I undertook this, and was Full choir-practices and pre-service warm-ups later appointed the Association’s Organist, holding continued to be held in the Music Hall. the position until 1974. Every day brought news of violence and bombings I was fortunate to be awarded a number of prizes: and our local community had its share of troubles the Stewart Macpherson prize for Keyboard and bereavement. However, friends and neighbours Harmony and Improvisation at the RAM in1965, supported each other through these hard times. and the Royal College of Organists gave me the I also recall the so-called ‘Ulster Workers Strike’ John Brooke prize for Choir Training the following in 1974, which brought much of the Province to a year. I had by then already gained many diplomas, standstill for nearly two weeks. However, such was including the FRCO. My Bachelor of Music degree the commitment and loyalty of our choir-members was taken later, at Trinity College, Dublin. and the boys’ parents that the Cathedral’s worship It was probably due to the above details that I and music continued. was selected from 18 candidates (there were 52 We retained the all-male style of the choir, not applicants) in May 1968, to be Organist & Master of starting a girls’ choir, as so many churches and the Choristers at Armagh. I held this position until cathedrals did in the 1970s and 80s. The parish 2002, making me the third longest-serving organist church, St Mark’s, provided good opportunities for since records began in 1634. I did not conceal my girls in its Senior and Junior choirs, and the small “churchmanship”, and I was pleased that some population of the city could not have supported improvements in the rather colourless liturgical an additional choir. I also felt that the tradition of practices of the Church of Ireland took place over 400 years should not be altered. during my time. Armagh is the ecclesiastical capital The Cathedral organ needed attention in the mid- of Ireland: both the Anglican and Roman Catholic 1970s, as the ‘Roosevelt’ sliderless soundboards archbishops hold the title ‘Primate of All Ireland’. were giving trouble. Such was the trouble in I am also proud that very many former choristers Northern Ireland at that time that the employees of achieved well in adult life: several doctors, dentists, the famous firm that built the organ were unwilling teachers, university lecturers – and three former to come to Armagh to carry out the work. Although choirboys have been ordained as priests. I do not approve of amateurs undertaking technical Soon after I took up my duties, the civil unrest work on pipe organs, I felt I had the expertise to do started in Northern Ireland. However, the the work myself, and over a period of many months choir was kept at its full size of 21 boys and 12 I carried out the re-leathering of several hundred men throughout the years, maintaining the full pneumatic motors, working on one soundboard at a repertoire of Cathedral music for Matins, Eucharist time, thereby keeping part of the instrument playing and Evensong. I was fortunate to work with good throughout this period. I also fitted a new 3-phase support from three admirable Deans, and also four transformer-rectifier unit, and a new mixture, fine Archbishops. The Cathedral congregation was “Scharf” on a spare slide on the Great department.

May 2020 15 Somehow I succeeded in mending the organ, and Eames) made me a Lay Canon of the Cathedral, it remained playing until it was completely rebuilt and I was later given the title of Organist Emeritus. by Messrs. Wells-Kennedy in 1996. My wife, Noreen, directs the choir at St John the When the rebuild was due to start, I was fortunate Baptist RC church, Portadown, and, in retirement, I to hear of a redundant small ‘extension’ organ play the organ at Mass at this church. Occasionally available in a North London church. I took a large I still do other musical work, such as local recitals van and two assistants to London, dismantled the and workshops and recitals in France and Cyprus instrument and re-assembled it a few days later in recent years. I continue to do some composition in the cathedral. It served for nearly a year, and and was pleased that two of my piano pieces were was then sold to a RC church in South Armagh. used in ABRSM piano exam books, in 2011/12 Although only having 5 ranks of pipes, this organ, and another in 2015/16, and my ‘Celtic Eucharist’ built by the firm of Matthew Copley, served us well published by OUP sold a considerable number of until the restored cathedral organ was re-dedicated. copies. As an Associated Board examiner since Possibly some of the skills I had gained during my 1983, I was able to undertake over 30 International 3 years working in electronics helped me to carry examining tours after retiring from the Cathedral, out this work. though I have now retired from this work. I could write much more about choirboys’ social In retrospect, I am sure that I was ‘called’ to do the events and outings, choir visits to sing elsewhere various tasks that came my way, and that a curious (we sang twice at Festival of the Sons of the Clergy assortment of events gave me the means to carry services in St. Paul’s Cathedral, and once visited them out. Despite relative peace since 1999 there Paris, singing concerts in two churches), dozens of are still some unreasonable and uncompromising radio broadcasts and also a number of televised people in N. Ireland, though my experience tells me services. I recorded several concerts for BBC Radio that the majority of ordinary citizens are absolutely 3 and shared many recitals with the organist of St. civilised, warm and tolerant. I am so pleased that Patrick’s RC Cathedral, Baron Georges Minne. On the Cathedral Choir is continuing to flourish under retirement the Archbishop, Robin Eames (now Lord its present Director, Dr. Stephen Timpany.

16 Laudate 101 Obituary

Dr. Jennifer Lucy Bate 11th November 1944 – 25th March 2020

ennifer Bate’s career as a concert organist was unparalleled. She was a pupil of her father, the very distinguished teacher, Horace Alfred Jesse Bate. (31/1/1899 – 2/6/1995). She went to the University of JBristol intending to study modern languages but was quickly spotted by Professor Willis Grant and read music instead. After graduation, Miss Bate was appointed to a full-time post as librarian at the London School of Economics. When the LSE was closed she had three weeks at home on full pay and, using the magnificent organ at St. James’ Church, Muswell Hill, which has been designed by her father, learned a huge amount of music in a very short period of time. Her career as a recitalist was thus launched. Miss Bate’s skill as a linguist was significant. She could – and often did – give lectures fluently in any one of five languages. Her recitals were all beautifully thought out. A few years ago she played the Wesley Variations on the National Anthem at Godalming Parish Church, using the pedals in such a way as to reconstruct the original version, which was for a GG compass manuals-only organ. Her encores were invariably quiet, most often one of her late father’s pieces or arrangements – she always played these from memory. In the course of her career Miss Bate recorded the entire organ works of Peter Dickinson, Cesar Franck, Felix Mendelssohn, (not just the Sonatas and Preludes and Fugues, but the entire works, including much previously unrecorded material), and of course, Olivier Messiaen. For the Messiaen recordings she visited the composer and over the last twenty or so years of his life spent time marking her scores, so that her interpretations have the authority of the man himself. Not surprisingly, she was awarded the Ordre des Arts et des Lettres and the Légion d’ Honneur. She was made an Officer of the British Empire (OBE) for services to music. Miss Bate spent much time with young people and created her own Organ Academy Summer School. She will be greatly missed. Barry Williams

