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SOUNDBOARD APRIL 2011 1
SOUNDBOARD
CHURCH MUSIC AND MUSICIANS
THE MAGAZINE OF THE DUBLIN
& GLENDALOUGH DIOCESAN CHURCH MUSIC COMMITTEE
ISSUE
23 APRIL 2011
Celebrating music in our
churches and those who make
it, in Dublin & beyond
Ten years and 22
issues ago, Randal
Henly opened the
first Soundboard
by expressing the
hope that church
musicians would
come to view it as
their magazine
and would fill it
with opinions, thoughts, articles and
expertise. Looking at everything that
has appeared in its pages since then, I
can do little but raise my hat and say:
Mission accomplished!
infectious love of music, we also
welcome a new generation of church
musicians as we applaud the young
choristers receiving their RSCM Voice
for Life awards and read about the
Sunday School pupils who have learnt
how to choose next week‘s hymns.
There are, as there should be, many
opportunities for musicians of all ages
and ambitions to further their abilities
through education and experiment.
You will find details of some of these
scattered throughout Soundboard.
The organ, the focus of much of our
music-making, takes centre stage in
this issue, with advice from David
O‘Shea and news of the progress of
the exciting work in Cork; I am also
delighted to focus on the lively,
creative and contemporary process of
composition in Tom Lane‘s new piece.
I sincerely thank everyone who
contributed material and advice during
the creation of this Soundboard. As you
read on, I hope that you will find items
of interest and inspiration, and I
warmly invite you to consider sharing
In keeping with the lengthening days
your opinions and knowledge with our
and warmer weather (and this is
His is a tough act to follow, no
tempting fate, I know!), there is a focus readers in a future issue. I hope, too,
question: and in my first issue as editor in this issue on the good things that
that I have preserved the essence of
I have tried to continue his approach of await us this summer: courses, schools, Soundboard while also ensuring its
covering a broad range of subjects
continued relevance and vitality; again,
festivals and recital series. The
which reflect and respond to the needs Pipeworks Festival and the Dún
to use Randal‘s words from page 1,
and interests of church musicians in
issue 1, ―the proof of the pudding is in
Laoghaire organ concerts probably
our dioceses and beyond.
the eating―, and I warmly invite you to
need no introduction to Dublin
send the chef your compliments (or
readers; but we should spread our
I particularly wanted to celebrate
otherwise)! Your input can only help to
music-making across the generations: wings and visit Galway or Belfast or
make Soundboard more interesting,
Glenstal or other places where good
while we admire Billy Adair‘s eight
more relevant, and more successful.
decades of devoted service, marvel at music is to be found this summer. And,
the stamina of the Musical Curate, and closer to home, lesser-known joys such Fraser Wilson, Editor
as Taizé worship await our discovery.
[email protected]
draw inspiration from Tim Thurston‘s
Organs and organists
Comment and reviews
Choirs and singing
People and places
Two important recital series pages 4, 6
The 2011 Pipeworks Festival page 4
Preserving the pipes page 12
Improvisation inspiration page 5
Major project progressing in Cork page 11
A Festival of Hymns page 7
Voice for Life and the RSCM page 13
Victoria at the Pro-cathedral page 11
Summer courses and schools page 5
Choosing the hymns page 10
and (as ever) a Multitude of Musical Matters A Musical Marathon page 16
Taizé worship in the heart of Dublin page 7
Letters: organs and recitals page 14
The Father of Soundboard page 14
CD review page 14
Musical resources page 15
Book reviews page 15
Tim Thurston on music & musicians page 3
Billy Adair: A life in church music page 8
The Musical Curate page 10
New music for Christ Church page 9
Surveying the ground page 16
Living Worship 2011 page 2
The Archbishop‘s Certificate Course page 2 Online resources page 16
2 SOUNDBOARD APRIL 2011
Committee briefs
• Remuneration Guidelines
The recommended fees for church
musicians for 2011 are the same as for
2009 and 2010. The detailed schedule
can be found on our website at
www.churchmusicdublin.org/fees
• Deputy Organists
As usual, the list of deputies is printed
in the 2011 Dublin Diocesan Directory,
and is also available on our website.
This resource is of use to anyone who
finds themselves needing an organist!
There have been quite a few changes
over the past year; we ask all those
listed to check their details and inform
us of any changes. Organists are
always welcome to send details to
[email protected]
• Soundboard Subscriptions
It is clear from readers‘ letters and
emails that Soundboard is valued by
those who receive it. In the past we
have not made strong requests for an
annual subscription but rising costs
now steer us in this direction. There
was a good response to our request a
year ago for an annual payment of €15
(£13). We now renew this request for
the coming year. If there is a payment
form included for you with this mailing,
we hope you will respond positively
The Archbishop of
Dublin‟s Certificate in
Church Music
The course aims to provide the range of
skills and knowledge required by
musicians working in local churches: (i)
organ playing, including accompaniment
of hymns, psalms and liturgical music; (ii)
how to encourage congregational song
and to train a church choir; (iii) the
structure of the Church's liturgy and the
role of music in it.
The three-year course is modular and
students commit for one year at a time.
Each student is assigned to an organ
tutor who gives twenty-eight lessons
during the academic year (October to
May). Other training takes place in group
sessions. Occasionally, students join
courses run by other organisations. There
is an organ-playing exam in May.
The closing date for 2011 is 31 May.
Application forms may be downloaded
from the website:
www.churchmusicdublin.org
• New guidelines for the Archbishop‘s
Certificate Course in Church Music have
been made available to assist tutors and
candidates in their preparation for the
organ-playing exams. They can be
downloaded from
www.churchmusicdublin.org/
guidelines.pdf
Living Worship 2011
The annual Living Worship course took place, as usual, on four Saturday
mornings in January and February. While primarily intended for students on
the Church Music Training Course, Living Worship has developed a wide
appeal since it was first held in 2006. Thirty people attended the sessions on
Liturgical Space (Bishop Michael Burrows, pictured bottom), Gospel Music
(Róisín Dexter) and The Role of the Church Musician (Harry Grindle); and the
session on Music in non-eucharistic worship, by Archdeacon Ricky Rountree,
was joined by students from the Diocesan Lay Ministry training scheme.
