CANTERBURY CATHEDRAL & CANTERBURY CHRIST CHURCH UNIVERSITY CONFERENCE Church Music and Musicians in Britain 1660-1900: Between the Chapel and the Tavern

Home , Lay clerk, Music of Florida, Samuel Sebastian Wesley

20-23 June 2017 Contents Welcome...... 4 Conference Committee...... 4 Thanks to:...... 4 Conference Programme...... 5 Campus Map...... 6 Town Map...... 7 General Information...... 8 Rooms and AV requirements...... 8 Catering...... 8 Wi-Fi Access...... 8 Travel Information...... 8 ATM points...... 8 Photocopying...... 8 Papers and Abstracts...... 9 Tuesday 20 June: Keynote Presentation...... 9 Prof Rachel Cowgill (University of Huddersfield)...... 9 Wednesday 21 June: Session 1: Music and Place...... 9 Prof Jeremy Dibble (Durham University)...... 9 Dr Stephen Foster (Canterbury Cathedral)...... 10 Dr Kerry Houston (Dublin Institute of Technology)...... 10 Eleanor Jones-McAuley (Trinity College, Dublin)...... 10 Dr Sandra Tuppen (The British Library)...... 10 Wednesday 21 June: Session 2: Personalities...... 11 Dr Erica Buurman (Canterbury Christ Church University)...... 11 Chris Price (Canterbury Christ Church University & Canterbury Cathedral)...... 11 Dr Peter Horton: Master Wesley (Royal College of Music)...... 12 David O’Shea (Trinity College Dublin)...... 12 Brian Robins...... 12 Danielle Padley (University of Cambridge)...... 13 Thursday 22 June: Session 3: Music and Identity...... 14 Dr David Newsholme (Canterbury Cathedral)...... 14 Prof. Charles E. Brewer (The College of Music, Florida State University)...... 14 Dr Paul Collins (Mary Immaculate College, University of Limerick)...... 15 Pamela M R T Barrowman...... 15 Friday 23 June: Session 4: Repertoire I...... 16 Dr Alan Howard (Selwyn College, Cambridge)...... 16 Dr Richard Hall (Dorset Rural Music School)...... 16 Jon Williams (Canterbury Christ Church University)...... 17 Friday 23 June: Session 5: Repertoire II...... 18 Dr Ian Maxwell (University of Cambridge)...... 18 Dr Karl Traugott Goldbach (Spohr Museum, Kassel)...... 18 Dr Robert G. Rawson (Canterbury Christ Church University)...... 19 Biographies...... 20 Notes...... 23 Welcome Conference Programme

Dear Delegates, Tuesday 20 June Welcome — to the beautiful city of Canterbury; to Canterbury Christ Church University; to the 16.00 Registration and Drinks Garden/Kentish Barn, Cathedral Lodge Cathedral; and to our Conference. We hope your time here proves to be stimulating, enjoyable, and refreshing as we consider, from various perspectives, the lives and work of musicians who have 17.30 Evensong Cathedral Quire composed, performed, and drunk in this city, this cathedral, and other such places like them over the 18.30 Keynote Presentation Clagett Auditorium, Cathedral Lodge last few centuries. 19.30 Conference Dinner Refectory, Cathedral Lodge The subtitle of our Conference — “from the Chapel to the Tavern”— was inspired by a phrase from Thomas Browne in his inventive epistolary exchange between Henry Purcell and John Blow, “Letters from the Dead to the Living, and from the Living to the Dead” of 1720. The conceit is that messages may be exchanged between this world and the afterlife, and Purcell had written to his old friend Wednesday 21 June with an account of how things are in “these infernal Shades” which is, apparently, a riotously musical 09.00 Poster presentations/drinks Canterbury Christ Church University place: “all the year round the whole Dominion is like a Bartholomew Fair.” Blow’s reply claims that nothing has changed: “You know men of our profession hang between the Church and the Play- 10.00 Session 1: Music and Place Canterbury Christ Church University house, as Mahomet’s Tomb does between the two Load stones, and must equally incline to both, 12.30 Lunch Canterbury Christ Church University because by both we are equally supported.” It seemed to us that this somewhat stereotypical picture merits closer scrutiny and, by the looks of it, this Conference is going to do that rather well. 14.00 Session 2: Personalities Canterbury Christ Church University 17.00 Tea and Coffee Canterbury Christ Church University We have tried to create a few days in which several things can happen: scholars share their work; the cathedral shares its space and its music (some directly relevant to the Conference); and the sacred and 17.30 Evensong Cathedral Quire the secular rub shoulders as companionably as they did for our musical forbears in times gone by. 18.45 Acoustic Exploration of Cathedral spaces Cathedral, with Canon Christopher Irvine With all best wishes, The Conference Committee Thursday 22 June 09.00 Poster presentations/drinks Canterbury Christ Church University 10.00 Session 3: Music and Identity Canterbury Christ Church University 12.30 Lunch Canterbury Christ Church University Conference Committee: 14.00 Open Forum Canterbury Christ Church University 15.30 Library Tour Cathedral Canon Christopher Irvine 16.30 Tea and Coffee Chapter House/Herb Garden, Cathedral Dr David Newsholme 17.30 Evensong Cathedral Quire Chris Price 19.00 An Evening with the Canterbury Catch Club The Parrot, St Radigunds, Canterbury

Thanks to: Friday 23 June

The Dean and Chapter of Canterbury Cathedral 09.00 Session 4: Repertoire I Canterbury Christ Church University The Friends of Cathedral Music 10.30 Poster presentations/drinks Canterbury Christ Church University Cressida Williams and the staff of the Cathedral Library and Archives 11.00 Session 5: Repertoire II Canterbury Christ Church University Sarah Beaglehole and the Events Team at Canterbury Christ Church University 13.00 Lunch and Farewell Deesons, Sun St., Canterbury Our Conference Administrators: Myfanwy Meyer-Dinkgrafe and Richard Blake

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POSTERN GA S DESIGNA 1 2 3 4 KEY Car park (pay and display) Disabled car park & Ride bus stop Park Recommended walking routes XO St Pauls Skills Lab - 4 minutes walk* To Augustine House - 12 minutes walk* St Georg | 6 ©A 7 | General Papers Information and Abstracts