May 2020 17 It is with great sadness that we record the death of Stephen Harrow, BA PGCE, FKC, in the early hours of 5th April. Though he had been unwell, his death was unexpected. His career was as a member of staff at Kings College London where his hard work and diligence rightly earned him the rare accolade of Fellowship – an honour limited to just two hundred and fifty people and having such names as Archbishop Desmond Tutu, Professor Sir David Lumdsen and Bishop Graeme Knowles. Stephen succeeded John Ewington some six years ago as director of the City Singers, Aldgate, where he maintained the strong tradition of singing mainstream Anglican and other church music. He sang alto in the choir of St. John the Evangelist, Shirley, where he also acted from time to time as assistant choirmaster. Richard Pilliner, the Director of Music at St. John’s described Stephen in these words: Stephen was a devoted member of St John’s choir; he was one of us. An invaluable deputy choirmaster in conducting anthems and leading practices and services when I was away, his position as a male alto made him a rarity in itself. I could leave things and know that they would be looked after and dealt with with complete reliability and he was a much valued confidant. His love of church music was insatiable and was evident in everything that he tackled. He was seventy-three years of age. Barry Williams

The Reverend Canon Alan Harold Frank Luff (1928–2020) former Warden of the Guild of Church Musicians

Bishop Richard Fenwick (Warden 1997–2011), writes a tribute to an old friend and colleague:

ver since I was a youngster I’ve been a devotee of “Crockford’s Clerical Directory”. I admitted this once to a colleague, and his reply was predictable: “Gawd ’elp us: you really should get out Ea bit more!” An understandable reaction you might say: but the fact is that within each one of those tiny entries lies a whole world of experiences, surprises – and above all, things to make you think! This was certainly so with our former Warden, and (until his death in Easter Week), a Vice-President of the Guild. Alan was a one-off with so many strings to his bow ... a formidably talented academic and musician ... a meticulous administrator ... a skilled church “politician” ... a treasured friend to so many of us ... and a fund of real down-to-earth “horse” sense! Now, no Crockford’s entry could ever get anywhere near what he actually was, or what he did! Born in Bristol in 1928, Alan came from a line of Railwaymen who’d served with the LNER. But even as a young school pupil his breadth of interests and his academic ability marked him out for a different path. Although from a family where money was tight, he won a scholarship to Bristol Grammar School. This was founded in 1532 by Royal Charter “to educate the sons of the city’s merchants and tradesmen”. It most certainly did in Alan’s case, and following a fine set of A-Levels his parents determinedly saw him

18 Laudate 101 off to the place he had won at University College administrator, excellent pianist, and a very fine Oxford. Here he read “Greats” – the famously baritone (he had taken his ARCM in 1977) meant tough 4-year course in Classics, which took that the move to the vacant Precentorship at him through Greek, Latin, Classical History and Westminster Abbey was a natural one. He stayed at Philosophy. It was a surprise to nobody when his the Abbey for 13 years, and in many respects it was hard work earned him a splendid 2:1. Proudly, at his time here which defined the man we all knew so the end of his undergraduate years he also rowed well. It was an extremely busy job, and he had to as stroke in the University Boat. balance the needs of their growing family with the It was now that Alan did his 2-years of National fierce demands upon him in Music, administration, Service in the RAF, and a good part of his time and the constant creation of Liturgy. This included was spent at Padderborn in Germany, latterly as all the main Abbey, Royal and Diplomatic services a Sergeant-Instructor. It was a country for which and occasions which were a constant part of the he held a great affection – perhaps the more so Calendar. Above all, this was a job where he had because it was here that he met the daughter of to tip-toe around the enormous sensitivities of the the Free Church Chaplain, Enid – and they were Dean and Canons of Westminster. Although a very to marry a few years later. But during these years major and prestigious job, technically Alan was a Alan also became a fluent German speaker. Minor Canon, and so he had to be constantly aware of the sharp pressures and political movements Alan had been a church chorister from an early age, going on around him and the Musical Foundation and he had long known that he was called to the he led. Ministry of the Church – a vocation crystallised in the RAF. So, with his degree in Greats safely tucked I have to say that, quite honestly, Alan’s work and under his belt, in 1954 he went on to Theological his skill in creating a constant stream of high-profile studies at Westcott House Cambridge. He was services at Westminster were of another and quite ordained Deacon in Manchester Cathedral in 1956, special order ... and one of which most of the and Priest a year later. He served his first Curacy at Chapter of Westminster had little understanding. St Matthew’s Stretford, Manchester, and then went The great Services and occasions which he created, to St Peter’s, Swinford. He loved Manchester and printed and then carried through were all so very its musical life, and in 1961 he moved for 7 years to fine. Alan had a “style” all his own. Every move the Precentorship of Manchester Cathedral (“The in a service was planned for and plotted. Each Old Church”). sentence in the rubrics weighed finely, every word of the prayers and hymns judged for the occasion. In the meanwhile, whilst he was at Stretford he The one who did understand however, and was and Enid married. She, by now, had completed ever grateful, was the gentle and most kindly her Modern Languages degree at Cambridge, and Dean of Westminster, Edward Carpenter. “Uncle in 1968 they moved to the parish of Dwygyfylchi Eddie” was as good of heart as he was intellectually (Penmaenmawr) in the Diocese of Bangor. He was formidable. He was a fine and constantly good a devoted parish priest, and stayed there until 1979. influence on that great place – “the House of In the meanwhile, Enid took her B.Mus, and then Kings” as he called it, and he was a firm supporter her M.Mus in composition – both at Bangor. She of all Alan did. completed her composition studies with Elizabeth Lutyens in London, and with Franco Donatoni in Came 1992, and Alan had done 13 years at Milan. Her own many compositions and publications Westminster with great distinction. But now it was have become well known over the years. But here time for a move, and so Alan became a Residentiary a word about Alan as a linguist – for Enid’s first Canon at St Philip’s Cathedral, Birmingham – a language is Welsh ... and especially as the Vicar of wonderful place, with a lovely house at Selly Oak. It Dwygyfylchi Alan had to speak Welsh – which he was a time that he and Enid and the family enjoyed learned, with absolute fluency! greatly, for Birmingham is a focal point for Music and the Arts. Again, St Philip’s Cathedral is a joy At the latter part of 1979 Alan’s abilities as pastor,

