CHURCH MUSIC QUARTERLY DECEMBER 2019

WHAT CAN I GIVE HIM?

CONTENTS

5 WELCOME 36 BRANCHING OUT Robert Tait tells us about RSCM New Zealand and the many RSCMNZ 6 IN ACTION events staged each year. A look at the RSCM’s International Summer School 2019 6 38 TELLING THE CHRISTMAS STORY 8 WHAT’S ON Helen Bent considers music that Highlights of RSCM events connects us to the deeper theology across the UK, December 2019 of Christmas. to April 2020

42 HYMN MEDITATION 10 ‘MEN AND WOMEN Gordon Giles discusses ‘Past ALL DO SING’ three a clock’ and The Cambridge Nicholas Temperley on the origins Carol Book. of the English hymn tune 46 CONGRATULATIONS 10 18 FROM THE DIRECTOR Members’ successes and RSCM Hugh Morris asks whether tradition awards can become an obstacle to progress. 48 SOMETHING QUITE 20 GIFTS BEYOND EXTRAORDINARY CHRISTMAS Ross Cobb tells us about the success Jacinta Jakovcevic suggests of RSCM Australia’s summer school, music for the threefold celebration Sydney inSpires. of Epiphany.

50 NOTEBOOK 25 RSCM NEWS News and reports across the RSCM’s 18 international network 51 CLASSIFIED ADS

30 WORSHIP MUSIC 52 OBITUARIES IN ZIMBABWE An interview with Chipo Madondo on directing choirs in Zimbabwe 53 REVIEWS CMQ evaluates the latest church music books and CDs. 33 LOOKING TO THE FUTURE Callum Alger writes about organ scholarship and opportunities for 20 professional development.

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

www.ouseleytrust.org.uk

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

Anyone wishing to apply for a grant from the scheme is invited to contact the Prayer Book Society on 0118 984 2582 or pbs.admin@ pbs.org.uk For information about The Prayer Book Society or to join please ring the above number or go to www.pbs.org.uk Registered Charity No. 1099295 and Co Limited by Guarantee No. 4786973 Regent CMQ Dec 2019.qxp_Layout 1 18/10/2019 11:57 Page 1

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A sparkling collection of Christmas music by one of the UK’s most distinguished and versatile musicians. There is new choral music for

the triumph of faith NEWS COMMENT REVIEWS the entire Christmas season from Advent to Epiphany, settings and NEWS COMMENT REVIEWS thethe triumph triumph of of faith faith NEWS COMMENT REVIEWS Tom Holland on the the will of the judges not a naughty film dining in Pompeii Tom Holland on the the will of the judges not a naughty film dining in Pompeii TomChristian Holland revolution on the theParliament will of the resumes judges notMonty a naughty Python film as a dining‘The Last in Pompeii Supper’ at Christian revolution Parliament resumes Monty Python as a ‘The Last Supper’ at Christian revolution Parliamentbusiness after resumes ruling Montymission Python opportunity as a ‘Thethe Last Ashmolean Supper’ at business after ruling mission opportunity the Ashmolean pages 18-19 business after rulingpage 3 mission opportunitypage 12 the Ashmoleanpage 31 pages 18-19 page 3 page 12 page 31 pages 18-19 page 3 page 12 page 31 arrangements of traditional texts, plus several new carols with original words by Garth Bardsley.

MAKE WE MERRY Give a friend or relative the CHURCH TIMES for Christmas music for upper voices Christmas and they’ll enjoy the best writing on by Bednall, Bob Chilcott faith and current affairs throughout 2020. and Sarah Quartel Order before Christmas and receive a free book Benenden Chapel Choir , London Metropolitan Brass, directed by with every subscription! REGCD547 Edward Whiting The first recording of David Bednall’s major new Christmas work for Call: 01603 785911 upper voices and brass, Make we merry, alongside Bob Chilcott’s The Visit: www.churchtimes.co.uk/christmas Midnight of his birth, and Snow Angel by Sarah Quartel. Terms and conditions: This offer is only valid for UK delivery. Order by 16 December so we can send your gift in time for Christmas. Offer ends 31 December 2019. REGENT RECORDS, PO Box 528,Wolverhampton, WV3 9YW Tel: 01902 424377 www.regentrecords.com (with secure online ordering). Retail distribution by RSK Entertainment Ltd, Tel: 01488 608900, [email protected]. Available in the USA from the Organ Historical Society www.ohscatalog.org. WELCOME

THE ROYAL SCHOOL OF CHURCH MUSIC For many churches, Christmas has become the high-water mark for attendance. Registered Charity No. 312828 From a missional perspective its value is of course immense. Yet, aside from the Company Registration No. 00250031 annual remarks about over-commercialization (now a staple of many Christmas 19 The Close, Salisbury, SP1 2EB sermons), many Christians also lament the way in which Christmas has come to www.rscm.org.uk overshadow other important days celebrated by the faithful across December and Director: Hugh Morris Deputy Director (Operations & Finance): January. Has the sprawl of Christmas as a secular celebration completely obscured Stephen Mansfield the season of Advent as a time of preparation and contemplation? Do people still Deputy Director (Education & Voluntary Networks): Rosemary Field light the four candles on the Advent wreath? What of the saints’ days, such as the Head of Publishing: Tim Ruffer Feast of St Stephen? And if Christmas now starts far too early (with chocolate

EDITOR Santas appearing in some supermarkets in September), then does it also end far Stefan Putigny too soon, completely ignoring Epiphany? GENERAL ENQUIRIES Whatever your thoughts of the encroachment of Christmas upon other sacred T +44 (0)1722 424848 F +44 (0)1722 424849 seasons and feasts, Jacinta Jakovcevic, Director of Music at Perth Cathedral, has E [email protected] some musical suggestions for Epiphany that keep sight of the threefold celebration MUSIC DIRECT (pages 20–23). Then, on pages 38–41, Helen Bent looks at Christmas music that T +44 (0)845 021 7726 connects with the deeper theology, and asks whether or not Christmas has become F +44 (0)845 021 8826 E [email protected] too child-centric and ‘cute’.

EDUCATION AND COURSES For those looking for temporary respite from the ‘holiday season’, our leading T +44 (0)1722 424843 feature this issue focuses upon the origins of the English hymn tune. While the E [email protected] history of the hymn stretches back to the fourth century, some readers may be ACCOUNTS T +44 (0)1722 424842 surprised to learn that the singing of hymn tunes by congregations only emerged, E [email protected] or re-emerged, at the time of the Reformation. As Nicholas Temperley reveals, what

VOLUNTARY NETWORKS was and what was not acceptable to print, or to sing in church, shifted considerably T +44 (0)1722 424848 amid the religious changes that convulsed 16th- and 17th-century Europe. Indeed, E [email protected] if you think that controversy surrounding the singing of dance-like and lively songs RSCM MEMBERSHIP ENQUIRIES UK (INCL. IRELAND) in church is a solely modern concern, you may be surprised. T +44 (0)1722 424848 E [email protected] www.rscm.org.uk/get-involved/ Australia, Canada, New Zealand, South Africa and USA: Contact your local branch for details Other countries: See website for STEFAN PUTIGNY details www.rscm.org.uk/get-involved/

CMQ DECEMBER 2019 Front cover photo: Adoration of the Magi, designed by Edward Burne-Jones CONTRIBUTORS (1833–1898). Musée d’Orsay, Paris. Alamy Stock Photo. Callum Alger Gordon Giles is Robert Tait is an Design and origination by Smith & Gilmour is currently Vicar of St Mary RSCM New Zealand Printed by Stephens & George Ltd Magdalene, Enfield National Councillor, at Westminster and Director of a singer at Views expressed in signed articles, letters Cathedral. He Post-Ordination Christchurch and advertisements are not necessarily recently graduated Training for the Cathedral and those of the editor, publisher or staff. from the Royal Edmonton area Canterbury Branch Articles, letters, classified Birmingham of the Diocese of Secretary. He has advertisements and members’ Conservatoire. He has performed London. He has written many books been singing as a cathedral chorister news for the March 2020 issue widely as a soloist, including on on church music and hymnody, and since the age of four and has served at by 1 January 2020 to: BBC Radio 3 and 4. His debut CD, was one of the editorial team for the three St Paul’s – Dunedin, Magazines Editor, RSCM, Klangreden, has recently been new Ancient & Modern. Wellington and once at St Paul’s, London. released on the Regent label. 19 The Close, Jacinta Jakovcevic Nicholas Temperley Salisbury SP1 2EB Ian Church served is Director of Music is an emeritus T +44 (0)1722 424845 on the RSCM Council at St Mary’s professor of E [email protected] from 2007–19, Cathedral in Perth, musicology at the Review materials to: including 11 years an appointee of University of Illinois, the Reviews Editor, Ashleigh House, as Vice-Chair. He the National specializing in Cirencester Road, Minchinhampton, is Director of Music Liturgical Music Classic and at St John’s Church, Board and a member Romantic music, Stroud GL6 9EL West Byfleet, of the National Council of RSCM and in British music of many kinds and T +44 (0)7879 406048 a committee member of the RSCM Australia. She recently gave presentations periods. He is British by birth and holds E [email protected] Guildford Area, and an organ tutor at the Australian Pastoral Musicians’ a PhD from Cambridge University. He is Display advertising copy/enquiries to: in Surrey. Network national conference on the the author of numerous books and has Stephen Dutton, Church Times, choir and organ in Catholic liturgy. She recently published, jointly with Beth Invicta House, 108–114 Golden Lane, Ross Cobb trained has performed widely across Australia. Quitslund, a critical edition of Sternhold London EC1Y 0TG. at the Guildhall, and Hopkins’s Whole Book of Psalms. the Royal Academy Chipo Madondo T +44 (0)20 7 776 1011 of Music and King’s is the choir director E [email protected] College London, for St Mary holding organ Magdalene, Avondale RSCM STAFF CONTRIBUTORS: scholarships in Harare. She is also at King’s and the ‘new face’ of the Hugh Morris, RSCM Director St Michael, Cornhill. After a number worldwide Anglican Helen Bent, RSCM Head of of worship leader jobs he moved to Communion. Ministerial Training Australia to become director of music of St Andrew’s Cathedral in Sydney. Ross is chair of Sydney inSpires and the NSW branch of RSCM, as well as being National President of RSCM Australia.

CHURCH MUSIC QUARTERLY DECEMBER 2019 5 IN ACTION INTERNATIONAL SUMMER SCHOOL

he Royal School of Church Music’s triennial International Summer School for musicians Tand worship leaders brought around 60 delegates and experts from across the world to Belsey Bridge Conference Centre in Norfolk. The week-long school in August combined intense musical study with pilgrimage, as delegates toured the awe-inspiring angel-roof churches and cathedrals in East Anglia. Within the week, worship encompassed a wide range of forms from monastic compline and Catholic vespers held in the Catholic Cathedral of St Norwich, to Iona liturgies and contemporary worship led by Christian songwriter Joel Payne. As well as attending lectures and debates, delegates took group and individual tuition in copyright, finance, service planning and music arranging. Aspiring composers worked with the renowned Cecilia McDowall to review their compositions, while church organists enjoyed a master class on a cathedral organ. The week culminated in a Eucharist sung with the RSCM’s Millennium Youth Choir at Norwich Anglican Cathedral. Director of the RSCM Hugh Morris said: ‘It has been an enriching experience for attendees and teaching staff alike with so many interesting conversations. The shared experience of spending time on an immersive study experience unlocks fellowship; it has been a joy to lead and participate in it all.’ INTERNATIONAL SUMMER SCHOOL SCHOLARSHIPS

The RSCM offered three scholarships for students to attend the 2019 ISS, with the intent of impacting on the music of their current parishes (with only those intending to remain in such service being eligible). One of them was awarded to the Revd Chris Moorsom, a keyboard player and violinist, singer in local chamber and church choirs, organist, composer and arranger. Chris offers us a brief report.

CHRIS MOORSOM (SCHOLARSHIP WINNER)

he week offered a full programme, with tours around places that have a spiritual and musical Other highlights included: Tstory to tell. Each day was carefully crafted so „ The tour of (a first for me), that members could begin and end the day with short and also of Ely with its staggering roof decorations acts of worship (including, of course, some suitable and beautiful octagon tower music), and then put their energies into lectures, „ A composition workshop and one-to-one with workshops and visits to places of inspiration and Cecilia McDowall interest. „ The angel roof tour, with talks on the places and This wasn’t quite a free outing for me. On Thursday traditions of Norfolk evening, I was tasked with producing a short act of „ A masterclass on choral conducting with Adrian worship, responding to the day’s pilgrimage around Lucas and the Millennium Youth Choir the angel roofs of Norfolk. I was advised that people „ The visit to Aldeburgh and the Red House, home would be tired after a full day of travel. So, a of Benjamin Britten and Peter Pears in their meditation was constructed, with some words of later years prayer, some scripture (the Parable of the Sower), My challenge now is to build some of the ideas and poetry (The Flower by George Herbert) and, and insights I received into the continuing of my to aid their reflections, I wrote and played a violin particular musical and priestly calling. and piano piece, Hugh Morris accompanying. A special moment for me was singing John Tavener’s atmospheric Song for Athene in Ely Cathedral’s vaulted Lady Chapel, then Stanford’s splendid setting of Psalm 150 under the famous Octagon Tower. HIGHLIGHTS OF RSCM EVENTS IN YOUR AREA WHAT’S ON DECEMBER 2019 TO APRIL 2020

For more highlights of events being held across the period December 2019 to April 2020 and for full details of the events listed below visit our website: www.rscm.org.uk/search-events/ or contact the named person.