Rooms and AV requirements TUESDAY 20 JUNE; 18:30; CLAGETT AUDITORIUM, CATHEDRAL LODGE: The presentation room is provided with audio-visual equipment; the easiest way to access this is by KEYNOTE PRESENTATION means of a USB stick. If you wish to run your presentation from a laptop or MacBook, please bring the necessary connectors. Prof Rachel Cowgill (University of Huddersfield) ‘Speech of Angels’ or ‘Brandy of the Damned’? Music as Moral Landscape in Nineteenth-Century British Culture Catering Starting from contrasting statements of music’s worth by Thomas Carlyle (1852) and George Bernard Shaw Catering will be provided for all delegates. We have provided catering based on the dietary (1903), our keynote explores how music was used by Victorians to define the moral character of space and requirements entered at the point of booking. Please keep in mind that we can only cater based on place in the urban environment. It also explores Victorian ideas of music as moral topography in and of the information you give us when you book. We understand that oversights are made and will be itself - as a landscape to be traversed in the imagination - and the impact of such notions on the cultivation, presentation, and reception of musical performance in nineteenth-century Britain. happy to help where we can. We would also ask delegates not to take a lunch prepared for special dietary requirements unless they have that dietary requirement, as you may be taking someone else’s specially ordered lunch. WEDNESDAY 21 JUNE: SESSION 1: MUSIC AND PLACE. CHAIR: CHRIS PRICE Wi-Fi Access Delegates can access Wi-Fi during the conference by connecting to Eduroam, the world-wide 10.00 roaming access service developed for research and education. More information can be found at the Prof Jeremy Dibble (Durham University) Eduroam website. If you do not have access to Eduroam, your delegate packs contain information on how to log on to CCCU wifi. 'Antiquarianism in Modernity: The late anthems of Charles Wood' Relatively late in life Charles Wood, in association with the liturgical innovator, Eric Milner White of King's College, Cambridge, turned his hand to a cycle of anthems for use in the Anglican liturgy from c. 1912. Though originally from a Church of Ireland background in Ulster, Wood's spiritual and academic home in Travel Information Cambridge (effectively since 1888) drew him to the translations of the early Christian Fathers, favoured by the Cambridge Camden Society and its successor the Ecclesiological Society. This spawned a succession of There are two railway stations in Canterbury: Canterbury East and Canterbury West. a cappella masterpieces in which Wood's extraordinary ability and knowledge as a contrapuntist found a Please see the city map, above. new and creative voice and where his handling of old modes and extensive knowledge of early church music became a tool of rich fecundity. This paper seeks to explore Wood's somewhat neglected cycle, much of which was published and performed posthumously. ATM points In addition to the ATM on site (in the main foyer opposite the Food Court, to the left of the doors 10.30 to Anselm Studio 1) there are many located around the city. Please be aware that some ATMs will Dr Stephen Foster (Canterbury Cathedral) charge you for withdrawing money – do check this before going ahead with your transaction. ‘People, Places and Performances: The Musical Map of Canterbury, 1725-1750’ In recent years much has been written about provincial concert life in eighteenth-century Britain. However, Canterbury has hitherto escaped detailed attention, thus the history of the establishment and development of Papers Photocopying musical life in the city and its surrounding area is not widely known. Also, the role played by the cathedral’s musicians in its development has yet to be examined in detail. Was it similar to that in other cathedral cities, as Please speak to the Conference assistants about any photocopying needs. documented by Chevill (1993) and others, or did it follow a more individual path? This paper will present the preliminary results of an investigation into the surviving evidence of early concert life in Canterbury, uncovered from evidence in both published and manuscript sources available in local archives. and Abstracts Reference will be made to the venues in which concerts and other entertainments took place, including, where such information exists, the content of the programmes. This survey will also include an examination of the role played by the Minor Canons and Lay Clerks of the Cathedral, where it can be identified, in the musical life of the city during this period.