May 2020 19 for all who visit. It’s a large and gracious Georgian centre. Later Alan joined the clergy team of the city-centre church (rather as if the great St Anne’s enormous Parish of Whitchurch. They themselves Manchester had suddenly decided to migrate south mostly tended to worship at All Saints Rhiwbina, down the A6 to “England’s Second City”). So if the fine daughter church of Whitchurch – with its you don’t know it, do go ... and be delighted by the own splendid musical tradition. Indeed the Organist fine music and liturgy, and the splendid old 4-manual and Choirmaster there is a former Organ Scholar organ, originally by Thomas Swarbrick, dating from of Peterhouse, Cambridge. But with the shortage 1715. But above all do go and wonder at the of clergy as it is, Alan officiated in churches all magnificent stained glass windows by the great around Cardiff. Pre-Raphaelite Edward Burne-Jones. Though there ---ooo0ooo--- were still many challenges for him Alan was in his It’s a sad time for his very many friends and element; and with the staff changes over his nearly colleagues who are saying farewell. But after so 5 years, he became Precentor and Senior Canon. many years of service, and with such a distinguished Together with everything else on his plate during record of achievement behind him, he deserves the these years he was also our own Warden of the rest in the presence of the One he has gladly served Guild of Church Musicians. This was a time of much over so many years. He passed away on Thursday great and productive work – especially with the 16 April at the Nursing Home to which he and Enid newly re-created FGCM by examination. He was moved last year – and our hearts go out to Enid a prodigious worker, and one with an enormous and to their family – the 3 sons, the daughter, and gift for dealing with minute detail .... the grandchildren. Our thoughts and prayers are By 1996 Alan was 68, and other things were yet with them as they remember somebody who not to be done. He had already been Executive Vice- only served with such distinction at “the House of President of the Hymn Society of Great Britain Kings”, but continually pointed countless others to and Ireland, and was a regular writer and lecturer the King Himself. on Hymnology and Liturgy. His books are several A final few words in the language which he so loved: (one of them in Welsh), and his publications are Alun, diolch o galon am bopeth trwy’r very many, and Alan became increasingly honoured blynyddoedd. Hwyl fawr i chi, ac fel maen for his lectures and for his part in colloquia all over nhw’n ddweud, ‘fe wella i chi ar ochr arall Britain, Europe and the USA. Truly, he had so much yr afon’! * to give – and he gave that, and more besides! Rest in peace good friend. So, in 1996 he and Enid moved to a lovely bungalow * Translation: “Alan, heartfelt thanks for everything in the Cardiff suburb of Rhiwbina, and at once Alan through the years. God speed to you, and as they became a very active part of the church life of Dewi say, ‘see you on the other side of the river’!”. Sant – the old Welsh Anglican Church in the city ---ooo0ooo--- Congratulations to two Honorary Fellows

Congratulations to two of The Guild’s Honorary Fellows: • The Very Reverend Robert Willis, Dean of Canterbury Cathedral, the noted hymn writer and liturgist, is to be made a Fellow of the Royal School of Church Music. (FRSCM) • John Belcher, formerly Organist and Master of the Choristers at Chester Cathedral, then St Asaph’s Cathedral and, in retirement, Godalming Parish Church, is to be made an Associate of the Royal School of Church Music. (ARSCM) Congratulations to both of them!

20 Laudate 101 Musical Affekt: A Comparison of three mass settings

Dr William Clark OAM FRSCM HonFGCM In this article, the author discusses the Et Incarnatus movements of three contrasting Mass settings. roots in the oratory and rhetoric formulated by Background classical writers and philosophers. fter 1600, the early Baroque period Sixteenth-century composers of sacred music had witnessed the beginnings of opera and the certainly used pictorial word setting in masses and Adevelopment of a number of instrumental motets. Baroque composers also used affections genres which eventually became more important in both sacred and secular music. These might than the composition of mass settings. range from the pictorial word setting by Handel in the aria “Every Valley Shall Be Exalted” from Notwithstanding, composers continued to write the oratorio Messiah on words such as “exalted’’ settings of the Ordinary, particularly resident (a rising sequence), “crooked” (alternation of composers with an obligation to provide sacred adjacent notes) and “plain” (long notes with slurs, music for the chapels of their employers. In addition, legato)I to a raft of devices which can be seen in major composers of the Baroque and Classical the opera Dido and Aeneas by Henry Purcell. Here periods contributed important additions to the can be seen the use of major and minor keys to genre including the Viennese Concerted Mass. depict various emotional states, the use of dotted Two distinct styles of writing emerged. For some, rhythms for words like “valour” and “triumph”, these styles were known as ‘stile antico’ and ‘stile discords for pain and suffering and descending and moderno’; for others, ‘stile da cappella’ and ‘stile ascending melismas to cover a range of words and concertato’. Other names were also used. emotions. Purcell uses a number of ground bass The modern style was closely associated with structures in the work but the one used for Dido’s instrumental music and perhaps grew out of the Lament is set in the minor key and has a descending Venetian polychoral mass settings with their chromatic figure often used to express pain, grief alternation of choral and brass groups separated and lamentation.2 by different galleries in St Mark’s Cathedral. This While it was common for composers to treat the became Missa Concertata. There is evidence to text of the Ordinary in a fairly normal manner suggest that major composers as disparate as J.S. with some word painting and of course division Bach and Mozart knew of, and composed in, both of the text, they tended to treat the words of styles. One cannot listen to the first section of the Et incarnatus and Crucifixus sections of the the Kyrie movement of Bach’s great B Minor Mass Creed with particular attention. They developed without calling to mind the music of Palestrina and an often complex catalogue of affections and Victoria. Bach also wrote in the concertante style. musical symbolism drawing upon the emotional Eighteenth-century composers tended to treat content of pivotal words and phrases contrasted the various parts of the Ordinary sectionally.They with the passivity of others within the text. Jasmin developed various approaches to timbre, the use of Cameron postulates that some composers used soloists and the use of instruments. They developed the symbolism of the cross with a four note zig-zag various figures and Affekt to colour the text and visual arrangement of the notes on “crucifixus”. express a variety of emotional states. The ‘Doctrine Sometimes the four note motif might include the of Affections’, also known as ‘Affektenlehre’, was an interval of the diminished fourth or seventh which essential part of Baroque composition and has its could be used in imitation. Thus, the centrality

