SOUNDBOARD A Newsletter for Church Musicians Number 19 September 2009 Finally, after long deliberations, SOUNDBOARD has gone colour. WHAT’S IN THIS ISSUE? The Editor, not really being a graphic artist, has used his best judgement about where to put colour and what colours to put. If Peter Barley talks to David any readers can suggest improvement, we will be glad to have Lee about his life of organ and suggestions. church music So, what’s inside this issue? Further articles in the ‘Music at ...’, Music at St Bartholomew’s Great Hymns and their Writers’ series and in the ‘Home Organs’ Dublin series, and Peter Barley again talks to a music luminary of the last Robin Heather, a long standing forty or so years. Jacqueline Mullen has written a most useful choir member there, writes about its article on sourcing organ music al la Internet and since the Internet choir and music seems to be an infinite source, readers are bound to have hit on other useful sites. Do spread the word. And you’ll find a big The Internet as a source of selection of ‘bits and pieces’ in the Notes & News this time. Organ Music The Living Worship courses have been widely praised and have been Jacqueline Mullen reports found to be inspirational. Details of the 2010 course are given Where do I start? below. Derek Verso on the problems of The next issue of SOUNDBOARD is planned for January 2010 and introducing new music into church we would welcome contributions, particularly for the ‘Music at ...’ series (there are still about 50 churches in the united diocese to be Praise Him with the Sound of featured!). Or maybe you would pen something about YOUR ‘great the Trumpet Reports of two hymn and its writer’, or indeed about any aspect of church music recent singing events that would be of interest and/or value to another reader. The Children’s Choir Patrick Lawrence, former rector of Julianstown describes the children’s LIVING WORSHIP choir they have there A course in liturgy, music and worship New Look Christmas Carol This popular course, now in its 5th year, focuses Service David McConnell writes in particular on musicians but also appeals to anyone, about an alternative to the Nine including clergy and members of congregations, interested Lessons and Carols in the 'what, why and how' of Christian worship. Course leaders will include the Revd Peter Moger (Church of Great Hymns & their Writers England Worship Development Officer) the Revd Edgar this time features Be Still My Soul; Swann and Mark Duley. Patricia Eadie writes. Saturday mornings, 10.00 a.m.—1.00 p.m. Liturgy is Worship Dermot 9, 16, 23 and 30 January 2010 Mageough House, Cowper Road, Rathmines, Dublin 6 Dunne, Dean of Christ Church, (beside Cowper Luas stop) describes these attributes. Fee: €100, including course materials House Organs Information & booking: This time, Shirley Wright’s digital [email protected] and 087 668 3998 Places are limited—early booking is advisable organ is featured The Church Music Committee supports and resources music and musicians in the local church. The Committee is appointed by the Church of Ireland Dioceses of Dublin & Glendalough. Website: www.churchmusicdublin.org Chairman: Archdeacon Ricky Rountree, Powerscourt Rectory, Enniskerry, Co Wicklow. Secretary: Mrs Jacqueline Mullen, 23 Ludford Park, Ballinteer, Dublin 16, Tel. (01) 298 8923., Email: [email protected] SOUNDBOARD is published by the Church Music Committee. Views in it are not necessarily those of the Editor or of the Committee. Annual Subscription: €15/£12 Editor: Randal Henly, 81 Offington Avenue, Sutton, Dublin 13. Tel (01) 832 3647; Email: [email protected] Editor’s Assistant: Maedhbh Abayawickrema, Tel (01) 822 6298, Email: [email protected] names as teachers, notably on the Peter Barley talking to David Lee conducting course (Janos Furst, Bryden Thomson, Gerhard Markson); P.B. David, can I begin by asking you never to stand in the way of a students included Christopher Bell about your early musical influences? budding beginner organist. I never and David Robertson, who has have refused anyone such recently conducted the Last Night of D.L. I came from a musical family — permission. the Proms. We also run courses for my father played the piano and my piano, harpsichord and organ. We mother sang. My own piano teacher Yes, encouragement at that stage is have had some very successful open was a pupil of Alfred Cortot. Whilst a so important. How has the organ workshops, filmed by the RTE. pupil at St Columba's I was taught by music 'scene' in Dublin changed Joseph Groocock, and also came between those days and now? What sort of balance were you