| 8 9 | 11.00 WEDNESDAY 21 JUNE: SESSION 2: PERSONALITIES Dr Kerry Houston (Dublin Institute of Technology) CHAIR: DAVID NEWSHOLME The Hibernian Catch Club Dublin has two ancient cathedrals. Christ Church cathedral is an eleventh century monastic foundation which became a cathedral of the new foundation at the reformation. Saint Patrick’s cathedral was established 14.00 in the thirteenth century and remains as a cathedral of the old foundation. Both cathedrals had musical Dr Erica Buurman (Canterbury Christ Church University) establishments from earliest times and indeed they shared the same personnel for many centuries. The shared musical personnel extended outside the choir stalls. The Hibernian Catch Club claims to have been founded ‘Nothing is so amusing as a drunken fiddler’: ball room musicians in early in 1680 by the vicars choral of the Dublin cathedrals and that even earlier the vicars had organised musical nineteenth-century Britain dinners. Accordingly, it is likely that the Hibernian Catch Club is the oldest in existence. The source for the date 1680 is in an annotated copy of the beggar’s opera belonging to George Ogle who was an MP for County The London dancing master Thomas Wilson published a Companion to the Ball Room in 1816, in which he Wexford in the 1760s. This book was in the possession of William Grattan Flood but is now lost. included a short essay on ‘Ball Room Musicians’. Wilson laments the poor treatment such musicians often received at public balls, and particularly condemns the practice of plying the performers with liquor in order to This paper will examine the evidence with regard to the foundation of the Hibernian Catch Club and outline make them drunk for the amusement of the assembly. While he concedes that there are many ‘whose talent its history from the earliest surviving records to 1850. It will examine the often fractious relations between will not entitle them to the name of Musician’, Wilson nevertheless sympathises with the precariousness of the vicars choral and their ecclesiastical employers and provide some biographical details of some of the more the dance music profession, and suggests that a system of professional certification and the creation of a colourful members of the club. It will also provide an overview of repertoire written for the Club. centralised pension fund might ‘render the profession still more respectable’. The generally disdainful attitude towards the dance music profession described by Wilson contrasts sharply with the emergence of celebrity dance musicians in the early nineteenth century. While the average ‘ball room musician’ may have struggled to earn a regular income, the renowned Scottish band leader Nathaniel Gow 11.30 (1763–1831) reportedly amassed a fortune of around £20,000 from his teaching, playing and publishing of Eleanor Jones-McAuley (Trinity College, Dublin) dance music (mostly in London and Edinburgh). Later decades were also to see an influx of fashionable foreign dance band leaders with increasingly stellar career paths. This paper investigates the dance music profession in Music in Dublin Parish Churches in the Long Eighteenth Century: Sources, the early nineteenth century with particular attention to entrepreneurial individuals such as Wilson and Gow, Subscriptions and Society thereby shedding light on an area of professional music-making that has traditionally received little attention from music historians The eighteenth century was a period of comparative peace and prosperity for the city of Dublin. Church music . flourished under these favourable conditions, not only in the city’s two cathedrals but also in its many parishes, where the performance of solo organ repertoire and the singing of metrical psalms were integral components of worship. Despite the prevalence of this distinctly parochial tradition, however, the historiography of Dublin's church music has largely been centred on the cathedrals, with few studies focussing on the musical culture of 14.30 parish churches. Chris Price (Canterbury Christ Church University & Canterbury Cathedral) This paper addresses this imbalance by examining the record books, account books, subscription lists and other Two Canterbury Musicians: the contrasting careers of Thomas Goodban and contemporary sources connected with these churches in order to establish a comprehensive picture of the role of music and musicians in Dublin’s parishes during the long eighteenth century. In particular, this paper W H Longhurst investigates the relationship between music and cultural identity at a time when religious affiliation was heavily The only visible remnants of the Canterbury Catch Club (1779-1865) presently on display for visitors to the City‘s associated with social and political allegiances. museum are two portraits which belonged to the Club: one of St Cecilia, complete with organ, cherubs, and In contrast to the cathedrals, which were highly politicised and often exclusionary spaces, evidence suggests a few lines of Dryden, and the other of Thomas Goodban, the son of the tavern keeper in whose premises the that a more accommodating and pragmatic approach to socio-cultural identity existed in the parish churches, Club met for its first half century. For forty years Goodban led the Club’s orchestra in the provision of the formal particularly in musical matters. The records of St. Michan’s church, for example, list both the local Catholic concert which began the Club’s weekly meetings throughout the winter months, and for two periods of his life priest and a senior Presbyterian minister among the subscribers to the organ fund in 1725. By focussing on the he sang in the cathedral choir, as chorister and Lay Clerk. It is enjoyably ironic that Goodban’s portrait remains neglected field of parochial music in Dublin, this paper offers a fresh perspective on issues of religious affiliation, on display whilst those of his social superiors who ran the Club – and who summarily sacked him in 1845 – languish in dusty obscurity in the vaults, but he deserves to be remembered for his tremendous commitment to identity and society during this complex and often contradictory period of Irish history. this sociable music-making, and for his tireless work as an inventive and imaginative music educator. William Henry Longhurst also began his musical career at the Cathedral – and never left, serving successively as chorister, Lay Clerk, Assistant Organist and Organist before retiring on a full pension granted by a grateful 12.00 Dean and Chapter in 1898. By then, he had become an extremely important figure in the musical life of the city, having taken over from Goodban as conductor of the Catch Club Orchestra, organising and conducting other Dr Sandra Tuppen (The British Library) concert series, and composing and publishing, whilst combining all this with his own busy teaching career. Giovanni Battista Draghi: an Italian in London The affection and respect he commanded by the end of his life would have come as a surprise to anyone who knew Longhurst as a young man; he had been one of the Lay Clerks who petitioned so mutinously for a pay rise The Italian composer Giovanni Battista Draghi lived and worked in London from the 1660s to his death in in 1848 – to the point where they hired a local notary, Charles Sandys, to go over the heads of the Dean and 1708. Most of his surviving music is secular; it includes songs, keyboard music, a trio sonata and a St Cecilia’s Chapter to petition Parliament on their behalf. Day ode, ‘From harmony, from heav’nly harmony’. Despite his long association with the chapel of Charles II’s Catholic queen, Catherine of Braganza, just one sacred work by Draghi is known to survive: a substantial vocal These two provincial musicians serve as fascinating case studies illuminating that period of fraught negotiation piece entitled ‘This is the day the Lord hath made’, scored for ATB and organ. Performance material for the in a society increasingly concerned with matters of social status and respectability, in which musicians were work is preserved at Canterbury Cathedral Archives in the hand of Daniel Henstridge. A further manuscript - anxious to be accepted as a profession worthy of dignity and integrity rather than as a class of artisans copied by James Hawkins - is held among the Ely Cathedral manuscripts at Cambridge University Library. purveying entertainment of dubious worth and respectability. In this paper I will consider possible reasons for the composition of this work and examine the surviving manuscripts for clues as to how it was performed. I will demonstrate how subtle changes were introduced in the course of copying the work and preparing performance parts, and will use this work to make broader points about the value of examining non-autograph sources to develop an understanding of the way a work was received. The influence that Draghi’s St Cecilia’s Day ode had on English composers has been recognised by scholars. I will demonstrate that the process of assimilation of outside influences was a two-way one, and that, in ‘This is the day’, Draghi drew on English models.