May 2020 21 of the cross receives special attention. Discords “Bach unquestionably associated jagged melodic would also be occasionally employed to express ideas with Christ’s crucifixion, but whether or not he the anguish here.3 was thinking specifically in terms of a visual chiasmus, Cameron suggests that the phrases “etiam or cross, is less clear. Other rhetorical symbols in the pro nobis” and “sub Pontio Pilato” are passive line are more firmly grounded in Baroque custom; statements that can be set with the rhythmic the slurred seconds represent the sigh motif that is inflections of speech or even in a parlante style. associated with supplication in the Kyrie l, the Qui Often a syllabic treatment of the text is used. The tollis and the Agnus Dei. Similarly, the downward text “Passus et sepultus est” is usually set in longer movement of the line paints the descent of Christ to notes to denote that suflering is a long process. earth, much as the falling string motif portrays the Often composers use melismatic writing. The words “came down from heaven” in the first version final phrase “he was buried” may imply a gradual of the “Et in unum Dominum”.5 lowering of the body into the ground or resting Stauffer suggests the choral parts seemingly place and may often include a descending phrase float above the instrumental parts and, were the to a final cadence and place of rest often ending instrumental parts removed it would sound like in a new key.4 an expressive ‘a cappella’ motet such as Mozart Three specific examples will now be examined with created in his setting of Ave Verum Corpus.6 regard to Affekt, musical structure and the use of Bach adapted the music of the Crucifixusmovement choir, soloists and specific instrumentation. from an earlier work, Cantata BWV 12. As in its original form, the movement is built on a chromatic ground bass with the falling chromatic fourth, Setting No. 1: J.S. Bach – Mass in B Minor. thus expressing the emotion of lamentation (as Et Incarnatus Est Movements: and mentioned above). He transposes the original Crucifixus . opening chorus of the cantata down a tone into E minor and doubles the rhythm of the ground bass. He adapts the music to the new text and reworks the material in several places. In the opening section of the Crucifixus the downbeat appoggiaturas take the guise of a sigh motif. Bach adds a new section for the closing material – the voices, singing softly, descend to their lowest notes for the words “sepultus est, sepultus est” (was buried) and the music moves, from E minor via an augmented sixth chord, to the place of rest in the new key of G major. Cameron states: The Symbolum Nicaenum movement in the “There is one piece of evidence to support the view B Minor Mass is divided into nine sections – that Bach had a close knowledge of the central ltalian- movements 4 and 5 will be examined. The “Et German Crucifixus tradition. His setting of the word Incarnatus” movement is the shortest and most ‘passus’ conforms fully to our expectation of long drawn expressive and is rich in Affekt. This movement out notes or (as here) melismatic phrases in illustration begins with a falling motif in imitation in the chorus of the idea of suffering”. 7 parts, and is accompanied by a jagged syncopated The instrumental accompaniment gives us the instrumental line of violins over a pulsating basso repeated descending ground bass in the continuo continuo line similar to that found in the opening with violins, violas and flutes playing chromatic choruses of the St John and Sf Mafthew Passions. chords.Flutes provide a magical colour in the Some commentators see the violin figure as a cross instrumentation. motif; George Stauffer suggests:

22 Laudate 101 Setting No. 2: W.A. Mozart – ‘Coronation’ lowest part of their ranges. 8 Mass in C K.317 Jasmin Cameron draws attention to the brief Movement: Et Incarnatus Est instrumental link between the two sections of the text – a dotted figure in the strings, supported by oboes, confirming the key of E flat major. Mozart also adds trombones to this section. Cameron refers to other rhetorical symbolism – the pulsating bass part in the first three bars (quavers), and the rising chromatic fourth in the bass. Finally, she notes that there is no word painting, there is a rhetorical technique expressed in the two notes ‘on passus’, and she considers the rests at the end as sighs – the so-called rhetorical suspirato. She draws attention to the descending vocal lines on ‘et supultus est’.9

Setting No. 3: A.Caldara – Crucifixus a 16 The Et Incarnatus Est is the second section of the Voci und Orgel. Credo. It is marked adagio and Mozart sets the music in the key of E flat major. It is only twelve bars in length and through-composed. The movement begins with the four soloists singing quietly and the full chorus enters at bar 65 on the word ‘crucifixus’. The dynamic is mostly quiet throughout. Long notes are chosen for the word ‘passus’ and the dynamic rises to forte in bar 70, then suddenly reduced to give impact and effect to the pianissimo in the last bar where short quavers and rests are used for the words ‘est, se-pul-tus-est’. This section is devoid of trumpets or drums; indeed, the orchestral oboes infuse some obbligato touches to the final bars. Another important feature of the orchestral accompaniment is a rising and falling figuration played by the violins and oboes. Bach employed a similar idea in many of his passion accompaniments. This figuration or motif provides contrasting colour and rhythmic movement against the chordal writing for the choir. Caldara has created a Crucifixus movement which Bruce MacIntyre suggests that for Viennese stands apart from a full setting of the Ordinary. His composers, given the narrative quality of the text, conception is for a structure in three parts in ‘stile a through-composed approach is normally adopted. antico’. The work is based on melodic motives that Tempi are usually slower and there is a reduction are heard in imitation through a changing texture in the orchestration (no brass or timpani); there of polyphonic and homophonic writing. He begins is also the occasional instrumental obbligato. He each section with a small number of vocal entries further suggests there is often a sense of anti-climax and then builds up to a full tutti texture. It calls for the setting of ‘et supultus est’, with a quieter to mind both the music of Palestrina and the dynamic marking and voices descending to the music of the Venetian composers such as Gabrieli.

May 2020 23 Throughout, the organ accompanies with a figured Endnotes bass realisation of the counterpoint and choral 1 G. F. Handel, Messiah, ed. Watkins Shaw, London: l98l, pp 7-8 parts. 2 H. Purcell, Dido and Aeneas, ed. E. Dent and E. Harris, Oxford: Cameron draws attention to the fact that there is 1987, pp 78-81 3 J. S. Cameron, The Crucifixion in Music, An Analytical Survey of a bar of silence before the final four-bar cadence Settings of the Crucifixus, between 1680 and 1800, Oxford :2006, on the text “et sepultus est”, and that this vocal Scarecrow Press, pp 57-58 halt is a rhetorical device symbolising death – the 4 Cameron, ibid., p. 61 10 aposiopesis. 5 G. B. Stauffer, Bach the Mass in b minor, London: 2003, YUP, The charm of this work rests on the different pp 116-117 6 combinations of texture achieved through the Stauffer, ibid., p. I18 7 contrasting vocal forces and the cross-exchange of Cameron, op. cit., p. 138 8 B.C. MacIntyre, The Viennese Concerted Mass of the Early the various motives. Cameron postulates that the Classical Period, Ann Arbor, Michigan: 1986, UMI Research classic sign of the cross is used as the basis for the Press, pp 371-396 motive used for the word “crucifxus”. The opening 9 Cameron, op. cit., p. 194 bar in A minor witnesses an upward leap of a 10 ibid., p.144 minor sixth and a downward leap of a diminished 11 op. cit., p. 145-146 seventh followed by the first note (A-F, F-G#, then 12 loc. cit. A).11 Caldara continues the cross motif through 13 op. cit., p. 151 the work, subject to the counterpoint. Cameron says that some of the chromatic impact is lost but Additional Reading Cameron, J. S. The Crucifixion in Music, An Analytical Survey of Caldara attempts to retain the overall cross shape Settings of the Crucifixus, between 1680 and 1800, Oxford: of the subject. The texture uses long notes on the 2006, Scarecrow Press word “passus” but the word “est” is not added Dent, E. and Harris, E. [eds] Purcell, Henry. Dido and Aeneas, until the very last cadence to give full impact to the Oxford: 1987. music following the bar of silence. Cameron draws Shaw, Watkins [ed]. Handel, G. F. Messiah, London: 1981. attention to this symbolism and states it might even Mac Intyre, B.C. The Viennese Concerted Mass of the Early read linguistically as ‘dead and buried’. 12 Classical Period, Ann Arbor, Michigan: 1986, UMI Research Press. Stauffer, G. B., Bach the Mass in b minor, London: 2003, Yale Jasmin Cameron concludes her analysis of this University Press. complex setting with the following statement: “Caldara manages to succeed in expressing the text Scores by using what we may recognise as a “standard” use Bach, J. S. Cantata BWV 12 ed. Martin Focke, Basel: 1998, of motives appropriate to the ‘Crucifixus’ text and Barenreiter Kassel. additional rhetorical figures and yet manages to place Bach, J. S. Mass in B Minor, BWV 232 ed. Gottfried Muller, Basel: this in context of a complex overarching musical 2004, Barenreiter Kassel. Caldara, A. Crucifixus a l6 Voci und Orgel, Stuttgart: 1987, Carus- framework ... without losing the intended effect”.13 Verlag. An examination of the above settings has clearly Handel, G. F. Messiah, ed Watkins Shaw, London: 1981, Novello. yielded a number of examples of rhetorical Mozart, W.A. Mass in C, K.317,ed. Michael Pilkington, London: symbolism and the use of Affekt in the contrasting 2000,Novello settings of the Crucifixus text from the Nicene Purcell, H. Dido and Aeneas, ed. E. Dent and E. Harris, Oxford: Creed. 1987.