The value of this type of training is clear from the following extracts from
student reports:
The title ‗Liturgical Space‘ did
not seem particularly relevant
to my calling as a church
musician, so I was surprised
by how much of the session
was relevant to my work.
When speaking about church
music, the bishop discussed
the following questions: How
should church music best
evolve to enrich the liturgical
space? What further
resources are needed in
Church Hymnal? To what extent is the music in a church restricted and impeded by
the architecture? How might serious church musicians influence the planning
process in their churches?
June Lee MacCurtain (Year 3), Chapelizod parish
I learned many things from the session with Bishop Burrows. Of particular interest
was his point that subliminal preconceptions exist within the minds of some
architects as to what a church should look like, and this can mean that a worship
space may be created more to reflect a stereotypical traditional church look rather
than to facilitate worship. Damian Bourke (Year 3), Taney Parish
The gospel music session appealed to me because Róisín Dexter introduced some
very simple practical techniques for use when introducing gospel music in our
churches. She provided us with an excellent understanding of gospel music in
Ireland and the information about the main gospel music strands was very
beneficial.......Initially I hope to use what I have learned with some of the children in
church......Over time the congregation will hopefully build a repertoire of gospel
songs which all will enjoy.
Beth Burns (Year 1), Geashill parish
I was pleasantly surprised by how much I enjoyed the gospel music workshop.
From the outset we were introduced to the music not as an abstract entity but as
something to be sung, not studied, and to be prepared by paying attention to
minute detail but also as something to enjoy......... I enjoyed this workshop because
of the practical approach of the organisers. We spent a great deal of time singing
and listening to music. My preconceptions of gospel music were challenged and
my opinions have changed. I found many of the aspects of the workshop are
applicable to my current situation. I have discovered the benefits of teaching music
in a much more oral and aural manner.
Tristan Clarke (Year 3), St Columba‟s College
The session led by Dr Grindle particularly appealed to
me because I felt it was the most relevant to my
current situation…..His talk was engaging and
detailed, and he was very generous in providing a
large amount of music for use as a future resource.
The talk reiterated some valuable lessons on the
structure of choir rehearsals; the importance of
punctuality, clarity, and being well prepared. The
lessons learned about improvement and
encouragement of congregational singing will be
very useful in my future work as a church musician.
Róisín Rowley-Brooke (Year 2), Trinity College
Chapel & Nenagh parish
Musica Dei Donum Optime
TIM THURSTON SHARES HIS THOUGHTS ON HIS ICONIC RTÉ PROGRAMME GLORIA
“What is actually done is more effective
than what is merely said - in worship as
in life generally. Between the two
perhaps comes what is sung or played.
Music takes words to a deeper level of
effectiveness than they have on their
own. By its power to bring us together,
whether we participate in it as
performers or listeners, it can take us to
the threshold of the full life we hope for
- though it cannot do more than that.”
This is a quote from the introduction to
the Service Book which is used in the
Chapel of King‘s College in Cambridge.
It expresses well my belief in the
wonderful power of what Luther called
―Music - the supreme gift of God‖. This
astonishing chapel has played a central
role in my life. I witnessed the before
and after of the cleaning of the
breathtakingly glorious fan-vaulted
ceiling after five centuries of candles
and the controversial installation of
Rubens‘ Adoration of the Magi – a rich,
sensual painting utterly at odds with
the building‘s aesthetic. Visiting there
earlier this year, I sat in my usual stone
niche at the west end of the chapel
and told my wife that this place was
more significant to me than any other.
In the 1970s the Early Music revival
swept me off my feet. The thrill of
hearing new/old music from David
Munrow‘s Early Music Consort and
Musica Reservata under Irishmen John
Beckett and Michael Morrow, and the
Baroque repertoire brightened with
period instruments, led me to run five
Early Music Festivals, bringing to
Dublin the world‘s finest period
performers including groups such as
the Tallis Scholars, The Taverner
Consort, The Sixteen, Ars Nova from
Denmark and Ensemble Organum from
France. An invitation to broadcast
some early music programmes on RTÉ
followed, then four series of
Contemporary Jazz, and in December
1996 the first prototype Gloria went
out. After two series on FM3 Music the
programme was one of the few to
make the transition to Lyric FM when it
was launched in May 1999 and it has
not missed a Sunday since.
worship. However, unless we are
fortunate enough to be able to visit
the very few cathedrals or churches
which have managed to maintain the
tradition of choral excellence, it is
rarely part of contemporary liturgy.
Neither does the music readily transfer
to the concert hall. Luckily, though,
there is a rich treasury of recorded
sacred music and in these programmes
I‘d like to share with you some of the
very best - which of course can be
appreciated on so many levels by
listeners of all faiths and none.‖
track of Renaissance polyphony with
an instrumental interlude. This is
especially the case for Bach and before.
As there is no regular programme
featuring early music on Lyric FM, I
make no bones about flying the flag
for it on Gloria. In spite of some
excellent instruments and players in
Ireland, the sound of the organ is also
a comparatively rare ocurrence on our
airwaves, so many Glorias feature
organ music.
Perhaps twice in every programme
there are spoken links which do more
than simply introduce the music and
tell something of a story, either about
the composer, the instruments, the
circumstances of the work‘s
composition or the artists. I regularly
invite a visit to the Gloria page of the
RTÉ Lyric FM website. There, full details
may be found of all the music played
on the programme, and a ―listen again‖
feature means that up to eight
previous programmes may be heard at
any time. This has certainly extended
the listenership considerably, and
proves useful to those in different time
zones and to many who cannot listen
on Sunday mornings due to their own
worship commitments – or for other
less worthy reasons!