| 10 11 | 15.00 16.30 Dr Peter Horton: Master Wesley (Royal College of Music) Danielle Padley (University of Cambridge) ‘The best boy he had ever had’ Charles Garland Verrinder: Between the church and the synagogue Such was the opinion of William Hawes, Master of the Children of the Chapel Royal, St James’s Palace. He Charles Garland Verrinder (1834-1904), an Anglican organist and composer, has been undervalued supported his opinion by promoting his young charge at concerts in London, Bath, Brighton and elsewhere, at in accounts of Victorian church musicianship. Originally a boy chorister at Salisbury Cathedral, he which Samuel Sebastian Wesley (b. 1810) sang – sometimes in the chorus, sometimes as a soloist – alongside trained as an organist under Sir George Elvey. In 1862 he received a degree in Music from Oxford some of the leading singers of the day. Venues included George IV’s private concerts at the Royal Pavilion, the University, and was awarded the prestigious Lambeth Degree in 1873. However, the most unusual Concerts of Ancient Music, the Madrigal Society and, most significantly, the Bath Festival of 1824. At the last, aspect of his career was the juxtaposition between his work as a church musician and his role as the where he was advertised as one of the ‘Principal Vocal Performers’, he appeared alongside Angelica Catalani, Eliza Salmon, John Braham and Henry Phillips, and this was probably the high point of his short career as a first organist of the West London Synagogue of British Jews – a post he retained for forty-five years. singer. While his considerable vocal ability is of interest in itself, it must also account for the demanding treble solos in his setting of the Creed and the anthems ‘O give thanks unto the Lord’ and ‘Trust ye in the Lord’: if The West London Synagogue, founded in 1840, was the first ‘Reformed’ synagogue in Britain. he could perform such numbers himself, other choirboys should have been equally capable. Drawing on such By introducing the choir and organ into regular worship the congregation hoped to signify their resources as George Smart’s annotated programmes, press reports and his own reminiscences, this paper will modern, ‘British’ identity, thus furthering their religious and social status among the English middle examine Wesley’s career as a treble soloist – the Ernest Lough or Aled Jones of his day – the part played by and upper classes. It is not difficult to see evidence of Verrinder’s Anglican background in his writing Hawes in promoting his star chorister, and the way in which Wesley’s writing for the treble voice is likely to have and arranging of synagogue repertoire, some of which is still performed today. A contemporary of reflected his own singing. John Stainer and Charles Villiers Stanford, Verrinder wove church-inspired customs into his music for the Synagogue whilst adhering to the congregation’s desire to preserve traditional Jewish melodies. Through this combination, he helped to create a new Anglo-Jewish musical identity. Additionally, he frequently contributed public letters, lectures, compositions, and performances, in which he 15.30 promoted Jewish music to a wider audience. This paper will explore Verrinder’s use of church David O’Shea (Trinity College Dublin) musical practice within his synagogue writing, and his involvement in Jewish-Christian discourse. ‘From Provincial to Colonial: The Expatriate Career of James Cooksey Culwick (1845–1907)’ Whereas Charles Villiers Stanford and Charles Wood both forsook their native Ireland to pursue illustrious musical careers in England, their lesser known Staffordshire-born contemporary James Cooksey Culwick left England at the age of twenty-one, and from humble beginnings as a schoolmaster in Co. Offaly he gradually rose to the prominent position of organist of the Chapel Royal of Dublin Castle, advancing on his own merits from provincial obscurity to the epicentre of colonial prestige. During Culwick’s tenure as organist of the Chapel Royal, from 1881 until his death in 1907, he played a vibrant role in Dublin’s musical life, and was highly esteemed by his contemporaries. He was made an honorary Doctor of Music by the University of Dublin in 1893, and he was involved in the establishment of the Feis Ceoil, Ireland’s national music festival. His circle of friends included influential musicians in England and Ireland, such as Arthur Henry Mann of King’s College, Cambridge, and Sir Robert Stewart of St Patrick’s Cathedral. His extant compositions are varied in style and genre, and include choral and organ music, as well as songs, piano works and chamber music. This paper will discuss Culwick’s remarkable career path, providing details of his activities at the Chapel Royal, his compositions for choir and organ, and his wider work as a conductor, organist, educator and scholar.

16.00 Brian Robins John Marsh in Church… and Tavern Few musicians have left us more valuable information on the state of church music in England during the latter half of the 18th century and early years of the 19th than the dilettante John Marsh. Born in Dorking in 1752, Marsh spent much of his long life living in or near the cathedral cities of Salisbury (1776-83), Canterbury (1783-87) and Chichester (1787-1828, the year of his death), carefully recording in his journals many aspects of musical and social life, in both of which his participation left a lasting mark. Having taught himself on the organ in Salisbury, Marsh subsequently often deputised at the cathedral organ both there and in Canterbury and Chichester. His compositions include a substantial catalogue of organ music in addition to cathedral anthems, hymns and chant. His extensive writings, too, were not infrequently devoted to the topic of church music, in particular in an article from 1785 entitled ‘Thoughts on the abuse of Cathedral Music’. The proposed paper will seek to draw together just some of the threads of Marsh’s interest in and involvement with church music – the topic could probably alone sustain a conference! – in particular drawing on his observations and not infrequently acerbic criticism of church musicians and the standard of performance he found not only in leading cathedrals and university colleges but also more humble parish churches.

| 12 13 | THURSDAY 22 JUNE: SESSION 3: MUSIC AND IDENTITY CHAIR: ERICA BUURMAN

10.00 11.00 Dr David Newsholme (Canterbury Cathedral) Dr Paul Collins (Mary Immaculate College, University of Limerick) ‘For this will we give thanks’: Thanksgiving celebrations at Worcester during the Belgian and German organist appointments to Catholic cathedrals and churches reign of Queen Anne in Ireland during the late nineteenth century During the reign of Queen Anne, numerous days of national thanksgiving were declared in This paper examines the activities of mainland European organists in Ireland during the latter part celebration of Marlborough’s many victories throughout the wars of the Spanish succession. In this of the long nineteenth century. The period 1859–1916 saw the appointment of approximately lecture, the nature of these occasions at Worcester will be examined, focusing on musical provision ten Belgian and seventeen German organists to Catholic cathedrals and churches in fifteen of at the Cathedral. Ireland’s twenty-six dioceses. These musicians, ardent devotees of the Cecilian movement, provided With special reference to William Davis (c.1675/6 – 1745), the city’s most prolific and accomplished stalwart musical leadership in a Church that had repeatedly failed to afford its native musicians composer, the extent to which these occasions provided creative stimulus and incentive will be the opportunity to avail of proper training in liturgical music in Ireland. Indeed, the absence of considered and evaluated. a training infrastructure in Ireland for aspiring church musicians—a situation that endured until the late twentieth century—led to a reliance on the part of many Irish dioceses on the services of foreign organist-choirmasters, who came mainly from the Lemmens Institute in Malines, the Kirchenmusikschule in Ratisbon (Regensburg), and the school of music in Aix-la-Chapelle (Aachen). 10.30 While the appointment of these organists was, understandably, a cause of concern in Ireland because of the limited number of organist posts and the amount of unemployment in the music Prof. Charles E. Brewer (The College of Music, Florida State University) profession, the contribution of these Belgians and Germans to musical life in their country of British Anthems and Colonial Musicking in a Time of Rebellion adoption was considerable. In addition to fulfilling their duties in the organ gallery, they were active During the period before the start of open rebellion in 1775 anthems by British composers, such as in founding music schools and directing bands and choirs, while those among them who were Knapp, Stephenson, Tans’ur, and Williams, were well-known in the British/American colonies. Using composers produced arrangements of Irish folk songs. This period also witnessed the publication of Josiah Flagg’s Sixteen Anthems (Boston, 1766) as a focal point, an examination of contemporary Pius X’s motu proprio (1903), and the effects of this document on the work of foreign organists in sources reveals how these transatlantic musical connections intersected with the changing political Ireland are investigated. and religious climate in New England. As in the Book of Common Prayer, anthems were primarily used by the different religious denominations of New England for special occasions; for example three anthems from Flagg’s collection were sung on 22 December 1771 for the dedication of the 11.30 new Baptist meeting house in Boston. Pamela M R T Barrowman The colonists also drew upon the repertoire of British anthems written to commemorate specific political or military events, such as Stephenson’s An Anthem Taken out of the 44 Chap. of Isaiah, From darkness into light – the story of a congregation and its musical identity written following the victories of the Prussian Army at the Battles of Rosbach (5 November 1757) 1689-1908. and Leuthen (5 December 1757). This anthem was later adapted by John Stickney (Newburyport, 1774) and Andrew Law (Cheshire, CT, 1779), both of whom, along with Flagg, were known patriots. This paper is concerned with illuminating the path leading the Episcopalians of Glasgow from the The use of biblical texts to support a political theology, as found in Stephenson’s anthem, was also violent expulsion from the mediaeval Cathedral of St Mungo, where the florid pre-Reformation common in the colonies and there is evidence that these British anthems were sung at meetings and masses and motets of Robert Carver and his contemporaries had been superseded by the severity spinning parties in support of resistance to the Crown. This seditious use of biblical texts and these of Precentor-led metrical psalms, to the current home in the church of St Mary the Virgin, made trans-Atlantic anthems came to influence William Billings in works such as his Lamentation Cathedral of the Diocese in the twentieth century. This path leads through the obscurity and over Boston. persecution imposed by the Scottish Penal Laws during which those wishing to retain Episcopal church government were forbidden to worship in groups of more than four people for fear of harsh penalties. Even after the repeal of these laws, political circumstances continued until 1805 to divide the church into the two streams of Qualified – those congregations where the minister was prepared to swear an oath of allegiance to the Hanoverian monarch, and in return were allowed to build churches and worship publicly – and the Non-Juring – those where their loyalty to the Jacobite cause precluded this. These two streams were reunited in Glasgow with the building in 1825 of Old St Mary’s Church in the centre of the city, intended to seat a thousand people, complete with an organ and professional singers - men and women – to lead the singing from the West gallery. When half a century later the managers of this incumbency decided to follow the residential focus of the city with a move to the current building in the West End, the metrical psalms of the Presbyterians and the mixed choir in the gallery were left behind, and when the building was chosen as the Cathedral of the diocese in 1908 it was a fully robed, all male choir that would process in to sing services rich in plainsong and Anglican Chant, modern hymnody, canticles and anthems from the English Cathedral tradition, and even a Latin mass setting by Gounod on special occasions.