Congratulations to … The General Secretary, who has been awarded the honorary degree of Doctor of Sacred Music (HonDSM) from Johann Heinrich Pestalozzi Christian University in Miami and also to Guild Vice President, Rt Revd. Dr Richard Fenwick, who has also received the HonDSM from the same institution.

24 Laudate 101 The New Organ at the Australian Guild Church

he new organ at the Church of St John the division is based on a redundant 1935 Hill, Norman Evangelist in Gordon, NSW was built by and Beard (HNB) organ, supplemented with Tthe South Island Organ Company (SIOC) of additional HNB and Norman & Beard pipework. Timaru, New Zealand. It was designed to support This ensured tonal cohesion. The only new rank parish music and lead strong congregational singing, of pipes, the Vox Humana, was modelled on the a much-loved feature of St John’s worship; to 1904 Norman & Beard organ at Wellington Town appropriately accompany the developing choral Hall. The organ is inter-war symphonic in style, and programme which includes small groups as well includes a 39-bell glockenspiel and a zimbelstern as choirs singing standard eight-part cathedral with rotating star. Not large at just thirty-one repertoire; to accompany professional soloists and ranks, the chancel division achieves flexibility with cantors; to play standard organ repertoire, and be judicious use of extension and borrowing, including an instrument suitable for recital work, and teaching a pedal Bass Cornet, unique in Australia. Another and examining, such as for Guild awards. The design method of achieving flexibility was to adopt the brief was made more difficult by the restricted tradition of many busy church music departments space available to site the organ and the relatively abroad by spreading the organ over four manuals. dry acoustics of the church. An exciting two site It was fortunate these fitted within the beautiful design was developed: the majority of the organ to Tasmanian blackwood 1935 console, allowing the be positioned on a new platform above the choir casework from the original HNB organ to be reused. stalls in the chancel (Stage 1), and an antiphonal The design includes multiple other rare or unique section comprising an historic reconstruction of elements for an Australian instrument such as the the previous Rendall organ in the western gallery manual sustains, undulating flute stop, pedal divide, (stage 2) to support singing in the nave and to help and mobile console (able to be located anywhere address the issue of the acoustics in the building. on the chancel dais, making it very suitable not just Stage 1 was completed in late 2019. Donations are for concerts but for examining and masterclasses). still being sought to fund Stage 2. Other elements that give the organ its particular Nestled between the roof rafters, the chancel sound are the generally lower pitches (twenty-two

May 2020 25 of the thirty-one ranks speak at 8’ pitch or below), Choir Organ: and the use of higher wind pressures (4.5 to 10 Violoncello F 8’ Hohl Flute G 8’ inches). This helps create the supportive, enveloping Gamba M 8’ sound parishioners have so favourably described; Viole Celeste (TC) H 8’ Unda Maris N 8’ and it suits the acoustic of the church. Viola F 4’ The beautiful new case of American oak includes Wald Flute G 4’ Lieblich Flute I 4’ two embroideries by Trevor Brooker of Auckland. Nazard I 2-2/3’ These depict a male and a female angel playing Piccolo G 2’ a trumpet and portative organ respectively, and Tierce N 1-3/5’ Clarinet L 8’ reflect the musical angels in the liturgical east Festival Trumpet (Antiphonal) † J 8’ window of the Lady Chapel opposite. The colours Tuba (Solo) K 8’ Choir Tremulant in the organ angels’ clothing are matched to other Chimes (Antiphonal) † P stained glass clothing depictions in the church. Cymbelstern (8 bells) Choir Octave An organ project was first discussed at St John’s Choir Unison Off in 1982, and a concrete plan was formed finally Choir Sub Octave in 2010. Now, in 2020, St John’s has an organ well Swell to Choir Solo to Choir suited to its building and acoustic, its liturgy and Great to Choir the accompanimental and solo roles demanded of Solo Organ: it. The specification follows. Rohr Flute (Great) A 8’ Gamba (Choir) M 8’ Great Organ: Viole Celeste (TC, Choir) H 8’ Bourdon A 16’ Clarinet (Choir) L 8’ Open Diapason 8’ Tromba (Great) E 8’ Claribel Flute 8’ Festival Trumpet (Antiphonal) † J 8’ Rohr Flute A 8’ Tuba K 8’ Dulciana 8’ Glockenspiel (39 Bells) Q Principal 4’ Solo Octave Harmonic Flute 4’ Solo Unison Off Twelfth 2-2/3’ Solo Sub Octave Fifteenth 2’ Tromba E 8’ Pedal Organ: Great Octave Resultant Bass C+D 32’ Great Unison Off Open Diapason (Wood) C 16’ Solo to Great Violone F 16’ Swell to Great Bourdon Major D 16’ Choir to Great Bourdon Minor A 16’ Octave C 8’ Swell Organ: Bass Flute D 8’ Lieblich Bourdon 16’ Choral Bass C 4’ Geigen Diapason 8’ Bass Cornet (10.12.14) G III Lieblich Gedackt 8’ Trombone E 16’ Aeoline 8’ Bassoon B 16’ Voix Celeste (TC) 8’ Tromba E 8’ Gemshorn 4’ Glockenspiel Q Fifteenth 2’ Solo to Pedal Mixture (15.19.22) III Swell to Pedal Contra Oboe B 16’ Great to Pedal Horn 8’ Choir to Pedal Oboe B 8’ Vox Humana 8’ † Prepared for in Stage 2 Clarion 4’ Swell Tremulant Capture system: Swell Octave • 6 divisional thumb pistons to Great, Solo, Swell, Choir Swell Unison Off • 6 divisional toe pistons to Pedal Swell Sub Octave • 6 divisional toe pistons to Swell Solo to Swell • 12 general pistons