When the programme was extended to
two hours I began featuring the
cantatas of Johann Sebastian Bach
(where feasible) on the appropriate
Sunday. This received considerable
interest and much positive feedback. I
have heard of no other radio station
which has done this – surprising,
considering the supreme quality of the
music and rarity of live performances. I
seldom feature music outside the
Christian family but pay frequent visits
to the Orthodox tradition. I try to get a
balance between obviously Roman
Catholic and Anglican music.
Anniversaries, too, present an
opportunity to go a little deeper into
the repertoire and composers‘ lives.
This year Victoria will feature and I'll
enjoy introducing listeners to music by
some lesser names – Ciconia,
Desmarest, Boyce and De Vitry.
The structure of Gloria since the
beginning has been chronological,
starting with plainsong and working
through the centuries, with Bach being
the centrepiece. I like the logic of such
a structure and, although I feel that my
role is to delight rather than to
educate, it‘s clear that listeners do
appreciate hearing how musical sound
-worlds changed from (say)
Monteverdi to Handel, Bach to his sons
or Haydn to Schubert. Neither have I
ever understood our obsession with
nineteenth-century music. While I
rejoice in the calming timeless power
of chant I also feel that it is important Music can surely ―take us to the
to include contemporary music.
threshold of the full life we hope for‖.
To so many it is a great solace in these
In a two-hour programme, contrast is
distracted times – and it gives me the
important – not just in musical style. I
greatest joy to be able to share my
try to vary the vocal and instrumental
forces – with different types of choir – musical passions every Sunday.
I introduced the first series with these male and female voices only – boy
• Based on a 2008 article in Search
words:
trebles and sopranos on the top line – • Gloria is at 7-9am every Sunday morning.
large choirs and small vocal ensembles Programmes and playlists are available at
―I believe that the human voice is the
with one voice to a part, choirs from all www.rte.ie/lyricfm/gloria
most beautiful instrument of all and especially unaccompanied - a choir can over the world – and solo voices are
• Tim would be happy to hear from anyone
also featured. My definition of sacred
be the most moving of all musical
with queries about recorded sacred or early
music is loose – it‘s certainly not all
sounds. The original purpose of most
music, or archival or forthcoming playlists,
at [email protected]
liturgical: I like to follow a substantial
choral music was of course to enrich
Sumer is icumen in…
Over the next four pages we look ahead to some of the many courses,
festivals and recital series taking place this summer across Ireland
38 years and counting!
ARTISTIC DIRECTOR DAVID CONNOLLY
BRIEFS US ON THE DÚN LAOGHAIRE SERIES
Summer in South Dublin wouldn‘t
quite be the same without the muchloved annual series of organ concerts
at St Michael‘s Church in Dύn
Laoghaire. Now entering its thirtyeighth season, the series has hosted
organists from over twenty countries
as well as providing a platform for Irish
organ talent. At the centre of the series
is the magnificent Rieger organ of St
Michael‘s which has adorned the
church since 1974, and the series
founded there by Gerard Gillen has
since been directed by the late Anne
Leahy and now by David Connolly. It is
the longest-running series of its type in
some new faces in Andrew Cyprian
Ireland and one of the longest-running
Love (Glenstal Abbey), Stuart
organ series in Europe.
Nicholson (St Patrick‘s Cathedral),
The quality of players is always
Darren Magee (St Mary‘s Proexceptionally good and 2011 is no
Cathedral), some regular favourites
exception, with the series featuring
such as Gerard Gillen and David
The power
of Pipeworks
DAVID CONNOLLY AND KATE
MANNING PREVIEW IRELAND‘S
INTERNATIONAL ORGAN FESTIVAL
The 2011 Pipeworks Festival takes
place this summer (17-26 June),
showcasing some of Ireland‘s finest
organs and artists as well as bringing
world-renowned performers here. As
usual, the Dublin International Organ
Competition sits at the heart of the
festival. Traditionally based mostly in
Dublin, the 2011 competition will, for
the first time, branch out to include
quarter-finals featuring two
outstanding, important organs beyond
Dublin‘s city limits: the new Henk van
Eecken organ recently installed in the
Church of the Holy Trinity, Crosshaven,
Co. Cork, and the important Willis of St
Patrick‘s Cathedral, Dundalk. The semi-
Adams, and some friends returning
after a lengthy absence in Desmond
Hunter and Charles Pearson. There will
also be three highly respected
organists from outside of Ireland, each
visiting St Michael‘s for the first time.
Renowned improviser Ansgar
Wallenhorst (Germany) and Alexandr
Isakov (Russia) will provide some
international flair and the series will
host David Titterington as part of
Pipeworks 2011.
Adding a further dimension will be the
inclusion of two ensemble events
featuring Roisin O‘Grady and Malcolm
Proud; and the trio of Anne Marie
O‘Farrell (harp), Carole O‘Connor
(organ) and Roger Moffatt
(percussion). The series kicks off with a
choral and organ concert featuring the
Lassus Scholars directed by Ite
O‘Donovan on 12 June (8pm), and runs
every Sunday night until 4 September.