| 14 15 | FRIDAY 23 JUNE: SESSION 4: REPERTOIRE I CHAIR: ROBERT RAWSON

09.00 10.00 Dr Alan Howard (Selwyn College, Cambridge) Jon Williams (Canterbury Christ Church University) ‘Thou didst thy former skill improve’: Contrapuntal Artifice in Purcell’s 1694 Te 'It's all about that bass…': English Bass Singers of the Restoration and early Deum and Jubilate Hanoverian Periods At the climax of his last great choral work, the orchestral Te Deum and Jubilate in D for St Cecilia’s The emergence of new styles, genres, performing and listening contexts for sacred and secular vocal Day 1694, Purcell dusted off a contrapuntal motif familiar from the end of his much earlier consort music from the decades around 1600 onwards saw the bass voice being increasingly liberated from Fantazia no.12 in four parts. Moreover, he also used exactly the same compositional conceit in his a foundational and harmonic function in choral music to assume a soloistic function. The bass voice examination of this motif—no doubt, in fact, his choice of materials was motivated by the hunt for type(s) also seems to become increasingly associated with certain archetypes and roles in theatrical an idea suited to extreme contrapuntal augmentation, to illustrate the words ‘world without end’. music, many of which may already have been established in the context of church music. Focusing While interesting in itself, such artificial word-painting is only one of many instances of the reuse on ecclesiastical music drawn in particular from Canterbury Cathedral part books and London stage of earlier materials in this work, an aspect which has curiously attracted little comment. In fact, productions in the period c1660–c1720, the paper will argue from compositional, social and cultural the whole of the Jubilate’s doxology forms a choral re-imagination of the fantazia genre, in which perspectives that the changes and tropes that emerged in the period held more significance in the each of the contrapuntal sections—and indeed many others from elsewhere in the Te Deum and case of the bass voice than for other voice types. The results will encourage a reconsideration of the Jubilate—derives closely from the specific techniques and materials of earlier consort pieces. This bass voice archetypes across sacred and secular contexts at the time. paper examines these reworkings from an analytical perspective, in order to shed light on Purcell’s creative strategies in his later choral music. In effect, I argue, Purcell is treating his earlier music as a kind of commonplace book: it is as if the re-conception of his artificial manner of composing in the new stylistic context of the 1690s required the systematic re-examination of these familiar contrapuntal fragments, and their associated compositional strategies, in order that he could be satisfied as to their full assimilation into his mature style.

09.30 Dr Richard Hall (Dorset Rural Music School) The Bloxworth Carols West Gallery music, the homely and often locally produced music which accompanied village worship in 18th-century England, was largely swept away by Victorian notions of ecclesiastical musical respectability. This is a matter of especial concern in Dorset, as it is in the works of Thomas Hardy that this story is most vividly and poignantly told. Recently there has been some revival of interest in music of this type but one small village has never allowed the tradition to fall into neglect: Bloxworth can boast almost continuous performance of local carols every Christmas since at least the early 19th century. The carol book now used at Bloxworth, however, dates from 1926, and is clearly an attempt to achieve a compromise between old and new. It is the work of Willie Pickard-Cambridge, the son of the then vicar of Bloxworth, Octavius Pickard-Cambridge, whose two curates allowed Octavius himself to devote his life entirely to spiders and become a world-renowned expert on the creatures. Willie P-C, meanwhile, regarded himself as something of an expert in his chosen musical endeavours, and in editing the Bloxworth carols sought to produce a version which maintained something of their original vigour while at the same time being scrupulously heedful of the 'rules' of musical grammar as he saw them. This paper will examine the differences between the original carols and the P-C versions, offering a very distinctive example of changing musical tastes in rural church music in the 19th century.