26 Laudate 101 • 6 general thumb pistons to Antiphonal only • Reversible pistons to couplers, cymbelstern, 32’, trombone, tutti • Stop Sequencer (European Stepper) • Great & Pedal Piston coupler • Generals on Toe Pistons transfer • Antiphonal Expression on Chancel Swell Pedal • Pedal Divide with variable divide point (F18-C25) • Sustain thumb pistons for each manual • Piston compassing • Manual I & II inversion • Crescendo pedal on • MIDI performance recording/playback system

Photo courtesy of John Ross Edwards Brett McKern writes: Photo taken of the singers at the Festal Evensong to dedicate the new organ on 15 March 2020 (the last Sunday before lock down here!) To the right of the priest is John Hargraves, Director of South Island Organ Company (NZ) who built the organ. He and I were consultants for the organ and while the concept is mine, the design was his and mine). To the left of the priest is Val Hargraves, John’s wife, who also works at SIOC. Between John and the bishop is Campbell Hargraves. Campbell runs his own business (Hargraves Pipe Organs) in Melbourne, Australia, and is the Australian agent for SIOC and was involved in the installation of the organ on site. To the right of the bishop is Trevor Brooker (from Auckland) who designed and made the embroideries on the the organ case. The choir comprised representative members of the various church choirs: the Parish Choir, the 8am Singers, Voces Joannis (for university-aged ladies), and the St John’s Evensong Choir; and The Cathedral Singers (a choir- in-residence at St John’s). Bishop Keith Dalby, Bishop of The Murray and former Rector of Gordon and Guild Chaplain, dedicated the new organ. Fr Ernest Chau is our Rector Locum Tenens. The music was all led by Dr Brett McKern FGCM ACertCM HonGCM, Organist & Director of Music at the Guild Church, and conductors were Brett, Miss Nicola Chau (Assistant Director of Music at St John’s), and Mr Jim Abraham (Director of The Cathedral Singers). Organists were Brett and Nicola. Repertoire was: * Dyson in D Evening Service * Balfour Gardner Evening Hymn * Te Deum – Stanford in B flat * Final Responses – McKern Set 2 * Responses by John Reading, reconstructed and edited by someone called Michael Walsh!

May 2020 27 Reassessing Christopher Smart and his hymns for children

Philip Willatt FGCM For I will consider my Cat Jeoffry. For he is the servant of the Living God, duly and daily serving him. For at the first glance of the glory of God in the East he worships in his way. was first drawn to the poetry of Christopher Smart through Benjamin Britten’s setting of I selected passages from Smart’s poem ‘Jubilate Agno’ in his own masterful cantata ‘Rejoice in the Lamb’. I had a personal association with this work, in that it was commissioned by Dean Walter Hussey when Vicar of St Matthew’s Church, Northampton in 1943. Hussey was then Dean of Chichester was the publication in 1715 of Isaac Watts’ ‘Divine Cathedral, and Chichester was my home city – I Songs Attempted in Easy Language for the Use of was at school there in the 1970s. As organist at Children’. Watts, himself a leading nonconformist, a parish neighbouring the city I was becoming is rightly considered to be the pioneer of children’s increasingly interested in Britten’s music, and our hymn writing. choir performed its own concert of ‘Rejoice in the Others followed in Watts’ tradition, most notably Lamb’. Before the days of the internet, information Charles and John Wesley who published ‘Hymns for about the texts of such works was limited but one Children’ in 1763. The Wesleys were technically understood, for instance, from a record sleeve that Anglicans at the time they wrote their children’s Smart was either mad (at worst) or idiosyncratic – and adults’ – hymns. However, the movement (at best), that the rediscovery and actual publication they formed became known as the Methodists of ‘Jubilate Agno’ in 1939 occurred soon before the after John Wesley’s death. The significance of this composition of Britten’s cantata and that the piece is that it was technically forbidden to sing hymns had established itself in the canon of great Anglican in Anglican churches until the ban was lifted in the church music. early nineteenth century. From the Elizabethan It was only when studying towards my FGCM Reformation, and until that time, only metrical qualification between 2016 and 2019 that I psalms were formally recognised as permissible benefited from the chance to renew my interest in forms of sung worship in the Established Church. Smart’s output, and to understand Smart the man This background makes Smart’s decision to write a better. The approach I chose to adopt was to look set of hymns especially for children (as well as one at Smart the poet through the lens of his verse for adults) highly remarkable. As a High Anglican, for children. Smart was writing in the eighteenth Smart can be considered as a pioneer in authoring century, at a time when children’s literature as the first Church of England hymnbook for children. we know it today was embryonic. This coincided Smart’s choice of the word ‘Amusement’ in the with an era when religious poetry for children was title of his collection (‘Hymns for the Amusement mainly cast as hymns, a form that nonconformists of Children’, 1771) is telling when considered had been developing for adult congregations since in the context of the evolving view of children the late seventeenth century. The watershed for over the course of the eighteenth century. The the arrival of hymns written especially for children Puritan attitude was that children were possessed