WORKSHOPS AND COURSES

ST ALBANS HERTFORD & OXFORDSHIRE AREA SOUTH EAST WALES AREA BEDFORD AREA Three-day Easter course for Music for Mission and Music for Mission and young choristers (aged 8–18) Ministry Ministry Tuesday, 14 April – Thursday, Tuesday, 28 April – Thursday, Tuesday, 4 February – Thursday, 16 April » 09:00 (daily registration) 30 April » 14:00 (Tuesday) to 6 February » 14:00 (Tuesday) to to 17:00 depart (Thursday later) 13:30 (Thursday) 13:30 (Thursday) Exeter and Jesus Colleges, Oxford Ty Croeso Centre, Newport High Leigh Conference Centre, and Christchurch Cathedral, NP44 3YJ Hertfordshire EN11 8SG Oxford OX1 3DP A 48-hour residential course, The 48-hour residential version of the Led by Hugh Morris, RSCM Director. including group discussions, study course, including group discussions, Improve your singing of hymns, sessions and individual time with study sessions and individual time psalms, canticles, anthems and Easter the course leader. Explores the with the course leader, explores the carols; learn new music; improve opportunities and challenges in your opportunities and challenges in your your tone, diction, breath control church, and worship in a wide variety church, and worship in a wide variety and phrasing; receive expert tuition; of styles. £350 residential (including of styles. £350 residential (including meet choristers from other churches; full board, materials and resources); full board accommodation, materials see friends from previous courses, £375 non-RSCM member residential; and resources); £375 non-RSCM and make new friends; perhaps win £250 non-residential (incl. lunch and member residential; £250 non- a scholarship to a one-week RSCM dinner). Contact RSCM Education residential (incl. lunch and dinner). Residential Course if you are 14 on 01722 424843 or at Contact RSCM Education on 01722 or under. Sung evening service in [email protected] 424843 or at [email protected] Exeter College chapel on Tuesday and Wednesday. Sung in MUSIC Christchurch Cathedral on Thursday. forMISSION £90 (excluding refreshments apart andMINISTRY from soft drinks). Contact Sue Scott at [email protected]

REGION ONEMUSIC MYC workshopfor dayMISSION Saturday, 8 Februaryand MINISTRY » 10:30 to 16:00 MUSICSt Stephen’s, forCrewe CW2 7JX MISSIONAn opportunity toand join the Millennium Youth Choir for an MINISTRYopen rehearsal, including some of the repertoire that will feature later in the season, and audition for for membership of the choir. OpenMUSIC to young singers aged 16–23,MISSION working and at or above RSCM Gold Award/MINISTRY ABRSM Grade 7. £10. Contact RSCM MYC on 01722 424843MUSIC or at [email protected] for MISSION and MINISTRY

Logo tryout 4.indd 3 25/09/2019 14:00:30 CHURCH MUSIC QUARTERLY DECEMBER 2019 8 FOR A FULL LIST OF EVENTS, SEE WWW.RSCM.ORG.UK/SEARCH-EVENTS

SOCIAL AND SEASONAL

OXFORDSHIRE AREA SOUTH EAST WALES AREA BERKSHIRE AREA Epiphany carol service Choral festival Rehearsal for Come & Sing Saturday, 18 January 2020 » Saturday, 7 March Stainer’s Crucifixion and 15:00 to 19:00 All Saints, Barry CF62 6NU Ireland’s Greater Love Christ Church Cathedral, Come and sing Stainer’s Crucifixion. Friday, 20 March 2020 » Oxford OX1 1DP Timings and cost are tbc. 19:45 to 21:15 Epiphany service held jointly with Contact Emma Gibbins on Parish Hall, All Saints’ Church, the cathedral choir and singers from 07952 514117 or at Windsor SL4 1HU RSCM choirs from Oxford Diocese [email protected] Optional rehearsal for Come & Sing and beyond. £5. Contact Janet Low Stainer’s Crucifixion and Ireland’s on 01865 777257 / 07549 886561 Greater love event on Sunday or at [email protected] 29 March. Contact John Halsey GLOUCESTERSHIRE AREA on 07824 344044 or at Rehearsals for Saint Cuthbert [email protected] – Adrian Self Sunday, 8 March » 14:00 to 17:00 Christ Church Cheltenham, Come & Sing Stainer’s Malvern Road GL50 2JH Crucifixion and Ireland’s Greater Love Saturday, 14 March » 14:00 to 17:00 Sunday, 29 March » 14:15 to 19:30 Christ Church Cheltenham, Windsor Parish Church of St John Malvern Road GL50 2JH the Baptist, Windsor SL4 1LD Community cantata, to be rehearsed Devotional performance of Stainer’s and performed by as many affiliated Crucifixion and Ireland’s anthem choirs in Gloucestershire as Greater love, with soloists and a possible. No cost for participants, Passion Sunday reflection by the REGION ONE £10 for audience on 20 March. Revd Sally Lodge. 14:15 Come and Sing a celebration Details of other rehearsals below. assemble; 14:30 rehearse; 16:15 tea; for Candlemas Contact Fiona Brown on 17:15 opportunity to attend evensong Sunday, 2 February » 16:45 to 19:00 01242 576069 or at at St George’s Chapel, Windsor Castle; St James, Flockton, [email protected]. 18:30 devotional performance in West Yorkshire WF4 4DH See also 20 March. Windsor Parish Church. £5 to sing in Preparation of music for Candlemas, the choir. Free to join the congregation. ending with a service. No charge, Contact John Halsey on 07824 344044 retiring collection. Contact Geoffrey Saint Cuthbert – Adrian Self or at [email protected] Lockwood on 01484 688487 or at Friday, 20 March » 17:00 to 21:00 [email protected] Christ Church Cheltenham, Malvern Road GL50 2JH Community cantata, previously performed in Carlisle (twice), Lancaster and Durham Cathedrals, to be rehearsed and performed by as many affiliated choirs in Gloucestershire as possible; accompanied by organ, piano, percussion; several dances (for the dancers, not the choirs!) included. NATIONAL No cost for participants, £10 for 2020 Members conference audience. Contact Fiona Brown Saturday, 7 March » 10:00 to 16:00 on 01242 576069 or at Derby High School DE23 3DT [email protected] Contact Membership Department on 01722 424846 or at [email protected]

CHURCH MUSIC QUARTERLY DECEMBER 2019 9 ‘MEN AND WOMEN ALL DO SING’ HOW THE ENGLISH HYMN TUNE WAS STARTED

NICHOLAS TEMPERLEY ymns have a very long history, going back at least to St Ambrose in the fourth century. HBut the idea of having them sung by a congregation only emerged, or re-emerged, at the time of the Reformation. One of the strongest desires of the reformers was to have ordinary people take an active part in worship, rather than listen to mysterious chanting by priests in a language they didn’t understand. Martin Luther provided verses in German and encouraged his followers to sing them to some stirring tunes, some old, some new. Many of them are still widely known today, such as Ein’ feste Burg and Old 112th. Another branch of the reformers, spearheaded by John Calvin (1509–64), considered that the only songs properly sung in worship were the psalms. In the 1530s Clément Marot’s metrical psalm Above: 16th-century woodcut showing boys and men psalm singing paraphrases were highly fashionable at the French in church. court, as pious aristocratic entertainment to replace Opposite: Portrait of by Steven van der Meulen. vulgar or indecent songs. Later they were taken up c. 1563. Private collection. by Calvin for inclusion in church services. They eventually grew into the Huguenot Psalter, which Following Sternhold’s death in August 1549, was translated into other languages and became a complete edition of his 37 metrical psalms was the basis for congregational singing for Evangelicals brought out, plus seven by a country clergyman, John in many countries. Many of our most popular tunes, Hopkins. They were wildly popular. The number of above all Old 100th, come from the French Psalter. editions and imitations of ‘Sternhold & Hopkins’ The story in was somewhat different. published in the few remaining years of Edward’s Henry VIII, although he had broken with the Catholic reign proves how much people enjoyed this new activity. Church, did not really want liturgical reform. Until But none of the psalms had lasting tunes. Nor were his death in 1547 no real English Reformation could they sung to ballad tunes, as many have assumed. get off the ground. But some English poets had copied It is now thought that they were sung to dance music. the French, turning psalms into metre to replace This would explain why they are nearly all in common ‘love ballads and carnal songs’. A courtier named metre, known then as ‘Sternhold’s metre’. One Thomas Sternhold was one of them. Soon after example survives (Example 1), a pavane-like tune Henry’s death he published a booklet of 19 metrical for Psalm 4 with lute accompaniment. According to psalms. He dedicated it to the boy king Edward VI, one source they were ‘sung to the viol, lute (treble or praising his personal piety: ‘your tender and godly bass), or other instrument pleasing to the ear’. These zeal doth more delight in the holy songs of verity are hardly church instruments. The new prayer book than in any feigned rhymes of vanity’. required all 150 psalms to be sung in morning and Example 1

Example 1 PS. 4, trans Sternhold Anon c.1550 Words: Psalm 4 Music: Anon, c.1550 Trans: Thomas Sternhold (1500–49) j j b ™ j ™ j œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ O God that art my righ - teous- ness, Lord, hear me when I ™ j ™ b ˙ Œ œ œ ™ j j Œ & œ J œ œ œ œ œ œ œ œ œ #œ œ œ ˙ call: Thou hast set me at li - ber- ty, when I was bound and thrall.

CHURCH MUSIC QUARTERLY DECEMBER 2019 11 ‘MEN AND WOMEN ALL DO SING’

Above: Psalm 72 from The Whole Booke of Psalmes collected into Englishe Metre (STC 2466.5, 1584). evening prayer over the course of each month – established a protestant colony. Under the leadership but in prose form. This meant chanting by the choir, of William Whittingham (c.1524–79), they devised to the old Sarum chants that had been used for the and published in 1556 a service book dedicated to Latin psalms. Still no hymn tunes in church! Calvin. It included the metrical psalms of Sternhold When Mary Tudor came to the throne in 1553, & Hopkins, which everybody knew, now revised and her revival of the led some of the extended in a protestant direction by Whittingham. more ardent Protestants to migrate and form small Each psalm was now provided with a printed tune. colonies, mostly in German-speaking lands. The A handful of these were adapted from the French Psalter, but 48 of them were new. You might expect that Whittingham would have used familiar tunes. But he was under the sway Many of our most popular tunes, of Calvin, who had very definite views on how the above all Old 100th, come from the psalms should be sung, expressed in his preface to French Psalter the French Psalter: ‘There should be a great difference between music made to entertain men at the table and in their home, and the Psalms, which are sung in Anglo-Scottish settlement in Frankfurt spent many Church, in the presence of God and his angels.’ This months passionately debating what form its services ruled out the dance-based, rhythmical Edwardian should take. There were two main groups. One tunes. The new tunes deliberately weakened rhythm, wanted to continue with the prayer book, and resisted getting rid of dotted notes and the strong sense of the idea of metrical psalms as part of the service. four-bar phrases, but not replacing them with any The other pushed for more radical reform on Calvin’s other memorable or attractive features (Example 2). model. This group eventually split from the prayer Not surprisingly, the Geneva exiles did not book party and moved to Geneva, where Calvin had immediately take to these dull, unfamiliar tunes.

CHURCH MUSIC QUARTERLY DECEMBER 2019 12

Example 2

Words: Psalm 7 Music: Anon (Geneva), 1556 Trans: Thomas Sternhold (1500–49)

Ó &‹ ˙ ˙ ˙ ˙ œ œ œ ˙ ˙ œ œ œ œ ˙ O Lord my God, I put my trust And con - fi - dence in thee:

˙ œ œ œ œ œ œ Ó &‹ œ œ ˙ ˙ œ œ ˙ Save me from them that me pur - sue And eke de - li - ver me.

˙ œ Ó &‹ œ œ œ œ œ ˙ ˙ œ œ œ ˙ Lest like a li - on he me tear Aœnd rent in pie - ces small:

œ œ &‹ ˙ ˙ ˙ œ œ ˙ ˙ œ œ œ œ › Whiles there was none to suc - cour me And rid me out of thrall.

Example 3

Words: The Lord’sPrayer Music: Anon (Strassburg), c.1539 Trans: Richard Cox (1499–1581)

˙ œ œ ˙ œ œ œ ˙ &‹ œ œ œ œ ˙ œ œ œ Our Fa - ther, which in hea - ven art And mak'st us all one bro - ther - hood œ œ œ œ œ œ ˙ ˙ œ œ œ œ &‹ ˙ œ œ ˙ To call up - on thee with one heart, Our heav'n - ly Fa - ther and our God:

˙ œ œ œ bœ &‹ œ œ œ ˙ ˙ œ œ œ œ œ › Grant, we pray, not with lips a - lone, But with the heart's deep sigh and groan.

More than half were abandoned in the second edition. John Day the publisher, who had acquired a lucrative But a few became popular. When Elizabeth succeeded monopoly in the publication of metrical psalms, soon Mary in 1558 and restored the , she completed The Whole Book of Psalms (1562), adding allowed ‘an hymn or such like song’, not as part of the metrical canticles and original hymns that came from service itself but before or after morning or evening less puritanical colonies like Strassburg and Wesel. prayer. This was seized on by many churches, especially Of its 172 verses, 64 were furnished with their own in London, where returning exiles were often in charge tunes. One of the most popular was a metrical Lord’s of parishes. For the first time people in England found Prayer, set to Luther’s Vater unser (Example 3), a very themselves singing ‘in Geneva fashion: … men and women strong tune that later became connected with Psalm all do sing, and boys’, as one parish clerk reported in 112 and known as Old 112th. Others were based on great astonishment. Soon thousands were singing French tunes. Day could have asked some of the ‘Geneva tunes’ at open-air sermons at St Paul’s Cross. leading English composers of the day to provide

CHURCH MUSIC QUARTERLY DECEMBER 2019 13 Above: The Whole Booke of Psalmes, Sternhold and Hopkins, London, 1639. Embroidered binding of white satin. Courtesy of the Folger Shakespeare Library, TC 2689.

tunes of better quality than the Genevan ones. Day began printing cheaper editions that left Thomas Tallis, for instance, was available, and out some of the less desirable tunes. At the same Day did print one of his. But he mostly continued time, new tunes began to be heard, coming from to commission the rather dreary type of tune nowhere – short, four-liners. These were known invented in Geneva, by anonymous composers. as ‘common tunes’, as they were not printed in Nearly all were long tunes (see, for example, Psalm 72 the book and not attached to any particular text. on page 12). I suspect that the Calvinists would have They were nearly all in CM (one or two SM) disapproved of anything too jaunty, and Day still and had a small compass so that they were easy mostly avoided dotted notes and strong rhythms. to sing. At last, in 1594, a leading publisher, There are 148 different editions ofThe Whole Thomas East, produced a companion to the Book of Psalms surviving from Queen Elizabeth’s psalm book, giving the ‘proper’ tunes to all the reign alone, and probably many more that are lost. psalms and hymns that had them, but setting There are even ladies’ copies covered in velvet or ‘common’ tunes to all the others. Example 4, embroidery (see above). Almost anyone who could later named Cambridge, is one that was set to read would have needed a psalm book to take to no fewer than 29 of the CM texts in East’s book. church, but it was for the words more than the These common tunes were gradually taking over, music. Most people couldn’t read music anyway all except a few of the proper tunes that had and they soon got to know the more popular tunes. become well known to everybody.

CHURCH MUSIC QUARTERLY DECEMBER 2019 14

Example 4

Words: Psalm 2 Music: Anon, 1579 Trans: Thomas Sternhold (1500–49)

b ˙ œ œ Œ &‹ œ œ ˙ œ œ #˙ ˙ ˙ ˙ œ ˙ Why did the Gen - tiles tu - mults raise? What rage was in their brain?

b œ ˙ œ œ œ &‹ œ œ ˙ œ #˙ ˙ œ ˙ › Why did the Jew - ish peo - ple muse, See - ing all is but vain?

In the 17th century there was another huge religious broaden people’s experience – he added another 50 upheaval, and the Church of England was once mostly CM tunes. Thirteen of the core tunes made again thrown out of its haven. Yet this time there up the very first music printed in America – for the was surprisingly little change in the singing. That 9th edition of the ‘Bay Psalm Book’, printed in 1698; was one aspect of Anglican worship that neither while the same 13, and two more of the core tunes, Presbyterians nor Independents had much objection comprise the supplement to John Patrick’s Psalms, to. They tried to modernize the words of Sternhold printed in London in the same year, which became and Hopkins or make them more literal, but the two Houses of Parliament supported different versions, so neither was eventually adopted, and they went The 17th century saw the introduction back to singing Sternhold and Hopkins. They introduced the custom of ‘lining out’, where the of ‘lining out’, where the minister or minister or parish clerk would read out each line clerk would read out each line to be sung before it was sung by the congregation, to make by the congregation. Even those with sure that even if a parishioner had no book, or no book, or who couldn’t read, could couldn’t read, he or she could still sing the words. then sing the words To them, that was all that really mattered. The tunes were unchanged. In 1658 John Playford (1623–86) decided to set out, in his popular Introduction to Music, all the standard tunes, for two voices (tenor and bass), each underlaid with the first four lines of a Sternhold and Hopkins psalm: ‘There are many more tunes than I have here set down, but these I chose rather from the rest, as being all of them such as the congregation will join in, and are better acquainted with these than the other tunes.’ In other words, this was the core repertory. There were only 18 left now: four of the old Geneva tunes, two of which were taken from French sources; four more long tunes from the psalm book; and 10 of the short common tunes. With very slight variations, these are the tunes that are found in most of the popular books for the rest of the 17th century. All of them were included in Playford’s popular psalm book of 1677, which had tunes in three-part harmony; but – always keen to

Right: William Croft (1678–1727), courtesy of the Faculty of Music Collection, Oxford University. Alamy Stock Photo.