| 16 17 | FRIDAY 23 JUNE: SESSION 5: REPERTOIRE II CHAIR: JON WILLIAMS

11.00 12.00 Dr Ian Maxwell (University of Cambridge) Dr Robert G. Rawson (Canterbury Christ Church University) “I cannot resist inserting some luscious Stainerisms”: Anglican Church Music Pepusch and Handel at Cannons: Anglican liturgy versus Continental Theatricality Sources for the English Musical Renaissance The secularisation of English church music was a slower process than was most of its Continental The quotation from E. J. Moeran introduces this paper which presents the methodology underlying counterparts. Following the Restoration the French influence was strong indeed, but after the ‘Glorious and the preliminary results of a research project that is seeking to establish a set of objective criteria Revolution’ of 1688 a certain conservatism continued to dominate aspects of Anglican liturgical music. to identify and categorise characteristic features of the genre of English music that is commonly Whilst Purcell, Blow, Croft and a few others contributed concertante works as occasional pieces, most referred to as the English Musical Renaissance. While the styles of music composed within this liturgical music, even that for the Chapel Royal, was primarily for voices and continuo and composed in a genre are many and varied, there is a recognisable but tenuous nature about much of the music sacred style which was distinct from the primarily Italianate theatrical style. Among the leading composers emanating from composers as diverse as Elgar, Vaughan Williams, Delius, Parry, Stanford and in the first decades of the early 18th century to offer another approach was two German immigrants: numerous others that may be conveniently labelled “Englishness”. However, pinning down exactly Handel and Pepusch. Handel’s Chandos Anthems have found lasting recognition in the repertoire, but why much of the music of these composers sounds “English” is difficult, mainly due to such a Pepusch’s, perhaps bolder works, have not. This paper makes a case, in particular, for Pepusch’s theatrical quality being apparently unquantifiable and seemingly dependent upon informed perception. approach; in particular is the former’s take on the Magnificat in English—a vibrantly-scored work with trumpets, winds and strings—a setting without parallel of its time in stylistic terms. During the same It has previously been shown that the music produced by English composers during the second period, both composers were considering their approaches to theatrical music in English—an expected half of the nineteenth century and first few decades of the twentieth has its origins particularly in scenario on the Continent, but a largely unexplored one on these shores. nineteenth-century German composers such a Brahms and Schumann and the various British folk traditions. However, the influence of eighteenth and nineteenth century Anglican Church Music has received less attention. Using computer-assisted “big data” analytical procedures, my research shows how Anglican Church music has fundamentally informed and directed the underlying stylistic features that identify “Englishness”, and that, for the first time, a plausible objective basis for evaluating this nebulous quality of English music is possible.

11.30 Dr Karl Traugott Goldbach (Spohr Museum, Kassel) Louis Spohr's Oratorio Calvary: Between the Scandal and the Liturgy When Spohr's oratorio Calvary was performed at the Norfolk and Norwich Triennial Music Festival in 1839 it gained success but also provoked a scandal. The Sunday before the performance the preacher in Norwich Cathedral delivered a sermon against this very oratorio – in both his bishop's and Spohr's presence. From an evangelical point of view there were several theological reservations against this work. In this case not only the use of biblical texts for entertainment was a problem but also the oratorio's plot. While in continental Europe and especially in Germany it was common to perform church music based on Christ's Passion this was nearly forbidden in Great Britain. While in Germany in a lot of sacral music singers play the part of Jesus Passion oratorios like Spohr's Calvary or Beethoven's Christ on the Mount of Olives had to be revised in a way that a narrator tells about Jesus' deeds but did not act in the drama. According to a long tradition of research on Spohr this theological problems were the reason that Calvary became forgotten after Spohr's death in 1859. On the contrary between 1874 and 1906 this oratorio were often performed in the lent time. Moreover in the London parishes Brompton and St. Andrew's this oratorio was arranged for the ”five o'clock Evensong on Thursday during Lent”.

| 18 19 | Jeremy Dibble is Professor of Music at the University of Durham and Vice-President of the Stanford Society. His specialist interests in the Victorian, Edwardian and Georgian eras are reflected in the major studies of C. Hubert H. Parry: His Life and Music (1992; rev. 1998) and Charles Villiers Stanford: Man and Musician (2002), Biographies both published by OUP, and in his recent volume of Parry’s violin sonatas for the Musica Britannica Trust (2003). He has written on a wide range of topics including historiography, opera and church music in Britain including a monograph John Stainer: A Life in Music (2007, Boydell & Brewer). His interests in Irish art music are reflected by his monograph Michele Esposito (2010, Field Day Press) and Hamilton Harty: Musical Polymath (Boydell & Brewer 2013). He is presently working on an analytical study of the music of Frederick Delius, a book of essays on British musical criticism 1850-1950 and a study of Sterndale Bennett's piano concertos. Musical editor for the Canterbury Dictionary of Hymnology (2013), and a contributor to the Cambridge History of Christianity and Pam Barrowman born into a family with deep roots in the Jacobite Episcopalian tradition, Oxford History of Anglicanism, he is an Honorary Fellow of the Royal School of Church Music and the Guild of Pam can trace much of the emergence of the current context of church music in the Scottish Church Musicians. Episcopal Church in the experience of her female predecessors. In nineteenth century Cowie, Pam’s grandmother and her ten siblings followed family tradition by leading the music of the village church. On moving to the big city, Pam’s mother, with two other girls, was allowed to supplement the Stephen Foster studied at Goldsmiths, University of London with Simon McVeigh, completing his dwindling treble line, on condition they were hidden behind a pillar. When Pam moved to Glasgow doctorate, a generic study of the orchestral concert song in England between 1740 and 1800, in 2014. Since completion he has researched in a number of areas: early concert life in Canterbury; the history of the galant to study music at Glasgow University, young women were forbidden to dress in cassock and surplice, style in England and the song manuscripts of James Hook, as well as making several editions of eighteenth- were banned from processing, and required to sit in the seats behind the gentlemen. Since retiring century songs. He has been a church musician for many years: a former chorister at York Minster and Lay Vicar from woodwind teaching in Glasgow she has gained an MA in Sacred Music Studies with Prof. John at Chichester Cathedral, he is now one of the senior Lay Clerks in Canterbury Cathedral Choir. He has also been Harper at Bangor University, and is about to embark on a PhD with Prof. Bennet Zon at the University involved with research into the history and instrumental music of the Canterbury Catch Club; his edition of one of Durham. item from the Club's collection, Charles Suck's Symphony in D (c. 1792), was performed in 2003.