28 Laudate 101 of original sin and needed to be frightened into nutrition (due to food shortages). More recent religion in the hope that they might gain salvation research has shown a correlation between the when they died. In the verse below, John Bunyan incidence of death and the seasons, with more dying (the author of children’s verse as well as his better during the winter than the summer months. This known work ‘Pilgrim’s Progress’) epitomises this infant mortality helps explain why death features outlook: so prominently in the verses of all the poets so Death’s a cold Comforter to Girls and Boys, far mentioned. Here is Watts on this subject, for Who wedded are unto their Childish Toys: instance: … There is an hour when I must die, Death has a Dart, A Sting, which Poyson is, Nor do I know how soon ’twill come: As all will find, who do of Glory miss…. A thousand children young as I, (‘A Book for Boys and Girls’, 1686) Are call’d by death to hear their doom. A similar view to Bunyan’s can be found throughout (Watts, Song X, verse IV, ‘Solemn Thoughts of God Watts’ and the Wesleys’ verses, but has become and Death’, ‘Divine Songs’, 1715) considerably ameliorated by the time we reach The childhood perception I gained of Smart as Smart. This change in attitude was due to many having been mad or idiosyncratic or both was influences, including the increasing sway of John not wholly inaccurate. Smart was born in Kent in Locke’s ‘Some Thoughts Concerning Education’ 1722. He became a Fellow of Pembroke College, published in 1693. Locke’s view that children Cambridge in 1743 where his portrait still hangs. possessed neither good nor evil at birth, so needed He left Cambridge for London in 1749 to become to be educated and developed to become model a writer, initially and principally as a journalist. He adults and good citizens, became increasingly created a network of a number of notable writers fashionable as the eighteenth century progressed. of the time such as Henry Fielding, Samuel Johnson Concomitant with this change of philosophy was and Tobias Smollett. Around the mid-1750s, Smart the opening up of a variety of pursuits for children, was beginning to experience symptoms interpreted unknown before this time. This included for the at the time as madness, which led to his being first time in British history the development of confined at three different madhouses, including St literature written specifically for children – not only Luke’s Hospital, between 1757 and 1763. religious poetry but secular prose too such as ‘A One story that appeared to demonstrate Smart’s Little Pretty Pocket Book’ (1743) – as well as the madness can be found in a quotation by Dr Johnson manufacture of children’s toys such as jigsaws and from 1763 as recorded by Boswell: ‘My poor friend laying on of children’s entertainments, for example Smart shewed the disturbance of his mind, by falling circuses, in the latter half of the eighteenth century. upon his knees, and saying his prayers in the streets, As we will see later on, Smart’s intention to amuse or in any other unusual place’. his childhood audience wasn’t limited to the fashion Notwithstanding his circumstances, Smart of his time, but was an expression of his distinctive managed to work on two of his greatest poems voice which we will explore shortly. whilst in asylums. The first, ‘A Song to David’, There is another feature of the time in which Smart appeared in 1763, but did not meet with universal was writing, hinted at in the verse quoted earlier critical approval. The other significant work from Bunyan: the high incidence of child mortality. that Smart had been working on during his In London, for example, half of all deaths, certainly confinement, ‘Jubilate Agno’, was considered at in the early part of the eighteenth century, were the time not to be worthy of publishing as it had accounted for by children – at a time when deaths been written by a madman. Smart then wrote exceeded the number of births (although this had ‘A Translation of the Psalms of David’ in 1765, in changed by the end of the century). The causes which he sought to translate the Old Testament of early death were many and have traditionally Psalms into contemporary verse. Alongside the been thought to be the result of disease and poor Psalms was published Smart’s ‘Hymns and Spiritual

May 2020 29 Songs’ (for adults). Smart continued to run into of Smart’s children’s hymns advocates kindness to financial problems, and was arrested for debt in animals). One might extrapolate that in sparing the 1770. In 1771 he was tried and sent to prison lark’s nest, a bird being one of God’s creatures like where he died at the age of 49, just after he had man, the egg the lark is brooding will be allowed finished composing his final book: ‘Hymns for the to hatch and the baby lark, like its mother, will one Amusement of Children’ (1771). day rise to heaven singing God’s praises. This is a So what is distinctive about the poetry that Smart wonderful and vivid image. wrote for children? Let’s look at just one of Smart’s Locke was a strong advocate of allowing time for 39 hymns in close detail to illustrate how original children’s play as part of their natural development. and, for his times, radical a hymn-writer Smart was This was a view to which Smart subscribed in and how much he has to offer his readers. this and other hymns. Some commentators Hymn XXXIII ‘For Saturday’ have compared Smart’s children’s hymns to the verses contained in William Blake’s later ‘Songs Now’s the time for mirth and play, of Innocence and Experience’ (1794). Smart’s Saturday’s an holyday; writing in ‘For Saturday’ reminds me of Blake’s Praise to heav’n unceasing yield, later children’s poem from ‘Songs of Innocence’, I’ve found a lark’s nest in the field. ‘The Echoing Green’: A lark’s nest, then your play-mate begs The sun does arise, You’d spare herself and speckled eggs; And make happy the skies; Soon she shall ascend and sing The merry bells ring Your praises to th’eternal King. To welcome the Spring; This short, joyful hymn was written in celebration The skylark and thrush, of Saturday as a day off for children. It is one of The birds of the bush, two others of Smart’s children’s hymns which were Sing louder around chosen for inclusion in a hymnal, The Cambridge To the bells’ cheerful sound; Hymnal of 1967. The other hymn was Hymn III While our sports shall be seen ‘Charity’. Both were set to music by Arthur Oldham On the echoing green. (1926–2003), an English composer and choirmaster While Smart and Blake rejoice in children at play, who had studied with Herbert Howells and had Watts and Wesley, on the other hand, see play then been Benjamin Britten’s only private pupil in as a distraction from the importance of children Aldeburgh in the 1940s. Britten, of course, took dedicating themselves to the service of God to help up adapting Smart’s poetry in his piece ‘Rejoice in gain them a place in heaven. They write more in the Lamb’, and it is interesting to speculate whether the tradition of Puritanism which we have already Oldham was in any way influenced by Britten seen in the verse from Bunyan. For instance in to set Smart’s children’s hymns to music. Other Song XXIV, ‘The Child’s Complaint’, Watts warns: than Oldham, attempts to set Smart’s children’s Why should I love my sports so well, hymnbook to music are either rare or seldom So constant at my play, performed (one other example being Conrad Susa’s And lose the thoughts of heaven and hell, settings of some of Smart’s children’s hymns for And then forget to pray? medium voice and piano published in 1972). And Wesley in Hymn LXVI, ‘Before, or In Their Returning to Smart’s hymn, it is a good example of Work’ writes: his naivety in the way children, as part of their play, Let heathenish boys discover a natural but rare and wonderful thing In their pastimes rejoice, in nature: ‘a lark’s nest’. The implication is that, And be foolishly happy at play; especially as the lark nests on the ground, her eggs Overstocked if they are, are vulnerable to being stolen by children who, as We have nothing to spare, part of their play, could be cruel to animals (another Not a moment to trifle away.