• www.dunlaoghaireorganconcerts.ie
• [email protected]
finals and finals will as usual take place Christ Church Cathedral, where the
at Christ Church Cathedral in Dublin.
entire Psalter will be performed in one
The quarter-finals will feature fourteen day by different choirs or groups of
competitors (reduced from the largest friends, by singing all 150 psalms in all
their guises: plainchant, Anglican
ever number of applicants)
chant, responsorial psalmody, hymn
encompassing eighteen nationalities
paraphrases and favourite composed
and representing five continents. The
settings. Choirs (and groups of friends)
jury members are all internationally
who would like to participate in the
renowned: David Higgs (USA), Jon
Psalmathon should aim to raise €250
Laukvik (Norway/Germany), SophieVéronique Cauchefer-Choplin (France), for each psalm that they sing. All the
money raised will go directly to
Jacques van Oortmerssen (the
presenting this year's festival
Netherlands), and David Titterington
(Pipeworks is run by a volunteer
(UK). They will not only provide their
committee) and help Pipeworks to
expertise in adjudicating the
competition but will each give recitals continue its valuable work despite the
current fraught economic climate.
and masterclasses (and for the first
time Irish students will be offered
• www.pipeworksfestival.com
Pipeworks Scholarships to attend these • If your choir would like to be involved in
masterclasses).
the Psalmathon, please email
[email protected]
The festival also features a strong
choral element. The full programme
was announced in a video launch on
the Pipeworks website on 31 March,
which you are warmly invited to view.
In preparation for the festival,
Pipeworks is planning a Psalmathon in
DEREK VERSO SURVEYS SOME SUMMER SCHOOLS AND OTHER OPPORTUNITIES FOR CHURCH MUSICIANS
There is a wide range of worthwhile
training opportunities available in
Ireland for all involved in church music
these days. Most offer their courses at
a broad range of levels, from starter to
advanced, and cater for the ordinary
and professional person who wishes to
improve their skills.
Summer schools tend to be over 3-5
days and provide residential
accommodation with meals, often with
the option of being able to drop in on
a daily basis. The Association of Irish
Choirs is worth mentioning: not only
Association of Irish Choirs
14-19 August, University of Limerick
Held at the Irish World Academy of Music
and Dance with reasonably priced campus
accommodation. Residential with optional
one-day visitor admission. Five levels from
Beginners to Advanced with about 15–20
per group. The Director is Bernie Sherlock;
other tutors will cover voice production,
choral conducting, repertoire, rehearsal
technique, daily warm-up sessions,
lunchtime concerts etc. Lots of singing with
a final concert and barbeque: all great fun
and hard work! Fee covers all classes,
workshops and lunch and tea breaks each
day.
web [email protected]
tel 06 123 4823
do they have an excellent summer
school, but they also run a number of
courses during the spring and autumn
over a period of five to eight weeks,
which are well worth considering.
Attendance at summer schools spans
all ages, from teenagers to musicians
in their seventies and beyond, so
nobody should feel a stranger.
have never been to a course before, so
nobody need feel awkward or worried!
Meeting new people of similar
interests, new musical experiences,
new venues and lots of good fun are at
the heart of all summer schools; they
offer a unique opportunity to do
something different and ―recharge the
batteries‖. If you‘ve not been to a
summer school before, why not try one
this summer?
All these courses have one common
aim – to provide a friendly
environment in which people can learn Here we take note of some of the
and improve their skills. There are
principal events taking place in Ireland
always ―new‖ people attending who
this summer.
Christ Church Cathedral (above centre)
Choral Singing Summer School
13–17 June, Christ Church Cathedral Dublin
An intensive week of singing and
musicianship. Open to singers aged 14-18,
whether chorally experienced or not. They
will sing as a full choir and in small groups,
and will have classes in theory, aural skills
and sight-reading, plus one or more
individual singing lessons. The course is led
by Rosemary Beecher Bryant, director of
the Cathedral Girls‘ Choir, and also includes
a service and concert in the cathedral.
web www.cccdub.ie
email [email protected]
Glenstal Organ Summer School
27-28 July & 9-10 August,
Glenstal Abbey, Co Limerick
Two workshops for organists in the
wonderful setting of Glenstal Abbey (above
Irish Church Music Association
right) where full accommodation is also
4-8 July, St Patrick‟s College, Maynooth
A residential course; the fee includes access available in the Abbey Guest House. The
July course covers repertoire, and is led by
to all classes, accommodation and all
baroque specialist Douglas Hollick; it is
meals . This year the director is Dr Orla
open to organists of all abilities in a relaxed
Barry. Daily participants are welcome.
and supportive learning environment. Bring
Usually about 200 people attend; the
whatever music you wish. The August
summer school is built around daily
course covers improvisation and is tutored
services of morning and evening prayer
by Ansgar Wallenhorst. Alternatively,
and the celebration of Mass. Very
forget the organ and just go to breathe in
enjoyable relaxed atmosphere in the
the idyllic atmosphere that is Glenstal. One
fabulous surroundings of the old college
way or another, you will return refreshed!
buildings.
web www.glenstal.com
email enquiries@
irishchurchmusicassociation.com
tel 06 162 1000
tel 01 708 9478
Charles Wood Summer School
21–28 August, Armagh
Based around the liturgies and services of
the two cathedrals in Armagh (above left)
with events in a number of venues and a
broadcast on BBC Radio 3. The Charles
Wood Singers are directed by David Hill,
and the Boys‘ Choir by Nigel McClintock.
Voice coach Paul Farrington will also be in
attendance. Non-residential course; daily
concerts, services, talks, recitals, and
masterclasses on many aspects of music in
worship, from organ tutorials to voice
production techniques. Events are priced
individually; full details are available on the
website.
email charleswoodsummerschool
@gmail.com
web www.charleswoodsummerschool.org
tel 02 837 521 800
The Kodály Society of Ireland
4-8 July, St Patrick's College,
Drumcondra, Dublin 9
Four Hungarian Kodály specialists will join
forces with Irish colleagues to provide five
days of intensive training in graded
musicianship (solfège), conducting,
teaching methods and choir, with a final
concert given by all participants. There are
also optional chamber music and voice
lessons. Very enjoyable, well organised and
intensive. Cost covers all tuition and
optional lunch in the college canteen.