under the influence of John Beckett, seeking to strike between an who stood in for Groocock for a There are now many more good international clientele and the native couple of spells. Beckett was a players. When I came back from talent? towering musical figure in Dublin at Cambridge I suppose I brought back the time. He strongly disliked some fresh ideas and a concept of a We definitely wanted a strong Bruckner and Handel, and it's standard of playing, but the organ emphasis on the international interesting to reflect that when one scene here had barely taken off. element, whilst respecting the home- comes up against such a dominant Gerard Gillen was away studying in grown talent. For instance, our first personality at the age of fifteen the Belgium at the time, and I remember piano masterclasses were taken by effect can be profound. To this day, I inviting him to make use of the Bart's Pascal Rogé, Peter Katin and John almost feel guilty if I enjoy a piece of organ for his personal practice, O'Conor. Native students thus had a Handel ! which at that period in many ways chance to hear what was going on really had the best organ. abroad. The Young Artists Series is You then won an organ scholarship particularly good for this dimension. to Peterhouse, Cambridge. Thurston Concurrently with your post at St Ireland's link with Europe has been Dart must have been a leading light Bart's, you were also Assistant at St invaluable, and very beneficial for at the university at that time? Patrick's — how did this work? musical contacts, notably German, Dutch and Russian. Yes, and in fact he kindly lent me The job was very different in those his spare clavichord for three years, days; it was mainly to act as a deputy Would you have any advice to pass after which he asked for it back, as for the Organist when he was away. It on to students participating in George Guest needed it! I asked Dart was thus possible to hold both jobs masterclasses? if he might give me some lessons. He concurrently. Almost nobody said that he hadn't time to teach me, conducted choirs in those days. Well, I do remember the then but that if I offered him tea George Hewson was of course a very seventeen year old Barry Douglas occasionally then he'd be happy to gifted and fluent player, and my own having an argument with the person talk to me informally. After boss Sydney Greig was very correct. leading the masterclass! Really it's Cambridge, I spent a year in much better to just take the You then moved to St Canice's suggestions at the time — they can Freiburg, studying the harpsichord Cathedral, Kilkenny, where you with Stanislav Heller. always be discarded later. Having founded a festival? said that, Barry has of course been a How did your own studies influence In fact it was originally called good influence for music here, both your subsequent long career as a Kilkenny Arts Week (everything else North and South of the border. teacher? Did you focus on any was a festival in those days!) When I particular area of repertoire? Are there any trends in church music arrived in the cathedral in 1970 I currently that worry you? I feel that a good grounding in piano thought it would be a great place for technique is crucial, and where concerts — the building, the I find myself appalled by some of the necessary I have prescribed similar acoustic. The festival is bigger now, new hymns that are appearing, that exercises to those I used as a though there is less concentration on are much more suited to the piano student. I'm happy to teach the full the musical side. I think it worked than the organ. This really makes the organ repertoire, including Liszt, better when there was a voluntary case for organ maintenance and Reger, Messiaen etc. but I do feel committee running it, with sub- refurbishment much harder to argue. groups responsible for programme, most naturally drawn towards the Do you have any advice for young up baroque repertory. Equally, I always fund-raising and publicity. Top musicians came, such as Peter and coming organists in Ireland favoured the more serious and today? methodical student, and of all my Frankl and Ivo Pogorelich. People pupils Malcolm Proud really stands used to ask how we got such great Go and hear organs somewhere else out. I taught him for eleven years, names. I just made a few phone calls around the world. Recordings are not and he's now a world figure. to agents and everything was agreed. the same. I think my favourite organ Our first festival (if I remember anywhere is the Schnitger organ in Apart from your profile as a teacher, correctly) had a budget of £10,000 Groningen.