CHURCH MUSIC QUARTERLY DECEMBER 2019 15 Example 5

Words: Psalm 104 Music: William Croft (1678–1727), 1708 Trans: William Kethe (d.1594)

b 3 ˙ œ œ &b 4 œ œ œ œ œ œ œ ˙ œ œ œ ˙ œ œ œ œ œ ˙ My soul, praise the Lord, speak good of his name; O Lord our great God, how dost thou ap - pear

b œ œ œ ˙ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ So pas-sing in glo-ry that great is thy fame. Ho - nour and ma - jes - ty in thee shine most clear.

a favourite with English dissenters. With all this tunes. But others still preferred to remain anonymous. uniformity, we find in Pepys’s Diary one evening Raphael Courteville printed St James in 1697 without that he was ‘surprised’ when the psalm tune set his name, though it soon became a national favourite. in church was one that he didn’t know. (Might The great Easter hymn ‘Jesus Christ is risen today’ that be true today for some regular churchgoers?) appeared out of nowhere with its ornate tune in But there was a movement beginning that would 1708. William Croft, perhaps the greatest English eventually transform the music of parish churches composer of his generation, was responsible for and bring in a new kind of hymn tune. Many parishes, three all-time favourites: St Anne’s, St Matthew’s and especially in London, founded charity schools to Hanover. All were published anonymously among educate their poor children. The very first was 25 new tunes in an edition of Tate and Brady’s New St Margaret, Westminster, in 1688. One of the Version – also in 1708. St Anne’s spread very quickly, children’s duties was to learn the psalm tunes, and and later became connected with a fugue of Bach’s they were supported by religious societies of young that happened to have the same theme, and with a men, who would sing the lower parts of the harmony. hymn by Isaac Watts, ‘O God, our help in ages past’. But it was a long time before it was widely credited to Croft. The stately St Matthew’s is still with us. A new school of grand English Hanover was composed to go with Psalm 67 of the New Version, but soon became attached to the hymn tunes had formed and Old Version Psalm 104, in its unique metre of 5s and would never look back 6s (Example 5). The last line of the first verse didn’t fit the tune very well. But text and tune appeared together in over 100 hymnals before 1820. In For the first time the tune of harmonized hymns modern times it has been connected with the moved up from tenor to treble. The newly founded hymn ‘O worship the king’, also based on an Society for Promoting Christian Knowledge took Elizabethan metrical psalm. the local choirs under its wing. A leading figure in This is the kind of tune that has direction, meaning the movement, the Revd Josiah Woodward, praised and energy, independent of the words. It was often the work of the societies: ‘Their zeal hath in many printed with a fictitious attribution to Handel. Only places given new life to the celebration of the one editor knew that the tune was by Croft: his pupil Lord’s supper, public prayer, singing of psalms, and friend John Barker, organist of Coventry, who and Christian conference.’ published a hymn book in about 1750 with this and The prestige now given to metrical psalm singing, several more of his master’s pieces in it. It was part supported by some of the gentry, generated a new of the foundation of a new school of grand English kind of tune. Some of the all-time great hymn tunes hymn tunes that would never look back. came into existence around 1700, composed in the art-music style of the day, for use with Tate and Brady’s New Version of the Psalms. Some composers Historical information about English hymn tunes became interested in the idea of composing hymn up to 1820 is freely available in the online Hymn tunes that had meaning and character in themselves. Tune Index, hymntune.library.illinois.edu Jeremiah Clark wrote Uffingham and other splendid

CHURCH MUSIC QUARTERLY DECEMBER 2019 16 Music in Cathedral Choir and The Portsmouth Grammar School offer unique opportunities for young altos, tenors, basses and an organ scholar for the academic year 2020/21. Opportunities exist for gap year students (pre or post University) to spend a year working with the Portsmouth Cathedral Choirs, whilst working as departmental assistants at one of the country’s leading co-educational schools, The Portsmouth Grammar School. The year involves daily choral worship in the Cathedral, major concerts and BBC broadcasts, choir tours (Cyprus, , Norway and Iceland in 2017-19) and CD recordings. Recent Portsmouth scholars now sing in Westminster Cathedral Choir, Westminster Abbey Choir, St John’s College and King’s College, Cambridge, as well as and Choirs and with major UK groups such as the Monteverdi Choir and The Sixteen Regular vocal/organ tuition provided. Accommodation available. Remuneration circa £8,500 per annum. Further Details from Dr [email protected] 023 9282 3300 portsmouthcathedral.org.uk/music/ pgs.org.uk

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Please visit our website to view our Could your Child be a Chorister complete range in Choir? “one of the most impressive of today’s British cathedral choirs” Gramophone Magazine Tel. 01293 590100 all Choristers are eduCated at Wells Cathedral sChool Fax. 01293 590115 Where sCholarships and bursaries are available [email protected] For more information, please telephone 01749 834213 or email [email protected] www.vanpoulles.co.uk www.wellscathedral.org.uk www.wells-cathedral-school.com NOTES FROM THE DIRECTOR

HUGH MORRIS

he RSCM is an organization founded upon Jesus is recorded in the Gospels acting in unexpected great traditions. We are rightly proud of the and often controversial ways. By doing so, he arrived Theritage handed down to us over more than 90 at fresh ways forward. Personally, I find this inspiring. years from our founding in 1927. Tradition provides Matthew 15 serves as an excellent example. The foundational stability, it provides comfortable Pharisees ask Jesus why his disciples break the familiarity and accepted ways of doing things, all of tradition of the elders, but Jesus rebukes them which can build confidence and can create a sense of that they are breaking God’s own commandment for belonging. There is a danger, however, that tradition the sake of their own tradition: ‘so, for the sake of your becomes an obstacle to progress. Over time, the tradition, you make void the word of God.’ tradition can become more important than what the tradition was trying to support. We need to remember that we are not simply trying to follow in the footsteps of our forebears. Tradition provides foundational stability, We have to be open to new ways of doing things. but there is a danger that tradition can We cannot simply hang onto the old and expect the rest of the world to stand still. To do so is to risk being become an obstacle to progress left behind and to become ever more irrelevant in a fast-changing world. It is tempting always to think that our way of doing things is the best way; but that I want the RSCM to be a leading voice for all is a narrow way of seeing things and can starve new matters of church music. We are helping to shape ideas. What we need to do is to retain an openness the future for the church, not simply reacting to to others, to new ideas, and to an openness of the the development of others. Why? Because if any spirit. That openness must include both human of us believe that music has a role to play in relationships and being open to the Holy Spirit’s worship, whatever the style, it will need someone ever-guiding hand. to champion it.

CHURCH MUSIC QUARTERLY DECEMBER 2019 18

Above: Journey of the Magi, James Tissot, c.1894. Minneapolis Institute of Art. GIFTS BEYOND CHRISTMAS MUSIC FOR EPIPHANY

JACINTA JAKOVCEVIC

here is a beautiful, inherent nobility that THE ORIGINS OF THE FEAST permeates some of the music of Epiphany. As The coming of the Lord was celebrated by the early Twe move away from the shepherds’ excitement Church with various feasts marking his Nativity, and the narrations of the Nativity, the Gospel as well as a threefold celebration marking his readings lead us to meditate on the mystery of the manifestation: the adoration of the Magi, the miracle manifestation of Christ in our human history, starting at the wedding in Cana and the Baptism of Christ, with the visit of the Magi, which we commemorate as which in some cases became the principal celebration. Epiphany. Our treasury of music reflects this, with Eventually, two dates emerged marking these shepherds’ pastorales giving way to music of a more various feasts in the Eastern and Western Churches. noble and mystical character. The Second Council of Tours (AD 567) decided to

CHURCH MUSIC QUARTERLY DECEMBER 2019 20 ... hó di e stél la Má gos dú xit ad prae sé pi um: hó di e ví num ex á qua ...

ho di e stel

ho di e stel la Ma gos du xit,

ho di e stel la Ma gos du

ho di e stel la Ma gos du xit,

Above: Tribus Miraculis: extract from the chant and from Palestrina’s setting. keep both 25 December (the Western Church’s manifestation, rather than being a meditation on date celebrating Christ’s Nativity) and 6 January the new-born infant lying in a Bethlehem manger. (the Eastern Church’s date celebrating the three On further reflection, this triumphant-sounding manifestations of the Messiah) as official celebrations, carol makes no mention of a stable, manger or resulting in a season of 12 days that linked the two. shepherds – in fact it mentions no star nor Magi The threefold celebration of Epiphany is therefore either. Instead, it mentions that the ‘Lord is come’ steeped in the early Church’s commemoration of and exhorts the earth to ‘receive her King’ and the coming of the Messiah and his manifestation. for every heart to ‘make him room’. It is perhaps reminiscent of that great Advent HIGHLIGHTS OF THE REPERTOIRE: antiphon Rorate Coeli, which alludes to a ‘joining’ CAROLS AND ANTIPHONS of heaven and earth. Although Rorate is quite brief, Over the centuries, much music has been written its text is nonetheless profound and rich in meaning, that can help immerse us in the richness of this mentioning the dew falling from the heavens and the shortest season of the Church’s year. Let us start with ‘earth bringing forth a Saviour’. Together, these two the well-known carol ‘The first nowell’. Even though pieces might be thought to encapsulate the Advent– this piece begins with the story of the shepherds Christmas cycle. who were the first to hear of Christ’s birth, it quickly There are other, sometimes forgotten antiphons switches focus to those other visitors to the Christ- that we might like to meditate upon. Consider, for Child, the Magi, and tells the story of their journey, example, the chant offertory antiphon of Epiphany, their gifts and their arrival to pay him homage. the opening of which has a distinctive, repeated-note Even though the music is in triple metre, when played pattern imbuing it with a sense of solemnity. It also and sung at the right tempo it has a feeling of serene features gently undulating figures throughout as nobility. When not sung too fast, the equally well- it talks of the kings of Tharsis paying tribute to the known ‘We three kings’, also in triple metre, has Messiah, specifically, the kings of Sheba and Seba a solemn yet joyful feel to it. And whereas the texts coming to bring him gifts (Psalm 71.10–11). of both these carols speak of the Magi and their If we look further into the rich repertory of chant visit to the Christ-Child (and even includes first- antiphons for this latter part of the Christmas season, person thoughts from the perspective of the Magi we see the threefold nature of this celebration clearly themselves), the ever-popular ‘Joy to the world’ mentioned in the Magnificat antiphon for second focuses primarily on the subject of Christ’s vespers of Epiphany, the Tribus Miraculis. The text

CHURCH MUSIC QUARTERLY DECEMBER 2019 21 Left: Portrait of a musician, thought to be Claudio Merulo. Courtesy of the Museo Nazionale di Capodimonte.

The threefold celebration is clear within the Tribus Miraculis, a text that has been set many times over the centuries, not least by Palestrina and Merulo

Another Renaissance setting of this text is by Claudio Merulo (1533– 1604). Merulo was renowned during his lifetime as an organist, but also wrote vocal music. His setting of Tribus Miraculis, although not as florid as that of Palestrina, exhibits joy and vigour. Listen, for example, how he sets the word ‘ornatum’ (decorate) with an upward melodic flourish (www.youtube.com/ watch?v=zrQ_f9K35Ck).

A KALEIDOSCOPE OF MUSICAL COLOURS What about music from the more recent past, specifically that of mentions the three miracles (manifestations) that Francis Poulenc (1899–1963)? are being celebrated. Notice its sense of quiet nobility Poulenc wrote his Quatre motets pour le temps with its low-set, slightly ornamented opening, the de Noël over a period of two years (1951–52). These melody rising from its start, before gravitating back four charming cameos use various Christmas texts. to its final. Having set the scene and announced the For the third piece in this set, ‘Videntes Stellam’, three miracles, the text then lists three celebrations: Poulenc uses the text of the Magnificat antiphon each time the word ‘hodie’ appears, it is marked by for 7 January vespers (the day following Epiphany): a large interval (4th or 5th), the only times in this ‘Seeing the star, the Wise Men rejoiced; and entering chant that such intervals appear. the house they offered to the Lord gold, frankincense Many composers have set this text to music, perhaps and myrrh.’ This short piece creates an atmosphere the best-known example being the florid four-part of serene devotion, and with its homophonic writing setting by Giovanni Pierluigi da Palestrina (c.1525–94). throughout, it has a somewhat rhetorical feel. Notice It’s interesting to see how he alludes to the opening of Poulenc’s characteristic twists of harmony leading the chant antiphon in terms of the intervallic structure us to A flat major from A major, while always and melodic outline he employs for his opening motif. maintaining a quiet, radiant feel. Notice how each time Palestrina sets the word ‘hodie’, Of course, there is plenty of instrumental music signifying each of the three ‘miracles’, he announces perfectly suitable for the season. Master composer it with an interval of a 5th, echoing the chant antiphon, of organ music Olivier Messiaen’s (1908–92) which sets the three instances of the word ‘hodie’ La Nativité du Seigneur (1935) is a fine example. Its as intervals of a 5th, a 4th and a 5th respectively (see nine movements create a type of collage, featuring example). Using these elements of the original chant narratives of the Christmas story and also reflections antiphon, it is as if Palestrina constructs a type of and perspectives on the coming of the Messiah. The superstructure with the original chant as its essence. cycle’s penultimate movement is titled ‘Les Mages’

CHURCH MUSIC QUARTERLY DECEMBER 2019 22 GIFTS BEYOND CHRISTMAS

(The Magi). Its general feel is almost akin to another of Messiaen’s masterpieces, Le banquet céleste, written only a few years earlier in 1928. Its feel of suspended animation and unearthliness somehow invites us to slow down and to contemplate: perhaps to open up to the timelessness of the eternal, to the eternal One. It’s interesting to note that Messiaen prefaces this piece with the words ‘Les Mages partirent, et l’étoile allait devant eux’ (The Magi departed and the star went before them). There is no mention here of the moment of their adoration or the giving of their gifts. Instead, the focus is on their departing from Herod to find Christ: the Magi are drawing to the end of their journey and will imminently behold the Christ-Child. The long, mesmerizing melody in the pedal, which unceasingly weaves its way through the piece, creates a sonic environment in which listeners can easily lose themselves. To me, it evokes an atmosphere of reverential awe. Messiaen scores repeated, descending chordal figures that gently pulsate above the melody, creating a minimalist texture that somehow evokes the mystical. Above: Olivier Messiaen (1986). Copyright National Archives The meandering pedal melody with its constant of the Netherlands. Photograph by Rob Croes. movement brings to mind searching – as though the sound is searching for its resting point. This forward with pianistic figurations that take us on pedal melody slows towards the end of the piece a journey through wonderful harmonic colours. in a coda-like section, perhaps calling to mind the Messiaen’s toccata can perhaps be read as Magi and their entourage reaching their destination. reflecting creation’s uncontainable joy at the The final few bars feature a less bright registration, manifestation of its Lord. That the introduction perhaps suggesting the Magi’s solemn realization ends with ‘My spirit rejoices in God my Saviour’ of whom they are about to behold. certainly suggests that this is the case. Notice also It’s interesting how this piece, even though it the way Messiaen crafts his coda. The pedal has a talks of the Magi, is not loud and grand, but is instead motif, pulling it down to a low E over and over again introspective and restrained. Messiaen reserves the until finally in rhythmic augmentation it states fireworks for the finale of his cycle,Dieu parmi nous its point and shifts powerfully down to the E. (God among us). In the introduction to this piece, he includes several quotes, including ‘The Word GIFTS BEYOND 25 DECEMBER was made flesh’ (John 1.14) and ‘My soul glorifies In our impersonal and time-poor world, replete as it the Lord, my spirit rejoices in God my Saviour’ (the often is with superficiality and in which the celebrations Canticle of Mary in Luke 1). Again, we see of Christmas take second place to secular celebrations, themes of the Messiah’s arrival and manifestation, perhaps it’s necessary to immerse ourselves in the true and the absence of any actual narrative of the riches of the Christmas season beyond 25 December. Nativity of Jesus, making it ideal for Epiphany. With that in mind, dive into the treasure trove of One other point to note is that this piece features Epiphany-inspired music. Be inspired by meditations one of the most exhilarating toccatas in the organ on the coming of the Messiah, and glean the fruits of the repertory. Notice how Messiaen sets up its entrance: Christmas season in their fullness so that we (and our restrained, almost menacing reeds on an F pedal congregations) can be spiritually uplifted and edified. point, the harmony momentarily seeming a little Finally, as musicians, reaching the celebration of unsure of its direction, then a quasi ‘fanfare’ in Epiphany and meditating upon the visit of the Magi E major (such a bright key) announces the start to the Child Jesus might prompt us to meditate on of the toccata, which bursts forth into an awesome the giving of our own gifts to him, the one who has moto perpetuo. It is an exuberant display, propelled so lovingly bestowed them upon us.