tel 087 274 7327
Summery snippets
Grand goings-on in Galway
• Following on from the success and
popularity of the Nursery Rhyme
Nativity, the Pro-Cathedral Little
Ones (3- to 6-year-olds) are working
on a Nursery Rhyme Resurrection
which is to be presented on Sunday
8 May at 12.15 in the Pro-Cathedral
RAY O‟DONNELL ON THE CATHEDRAL‘S SUMMER CONCERTS
• Now in its ninth year, the ProCathedral Singing Camp for boys &
girls aged 8 to 15 takes place
Monday 15 - Friday 19 August (10am
- 1pm daily). The camp concludes
with sung Mass at 6pm on Saturday
20 August. Further details from
[email protected]
• The forty-eighth Ecumenical
Conference takes place at Glenstal
Abbey on 28-30 June. This year the
theme is ‗The Word of God‘,
celebrating 400 years of King James‘
Bible. Details at www.glenstal.org
• This year’s Incorporated
Association of Organists Congress
will be held for the first time in
Northern Ireland. Based in Belfast,
the five-day event (20-24 July) will
include visits to eight cathedrals and
churches, in Armagh, Belfast, Derry,
Dublin and Hillsborough, and also to
tourist sites, such as the Giant‘s
Causeway. Performers will include
Peter Barley, Colm Carey, Emma
Gibbins, Gerard Gillen, Stephen
Hamill, Desmond Hunter, Nigel
McClintock, Ian Mills and St Peter‘s
Schola Cantorum. On Friday 22 July,
three younger players (Gerard
Downey, Donal McCann and Paul
Mullen), will give a composite recital
in Armagh Roman Catholic
Cathedral; and the Congress Dinner
will take place in the Europa Hotel,
Belfast on 23 July. Congress is open
to all, whether members of the IAO
or not; day tickets are available.
The Congress Organiser is James
Little, BT 18 9SF; tel (028) 9042 1332
See also www.usoc.org.uk
• We warmly recommend Canticum
Domine, a newly released CD of
splendid organ improvisations (on
chant melodies) by John Columba
McCann OSB, recorded on the organ
of Glenstal Abbey. It is on sale from
www.glenstal.org/shop
• RSCM Music Sunday takes place
this year on Sunday 26 June, or on
any other Sunday that is convenient
to a particular church. More details
and information about how to
become involved can be found at
www.rscm.com/musicsunday
Each year since 1994, Galway Cathedral has presented a summer series of
concerts based around the Cathedral organ. From small beginnings, the series
has grown to become an established part of the city‘s summer festival scene.
From the beginning, Galway Cathedral Recitals' aim has been to promote the
pipe organ in a region where it and its repertoire were not widely enjoyed. To
this end, the annual concert series has presented a mix of Irish and
international performers, as well a balance between solo organ recitals and
concerts involving the organ in combination with other media. There has also
been an emphasis on providing a platform for local and young performers. The
seventeen series to date have presented concerts by more than one hundred
individuals and ensembles, from seventeen counties across four continents.
The 2011 concerts begin on Thursday 7 July, and continue with a concert each
Thursday evening until 11 August. Highlights of the upcoming series include
the opening concert, which will be given jointly by ConTempo String Quartet
and David Grealy (a native of Galway and a former organ scholar in Galway
Cathedral), and the closing concert, to be given by Cristel de Meulder
(soprano) and Jan Van Mol (organ), both from Belgium. A first for Galway this
year is the concert on 4 August, which will consist of organ duets performed by
German husband- and-wife team Stefan and Kathinka Frank.
The original Cathedral organ was built in 1966 by the Liverpool firm of
Rushworth & Dreaper, a little over a year after the Cathedral itself was
dedicated, and served the Cathedral well for forty years in both liturgical and
concert roles. By the late 1990s increasing problems with the old electrical
action, as well as a build-up of dirt in the pipes and soundboards, meant that
work was required; and the opportunity was taken also to undo some of the
design compromises imposed by budgetary constraints in the 1960s. This work
was undertaken by Trevor Crowe, who between February 2006 and August
2007 transformed the instrument from a somewhat underwhelming Romantic
organ into a world-class instrument capable of an astonishing array of colour
and expression.
As an adjunct to the major rebuild, the Cathedral also acquired a second organ,
a new one-manual instrument with four stops. This organ can be positioned
anywhere on the Cathedral floor, and can be used as a solo or continuo
instrument in concerts, as well as to accompany a good-sized congregation.
• recitals.galwaycathedral.ie
• Concerts take place each Thursday evening between 7 July and 11 August
Taking time
for Taizé
TAIZÉ WORSHIP CAN GIVE US ALL A LITTLE
TIME OUT, AND IT HAPPENS RIGHT IN THE
HEART OF THE CITY, AS DANIEL
FRIEDEMANN DESCRIBES
Taizé is the name of a small village in
Burgundy, in the heart of France, and
also describes the simplistic prayer
style with distinctive short meditative
songs from Taizé in different
languages. The ecumenical Taizé
Community was founded in 1940 by
Brother Roger to give shelter to
refugees. Over the decades dozens of
brothers from various countries and
different Christian traditions joined,
and Taizé has since become a place for
thousands of young people from all
over the world who participate in
simple prayers three times a day.
Most songs only contain a few words
which express a basic reality of faith,
can easily be understood, and are
quickly absorbed by the mind. The
beauty of the songs is their simplicity
combined with a harmony of up to
four voices. By repeating them many
times they become a way of listening
to God. Many churchgoers will
recognise Taizé songs even without
knowing where they originate from.
Here at St Finian‘s Lutheran Church on
Adelaide Road, five minutes‘ walk from
St Stephen‘s Green, we hold Taizé
worship every Thursday evening. We
started this in 2005. We place
ourselves in the centre of our church
just in front of the altar, sitting on the
floor with pillows or on chairs around
candles and orthodox icons. Our
prayers are prepared and led by one of
a group of parishioners which gives
each prayer a slightly different touch.
A Festival of Hymns
The Hymn Society of Great Britain and
Ireland is an inter-denominational
organisation and membership is open to
anyone who has an interest in hymns.