Charles E. Brewer is Professor of Musicology at the College of Music of Florida State Karl Traugott Goldbach studied Composition and Electroacoustic Music at the Franz Liszt University. His research on music in the British colonies during the late 18th-century has resulted in Academy of Music in Weimar, where he also received a PhD in musicology. He also studied Library and specialized studies of the manuscript commonplace books of the Snow family, an overview of the Information Science at the Humboldt Universität zu Berlin. Since 2008 he has been the director of the Spohr period for The Cambridge History of Eighteenth-Century Music, two monographs on the music of Museum in Kassel, a museum dedicated to the life and work of Louis Spohr. He has published on 18th-century William Billings (most recently, Singing Sedition: Piety and Politics in the Music of William Billings and opera, musique concrète, museum education and, of course, on Louis Spohr. the forthcoming, William Billings’s CHESTER and His World of Tune Names), and his current research on Josiah Flaggs’s Sixteen Anthems. He has also published on instrumental music in Central Europe Richard Hall received his musical education at Dartington College and then at the University of Durham during the later 17th century, the medieval musical traditions of East Central Europe, and medieval from which he graduated in 1973. A Major State Studentship allowed for a further three years at Durham Latin song. researching into English music at the time of the Great War, work which led to the award of a PhD in 1981. On leaving Durham he joined the staff of the Dorset Rural Music School, teaching the piano and academic music but also involving himself deeply in the musical activity (choral, orchestral and instrumental) to be found in a Erica Buurman is Senior Lecturer in Music at Canterbury Christ Church University. Her research rural area. In 1989 he took up a lecturing post at Weymouth College where he taught at all levels from BTec and interests centre on music of the early nineteenth century, particularly Beethoven, and music for social A level through to Foundation Degree and, via Weymouth’s partnership with Bournemouth University, on the dancing in Vienna and London. She completed her PhD at Manchester University in 2013 with a Honours Degree course. In 1990 he was appointed an examiner for the Associated Board of the Royal Schools thesis on Beethoven’s preliminary sketches for multi-movement instrumental works. Her publications of Music. In 2005 he returned to Blandford to direct the Dorset Rural Music School where he has expanded the include articles in The Musical Times and The Beethoven Journal. In August 2017 she will begin an scope and range of activities which the School offers, working beyond the one-to-one instrumental lesson to 18-month Leverhulme Research Fellowship with a project on Viennese social dance music in the involve a wider public in music making and music appreciation. period 1790–1830. Kerry Houston was a chorister at St Patrick’s Cathedral, Dublin where he studied organ with the late W. S. Greig and as a scholarship student in the College of Music with Peter Sweeney. He took his undergraduate lectures at the Music Department of Mary Immaculate College, University of Paul Collins and postgraduate degrees in music at Trinity College Dublin, where he was the organ scholar and the conductor Limerick. His research interests embrace music historiography during the Baroque; nineteenth- and of Chapel Choir. He holds a Master's degree in Theology from the Pontifical University (Maynooth). He is a former early twentieth-century Catholic church music; and learning, teaching and assessment in higher President of the Society for Musicology in Ireland, a founder member of the Irish working group of Repertoire education. His first book, The Stylus Phantasticus and Free Keyboard Music of the North German International des Sources Musicales and is chair of the Irish committee of Répertoire International de Littérature Baroque, was published by Ashgate in 2005, while his edited volume, Renewal and Resistance: Musicale as well as being on the editorial board of the Encyclopaedia of Music in Ireland. Future projects include Catholic Church Music from the 1850s to Vatican II was published by Lang in 2010. He was an the preparation of a complete critical edition of the sacred music of Daniel, Thomas and Ralph Roseingrave in advisory editor for the Encyclopaedia of Music in Ireland, published in 2013, and is currently editing a collaboration with Andrew Johnstone (Trinity College Dublin), articles on sacred music in Ireland in the nineteenth book on curriculum and assessment in higher music education. century, a history of Dublin University Far Eastern Mission and a history of music in the Chapel of Trinity College Dublin. Kerry’s research interests include source studies with a particular interest in sources for sacred music in England and Ireland 1660–1900; editing and stemmatic analysis, theology and number symbolism in music, and Rachel Cowgill is Professor of Musicology and Head of Music & Drama at the University of Asian perspectives on Christianity. Huddersfield. Her research interests include British music and musical cultures, Mozart reception, opera studies, music and commemoration, digital musicologies, and music, gender, and sexuality. Among her current projects are a book entitled Music and the Military Body in First-World-War Britain and a co-edited collection on non- Alan Howard is Lecturer and Director of Studies in Music at Selwyn College, Cambridge, and co-editor English identities in nineteenth-century British music, and with Derek B. Scott she has co-edited Music and Ideas of the OUP journal Early Music. His research centres on the music of Henry Purcell and his contemporaries, from of North, which is due out with Routledge/Ashgate at the end of the year. Recent publications include The the perspectives of source studies, contextualised analysis and editorial practice. His edition of Samuel Howard’s Arts of the Prima Donna in the Long Nineteenth Century, co-edited with Hilary Poriss (Oxford University Press, 1769 doctoral exercise, a major orchestral anthem ‘This is the day which the Lord hath made’, will appear 2012), and a chapter on Mozart and the construction of musical prodigies in early Georgian London, in Musical later this year, and an accompanying article will be published in Eighteenth-Century Music in September. He is Prodigies: Interpretations from Psychology, Education, Musicology, and Ethnomusicology, edited by Gary E. currently working on a book, Compositional Strategies in the Music of Henry Purcell, for CUP, and critical editions McPherson (Oxford University Press, 2016). With Byron Adams and Peter Holman, Rachel co-edits the book series of music by John Eccles and William Croft for A-R Editions and Musica Britannica respectively. ‘Music in Britain, 1600–2000’ for Boydell & Brewer.