CHURCH MUSIC QUARTERLY DECEMBER 2019 23

RSCM NEWS

Above: Ian Munro.

A NEW VOLUNTARY TEAM LEADER BBC COVERAGE FOR SCOTLAND IN WALES The RSCM offers a warm welcome to Ian Munro, the RSCM’s new Voluntary Thanks to publicity through social Team Leader for Scotland. Ian holds music degrees from Edinburgh Napier media outlets, BBCTV News and the University and Goldsmiths, University of London, where he trained as a Church in Wales, we had an excellent percussionist. response for the 2019–2020 round Church music has always had a special place in Ian’s heart, and in September of Complete Church Organist courses 2013 he was appointed to the position of organist and choirmaster of St Luke in Wales. Five groups with an average Church of Scotland in Paisley – a position he has held since. Music plays an of four students in each, including one important part of the liturgy at St Luke’s: the choir sings an introit and two in Welsh, have now been set up across anthems most Sundays, a small praise band leads worship every few weeks, Wales. They are meeting monthly for and on four Sundays a year worship is accompanied by a string group and a a course of six sessions led by a brass group. Outside Sunday worship, January 2018 saw the launch of Music RSCM-validated tutor to learn how at Noon – a monthly lunchtime concert series to raise money for the Organ to give a firm lead to a congregation Fund. through good playing. When not playing at St Luke’s, Ian is on the instrumental teaching staff of St Aloysius’ College in Glasgow and has held teaching posts at Edinburgh Napier University, Junior Napier Music and St Columba’s School, Kilmalcom. In 2013 Ian founded the Edinburgh Festival Ensemble, which performs annually at the Edinburgh Fringe Festival. Ian is entering his third season as Musical Director of the Kilmarnock and District Choral Union and is about to take up the baton of the Pentland Singers near Edinburgh. We wish him well in his new role.

CHURCH MUSIC QUARTERLY DECEMBER 2019 25 RSCM NEWS

Above: The Millennium Youth Choir & Intermediate MYC at Haddon Hall.

HADDON HALL ADVENT CALENDAR On 8 September, 16 members of the Millennium Youth In CMQ December 2018, we asked readers to send in audio Choir and its new and younger cousin, the Intermediate or video recordings of their choir or music group singing a MYC, assembled in the beautiful surroundings of Haddon piece of music for Advent or Christmas. We received some Hall in Derbyshire. By kind permission of Lord and Lady wonderful entries and are grateful to everybody who took Manners, the choir gave a special afternoon concert to a full the time to record their performances and send them in. and appreciative audience. The concert marked the start of Those recordings are now live on our website! Each day, a series of centrally planned events to highlight the work of starting 1 December, a new door will open, revealing a video the RSCM and its education department, and in particular or audio recording from a choir. Visit www.rscm.org.uk to to kick off a strategy to gain wider financial support. The see if your choir or music group is part of our calendar. concert was followed by a special afternoon tea for the One entry will also be selected by ballot and given the RSCM’s guests. It was a most enjoyable day for all involved. opportunity to work with a composer who will write a new carol or Christmas song specially for your circumstances. That piece of music will be published by RSCM Press in 2020.

MUSIC FOR MISSION AND MINISTRY Since 2015, we have offered ministerial training residentials looking to the future. The residential is punctuated by three times a year under the title Strengthen for Service. acts of worship which showcase the breadth of liturgical This has proved particularly useful for curates about to and musical traditions, styles and genres within the move into their first incumbency and churches in transition. 21st-century church. In response to feedback about the clarity of the title, the We also offer condensed day courses at local level in order course will be renamed Music for Mission and Ministry to train, equip and inspire. Attendees require no specific from the beginning of 2020. musical expertise. Visit the website for a full up-to-date list This hands-on course gives practical advice on choosing of residentials and day courses across the country in 2020. suitable music and materials for worship. It helps to establish good working practices between service leaders and musicians. Learning is underpinned by significant biblical, historical and liturgical insights which value our musical heritage as well as embracing the present and

CHURCH MUSIC QUARTERLY DECEMBER 2019 26 RSCM NEWS NEWS FROM ACROSS THE UK

AWARD-WINNING CHORISTERS MEET THE DIRECTOR IN BBC BROADCAST Over 30 RSCM members gathered on a gloomy evening The last few days of September were eventful for the at the Temple Church to fill the darkness with music. choir of St John, Devizes when the choristers twice found It was a lovely evening of music and chat, a chance to themselves in the company of the of Salisbury, meet friends old and new and to hear from Hugh Morris the Rt Revd Nicholas Holtam. Having presented 12 of about recent RSCM publications and other developments, the choir’s members with RSCM Awards at the Diocesan including the Choral Training Network. Attendees came Choirs’ Festival in on 22 September, from all over the London Area. the Bishop then paid a visit to Devizes seven days later We sang Ghislaine Reece-Trapp’s exciting carol when the BBC came to Wiltshire for a live broadcast Alleluia, a new work is come on hand, which reached the of Sunday worship on Radio 4. final of the 2016 BBC Carol Competition. We also sang The transmission coincided with the church’s harvest a very good unison setting of the Magnificat and Nunc festival, ending a month of events to mark the season of Dimittis commissioned by the RSCM from Philip Wilby, Creationtide. The Bishop highlighted both the strength which is included in the new festival book. All of these and fragility of life on earth, taking as his inspiration a were enthusiastically and accurately read by those poem by Malcolm Guite. A setting of the poem, by composer attending, who (quite by chance) made up a perfectly Ian Stephens, was also included in the service. To the delight balanced SATB choir. of many listeners, four of the great traditional harvest The surroundings of Temple Church added to this hymns also featured and, with the organ in the safe hands special evening. The acoustic is very fine and the organ of James Lancelot, the service came to a majestic conclusion (a four-manual Harrison) was a treat to hear, played with the opening of Mendelssohn’s Third Sonata. expertly by Hannah Parry. Hugh Morris directed the The thrill of a live broadcast was the latest in a long line singing and discussed how to bring the best out of your of memorable experiences for the choristers, who recently choir. The RSCM strives to make singing in church toured Latvia, as well as singing in St Paul’s Cathedral and a positive and growing experience, through training, Bath Abbey. Three of them are now members of iMYC support and good publications. We enjoyed all aspects and a fourth is the recipient of an RSCM Pipeline Organ to the full and thank Hugh for coming to London! Scholarship. Their away-day adventures are set to continue Alison Fisher into 2020 and beyond, with further outings to sing services in Bristol, Tewkesbury and Worcester all on the horizon over the next 18 months.

Below: The and Bishop of Salisbury present RSCM Awards to the Devizes choristers. Photo by Ash Mills. Above: The St Aelhaiarn’s church choir.

CHOIR SING AT ST ASAPH CATHEDRAL The choir of St Aelhaiarn, Guilsfield, augmented by a good lunch in the cathedral tea rooms. Despite any nerves, volunteers from the Guilsfield Singers, sang for both the the choir really enjoyed singing for the services and their morning Eucharist and the afternoon choral evensong efforts were greatly appreciated. at St Asaph Cathedral on Sunday 18 August 2019, while Our organist, Philip, was even heard to remark, after he the cathedral choir were on holiday. On what turned out had found out how to get the organ working, that he had had to be a sunny day, 26 choristers, plus a choir director and the time of his life. The coach carrying the majority of those an organist, travelled from Guilsfield along with a number travelling arrived back in Guilsfield at around 6.00pm with of church members and supporters. It was an enjoyable everyone having had a wonderful day out and the choir pleased occasion, and we were all made welcome by the cathedral with their efforts. They were a great credit to the church. staff and congregation. Between the services, we enjoyed Yvette Turner

PORTSMOUTH AREA BOB CHILCOTT WORKSHOP There was much singing on Saturday 14 September, as RSCM Portsmouth welcomed Bob Chilcott to Portsmouth Cathedral for a day of singing and learning. Bob’s enthusiasm and encouragement, coupled with the acoustics of the cathedral, helped people to sing to their full potential, and some people found that they were singing in ways they thought were beyond them. It was an uplifting day for all involved. As attendee, Christine Hoskins, said: ‘I thoroughly enjoyed the recent Bob Chilcott workshop at Portsmouth Cathedral. It was both fun and informative, and on the occasions where I was unable to reach the highest notes I just closed my eyes and let the amazing sound enfold me.’ With approximately 150 attendees the event was well supported. Bob’s reputation for excellent teaching had obviously gone before him as people travelled from far and wide to attend. One of the advantages of learning music with the composer is that we knew we were trying to sing it in the way he intended and this was much appreciated. ‘It was amazing to sing music conducted by the composer himself and we will definitely recommend RSCM days to others in the future,’ said Judy and Geoff Henning. It was a very rewarding day, but of course events such as these do not happen by themselves and thanks must be given to the Above: Bob Chilcott leads a workshop Portsmouth committee for all the hard work behind the scenes. in Portsmouth Cathedral. Deb Henning-Vears

CHURCH MUSIC QUARTERLY DECEMBER 2019 28 RSCM NEWS

KENDRICK, HILLSONG, ORGAN AND INCENSE On Sunday 22 September, in Suffolk held a special service for the licensing of Lay Readers and Pioneer Ministers. The service included a range of music and worship styles designed to reflect the diversity of worship in the Anglican Church. Worship band, choir and organ came together in a powerful blend of hymns and worship songs that is rarely experienced in a cathedral setting. The music was led by the cathedral’s director of music, James Thomas, and St Edmundsbury & Ipswich music development director Richard Hubbard. Richard says: ‘Mixing Hillsong and Kendrick with cathedral choir, organ and incense is an exciting dynamic that helps bring the symbolic ceremonial of cathedral worship to life in a new way. It is good to see that St Edmundsbury Cathedral is making a significant contribution to drawing together the many strands of 21st-century worship.’ Above: St Edmundsbury Cathedral.

BERKHAMSTED TO BARCELONA For a short time in early summer this year, the choir of a high vaulted ceiling. It was perhaps here that our young St Peter, Great Berkhamsted went on tour to export English choristers’ voices truly made their mark in pieces such as choral music to the Catalans. The tour was organized by Monteverdi’s O beatae viae and Elizabeth Poston’s carol Stephen Jullien, former head chorister and RSCM Gold Jesus Christ the apple tree. To hear the voices of young Award holder. The choir performed at a number of singers, singing solo and in duet, filling such an enormous prestigious venues across Barcelona, the first of which was space with pure sound was unforgettable. the Church of the Sacred Heart at Tibidabo. The Byzantine- The choir tour concluded with a concert and party in style crypt proved to be acoustically welcoming, as we sang the more intimate venue of St George’s Anglican Church, a concert with works by Tallis, Blow, Batten and Wood. a lively and welcoming branch of the Church of England’s Not content with life at sea level, the following day we Diocese in Europe. found ourselves singing at altitude in the Benedictine From mountain to sea, from soaring basilica to hidden Abbey of Santa Maria de Montserrat deep in the Catalan chapel, our privilege that week was to sing glorious sacred hills. Our concert in the ornate, tenebrous church included music in sacred spaces as music blended with architecture. the first performance of a new work by our director of For a few memorable days, Catalonia’s great buildings, once music, Adrian Davis, an emotive setting of the Regina Coeli. derided as works of discord, became for us a place of concord. Moving back to the city, St Peter’s choir sang during the Videos and photographs of our tour can be seen on the Parish Mass in the intimate gothic crypt of la Sagrada St Peter’s Berkhamsted website: Família, Gaudí’s magnificent Church of the Holy Family. www.stpetersberkhamsted.org.uk/music/barcelona- After singing Mass at Barcelona Cathedral, a glorious tour-2019 Catalan gothic building in the city centre dating from 1339, Robin McMorran the choir gave an evening concert in the vast and imposing church of Santa Maria del Mar. The nave is breathtaking in its simplicity, with soaring stone columns supporting Below: St Peter’s church choir in Barcelona. WORSHIP MUSIC IN ZIMBABWE

An interview with CHIPO MADONDO

service. You cannot force them as

37 they are not paid, so I can only work 6 28

14 11

38 with those who give their time to 15 37 43 18 44 42 16 18 15 16 16 16 40 16 16 worship God. 16 16 24 29 20 16 40 37 16 16 16 37 16 23 3 37 16 12 37 37 40 16 29 16 21 29 8 37 8 40 37 33 30 29 8 39 16 40 40 29 26 8 8 37 39 16 30 39 22 16 39 34 40 39 29 16 29 29 CMQ 39 36 37 41 How would you describe 17 32 4 27 29 29 25 10 35 32 13 25 29 29 19 5 32 7 31 7 their average level of musical 31 1 32 7 13 13 19 7 9 31 32 2 education? Do you have choir and 31

45 1 congregation members who are 2 Our Anglican Communion trained musicians? What kind of teaching facilities are available in your area to improve parish church music? ACNS ACNS