There are currently about 500 members
The service contains two readings
(typically the reading for the day as in
Taizé and a Psalm reading) in both
English and German. In the middle we
have a period of silence, which usually
lasts 8-10 minutes, which could sound
long and difficult in the beginning. For
many it has become an important time
to pray silently or let the thoughts find
their own ways to ponder about
difficult questions in a prayerful way.
We end our prayers with a grace said
together as a group.
After the prayer, which lasts about an
hour, we invite everyone to join us for
a cup of tea and biscuits in the
Lutherhaus next door. This provides a
great opportunity to share the
experience with others, find someone
who will listen, or simply catch up with
friends. Sometimes we are treated with
cakes, pies, or yoghurt.
Another integral part is a prayer of
intercession where everyone is invited
to participate. We encourage prayers
in the native language of our guests
even if others might not understand
them. These parts are linked together
by a variety of songs in Latin, English,
German, or French. The individual
selection of songs can shape the
prayer in a special way. Songs are
often started and accompanied by a
recorder or a guitar to assist with the
singing and to add another dimension.
While St Finian‘s is home to the
German-speaking Lutheran
congregation we all speak English.
We invite people from any
denomination to come and experience
the simplicity and beauty of Taizé
prayer.
in all parts of the world. Some have a
special interest in words and/or music;
there are hymn writers, composers, hymn
book editors; many members are
responsible for the choice of hymns in
worship; others are hymn enthusiasts or,
like many of us, simply enjoy singing
hymns.
Members receive a quarterly Bulletin
containing a wide range of articles on
hymns and hymnody, book reviews and
reports of events. Occasional Papers on
specific topics are published separately.
There is also an advice service available
for texts and tunes.
There is an annual three-day Conference
in July with eminent speakers, workshops
and a Festival of Hymns. This is an
excellent opportunity to meet leading
figures in the world of hymnody, and
usually attracts 90-100 members.
To mark its seventy-fifth anniversary this
year, the Society, in association with the
RSCM, is organising local festivals of
hymns.
On Saturday 17 September an Ireland
Festival, themed around ―Hymnody: A
Living Tradition‖, will be held in St Anne‘s
Cathedral, Belfast, conducted by the
noted composer John Barnard.
The HS75 Chamber Orchestra (especially
brought together for the occasion) will
add orchestral accompaniment to a
number of the hymns.
• Taizé worship takes place each Thursday
evening at 8pm at St Finian‟s Lutheran
Church, 24 Adelaide Road, D2
• Interested choirs from across Ireland
should contact Evelyn Todd on (028)
9266 5752 or [email protected]
Reflections of a Nonagenarian Organist!
WILLIAM „BILLY‟ ADAIR, WHO RECENTLY CELEBRATED HIS 90TH BIRTHDAY, SHARES MEMORIES OF HIS
EIGHT DECADES AS A BELFAST CHURCH MUSICIAN
My earliest musical experience was
when I was just a few months old. I had
been bathed and was ready for bed
and I was on my mother‘s knee in front
of a blazing fire. She began singing
softly and slowly, a little gipsy song,
and I cried and cried. It was a sad
melody which affected me and I still
remember it vividly.
Thankfully, I have passed my ninetieth
birthday. For 74 years of my life I have
been a church organist (but never a
Director of Music!).
I had piano lessons from two local
teachers, Mrs McKeown and Miss Rita
Gordon: the latter saw me through
Trinity College London practical and
theory exams as far as Higher Local. In
my first theory exam I got full marks
and a silver medal. Then I had
extended lessons with Captain C.J.
Brennan, the Belfast Cathedral and City
Organist – organ, singing and piano,
plus all the usual paperwork. I did the
LTCL Singing Teacher‘s Diploma with
C.J.
At the age of sixteen I had my first
church appointment: to St Michael‘s
Parish Church, Belfast, at the princely
I was born on 16 February 1921 in the
salary of £40 per annum. There were
North Belfast home of my paternal
four applicants for this position and
grandmother, a large and formidable
the audition piece was Lord, for thy
lady. On looking at me for the first
tender mercies‟ sake by John Hilton.
time she advised my mother to ‗look
(Apparently I was the only applicant
after him well, dear, for you won‘t have
who spotted the altos singing wrong
him long‘. My brother arrived four
notes!) I had three happy years there
years later. We had loving, sensible
before moving to the lovely church of
parents and a happy childhood in
St Patrick, Jordanstown, where I had a
Belfast. I had a good grounding in the
better organ, a poorer choir and a
‗three Rs‘ at St Luke‘s Public
slightly higher salary (£60), but train
Elementary School where we were
fares to pay. The Rector had a bad
paraded to church each morning in
reputation in his handling of organists,
Holy Week, and had ―Religious
but we got on splendidly, and when he
Instruction‖ from the clergy once a
died three years later I decided to
week. Later I went to night classes in
move on.
the Belfast Technical College and read
continuously.
In 1947, St John‘s Malone was
I lived through the ―hungry 30s‖ when advertised. I applied, had a trial and
nothing was handed to you on a plate, got the job at double my previous
and there was no such thing as a ‗free salary! The choir was of boys and men,
which meant more practices and much
lunch‘. You had to pay for what you
hard work. I greatly respected the
got, and that included education. My
Rector, the Revd F.H.P.L‘Estrange, and
parents had sacrificed enough, so at
sixteen I entered the world of business his successor the Revd E.W.L.Garrett:
both faithful priests, Catholic in their
by necessity, instead of the world of
outlook. After fourteen happy years
academia which would have been my
choice. For the next 49 years I worked there I was persuaded to apply for
Lisburn Cathedral and was appointed.
in the textile company William Ewart
Now it was back to women and men
and Son Ltd., and retired as Export
and lots of hard work in quite a
Office Manager in 1986.
different ethos. The choir and
I had known my wife Dorothy since
congregation were warm and friendly
Sunday School days and we were
and the Rector scholarly (M.A., B.D.,
married in 1935 and have a son and a
Ph.D.) but I never really settled happily.
daughter and two grandchildren. We
have lived in the same house for fifty- Three years later, when my local parish
of St Mark, Dundela was seeking an
six years.
organist, I applied and again was
successful. My predecessor was Alan
Angus BMus, FRCO, music master at
Campbell College: a hard act to follow,
as he had the choir of boys, women
and men in prime shape. The post
entailed three practices a week and
many more services, as Saints‘ Days
and other festivals were observed with
the choir in attendance. After three
years I found this a strain and as we
were in the throes of a business takeover I decided to resign. The select
vestry asked me to continue at the
shorter and better-attended of the two
morning services, and this I did without
salary for the next fifteen years, until
the two services were combined.