30 Laudate 101 One way of considering the significance of any The interest in Smart both as man and poet, creative person, be they artist, writer, musician however, has grown hugely since his rediscovery or other, is how much of their work is still extant in the 1940s, nearly three centuries after his death. many years, decades or centuries after their death. Many critics have restated their appreciation Of Smart’s religious works, it would be fair to say of his verse. Perhaps now is the time for a that apart from sections of ‘Jubilate Agno’, notably reconsideration of the quality and strength of those Britten chose as his text for ‘Rejoice in the Smart’s children’s hymns? The authenticity of his Lamb’, very few of his hymns have continued to be Christian faith can certainly be in no doubt: used in contemporary worship, with the notable Fear God – obey his just decrees, exception of ‘Where is this stupendous stranger?’ And do it hand, and heart and knees; Sadly, his children’s hymns have hardly survived at For after all our utmost care all except for being featured occasionally in poetry There’s nought like penitence and prayer. anthologies. (Hymn XXXIX, ‘The Conclusion of the Matter’)

Obituary : Emeritus Professor Nicholas Temperley, 1932-2020

icholas Temperley was, without doubt, one of the most gifted and prolific scholars of his generation. The Nquintessential English gentleman – his father had been Master of Peterhouse, Cambridge’s oldest college; Temperley himself was a music scholar at Eton then at King’s College, Cambridge, where he took all of his degrees (MA, MusB, PhD) – although the vast majority of his academic career (1967-2020) was spent in the USA, at the University of Illinois at Urbana-Champaign where he had held a post-doctoral Fellowship from 1959 to 1961. Many Laudate readers, especially those who have studied for the ACertCM or for LGCM/FGCM, may associate Nicholas with his magisterial study of The Music of the English Parish Church (2 volumes; Cambridge University Press 1979/1986/2006), a massive and wide-ranging work which is unlikely to be superseded. Students of 19th-century English cathedral and church music may have read chapters on cathedral and church music in The Athlone History of Music in Britain, vol. 5 (1981/1988). And there was considerably more: for example, cathedral and collegiate choir directors may have used some of his editions included in Anthems for Men’s Voices (2 volumes: OUP, n.d.). I was taught by Nicholas while an undergraduate at Clare College, Cambridge, in the mid-1960s. He was a kind, extremely patient and encouraging tutor from whom I learnt an enormous amount – and I greatly valued his continuing friendship, retaining contact with him until a fortnight before his death on 8 April. May this very great man rest in peace. Roger Wilkes

May 2020 31 Practical and written assesments in:

• Pipe Organ Playing and teaching from beginner to professional • Composition • Research in Music and Liturgical subjects • Choral Conducting To find out more visitwww.vcmexams.com VCMexams @vcm_exams email: [email protected]

32 Laudate 101 From the Editor of Laudate www.

e are living in strange and unsettling times and it is looking as if we will be very fortunate if church services are allowed to resume before the end of the year. WMany enterprising organists and choir directors are seeking ways to keep their choirs together via Zoom and other platforms, although those of you who have tried singing together in this way will have probably dissolved into fits of giggles before the end of the first line of music! Perhaps some of you will have taken this opportunity to listen to more music, perhaps exploring repertoire and performances you have been meaning to listen to but have always managed to be distracted by other things. Some may well have started to use this time to do some research, even to study for a diploma or some award. Patrons: Rt Revd & Rt Hon Dr Richard Chartres, former Lord Bishop of London The Guild has lots of avenues to explore if that is your intention and I can do no more than encourage you all to Professor Dr Ian Tracey, Organist Titulaire of Liverpool Cathedral visit our new Guild website at www.gcm.org.uk. We are indebted to Ken Cope who has worked tirelessly Dame Patricia Routledge, internationally renowned soprano & actress to get our new site up and going. There is still more to be added, especially about some of the new ventures I Master: Rt Revd Dr Richard Fenwick have written about on pages 2 and 3 of this issue. Above all, let’s see this as a golden opportunity for renewal Secretary General: John Balsdon Membership Secretary: Mandy Balsdon and for exciting new developments in the life of our Guild. Treasurer & Magazine Editor: Dr Michael Walsh I pray that you all keep safe and well. he Guild of Musicians and Singers was formed in Oxford in June 1993 with the aim of bringing together amateur and professional musicians in working and fraternal Tways. One major aim has always been to encourage young musicians in the pursuit of their studies and the Guild has set up a fund with bursaries for students to help them with examination fees and other aspects of their careers in music. The Guild is non-denominational and covers all genres of music. CONTENTS The Guild has many distinguished musicians among its Hon Fellows, including Sir Mark Elder, Dr Vasily Petrenko, Dame Evelyn Glennie, Dame Patricia Routledge, Dr. A Message of Hope from the Acting Warden ...... 1 Francis Jackson, Andrew Carwood, Benjamin Grosvenor and Rick Wakeman. The Guild as we find ourselves in May 2020 ~ The General Secretary...... 2 Academic Dress is available and membership is only £20 a year. This Joyful Eastertide ~ The Revd. Dr Gordon Giles...... 4 Full details are available from the Guild’s website: All the young Organists – where are they? ~ Anna Hallett...... 7 www.musiciansandsingers.org.uk CD Review – Hugh Benham : Sacred Choral Music...... 9 Notes from the Treasurer ~ Robert Andrews...... 10 The Guild is proud to announce that it is working in association with: Report on the Guild meeting at Arundel on 1 February ~ Barry Williams...... 12 Reflections on ‘Where is Church Music going?’ ~ Revd Canon Dr Mark Gretason...... 13 The National College of Cathedral Music in Troubled Times ~ Martin White...... 14 Music & Arts, London Obituary: Dr Jennifer Bate ~ Barry Williams...... 17 Stephen Harrow ~ Barry Williams...... 18 he National College of Music & Arts, London was established over 125 years ago and specialises in external Revd. Canon Alan Luff ~ Rt Revd Richard Fenwick...... 18 music examinations and speech subjects. The College has Musical Affekt: A comparison of three mass settings ~ Dr William Clark...... 21 T music examination centres throughout the United Kingdom and The new organ at the Australian Guild Church ~ Brett McKern...... 25 in various countries overseas. Reassessing Christopher Smart and his hymns for children ~ Phillip Willatt...... 28 Established 1894 Incorporated 1898 The College has recently introduced two new diplomas which Obituary: Emeritus Professor Nicholas Temperley...... 31 might well be of interest to Guild members: FNFCM – Fellow of the National Federation of Church Musicians and Cover image: Daffodils at Salisbury Cathedral by Ashley Mills www.ashmills.com AFNCollM – Associate Fellow of the National College of Music. YOUR ARTICLES AND OPINIONS ARE EAGERLY SOUGHT Both these diplomas attract academic dress. It would be good to receive more feedback from Guild members about what you want to see in Laudate. Full details may be obtained by visiting the College’s brand new website: You are welcome to contact the Editor by any of the following means: By post at 5 Lime Close, Chichester, West Sussex PO19 6SW Tel: 01243 788315 or at [email protected] www.ncm-london.co.uk Please visit our brand new website – www.gcm.org.uk Happy choristers at Arundel Cathedral display their Archbishops’ Chorister Medals Photo by Elizabeth Stratford Laudate The Magazine of the Guild of Church Musicians

Laudate is typeset by Michael Walsh HonFGCM and printed by St Richard’s Press No 101 May 2020 Leigh Road, Chichester, West Sussex PO19 8TU [email protected] 01243 782988