© CM 1. Anglican Church in Aotearoa, 12. Hong Kong Sheng Kung Hui 24. Church of Pakistan (United) 37. The Episcopal Church * We only have five who are New Zealand & Polynesia 13. Church of the Province of the Indian Ocean 25. Anglican Church of Papua New Guinea 38. Church in Wales 2. Anglican Church of Australia 14. Church of Ireland 26. Episcopal Church in the Philippines 39. Church of the Province of West Africa 3. Church of Bangladesh (United) 15. Anglican Episcopal Church in Japan 27. Province of the Anglican Church of Rwanda 40. Church of the Province of the West Indies educated in music, although we do 4. Episcopal Church of Brazil 16. Episcopal Church in Jerusalem 28. Scottish Episcopal Church 5. Anglican Church of Burundi & The Middle East 29. Church of the Province of South East Asia Churches and diocese Extra-Provincial to the 6. Anglican Church of Canada 17. Anglican Church of Kenya Archbishop of Canterbury 30. Church of South India (United) have two members who are trained in 7. Church of the Province of Central Africa 18. Anglican Church of Korea 41. Church of Ceylon 31. Church of Southern Africa 8. Anglican Church of the Central 19. Church of Melanesia 42. Bermuda 32. Anglican Church of South America American Region 20. Anglican Church of Mexico 43. Lusitanian Church 33. Episcopal Church of Sudan and there are perhaps more young choral music. As for facilities, we have Chipo9. Anglican Madondo Church of Chile is the choir director 21. Church of the Province of Myanmar 44. Reformed Episcopal Church of Spain 34. Episcopal Church of South Sudan 10. Province of the Anglican Church of Congo 22. Church of Nigeria (Anglican Communion) 45. Falkland Islands 35. Anglican Church of Tanzania 11. Church of England* 23. Church of North India (United) for St Mary Magdalene Avondale 36. Church of Uganda people than any other age. I can’t say drums, an organ, a piano, guitars and

anglicancommunion.com @TheAnglicanCommunion @ACOffi ce @AnglicanCommunion anglicannews.org @anglicannews @anglicannews in Harare* These provinces also as have a presence well in countries asmarked with deputy a (Church of England), (Theyouth Episcopal Church) it is really growing, but then it’s a shakers. All greatly improve parish director at Harare diocese choir. She small location with other parishes music as we have three services. For is also the ‘new face’ of the Anglican surrounding us. I hope it will grow the first, we use organ (that is the Communion. Here, she talks to in the future, however. 7.30am service), and the service is in CMQ about her experiences as English. For the second (9.00am), we a choir director in Zimbabwe. CMQ It must be uplifting to use drums and shakers. The last one be part of such a vibrant and is the 11.00am service where we use CMQ Chipo, thank you for taking widespread Christian culture. all instruments when worshipping. the time to talk to us. Could you According to the Archbishop’s We have challenges, too. The choir has tell us a bit about yourself? Council, the average UK worshipper more women than men and at most we CM I come from a family with is 61. What is it like where you only have four basses, five tenors, but seven children (though I lost my sister worship? Are you able to attract twelve altos and fourteen sopranos. in May) and grew up in a rural area, younger people into the world of It’s an unbalanced choir and yes, it’s on a farm. I now live with one of my church music? And if so, how? very difficult to recruit new members. sisters. I go to work by day, and after CM At St Mary Magdalene, we work I go to school. (I am doing an have more than 500 young people who CMQ What are the most popular advanced diploma in Hotel and regularly attend church, and most are hymns among your congregation? Catering Management.) As a director involved in church music. I think they CM There are many, but the most of music, I started young as part of my are inspired to come by things such as popular hymns (with numbers in the parish choir, while I began singing the Sunday school in choir. From there Shona Hymn Book) are: at primary school. many are motivated to join in choir. „ 130 Mukristu Usanete (‘Christian, seek not yet repose’) CMQ Arguably, 21st-century CMQ More than 500! Many choir „ 145 Mweya Wangu inzwa Tenzi Zimbabwe is a much more directors in the UK would give a (‘Hark, my soul! It is the Lord’) Christian country than the UK. great deal to attract 50. With such „ 126 Izwi Rako Tenzi An estimated 85% of Zimbabweans community support, you must be (‘Lord, thy Word abideth’) identify as being Christian, with spoilt for choice when it comes „ 5 Ndinokudza Zita rako approximately 62% regularly to singers and musicians? (‘My Father, for another night’) attending church. How would CM Sadly, not so. Music is you describe the health of your something that must be in people. CMQ Chipo, thank you so much congregation? Is it growing in size? In the suburb where I live, few people for talking to us. CM Our congregation is very commit themselves to church music CM My pleasure talking to you healthy. It is made up of all age groups, as it is a voluntary work to do in God’s as well.

CHURCH MUSIC QUARTERLY DECEMBER 2019 30 Make 2020 The Year

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LOOKING TO THE FUTURE ORGAN SCHOLARSHIPS AND PROFESSIONAL DEVELOPMENT

CALLUM ALGER

rgan scholarships, sacred and secular, are administration, and for some, experiencing life away often the first step into a music department, from home for the first time. Oand from experience, largely give one the The types of scholarships on offer are so varied that opportunity to observe the way in which more senior they are difficult to categorize. The typical church or members of the department operate. They are cathedral organ scholarship will position the scholar apprentice roles that aid young organists to build third in line (occasionally fourth, such as at St Paul’s a certain skill set. This apprentice-style role aids Cathedral and Westminster Abbey), where he or she young organists who wish to build a certain skill-set, can be expected to perform tasks such as playing the gaining experience in playing both repertoire and organ, directing the choir, training the probationers, accompaniments, directing the choir, outreach, maintaining the library and helping with the

The more varied experiences one has early on, the more one has to draw upon as a professional organist Above: The four-manual Walker organ at St Matthew, Northampton.

administration. Most church organ scholarships are after university and will tailor the position to suit more relaxed than those in cathedrals and are an the candidate’s strengths and capabilities. Adverts excellent place to start, perhaps while studying at for these scholarships usually state whom they are school. Some scholarships are linked to a local school, directed towards. The RSCM have put together a and these often come with additional administrative comprehensive list of scholarships (organ and choral) duties in the school music office. that can be found on their website (www.rscm.org.uk/ For those moving on to university, one might our-resources/guidance-information/organ- consider a scholarship linked with their place of scholarships). It is important for aspiring organists study, where one must juggle the rigors of academic to consider the type of scholarship they are best life and the demands of an organ scholarship suited to before applying. simultaneously. It is also possible to explore various scholarships abroad, particularly in locations such as BUILDING EXPERIENCE the Netherlands, Australia, Canada and New Zealand, My first organ scholarship was at St Matthew, where the Anglican tradition is strong. Northampton, while I was at secondary school. It is worth noting that there are a variety of secular At a parish church with a strong tradition of arts organ scholarships available in places such as and music, undertaking two sung services most Birmingham Town Hall and Birmingham Symphony weeks (and extra feast days), I was given the time Hall, the Royal Festival Hall and Alexandra Palace. over several years to build up a core of solo organ These roles are based on outreach and public repertoire on a fine, four-manual Walker organ. In speaking, as opposed to accompanying liturgy. addition, I was able to familiarize myself with much Some scholarships are aimed at organists prior to of the central sacred choral repertoire. I was also study at university (Croydon Minster, for example), given the opportunity to direct the choir. Another others for organists while studying at university bonus at St Matthew’s was that I was given free private (chapels in Oxford and Cambridge) and others organ lessons with Stephen Moore (now director for organists following study at university (the of music at Llandaff Cathedral). Furthermore, I had cathedrals in London, for example). The majority, the opportunity to witness a choir working voluntarily however, are open to organists either before or with limited resources: an experience I have often

CHURCH MUSIC QUARTERLY DECEMBER 2019 34 LOOKING TO THE FUTURE

drawn upon as a director of music. As the organ From there I progressed to the post of organ scholar scholar, I was also involved in recording CDs, at Westminster Cathedral. As a cathedral following and helped to accompany the church on their the Catholic tradition, I was thrown into a different annual choir tours, which gave me the opportunity style of liturgy, which helped me develop additional to play some of the finest cathedral instruments in skills, such as improvisation and chant accompaniment. this country. Many churches on the Greater Churches As this role is run solely within the cathedral, with network offer similar schemes, often aiming the no other exterior requirements such as a position position at higher-end school students, with the in a school, there is more time available to practise – exception of somewhere like St Mary’s Collegiate a characteristic of many cathedral scholarships. Church, Warwick, where a new graduate role I currently work with the probationers, play for has been created in conjunction with the services, conduct and give recitals. Naturally, working King’s High School, Warwick. at such an established institution comes with a high Choosing whether to take a gap year before degree of pressure and expectations, but I am finding university can be difficult. However, a scholarship my time here invaluable to witness first-hand how prior to studying at university can provide an one of the best cathedral music departments excellent foundation for those wishing to apply in the world is run. Being in London also allows me for higher education, or to progress onwards to network and create a greater range of contacts. to a specialized musical institution such as a If I could offer any advice, it would be that aspiring conservatoire. I decided to spend the second of organists should aim to gain relative experience as my two gap years as organ scholar at Portsmouth early as possible. The more varied experiences one Cathedral, which is run in conjunction with a role has early on, the more one has to draw upon as a at Portsmouth Grammar School. Very few organ professional organist. There are a lot of opportunities scholarships are linked to another role, yet those out there – just find one that suits you. that are provide excellent professional experience. Furthermore, such positions often pay more, which is never unhelpful as a young person starting out! At Portsmouth, I worked in the school music department as an assistant: teaching music theory and ear training, accompanying the chamber choir for rehearsals, playing in school assemblies, and other less musical tasks (such as operating the photocopier). Daily services gave me the opportunity to learn many choral accompaniments at a faster pace, particularly during departmental absences. This was sometimes challenging as I was often fully occupied during the day, leaving me just the evenings (and the occasional early morning) to practise and prepare for large occasions, such as playing on the radio. One important experience I took from my year in Portsmouth was the opportunity to work in a highly professional department with a respected choir of paid singers. While studying at the Royal Birmingham Conservatoire, I took a position as assistant director of music, and latterly, acting director of music at St Peter’s Collegiate Church, Wolverhampton. Being an assistant allowed me to take full control of the playing, using what I had previously learnt, particularly when it came to overseeing the role of the organ scholar. The set-up was similar to that of St Matthew’s, so I was able to draw on my past experiences when Above: The organ scholarship at Portsmouth Cathedral runs organizing recruitment. in conjunction with Portsmouth Grammar School.

CHURCH MUSIC QUARTERLY DECEMBER 2019 35 BRANCHING OUT DYNAMIC OUTREACH

Auckland Robert Tait tells us about the five branches of RSCM New Zealand and about some of the many events staged by RSCMNZ each year.

ROBERT V TAIT Hamilton Waikato

Maori Rock Tongario National Park

Wellington

Canterbury Christchurch Pacific Ocean Otago & Southland Mount Cook BRANCHING OUT

oyal School of Church Music New Zealand (RSCMNZ) is a far flung opposite-side-of-the-world friend of RSCM UK. We are colleagues too of fellow affiliates including those in America, Australia, Canada and South RAfrica. According to a member at an RSCM event, ‘[RSCMNZ] serves as a beacon, reversing efforts of those putting God on the back burner’. Our region comprises five self-governing branches operating under the ‘Collaborative Agreement’ (signed March 2019). They have their own constitutions under the aegis of a Constitutional National Council. This council is governed by a president and the five branch chairpersons (all appointed by RSCM from recommendations) together with annually elected officers. Each branch chairperson is supported by an annually elected committee. Branches are unique and reflect the character of their locations in New Zealand.

The Auckland Branch is led by chairman The Wellington Branch (NZ’s Capital City) is Neil Shroff. Auckland is blessed with harbours led by the Revd Alison Stewart. Its iconic Cathedral and sea inlets and hence is known as New Zealand’s Church of St Paul and Metropolitan Cathedral of City of Sails. Mutually benefiting from proximity the Sacred Heart served as venues for the RSCMNZ to Waikato Branch, they often combine for RSCM annual (young singers) ecumenical choir school, activities. In March 2020 they will mount an which in 2019 was held from the end of September all-comers choir school. Outreach is also a feature. to the beginning of October. The school featured For example, St Mark’s Remuera choir with DoM music for SATB, and covered skill development Brian Millar act as ‘ambassadors’, encouraging other in voicing, music-making, Christian education, Auckland church choirs by periodically combining as well as opportunities for choristers to earn with them for services and by opening their stalls awards – not to mention a good measure of fun! to visiting choristers.

Waikato Branch is centred in Hamilton (NZ’s River The Canterbury Branch is based in Christchurch, City and home of the Glowworm Caves). Chairman NZ’s Garden City. It is inspired by chairman David Brookes leads the branch, which conducts Paul Ellis MNZM FRSCM, who is also RSCMNZ’s a wide range of RSCM activities, including training President. Alongside Australasian Voice for Life of young choristers and organists. An example of examiner Anita Banbury, Paul coordinates the branch activity involves provincial choristers Voice for Life studies and examinations. The branch’s visiting nearby Tauranga city for workshops and dynamic outreach is shown by frequent RSCM learning a major work such as Stainer’s Crucifixion. involved concerts, as well as regular and The course culminates with a performance of Cathedral of the Blessed Sacrament (CBS) orchestral selected choruses with Nigel Williams conducting masses. Recent highlights included the Annual and past Waikato chairperson Dr Rachael Choral Fest initiated by the cathedral’s DoM, Griffiths-Hughes accompanying. Don Whelan (MNZM ARSCM). Local composers, such as Murray Lennox and Barbara Maguire, have recently been encouraged Otago & Southland Branch is based in Dunedin, by RSCMNZ initiated performances of their works. NZ’s University City. Past chairman of the branch Murray’s Requiem 9/11 was a highlight of 2019 at Bruce Aitken continues to steer its work while All Souls Church, Merivale. Backing for the soloists a successor to the chair is sought. Knox College (Matthew Harris, baritone, and Medbury School (affiliated with the University of Otago, New trebles) was provided by All Souls choristers Zealand’s oldest university) serves as a residential (supported by organist Paul Brown) while the institute for Otago University students and Apollo Strings added colour and presented the academics. With its Presbyterian ethos, it fosters world premiere of Barbara Maguire’s Five Alive choral Christian services as part of weekly life. during the interlude.

CHURCH MUSIC QUARTERLY DECEMBER 2019 37 TELLING THE CHRISTMAS STORY

HELEN BENT

Opposite: The Adoration of the Shepherds by El Greco. Courtesy of the Museo del Prado.