I bowed out but was by no means idle,
and was called on to fill vacancies at St
Polycarp‘s, St Luke‘s, St Stephen‘s, The
Immanuel, St Mary‘s (on two
occasions), and again at Lisburn
Cathedral. In 1986 St James‘ Parish
Church became vacant and I and two
others agreed to do a month each,
until they could appoint a suitable
person. My first service was a Sung
Eucharist (Harwood in A flat), and
when after the service I went to thank
the choir they invited me to stay. I was
officially appointed that evening and
spent 22 most happy years, until the
church closed on St Peter‘s Day 2008.
(This was my final voluntary there, with
a grandchild on either side.)
I was then redundant but Peter Hunter,
organist of our own parish church, St
Mark‘s Dundela (pictured right), invited
me to play some music before the
services and also Compline in the
evenings. Without the responsibility of
a choir, and with an organ I know and
like, I‘m very happy still doing my bit
Sunday by Sunday.
I retired from business 25 years ago
and immediately enrolled at the Extra
-Mural Department of Queen‘s
University for lectures in Literature,
Anglo-Irish Literature, Poetry, Art,
Theology and Music: easy learning
and no exams! Then out of the blue I
received from the Queen‘s Academic
Council a letter dated 21 July 1994,
informing me that I had been
accepted to provide temporary
teaching assistance in Education.
Since then I have given two courses
on Music each year at Queen‘s – ten
lectures in the Autumn and five in
the Spring term. My ―students‖ have
included the retired Vice Chancellor,
two Pro-Vice Chancellors, a Professor
of Theology, several Grammar School
Headmistresses and Headmasters,
three hospital consultants, an
Archdeacon and a direct descendant
of John Field. I gave my final lecture
last November.
While I have never considered myself
‗old‘, I have entered the ‗twilight
zone‘ and am approaching the
departure lounge; perhaps, in his
incomparable prayer, the sixteenthcentury Dean of St Paul‘s Cathedral
John Donne sums up the thoughts of
this Nonagenarian:
„Bring me O Lord God at my last
awakening into the house and gate of
heaven, where there shall be no
darkness nor dazzling, but one equal
light; no noise nor silence, but one
equal music; no fears nor hopes, but
one equal possession; no ends nor
beginnings, but one equal eternity;
in the habitation of Thy Glory and
Dominion, world without end.‟
And to that I say ―Amen‖.
• We are grateful to Dr Harry Grindle
for facilitating this article
Composer in conversation
COMPOSER TOM LANE DISCUSSES HIS NEW IRISH-LANGUAGE WORK, WHICH WAS
BROADCAST BY THE CHOIR OF CHRIST CHURCH CATHEDRAL ON ST PATRICK‘S DAY
Mar bhí grá Dé don domhan chomh mór sin is a
setting of the Irish text of Eoin (John) 3:16-18.
The piece is not based on Irish folk idioms, but
responds to the text in a contemporary and
immediate style. It was a challenge as a nonIrish speaker to get to grips with the unique
cadences and emphasis of the language, but I
feel that engaging with this beautiful and
unique language has enriched my ability as a
composer.
I studied the text and the translations of the
words extensively before commencing the
composition. I had previously set texts in
English, German and Latin and I found Irish to be particularly expressive in
terms of consonants and word stresses. I was helped by several native
speakers to achieve correct syllabic emphasis and phrasing.
Since coming to Ireland in autumn 2009 most of my work has involved choral
pieces and music for contemporary dance performances. Sometimes, as with
the case of Listowel Syndrome, the two worlds intercept. This was a dance
theatre piece by Emma Martin performed at the 2010 Dublin Fringe Theatre
Festival. I scored the music for four singers and percussion. Through a mixture
of expressive harmony, driving rhythms and extended vocal sounds and
techniques I reflected the dark, violent atmosphere of the piece. A video of
part of the piece can be found on my website.
A vitally important aspect of my life in Dublin is Christ Church Cathedral Choir.
As a bass Lay Vicar Choral I sing regular services in the Cathedral. Being part
of this wonderful ancient tradition has shaped my musical language and
sensibility. It was natural for me to want to write pieces for the choir to sing.
Last year, also as part of the Dublin Fringe Festival, I composed and directed
Experimental Evensong. This was a through-composed setting of the entire
Anglican service of Evensong using modern improvisatory and music theatre
techniques. For example, the opening used the ancient plainchant office hymn
Christ the fair Glory of the Holy Angels, which was sung by each singer
independently as he or she walked into the Cathedral following an individual
path. As they congregated at the back, so did the music; once in formation,
the choir sang as one and responded to the call of the first set of responses
(which were musically linked to the hymn). In this way the whole service was
linked thematically and musically.
In approaching a text, I increasingly seek to bring out the global meaning
behind the words rather than focussing too much on each individual word.
Thus, this piece is smooth and expressive, bringing out the deep meaning and
mystery behind these iconic words rather than seek to use word-painting to
express, for example ―Son‖ or ―begotten‖.