| 20 21 | Peter Horton will shortly retire as Deputy Librarian (Reference & Research) at the Royal College of Music, Rob Rawson completed his BMus at the University of Michigan in Ann Arbor (USA) where he also London, where he has worked for over 30 years. His research interests are centred on British music from the early studied the double bass with Stuart Sankey and the viola da gamba with Enid Sutherland. He re-located to 19th to mid 20th-centuries, particularly the life and music of Samuel Sebastian Wesley and William Sterndale London in 1996 and completed his Ph.D. at Royal Holloway (Univ. of London) in 2002 under the supervision of Bennett. His publications include Samuel Sebastian Wesley: A Life (OUP, 2004), a 3-volume edition of Wesley’s Tim Carter and Geoffrey Chew. During his Ph.D. period he did some teaching at Royal Holloway and then later anthems for Musica Britannica and book chapters ‘William Sterndale Bennett, composer and pianist’ in The taught at Anglia Ruskin University, Cambridge University and Trinity College of Music in London. His primary Piano in Nineteenth-Century British Culture, (Ashgate, 2007) and ‘The British Vocal Album and the Struggle for interests include the performance practices of music before c.1800 and cultural and social histories and roles of National Music’ in Music and Performance Culture in Nineteenth-Century Britain (Ashgate, 2012), a new edition music of various periods. In particular, he has published widely on music in the former Austrian Empire with a of Vaughan Williams fifth Symphony (OUP, 2008), and editions of anthems and services by Bennett, Smart, H.C. special emphasis on music in the Czech lands. He is the director and co-founder of the highly-acclaimed baroque Stewart, Walmisley and Wesley for the Church Music Society. His article ‘An Obsession with Perfection: William ensemble The Harmonious Society of Tickle-Fiddle Gentlemen. In addition to directing the early music ensemble, Sterndale Bennett and Composers’ Block’ was published in Nineteenth-Century Music Review, 13 (2016). His Robert lectures on a variety of musicological subjects including: Music in the Czech lands, British music, music current research projects include an edition of Bennett’s piano concertos, book chapters on British organ music and politics and social movements as well as analysis and church music. Future plans include the study of the in the 1830s and 40s and mid19th-century British music criticism, and research into the introduction of German roles of musical elements and behavioural suggestibility and manipulation. song into early 19th-century London. Brian Robins is the editor of The John Marsh Journals, Vol 1 (1998, Stuyvesant, NY; rep 2011, Hillsdale, Eleanor Jones-McAuley is a PhD student at Trinity College, Dublin, where she is researching NY) and The John Marsh Journals, Vol 2 (2013, Hillsdale, NY). He is also the author of Catch and Glee Culture eighteenth-century church music and identity under the supervision of Dr Andrew Johnstone. She received a in Eighteenth-Century England (2006, Woodbridge). Brian Robins is currently a Visitor at the University of first-class BA in Music and Modern Irish from Trinity in 2013, and also holds an MPhil in Early Modern History, Southampton. for which she submitted a thesis on the role of music in state propaganda during the French Revolution. She takes a great interest in the performance of sacred music, and has been a member of the Trinity College chapel choir since 2009, serving as the conductor of the choir from 2013 to 2015. She also sings with the Dublin-based Sandra Tuppen is Lead Curator, Modern Archives & Manuscripts 1601-1850 at the British Library. female-voice choir Dulciana, conducts the Humanitarian Symphony Orchestra, plays the piano and cello, and has For her PhD she investigated French influence on English theatre music in the Restoration, and she continues recently started learning the organ. to undertake research on music in late 17th-century England and on the reception and performance history of English music. She is Secretary of the Purcell Society and a Trustee of RISM UK, and editor of the RISM UK Music Manuscripts database. She has a strong interest in manuscript and early print culture, and has been Ian Maxwell is an Affiliated Researcher in the Faculty of Music at the University of Cambridge. He involved in several collaborative research projects in these areas, including Early Music Online and A Big Data holds a BMus degree from the University of Aberdeen, and a PhD from the University of Durham. His research History of Music. She convenes and teaches on the module The Material Legacy of Early Modern Texts at King’s interests focus primarily on the composers and music of the so-called English Musical Renaissance, including College, London. Her publications include articles on Shrovetide entertainments in the Restoration and on the the preparation of a full biography of E. J. Moeran. Further research areas are composer and pedagogue Arthur performance of Purcell’s music in the 18th century. Willner, the violinist Joseph Joachim, music making in the British universities during the nineteenth century, and computer-assisted musical analysis. Between 2011 and 2014, Dr Maxwell was editor of the British Music Society, with responsibility for the production of the newsletter BMS News and the journal British Music. Jon Williams is currently studying for a PhD with Dr Robert Rawson and Dr David Allinson at Canterbury Christ Church University, specialising in late 17th / early 18th century English music for bass singers. He is also a Bass Lay Clerk of Canterbury Cathedral, a qualified classroom teacher and a former Head of Music in two leading David Newsholme is Assistant Organist and Director of the Girls’ Choir at Canterbury Cathedral. He Kent grammar schools. He completed an MA at Durham University in 1991 under the supervision of Dr Jerome was previously Assistant Director of Chapel Music at Winchester College and has held positions at the Cathedrals Roche, exploring solo motets by Giovanni Felice Sances. of Salisbury and Worcester. David read music at the University of Oxford, where he was Organ and Academic Scholar of New College. Postgraduate study at the University of York culminated in the award of a PhD in 2014.

David O’Shea is a graduate of the DIT Conservatory of Music and Drama and the University of Cambridge. He is currently undertaking research towards a PhD at Trinity College, Dublin under the supervision of Dr Andrew Johnstone, focussing on Anglican church music in nineteenth-century Dublin, and particularly the Chapel Royal, Dublin Castle. His publications include articles for the magazine The American Organist, the Trinity Postgraduate Review, and also a chapter on music and liturgy in the 2015 book The Chapel Royal, Dublin Castle: An Architectural History. David is active as an organist and choral conductor, and has given recitals at home, in Notes Europe and in the USA. He is organist of Sandford Parish Church and St Philip’s Milltown in Dublin, and is a lay vicar choral at St Patrick’s Cathedral...... Danielle Padley is a PhD candidate at Jesus College, Cambridge, where she also received her BA and MPhil degrees (2005-2009). Her doctoral research, supervised by Dr Benjamin Walton, investigates the impact ...... of religious collaborations on Anglo-Jewish liturgical music during the nineteenth century. These collaborations include instances of Jewish-Christian relations, the interplay between sacred and secular music spheres, and the ...... meeting of traditional and reformed worship practices. Danielle’s research focuses around a case study, Anglican musician Dr Charles Garland Verrinder (1834-1904), who juxtaposed his role as an established church organist and composer with a forty-five-year career as the first organist of the West London Synagogue of British Jews...... Her preliminary analysis of Verrinder’s musical output for the synagogue is due to be published shortly in Ad Parnassum Studies. Danielle’s research is complemented by her experience as Musical Director of Jewish choirs...... In 2005, she became Deputy Musical Director of Edgware and District Reform Synagogue, one of the largest non-Orthodox congregations in Europe. In 2011, she took over as Musical Director of Kol Echad, the only Jewish choir in Cambridge, with whom she has performed at several concerts, services, and other events tailored to both ...... Jewish and non-Jewish audiences.

...... Chris Price is a Senior Lecturer in the Department of Music and Performing Arts. He also pursues a lively career as a professional musician, notably as a Tenor Lay Clerk in the Cathedral Choir at Canterbury. In ...... addition to this, he undertakes regular professional work as singer and conductor in the area. His specialist interests include the music of the English Reformation; the archives of the Canterbury Catch Club; the music of Canterbury-based composer Alan Ridout; and English humorous song. He is presently completing a PhD with Durham University and writing a book on the Catch Club. | 22 23 |