Left: Nativity scene, from The Sherbrooke Missal, c.1310–20. Courtesy of the National Library of Wales.

particular that ‘church is for kids’. They too often encounter Christ the infant rather than Christ the man. There is little space to explore concepts of the ‘Wonderful Counsellor, Mighty God, Everlasting Father, Prince of Peace’, the King in David’s royal line (Isaiah 9.6–7), who ‘will be great and will be called the Son of the Most High’ (Luke 1.32). When Graham Kendrick presented Make Way for Christmas: The Gift in 1988, he made it clear that if we keep Jesus ‘in the manger then there is no danger from the Christmas Child’. Kendrick presents a more balanced view of the nativity in the context of the metanarrative of salvation history. Picking up on the prophecy in Isaiah 9, the song Immanuel, O Immanuel speaks of Christ taking the punishment and blame, and the more hymn-like O what a mystery presents a meaty theological exposition of the Incarnation from Adam’s curse to Christ’s selfless sacrifice on the cross. Kendrick also includes, almost as a centrepiece, he Christmas period is undoubtedly one of the an arrangement of John 3.16, ‘For God so loved the key seasons for mission, not least because of world’, ensuring explicitly that a strong strand of Tthe significant increases in church attendance. atonement theology also runs through the work. At this time of the year, we all want to sing familiar A similar device has been used by David Price in carols and hear a retelling of the nativity story, but Portsmouth Cathedral’s Nine Lessons and Carols such an approach is not enough to satisfy and sustain through his inclusion of Bob Chilcott’s fresh and long term either the once-a-year regulars or the unsentimental version of this familiar text for ongoing disciples. When planning your services, SATB and soprano soloist. consider what your attendees may take away with Tim Hughes’s worship song Light of the world them, and what may encourage them in their has become a popular choice in evangelical circles relationship with God and daily walk of discipleship. with its pertinent reminder that we are primarily ‘here to worship’. While the second verse speaks of DEEPER THEOLOGY the heavenly king (highly exalted, who humbly came Although Advent can be neglected in the commercial to earth), the bridge, with its explicit reference to build-up before Christmas, the season holds in healthy the cross and the cost of sin, is frequently omitted tension the anticipation of Christ’s first coming and in Christmas services, missing a valuable connection second coming. The anticipation of the birth sits to Holy Week and Easter. alongside themes of godly righteousness and kingly If we look carefully at medieval carols, we often judgement. The purple decor of preparation and find texts that tend to take us right through to the penitence, together with elements of absence and Passion. The Wakefield or Towneley Mystery Plays paring back (no flowers and more subdued, reflective include ‘The Second Shepherd’s Pageant’, a burlesque music), add to the atmosphere of restraint and of the nativity featuring Mak the sheep stealer and his serious reflection. When it comes to Christmas wife Gill, which more or less explicitly compares the services, it is easy to lose sight of this bigger picture stolen lamb to the Saviour of the world. It is very clear and focus solely on the baby in the manger. here that Christ is coming to rescue the world from David Murrow, author of Why Men Hate Going sin. The Sans Day Carol was first transcribed during to Church, comments that many men will try going the 19th century in Cornwall, but comes from an to church at Christmas, often dragged by partners earlier oral tradition. It explains that Mary bore or mothers. In many churches, an emphasis on Jesus to be our Saviour, to die on the cross, to die for accessibility has sent us down the road of cute us all, and to rise from the dead. The holly and the ivy nativities and crib services, both of which can follows a similar pattern. These pointers towards communicate a powerful message to men in the Passion reveal the ultimate cost and purpose

CHURCH MUSIC QUARTERLY DECEMBER 2019 39 Above: Christingle services, while wonderful from a missionary perspective, can communicate a powerful message to men in particular that church is for kids. Photo by Scott Payne.

of the Incarnation. We don’t want too much of the within the 21st-century congregational carol Joy Passion at Christmas, but we do want perhaps just has dawned upon the world by Stuart Townend and enough to remind us of the bigger picture. Keith Getty. Here we are introduced to the perpetual presence of Christ, the living word made flesh, REDISCOVERING THE MYSTERY who can never be out of date. The synoptic story Although originally begun in Truro in 1878–80, sits alongside the ‘glorious mystery’. Heavenly might nowadays we tend to associate the Festival of Nine is juxtaposed with earthly vulnerability, taking us Lessons and Carols with King’s College, Cambridge, through death to reconciliation and eternal hope. where it was introduced in 1918 by the dean Eric John Bell encourages us to ‘Sing a different song Milner-White. Building on his experience as an army now Christmas is here’ in Heaven shall not wait, chaplain, he believed a more imaginative approach which includes an Advent and Christmas section. to worship was required following the horrors and The lyrics are direct and raw. His ‘Once in Judah’s losses of the First World War. The dean pointed out least known city’ questions some of the Victorian that the pattern and strength of the service derive values and sentimentality expressed in other familiar from the lessons and not the music, taking us from carols. Dubious assumptions are challenged, and the fall of humankind in Genesis, to God’s covenant in practical terms attempt is made for the traditional with Abraham, to Old Testament prophecies of the Christmas spirit of peace and goodwill to spill over coming Messiah, to the Synoptic Gospel narratives, to the neediest in our world today. concluding with the enigmatic opening to John’s Gospel. When musical choices are made with care ACCESSIBILITY AND CONNECTION to enhance those readings, we can be sent back out That connection with the present is vital. Jesus from worship uplifted and inspired, but also drawn came as one of us, fully God but also fully human, into a deeper mystery. to engage directly in human society. We have seen Mystery invites deeper engagement and opens an increase in nativity, crib and Christingle services, up the possibility for fresh revelation. We have come but, together with school carol services and child- to worship not only Jesus the baby, but also Jesus orientated ‘Messy Christmas’ events, we again face the great ‘I am’ (John 8.58), who was present before the danger of focusing too much on the baby in the the creation of the world. There is plenty of theology manger. Yet, in my experience, children can cope

CHURCH MUSIC QUARTERLY DECEMBER 2019 40 TELLING THE CHRISTMAS STORY

with deeper theology than we sometimes imagine; our troubles and fears, but also challenges us to they live with mystery all the time as they slowly embrace righteous rule, lay down bitterness and turn learn more about the world around them. from sin’s toil and distress. This is a carol designed Christingle services give us a clear opportunity to set God’s people free for 24/7 discipleship. to engage with the bigger picture as we explore the Finally, a quick glance through the Christmas symbolism of the different elements. There is often sections of the recent hymn books, Ancient & Modern: that atmospheric moment when the candles are Hymns and Songs for Refreshing Worship and the lit and everyone’s attention is focused: a moment Methodist Singing the Faith, will introduce us to frequently accompanied by a wistful rendition of a number of contemporary hymn writers. If we want Away in a manger, and when a powerful access to draw together accessibility and connection with point to something deeper is lost in feel-good deeper theology and mystery, we would do well to sentimentality. Why not use something like Taizé read through the Christmas contributions of American The Lord is my light instead? It is easy to pick up Marty Haugen, New Zealander Shirley Erena Murray, and has potential to evolve melodically as a round Dutch-born Fred Kaan, and British hymn writers with countermelody and additional instrumental Timothy Dudley-Smith, Fred Pratt Green and Martin obligatos, creating a space for deeper reflection Leckebusch. Their lyrics encourage us to encounter on the symbols. the living God of today rather than the manger-bound Building on the carolling tradition, singer-song babe of 2,000 years ago. writers Keith and Kristyn Getty have recently When John the Baptist was born to Zechariah released the new Getty Kids Hymnal: Family Carol and Elizabeth, prior to the birth of Jesus, people Sing. This is the latest instalment in a project to help were filled with awe and wondered what the child build deep believers in the 21st century by investing would become (Luke 1.65–66). We might do well in our children artistically compelling hymns to carry to leave people with a similar question about Jesus for life. O children, come can appeal to God’s children, at the end of Christmas services, paving the way young and old. It not only encourages us to bring to invite them back to discover more.

We all want to sing familiar carols and hear the nativity story, but such an approach is not enough to satisfy and sustain either the once-a-year- regulars or the ongoing disciples

Left: The Second Shepherds’ Play more or less explicitly compares the stolen lamb to the Saviour of the world. The Annunciation of the Shepherds, British Library, Yates Thompson 37 f. 53v.

CHURCH MUSIC QUARTERLY DECEMBER 2019 41 HYMN MEDITATION

PAST THREE A CLOCK

GORDON GILES

Past three a clock, and a cold frosty morning, past three a clock: good morrow, masters all! Born is a Baby, gentle as may be, Son of the eternal Father supernal. Seraph quire singeth, angel bell ringeth: hark how they rime it, time it and chime it. Mid earth rejoices hearing such voices ne’ertofore so well carolling Nowell. Hinds o’er the pearly, dewy lawn early seek the high stranger laid in the manger. Cheese from the dairy bring they for Mary and, not for money, butter and honey. Light out of star-land leadeth from far land princes to meet him, worship and greet him. Myrrh from full coffer, incense they offer; nor is the golden nugget withholden. Thus they: I pray you, up, sirs, nor stay you till ye confess him likewise, and bless him.

Words: George Ratcliffe Woodward (1848–1934) Tune: London Waits from William Chappell’s (1809–88) Popular Music of the Olden Time, arranged Charles Wood (1866–1926)

CHURCH MUSIC QUARTERLY DECEMBER 2019 42 HYMN MEDITATION

t is tempting nowadays to assume is here by Charles Wood.’ I suspect that that Christmas carols have been Woodward would be deeply annoyed Iwith us for ever, and that our singing to have the title of his second most traditions around Christmas time famous work modernized. The words are rooted in a dim and distant of the original refrain had appeared liturgical and cultural past. We think in John Playford’s Dancing Master of medieval carols and of folk in 1665, and were known in the wassailing around English streets, 18th and 19th centuries. and remember Scrooge being mean One of the tasks of the ‘city waits’ about carol singers. Yet the history was to call out the hours during the of the Christmas carol is not quite night, and the refrain is probably what we might think it is, even when derived from a call of the London city it comes to carols that appear to waits, greeting the early morning be ancient. (although 3am does seem uncivilly In 1924 SPCK published The early to rise). The juxtaposition of Cambridge Carol Book. George the waits’ early morning cry with Ratcliffe Woodward selected the verses about the Christmas story texts and Charles Wood was the is a little unusual, and Woodward’s musical editor, although Woodward characteristic use of archaisms prepared some of the harmonies. makes the carol appear more ancient Charles Wood became Professor of than it truly is. The similarities with Music at Cambridge the same year, ‘Ding! Dong! merrily on high’ are ‘The Cambridge having already been a university striking in this respect (in that Carol Book’ is a rather lecturer since 1897. As well as being macaronic carol Woodward blends eclectic collection but instrumental in the production of Latin and English). it does contain some The Cambridge Carol Book, Wood A trawl through the text of the verses had worked with Woodward on reveals the blend of storytelling and gems, among them Carols for Christmas-tide (1892–93), fanciful interpretation to which ‘Ding! Dong! merrily The Cowley Carol Book (1901 and Woodward was prone. Some of the on high’, the ‘Linden 1919), Songs of Syon (1904) and An verses are quirky for sure, yet there Tree Carol’ and ‘Past Italian Carol Book (1920). The is reason to the rhyme: the first verse Cambridge Carol Book was therefore unveils the incarnation (John 1.1–18) three a clock’ the culmination of three decades of and the following two relate the angels collaborative work between the two singing ‘glory’ to the shepherds in the men. Not all the carols in these fields (Luke 2.8–14). The fourth and volumes were Christmas carols. fifth stanzas tell how the shepherds and wild honey! The next verse The Cambridge Carol Book is an set off to visit the babe of Bethlehem refers not to kings or Magi or wise eclectic collection but it contains (Luke 2.16–18), although the idea men or sages, but to ‘princes’ who some gems, among them the now of bringing milk from the dairy for ‘worship and greet him’. While this ubiquitous ‘Ding! Dong! merrily on Mary, and honey for no money, seems artistic licence is excusable, the high’, the ‘Linden Tree Carol’ and extremely contrived, even if one ‘golden nugget’ they bring raises a ‘Past three a clock’. It has become might surmise a reference to the wry smile nowadays. Then comes known to some incorrectly as ‘Past promised land flowing with milk and a final verse by which the opaque three o’clock’, but as Woodward honey from Exodus 3.8. One can only but simple intention of Woodward’s himself put it: ‘The refrain, Past three suppose that Woodward reflected text is presented: a clock is old, but the rest of the Carol on what gifts shepherds might bring, is newly composed by George Ratcliffe and, unlike Christina Rossetti who Thus they: I pray you, Woodward. The tune (‘London figured they would bring a lamb, up, sirs, nor stay you Waits’, from W. Chappell’s Popular Woodward reckoned they would till ye confess him Music of the Olden Time, p. 550) bring ewe’s milk cheese and butter likewise, and bless him.

CHURCH MUSIC QUARTERLY DECEMBER 2019 43 HYMN MEDITATION

Most of the other carols in the book and remains a ‘go to’ volume. To have sunk into disuse. This is in part some extent the Oxford compilers due to the extravagantly archaic nature were both inspired by The Cambridge of so many of the texts, lines of some Carol Book and also clear that of which are frankly silly. No. 9, one of the things Woodward had ‘From Galilee they came’, has as its taught them was how not to do it. second verse the pricelessly absurd: The Cambridge Carol Book, while drawing on scholarship, is not a When night fell dark and chill, reference work, nor is it a treasure and wind ’gan whistle shrill, house of quality carols and nor is went Joseph and his Dearie, it a volume to equip a church choir. a weary, a weary, It could not survive, but it occupies went Joseph and his Dearie, a pivotal place as the new branch a weary, a weary, O la! of Christmas carols sprouts from it. For from it we see the hardy Even ‘Past three a clock’ has its beams of a Christmas tradition that doggerel, but a perusal of the whole spans the globe, props up church Charles Wood (1866–1926) book will raise a smile. Woodward’s attendance at Christmas and helps penchant for archaisms has not the church of Christ speak to the endeared him to his successors, but unchurched at that most special the failure of much of his content to time of year when we celebrate the A trawl through the text graduate into other collections does nativity of Jesus and the incarnation of ‘Past three a clock’ not make The Cambridge Carol Book of Emmanuel – God among us. reveals the blend of a failure, nor renders his efforts to Without The Cambridge Carol be in vain. The book was outdated Book, there might never have been storytelling and fanciful even before publication, yet it was the Carols for Choirs series, and interpretation to which basically the first carol book to be if that had not happened, then Woodward was prone published: it had no real precedents, countless parish choirs might and it paved the way for later books not enjoy the unassailable tradition and anthologies. Without The of choral and congregational Cambridge Carol Book, there might singing they enjoy to this day. For The waits who have awakened not have been The Oxford Book of to many people, choral music is everyone so un-singably early have Carols, the influence of which is Christmas music, and hymns one purpose: to get us up on our feet surely greater than its Cambridge are Christmas carols. so we can get out and proclaim the contemporary. One of the reasons gospel to all. The cold and frosty The Oxford Book of Carols was morning is Christmas Day, on which promulgated was because its the story is gladly told and the compilers (Vaughan Williams among incarnation joyfully proclaimed. them) recognized that Woodward On that of all days, as early as 3am, and Wood not only had a good idea, ‘get up and celebrate’! executed it well and did the church Ultimately the carol does what a great service, but that at the end of Father God, as you have sent Woodward tried to do in almost all the day, The Cambridge Carol Book your Son into the world to his work: blend a quaint, homely was not as good as it could have been bring peace and goodwill and understanding of Christmas goodwill and that they could do better. They to redeem the world, summon with the nativity story, bringing it were right. Theirs was a better, us from the sleep of sin to wake into the home so that it could be larger, broader and more up-to-date and confess the good news of taken into the heart and inspire collection, which accounts for its your salvation on Christmas those who sing to ‘own’ the story enduring popularity (it spawned The Day and every day. Amen. and the deeper meaning it conveys. New Oxford Book of Carols in 1992),

CHURCH MUSIC QUARTERLY DECEMBER 2019 44 • Cassocks CROFT DESIGN • Surplices • Ruffs • Choir Gowns • Organist’s Gowns ~ Wide range Discover the stories behind of colours individual hymns and fabrics ~ Junior and adult sizes ~ Read biographies of hymn writers Discounts on and composers all orders over £500 the history of Christian For further information, a quotation or fabric samples Explore contact music around the world Croft Design 22 Barrow Street, Much Wenlock, Shropshire, TF13 6EN www.hymnology.co.uk Tel 01952 727632 [email protected] www.croftdesign.co.uk

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For further details please contact Alan W Goulding at: 33, Sutton Lane, Granby, Nottinghamshire, NG13 9PY Mobile (07831) 767241 Email [email protected] Web www.pipeorganservices.co.uk XXX CONGRATULATIONS

CHURCH MUSIC SKILLS AWARD

Congratulations to Neil Medland who has achieved a merit in Church Music Skills: Choir Director Level 2.

Above: Ken Brock and Ken Parker are presented with their long service awards.

LONG SERVICE In August, choir master Ken Brock (centre of picture) and Ken Parker (right of picture) of St Mary at Stoke, Suffolk were presented with certificates celebrating 75 years in our choir. The presentation was made by our Rector, the Revd Robert Hindsley (left of picture), at the end of the morning service.

RSCM VALIDATED SINGING AWARDS VOICE FOR LIFE SINGING AWARDS

GOLD AWARD Lwandi Gama , Tamar Schofield, These results are listed alphabetically Lincoln: Sophie Chapman, Charlotte Taylor (Grantham, under RSCM Regions, Areas and Libby Cradduck, Tom Fletcher, St Wulfram), Judith Browes , Countries. Ethan Fulton, Keziah Schofield Dirk Reynolds , Sophia Tibbs (F) = RSCM Friend, (IM) = Individual (Grantham, St Wulfram). (Holbeach, All Saints). Member, (S) = Student member, if Oxford: Lani Wenda (Marston, candidate’s choir not affiliated. St Nicholas), Lauren Spooner SILVER STANDARD (Reading, Christ Church), Honours 90%+ (Gold) Amelia Smyly , Noah Toogood Highly commended 85%+ and Buckinghamshire: Arthur Commended 75%+ (Bronze/Silver) McDonald (Marlow, All Saints). (Sonning, St Andrew). Durham: Beth Stenlake Rochester: Megan Biggerstaff, (Barnard Castle, St Mary), Alexander Robson (Rusthall, Susanna Williams (Durham, St Paul). Southwark & E Surrey: St Oswald). Guildford: Millie David Spruce (Horne, St Mary Blackburn , Jack Dean , Virgin), Ivo Monaghan , Phoebe Jopson , Raoul Malik Max Rivaldi , Nicholas (). Lincoln: Steinmeyer (Wimbledon,

CHURCH MUSIC QUARTERLY DECEMBER 2019 46 CONGRATULATIONSXXX

King’s College School). Bennett , Greta Grosz , Grace Helen O’Connell (Godstone, Sussex: Sophie Booker , Knight , Edward Perrin , Joel St Nicholas), Susan Wates Phoebe Gaskell , Diane Smith , Stiff , Alice Waller (Grantham, (Horne, St Mary Virgin), Imogen Vernon-Gill (Bexhill, St Wulfram). Oxford: Kathleen Diana McDonald (Outwood, St Peter). USA: Laurel Ann Cosnett (Henley, St Mary Virgin), St John Baptist), Kenn Ryan Pilkington (East Greenwich, Rosie Chambers , Victoria Kouadio Amalaman , Jake RI, St Luke). Martin (Shipton-under- Oehmig Venbles (Plumstead Wychwood, St Mary). Rochester: Common, SS Mark w Margaret), Correction from CMQ Anoushka John (Bromley, Deyan Patel (Wimbledon, September 2019 St Mark), Isobel Biggerstaff, King’s College School). Durham: Lydia Wilson Maria Coupe , Alice Hughes , Sussex: Lauren Bidlake , (Stockton-on-Tees, St Peter). Jennifer Millar , Eve Palmer, James Gardner (Horsham, Emma Robson , Joshua White , St Mary Virgin). USA: Skylar Romola Woodhouse (Rusthall, Kellogg (Indianapolis, IN, BRONZE STANDARD St Paul). Southwark & E Surrey: St Paul), Emery Buterbaugh, Buckinghamshire: Max Mustoo Kay Hammond , Margaret Mary Carney, Anne Leach, (Marlow, All Saints). Guildford: Leventoglu , Ann Sheppard Cathy Penberthy, Dan Wilkins Daniel Bristow , Oscar Ford , (Burstow, St Bartholomew), (Lexington, KY, Good Shepherd), Natalia Higgins , Heidi Jopson , Thomas Izzard (Caterham, Sarah Beth Heard (Ocean Anastasia Karas , Morwenna St Mary Virgin), Victoria Springs, MS, St John), Annika Rees , Iris Skilbeck , Laurent Brice , Donna Despotovich , Guyer , Dinah Guyer , Karalina Spilstead , Finlay Thomlinson , Alice Hurst , Daniel Lumley Wainwright (Sarasota, FL, Katerina Vidouris (Guildford (Cheam, St Dunstan), Kate Church of the Redeemer). Cathedral). Lincoln: Amelia Johnston , Caleb O’Connell ,

HELPING YOU CELEBRATE YOUR CHORISTERS’ ACHIEVEMENTS

The Voice for Life programme continues to be one of the RSCM’s most popular education programmes with people of all ages. It is inclusive and provides a framework for choral singers to develop their vocal skills. We understand the huge amount of individual effort and preparation that goes into achieving the Award and think it is worthy of celebration. To help Gold Award choristers to be featured in the press, we will shortly be launching a publicity toolkit. It will be available in electronic form and will include step-by-step instructions for those who are not experienced in working with the media. More information will be available in due course.

CHURCH MUSIC QUARTERLY DECEMBER 2019 47 SOMETHING QUITE EXTRAORDINARY SYDNEY INSPIRES 2019

ROSS COBB

s National President of RSCM Australia, came about when David told us he was thinking of I noticed over several years that attendance conducting the National Youth Choir of Australia Aat our summer schools – which are our main for their annual July get-together, and had we training and fellowship events – was declining, thought about combining? That brilliant idea while average age was increasing. Added to which, brought NYCA onboard. my professional colleagues didn’t want to attend A curious feature of Australian winter months is straight after the busy Christmas season, finding Christmas in July and we took advantage of this by it just too hot. putting on a full lessons and carols in the style of A winter school was the answer, and it was King’s College, Cambridge. Our dear friend and eventually decided to let New South Wales try it, esteemed colleague Sir Stephen Cleobury had kindly with Queensland continuing the experiment the agreed to come early for the King’s farewell tour following year and the rest deciding whether to to Australia, but sadly he became too ill to fly. I was follow, depending on our success or otherwise. therefore overjoyed when John Rutter agreed to take With such high financial and reputational stakes over. John’s musical electricity is legendary and we at risk, we realized that we needed to do something could not believe how gracious it was that such a busy really significant. man could find the time to squeeze our conference The result was Sydney inSpires and it has proven into his schedule. In addition to our stellar line-up to be the largest event ever organized for Australian of international directors, we were blessed to have church musicians. Sydney inSpires also attempted to a large cast of home-grown stars who led worship take seriously a number of contrasting church music and gave seminars. strands and (controversially!) unite them into one single conference. The conference was structured into streams: But what would it look like? „ Choral inSpires (open to all, from ages 15 to 90) The first thing we decided was that we needed to „ Kids inSpires (ages 8–14) work towards a centrepiece that would be musically „ Organ inSpires and spiritually satisfying, but not all-consuming. „ Youth inSpires (auditioned chamber choir, ages 18–26) Bach’s monumental St Matthew Passion was the „ Contemporary inSpires (guitar, keyboard, vocals, answer. We decided that an auditioned choir would solo instrumentals) sing the majority of the work, while the large conference chorus would sing the chorales. We The event was designed so that most delegates could would also employ professional soloists and a period take part in the main centrepiece services and orchestra. To conduct, we needed someone expert concerts as well as attending their streams. Those at handling amateurs and professionals alike, main events included: commanding the respect of both, and intimately „ Roman Catholic vespers at St Mary’s Cathedral acquainted with the Passion. David Hill was the only „ Royal evensong at St Andrew’s Cathedral man, and it was so encouraging to see his eyes light „ A Festival of Lessons and Carols with John Rutter, up as I nervously first put the concept of the which was recorded by the Australian Broadcasting conference to him. Corporation for transmission on Christmas Day We thought about an auditioned youth choir „ Bach’s  St Matthew Passion being in attendance, but a God-ordained opportunity „ Prom Praise, in which all forces assembled for

CHURCH MUSIC QUARTERLY DECEMBER 2019 48 a riotous evening of orchestral, organ, choral of music and worship as well as band-leading and contemporary praise, all under the baton skills were lapped up by the attendees. of Noël Tredinnick We assembled a full symphony orchestra in the Sydney area, made up of professional and For me, it was like assembling a fantasy football semi-professional. Noël Tredinnick managed team. I couldn’t believe it when the legend that to cajole and encourage them into shape to is Barry Rose was beguiled into travelling halfway perform a demanding programme for Prom round the planet; watching him coax sounds from Praise. For many years this Christian orchestra my own cathedral trebles among other kids was had been a vision of mine, inspired by my time worth the airfare alone. playing with the All Souls orchestra while a David Hill’s supreme marshalling of the student at the London’s Royal Academy of Music. Matthew Passion shattered in the first few bars Two of my choristers told me afterwards that of the chorus any doubts that this was a bridge Prom Praise was the best evening of their lives! too far. The performance was truly world-class We were reminded at the opening service and and it was incredibly encouraging to hear people throughout the event that the RSCM is not a choral say: ‘This RSCM thing is amazing!’ David brought society. Our unique selling point is that we believe out the best in us all. in music in context, and that context is worship Our organ stream attracted organists from across of Almighty God. It was an extraordinary privilege the globe. Thomas Ospital (the young virtuosic to see almost 400 people involved in Sydney titulaire of St Eustache in Paris), made his inaugural inSpires worshipping, learning, praying, laughing, visit to Australia, as did the redoubtable doyenne sharing, playing and singing – all of it combining of British organ teachers Anne Marsden Thomas. to give God pleasure. We hope and pray that we Their combined wisdom and appetite for teaching will continue to give God pleasure, and that was captivating. Sydney’s plethora of intriguing inSpires will have appropriately inspired several instruments was fully exploited: Sydney Opera generations to do so better. House’s five-manual Hurford/Sharp organ and the RSCM NSW team worked incredibly hard to grand organ at Sydney Town Hall, to name but two. make it all happen; looking back there’s a sense The contemporary stream was new ground for us, that something quite extraordinary happened to but it was greatly reassuring to see the more than Australian church music during nine days in July. 70 delegates who had signed up for the shorter We are grateful to have been part of something stream enjoying themselves. Training on theology that God did that was rather special.

CHURCH MUSIC QUARTERLY DECEMBER 2019 49 NOTEBOOK

NEWS & EVENTS

specification I was faced with. levels and interests. It covers the key I enjoyed it immensely, making music areas of concern for different organists, to varying sizes of audience and including finding a tutor, finding a raising £7,658 for local charities, too. scholarship, buying music, buying My wife and I ‘retired’ to Portsmouth or hiring an organ, lists of upcoming in January 2015 where I now play at concerts and much more. many different churches throughout Feedback from users means the the year. I found myself much involved site will continue to develop and grow in the local church music scene: over time. These will be published in RSCM, FCM and the local Organists a summary post each month along Association. However, one of the with a blog written by a guest editor. things that I missed was visiting the Anna hopes that the site will become local churches to give short recitals. a ‘go to’ reference for anyone looking I discussed this with the Bishop for information on the organ. The site of Portsmouth and David Price, is supported by Facebook, Instagram the cathedral organist, who both and Twitter pages. agreed that I could do the same in For more information visit: https:// the Portsmouth Diocese in 2019. theorganmanual.wordpress.com/ My first day was 10 June and I Anna Hallett even had a mention on BBC Radio 3’s morning breakfast programme where PILGRIMAGE OF SONG A SPRING AND SUMMER TO THE HOLY LAND Petroc Trelawny announced just before 7am that I was starting my pilgrimage OF MUSIC Join Geoff Weaver and the Revd Canon that day and played a piece of organ April to June were exceptionally busy John Henson for a pilgrimage of song music to celebrate. I am keeping a for composer, conductor and RSCM between 20 and 27 April 2020. Over scrap book with details of each venue, member Robert Howard. April saw the eight days you will visit Nazareth, sing along with photos and interesting facts premiere of Robert’s new setting of the and sail across the Sea of Galilee, drive about some of the memorable places. Good Friday Reproaches (I Gave You down the Jordan Valley and visit Some of the smallest churches have Love), sung by the choirs of St Mary, Bethlehem and Jerusalem. As well lovely instruments with pleasing tone. Prescot, and All Hallows, Allerton. as visiting some of the holy sites, the So far, I have played at 39 churches Then, on 11 May, three choirs – primary focus of the week will be to and raised over £1,300, so there is Junior Choir, meet local Christians and share a a long way to go. I am grateful to all Liverpool Cathedral Youth Choir and broad spectrum of music with them the individuals who have driven me the newly established Liverpool64 – in concerts and acts of worship in willingly from one church to another assembled to sing Robert’s Jubilate a variety of memorable locations. and have always had a warm reception Deo (2016). On Sunday 2 June, Prescot Booking can be made through McCabe from the public. Please come and parish church choir sang the 2017 Pilgrimages (www.mccabe-travel.co. support me if I’ve not been to your anthem Alleluia during their morning uk). The cost is £1,575, based upon church yet. Eucharist, with David Kernick sharing a twin-bedded room with Canon Peter Gould conducting. Then, on Wednesday 5 private facilities. For more details, June, Stephen Mannings conducted please contact Jane Henson at: THE ORGAN MANUAL Liverpool Cathedral Junior Choir [email protected] or Geoff in Ave verum corpus during evensong Weaver at [email protected] Have you ever wondered if there is an organization out there for young in the lady chapel of the cathedral. On 16 June, Trinity Sunday, Prescot parish AN ORGAN PILGRIMAGE organists in your area, or a Facebook group where you can discuss your church choir sang a new hymn, Bread Back in 2013/14, I had the mad idea organ interests? of the World, during Sung Eucharist, of playing all the organs in the diocese During months of research for a again under David Kernick. of Derby, which was basically all project called Inspiring Organists of the Robert is the founder and artistic 278 Anglican churches in Derbyshire. Future (CMQ June 2019), Anna Hallett director of the annual ten-day Prescot It took two years and I had fantastic discovered many sites, organizations Festival of Music & the Arts (www. support from the bishop, diocese, and support pages previously unknown prescotfestival.co.uk). Further details clergy and people of that county, giving to her. In response, she created The about all Robert’s musical activities small recitals of normally 15 minutes’ Organ Manual, a website offering links can be found on his website: duration tapered to fit whatever organ to sites for organ enthusiasts of all www.roberthowardmusic.co.uk

CHURCH MUSIC QUARTERLY DECEMBER 2019 50 CLASSIFIED ADS The price for Affiliates and Individual Members is 50p (excluding VAT) per word (or abbreviated word) and number, in both announcement and address. This includes a listing on the RSCM website for up to three months. The price for Friends and non-members is double the above. There is an additional optional charge of £15 for a highlighted advert and a premium position (including a photograph) on the RSCM website. Closing date two months before publication. Send to [email protected]

VACANCIES found at https://npor.org.uk/NPORView. around RSCM fees and are negotiable. html?RI=H00461 If you would like to know more please do Organist. St Leonard’s Church, Applications are welcomed from all contact me on 01296 415532 or email: Semley. near Shaftesbury, Wiltshire/ suitable applicants – the position may [email protected] Dorset borders appeal particularly to a student organist This well-attended, friendly church is looking for a first post. Information about St Paul’s, Mill Hill. Director of Music looking for an organist, either a professional our Church can be found on our website: St Paul’s Mill Hill is a friendly, Anglican musician or a gifted and committed www.stfrancispw.org.uk church in North London looking for an amateur, to play on the first four Sundays Further details and answers to any experienced Music Director to continue of the month, for other occasional queries are available from the Vicar to developing the worshipping life of our services and for a number of weddings, whom applications should be addressed. church. funerals and services of thanksgiving. Informal visits/discussion welcomed. Playing the organ in our 9.30am Services at St Leonard’s each month Closing date for applications January 11. service, rehearsing our adult and junior include a BCP Holy Communion with Contact Father Stephen Niechcial, Vicar choirs weekly, with the potential to build hymns, a Common Worship Sung St. Francis Petts Wood, 60 Willett Way on our choral tradition with St Paul’s Eucharist, a Family Eucharist with BR5 1QE, [email protected], Choral Society. hymns and a BCP Evensong. +44 1689 829971 Salary circa £5,000, depending on It is hoped that he/she will wish to qualifications and experience, with become a part of the church community. St. Peter’s Church, Edgmond, additional fees for weddings and funerals. There are opportunities for organ recitals Newport, Shropshire. We seek Our two-manual Compton was re-built and concerts in the church. to appoint a Church Organist and by George Sixsmith in 2008. The congregation is used to singing leader of the SATB Choir. For more information please hymns, psalms and the congregational An exciting opportunity to provide organ email [email protected]. setting of David Thorne’s Mass of accompaniment for services and to lead St Thomas. St Leonard’s Church has our established adult choir. We are a a fine, recently-restored Hill organ welcoming congregation of around with two manuals and pedals. 40 attending the 10.30am Sung Eucharist ANNOUNCEMENTS Remuneration will be in line with on Sundays when music is an important the RSCM’s recommended scale. The part of the worship. Competent Singers & Organists number of weddings and funerals at St The village church is central tradition Required – Poscimur – Small, Friendly, Leonard’s provides additional income. and the choir are keen to provide a good Robed, Adult, SATB Choir, RSCM Please submit a full cv including your standard of singing with anthems sung affiliated – sings in Cathedrals – previous experience as a church organist whenever possible. UK Wide Membership … Contact to: The Lady Meston, Friarton, Semley, We have an excellent 2 manual and Catherine Thomas on 020 8857 9375; Shaftesbury, Dorset. SP7 9AU. If you wish pedal organ by Nicholson and Lord of [email protected]; to discuss the post before submitting Walsall built 1885. Extensively re-built in www.poscimur.co.uk an application, please telephone 1999 by Peter Collins Ltd with additions Lady Meston on 07765 457680. (3 rank mixture to Great and 16ft Do you want to make a promotional The closing date for applications is Trombone to pedal. Reeds re-voiced video about your choir or church? 31st January 2020. The applications and new mechanical action). Further Stuart Robinson, a church musician and will be reviewed in early February with work by Cousans Ltd in 2018. experienced producer, has many years’ a view to inviting those shortlisted to Remuneration in line with RSCM experience making features and music visit the church and meet members scales for rural churches. For more recordings for radio and television, and of the PCC in late February 2020. information please contact the Revd internet channels such as YouTube. Preb Helen Morby Tel. 01952 820217 More info at www.stuartrobinson.org. Organist Vacancy – Email: [email protected] uk Email [email protected] St Francis Petts Wood, Kent We are looking to appoint a regular St Michael’s, Aston Clinton, organist who would contribute, with the Buckinghamshire. Organist and Vicar and others, to all aspects of music Choir Director FOR SALE in the church. We are affiliated to the Our congregation really appreciate the RSCM. Rates of pay are negotiable based contribution music makes to our weekly usedorganmusic.co.uk – Specialists on qualification, experience and RSCM Sunday Sung Eucharist so we are looking in second–hand classical sheet music recommended rates. for someone who can both play for our for organ. We stock thousands of pieces Requirements are to play at the 10.30 services and develop our small mature which are in print but cost less that Sunday Sung Eucharist, and weekly choir choir. Support and encouragement is also buying brand new. View the current practices Thursday evenings. Additionally, available for those aspiring to be a church catalogue of items for sale on our there are festival services at Christmas organist. We have two organs (Chancel website. Hundreds of pieces are listed and Easter, as well as occasional weddings & Nave) recently completely rebuilt. at the bargain price of £1.50 each. and funerals, which attract additional fees. Opportunities are available for additional Contact Roger Molyneux The Church has a rebuilt and restored fees for weddings and funerals as they ([email protected] or two manual Willis organ. Details can be occur. Remuneration will be based 07902 176744).

CHURCH MUSIC QUARTERLY DECEMBER 2019 51 OBITUARIES

MALCOLM COUSINS ARSCM DAVID LEONARD DRINKELL ELSIE BATH, HON RSCM 1955–2019 (1921–2019) Malcolm Cousins died on 16 June 2019 aged 87. Before retirement in 1993, he David Drinkell, who has died at the age From the time that she sang her first was a special commissioner of the of 63, was director of music at Christ solo in 1925 at the age of four at a RSCM and, from 1959, Director of Church Cathedral, Fredericton, New Sunday School anniversary in Hartford, Music at St Peter and St Paul, Brunswick, Canada, where he had been England, Elsie Bath continued Mansfield. He trained with the RSCM at in post since 2016. throughout her long and varied life to the College of St Nicholas in Canterbury Born in Colchester, Essex, David minister in the church through music. and at Addington Palace 1953–56. He studied music at Bristol University and, As soloist, choir director, adjudicator was assistant master of the music at upon graduation, completed a certificate and organist, she made use of her music 1956–59. in education at Cambridge. In 1979, he talents and skills to enrich and enhance Alastair Callcutt moved to Orkney where he was the lives of innumerable people in appointed organist and choirmaster at Mozambique, Swaziland and South St Magnus Cathedral in 1983. In 1988, Africa. For over 50 years she selflessly DENISE LAWRENCE shortly after his marriage to Elspeth, he served alongside her husband, a moved to Belfast, where he took over as Methodist minister, in the many Denise Lawrence, until recently a organist and master of the choristers at postings that they were sent to member of the RSCM Devon committee, St Anne’s Cathedral. Then, in 2003 he throughout Southern Africa. Elsie’s died in July. Denise, a Methodist, was a became organist and choir director at religious music broadcasts during the valued committee member, an Individual the Anglican Cathedral of St John the Second World War on Lorenço Marques Member of the RSCM and a tremendous Baptist in St John’s, Newfoundland. Radio were legendary, as were the long supporter of RSCM Devon events. She While in Northern Ireland, David distances that she would travel alone by also attended several International became a much-valued member of the road to distant churches. Through her Summer Schools. RSCM Ireland Committee. He always numerous charity music functions, she She was born in Brighton in 1957 volunteered to lead courses, even in raised funds to assist countless brought up in Torquay, trained for unpromising venues, and he made his underprivileged families. Elsie’s teaching but moved on to become a extensive knowledge and expertise lifetime of dedicated service shone as a medical photographer and finally a freely available to committee members wonderful example to all engaged in service manager in the oncology and affiliated churches. In particular, music ministry in the church. department at the Royal Devon & Exeter David seemed to know more about Kevin Williams Hospital. The hymns we sang at her organs, their location and construction, (Past President, RSCM South Africa) memorial service reflected these than anyone else, and was happy to periods in her life, with tunes such as share that passion with anyone willing Sussex, Torquay and Wiltshire. to listen. His organ students will Denise lived life to the full, always remember an affable and engaging active and with an interest in such varied teacher and a performer of remarkable activities as choral singing, 12th-century ability. He gave recitals in many parts of plainsong, west gallery folk singing and Ireland, the British mainland, Canada Irish dancing. She had an unshakable and Norway. faith and experienced God’s strength and A memorial service was held at Christ provision throughout her life. In her last Church Cathedral on Tuesday 8 years particularly, she embodied the October, where he had established a words of St Paul writing in 2 Corinthians: fund for the restoration of the organ. ‘we have this treasure in earthen vessels’. May he rest in peace and rise in glory. She was an inspiration to us. John Crothers (Chair, RSCM / Andrew Maries and Joy Winzer Former Chair, RSCM Ireland)

WHO READS YOUR COPY OF CMQ? Do share your copy among the other musicians in your church, pass it round the vestry or staff room – and encourage others to become Friends or Members of the RSCM and receive their own copy.

CHURCH MUSIC QUARTERLY DECEMBER 2019 52 REVIEWS OF CDs and BOOKS

the slower, more atmospheric in solo organ versions that are either CDs movements, but also with Latin- contemporary or by Trotter himself. American or jazz influences in livelier  Worth hearing pieces that sometimes seem to dance  Recommended through the texts. The example of earlier INVOCATIONS: ORGAN MUSIC Essential listening composers is evoked in a six-movement BY HUW MORGAN Dixit Dominus, a Miserere mei David Pipe plays the organ of (including solo soprano top C) and an Bridlington Priory Chapel  CHORAL CDS Ave verum corpus that the composer Meridian CDE 84653 describes as modelled on Mozart. While single-composer organ CDs A single-movement Beatus Vir  (with a few obvious exceptions) may begins and ends quietly and shows how FINZI appeal to a limited market, this one is Osgood has a Karl-Jenkins-like ability Choir of Trinity College, an enjoyable listen in its entirety thanks to write music that approaches the Cambridge / Trinity Brass / to the breadth and variety of Huw boundary of sentimentality without Alexander Hamilton and Asher Morgan’s compositions, the deservedly actually crossing it. But for me the Oliver (organ) / Stephen Layton  praised organ at Bridlington Priory and most enjoyable pieces are the shorter, Hyperion CDA68222 the playing of David Pipe. All the pieces simpler settings of English texts such were written since 2006 and include Lo, the full, final sacrifice is the big as Rejoice in the Lord alway, Lord, for recital works such as Invocation and work that concludes this CD: a ‘Festival thy tender mercy’s sake, Come, my way, Dance and a four-movement Partita Anthem’ commissioned from Gerald my truth, my life and above all a catchy Borealis along with short liturgical Finzi (1901–56) by Walter Hussey setting of Heber’s hymn Brightest and pieces including six hymn preludes and (see CMQ, March 2018) for St Matthew, best with lovely singing from Rebecca a piece called Living Stones (a fantasia Northampton in 1946, three years after Moon. The composer is well served on Urbs beata). The composer writes he commissioned Britten’s Rejoice in by the performers and the recording. that ‘while my inspirations are wide and the Lamb – in both cases for the church’s Judith Markwith varied – plainsong, William Mathias, patronal festival. From the organ Bartok, modernism, ancient rituals and introduction (Alexander Hamilton, one the drama of mysterious landscapes – of the two excellent organ scholars) I have tried to create a body of work through to the final Amen, this large-scale ORGAN CDS that is idiomatic, colourful, practical depiction of the mystery of the Eucharist and useful to both liturgical organists receives a stunning performance.  and recitalists.’ There is often a feeling ‘Visionary’ is an adjective often used FROM PALACES TO of the ‘mysterious landscapes’, with for Finzi’s music, and the Layton PLEASURE GARDENS ancient forces evoked through swirls and his 39 mixed-voice singers give a Thomas Trotter plays the 1735 of sound. It is fascinating music. performance that vividly captures this. Richard Bridge organ of Christ Judith Markwith The disc opens with a Magnificat Church, Spitalfields · Regent written for Vespers and so without a Records REGCD526 Gloria or accompanying Nunc Dimittis Many organ-playing readers of CMQ  – but this CD later includes a Nunc will be familiar with the manuals- TRANSFORMATIONS: Dimittis by David Bednall, described only voluntaries of Hook, Stanley A SELECTION FOR ORGAN as a homage to Finzi and, to my ears, and Russell, played on a variety of Alexander Ffinch plays the organ a worthy companion to the Magnificat. instruments, some more and some of Cheltenham College Chapel Also on the CD are the three short less suitable for the music. Here they  Divine Art dda25193 anthems My lovely one, God is gone up are played on the Spitalfields organ, This is an important recording in (with brass and organ) and Welcome restored to its 1735 specification and several ways. It is the first recording sweet and sacred feast, plus secular tuned to sound as near as one can of Cheltenham’s Norman and Beard part-songs. imagine being heard at the time that instrument since its latest 2017 Julian Elloway much of this music was written. At the Harrison and Harrison restoration. centre of the CD recital is Pepusch’s The CD contains three major works, one from each of the 19th, 20th and  18-minute Voluntary in C major, whose 21st centuries – superbly played and CLIVE OSGOOD’S SACRED 12 movements provide a tour of the recorded. First up is Jongen’s Sonata CHORAL MUSIC tone-colours available on 18th-century English organs – all available at eroica of 1930, little known to non- Excelsis / Rebecca Moon (Soprano) Spitalfields and demonstrated by organists but here receiving a / London Mozart Players / Robert Trotter with deft phrasing and persuasive performance that might Lewis  Convivium CR049 sparkling passagework. Other pieces endear it to those hearing it for the first Osgood writes attractive, approachable included are a Corelli Concerto Grosso time. The heroic introduction knocks music that is particularly effective in and concertos by Handel and J.C. Bach one back (thanks to instrument and

CHURCH MUSIC QUARTERLY DECEMBER 2019 53 ALL THE LATEST REVIEWS ARE AVAILABLE ONLINE AT WWW.RSCM.ORG.UK/OUR-RESOURCES/MAGAZINES player, and to the dynamic range of the A HOUSE OF PRAISE, PART can give thanks for Part 3, and hymns recording) before a series of very THREE: HYMNS 2013–2018 numbered 436 to 518. There are two varied variations, a fugue and a Timothy Dudley-Smith sections that appear for the first time. triumphant conclusion. Oxford University Press and The first contains four ‘Scripture Jonathan Dove’s The Dancing Pipes Hope Publishing Company: 211pp. Sequences’ each comprising three or was written in 2014 for St Laurence, P/B 978-0-19-352952-6 £22.95 four hymns from the same psalm or Ludlow and the 250th anniversary of These two books will come as no chapter of the bible. The second is ‘One an organ that still has most of a 1764 surprise to collectors of Timothy Big Family: songs for all-age worship’, Snetzler at its heart. The music dances, Dudley-Smith’s publications over the taken from the music and words the pipes dance, and the organist’s hands years, but each contains distinctive collaboration with William Llewellyn and feet dance as what the composer new features. Light on the Way selects that was published by the RSCM as describes as ‘a little dancing figure’ is 45 hymns that the author has written One Big Family. put through all sorts of transformations over 50 years or so and presents them There is a feeling of tying together and contrapuntal inventions. The CD in a handsome, generously produced a life’s work in these two books. It is concludes with Liszt’s mighty Fantasia volume, with music selected by appropriate that the author should and Fugue on ‘Ad nos, ad salutarem William Llewellyn. The music includes explicitly return to the Scripture that undam’, played with attention to detail many well-known tunes that will be has underpinned his output all this time. and opportunities for ‘orchestral’ useful in introducing the texts to Julian Elloway colour changes. congregations for the first time. But Julian Elloway also to be welcomed is the inclusion Printed music and books (not CDs) of little-known tunes, or ones only reviewed by the RSCM, with the familiar in one particular tradition – occasional exception of private publications, can be obtained often printed along with a more from RSCM Music Direct. BOOKS widely known alternative. Tel: +44 (0)845 021 7726; The collected hymn texts of Timothy fax: +44 (0)845 021 8826; Dudley-Smith were initially published email: [email protected] LIGHT ON THE WAY: in 2003 as A House of Praise without Items for review should be sent to 45 HYMNS BASED ON being called ‘Part 1’ because (rather the Reviews Editor, Ashleigh House, PASSAGES OF SCRIPTURE Cirencester Road, Minchinhampton, like the initial publication of Carols Stroud, Glos GL6 9EL. Timothy Dudley-Smith for Choirs) no further volume was Tel: +44 (0)7879 406048; RSCM: 104pp. P/B 978-0-85402- envisaged. Yet now, 16 years later, we email: [email protected] 289-2 £9.95

KARL JENKINS Miserere: Songs Of Mercy & Redemption

Miserere: Songs of Mercy and Redemption is a sequence of re ections on the theme of mercy, in response to the recent and ongoing tragic con icts in the Middle East and other regions.

Woven around verses selected from Psalm 51, the inspiration for composers from Allegri to Pärt, the work features a range of settings of Rumi, St  omas Aquinas, Isaac Watts, Carol Barratt and Dylan  omas.

Scored for countertenor (or mezzo-soprano), solo cello, mixed chorus, strings, harp and percussion, Miserere: Songs of Karl Jenkins Mercy and Redemption is a profound meditation on humanity Miserere: Songs of Mercy & Redemption and atonement. Choral Vocal Score ISMN 979-0-060-13677-1

See more and order online at: www.boosey.com/miserere