An important part of composition for me is controlling the rate of change of
harmony and melodic development. Mar bhí grá Dé is an example of this,
where the speed of harmonic change increases towards the end of each line
of text and musical phrase. From a static opening of each line, the harmony
gathers pace and heads through several chromatic shifts before settling on a
quasi-tonal cadence. I tend to try to avoid being labelled a ‗tonal‘ or ‗atonal
composer. Both approaches are suitable for different pieces, and indeed often
a piece calls for elements of both.
I am very pleased with the performance the choir gave on the RTÉ St Patrick‘s
Day radio broadcast. They perfectly captured the floating, haunting aspect I
was searching for. Whatever individual beliefs may be, the mystery of the
concept of Christ appearing to man is intensely complex and essentially unexplanatory. My piece does not attempt to define this text, but to present the
words in a hallowed and contemplative light. The recording is available on my
website, and I would appreciate any feedback which readers may have
regarding this or any of my works.
• www.tom-lane.com | [email protected]
10 S O U N D B O A R D A P R I L 2 0 1 1
A guest appearance
at Sunday School
class focused on a different aspect of
the service; readings, music, then
prayers. There is no Sunday school
during the family service, so the
children are present throughout. A
JAMES PASLEY HELPS WITH THE HYMNS Service of the Word is used and church
band (consisting of keyboard, guitars
At Sunday school, we spent some time and drums) plays instead of the organ.
studying the structure of the service.
I was invited to talk to the class about
This was prompted by an open
the music. We set ourselves the task of
discussion on the reasons for why we
picking hymns for the service. Most
sometimes don‘t pay attention in
importantly, we had to ensure that the
church. One reason the children
hymns fitted in with the theme of the
identified was that they didn‘t always
service. The first reading prophesied
understand what was happening or
the coming of a King who will reign
how the various parts of the service
wisely. It also contrasted Him with the
related to each other.
leaders of the day. The second reading
On the three Sundays leading up to
described Jesus as the firstborn over all
the family service on 21 November, the creation, for in Him all things were
created. In the gospel reading, Luke
described the crucifixion and how a
notice read ―This is the King of the
Jews.‖ Thus from the readings we saw
that this was ‗the Kingship of Christ‘.
I have a few self-imposed rules when
picking hymns. I shared these with the
class, and we used them to guide our
choices. Of the five hymns in our
service, the opening hymn should be a
strong one that gets the service off to
a good start; the second and third
hymns should be a gentle response to
what was just read; and the final two
hymns should be livelier so that we
finish the service on a high.
The offertory hymn needs enough
verses to allow the collection to be
The Musical Curate
Lyrics, The Corsair and Mazeppa; Elijah,
Acis and Galatea, Walpurgis Night and
Spohr‘s Last Judgement. As he rarely
gives full titles it is sometimes difficult to
identify the work –―Went over several of
the Joseph dialogues. Only 4 tenors but
they did good work‖. And there are
tantalising remarks: ―Lord O‘Neill played
violin and sang the ―Cat‖ solo admirably‖.
Just before Christmas 1877, on the day
he was made priest, after several
gruelling examination papers, he
attended a service in the
College chapel at 10; ―sat
in the choir and was
warmly greeted by the
professionals. Went up to
St Ann‘s. Enjoyed the
service much. Culwick
played Duett & Chorus
from St Paul, & I felt quite
affected by it. The Archb.
gave me a Bible. To St
Patricks at 3 o‘c. Enjoyed
service greatly. Sir Robert
played his great Xmas
voluntary ‗Nazareth‘‖.
After dinner, there was yet
another service in St
Ann‘s which he refers to
as ―my service,‖ his friends in attendance.
―Wednesday May 1, 1878: Started by 9
bus for Dublin, …Took a cab to Synod
Hall. Service for re-opening of Christ
Church Cathedral commenced at 11.
Choir fair, Organ beautiful. The service
very good, but the sermon was perfectly
inaudible. We unfortunate clerks sat in
the Lady Chapel, where we could not
hear a word. I remained for Sacrament
which lasted till half past 2!!! Went down
to Trin. Coll. And was fed by Jem [his
brother]... paid bills, tried on clothes etc.
Dinner at 6…Went to Harmonic Society
meeting afterwards. Wretched
attendance! Fair practice though! Got
home at 1/4 to 12‖ [by train to Bray and
an hour‘s walk to Enniskerry]. Two very
full days, indeed.
Whelan later gained a Mus.B from Trinity
College while working full-time as a
Rector, and is reported at the organ over
many years with the Diocesan Choral
Union at the turn of the century. Two of
his hymn tunes were still in use in the
1919 edition of the Church Hymnal.
A DIARY REVEALED, BY JUDY
CAMERON
The Revd Ernest Hamilton Whelan began
his ministry in Enniskerry in 1876, just
before Christmas. He joined Powerscourt
parish (under the Rector, the Revd Henry
Galbraith) and served there as curate
until 1883, when he was appointed
Rector of Kilbride Church, Bray. He was a
popular and effective minister in Kilbride
until his death in 1910.
Family tradition tells that he was always
an energetic and musical man – he
played the organ, wrote hymns and
chants, took choir practices, encouraged
his children to play piano and violin, and
was director of at least one public choir.
In the early years of his curacy, he kept a
diary which provides an entertaining and
fascinating glimpse of life in a country
parish in the 1870s. All his parish visits
took place on foot. Enniskerry parish
stretched over miles of mountainous
territory. He wore out his shoes tramping
from one farm to another, climbing walls,
fording rivers, crossing fields, leaping
over fences, in all weathers. He would
come home exhausted and wonder why
he kept falling asleep over his sermon.
Despite this punishing schedule, he
found time for much social activity. He
was young, single and a fine musician
and was welcome in the homes of all the
gentry, where there would often be a
piano (and a pretty daughter). Evening
entertainment depended to a great
extent on music. He would sit at the
piano for hours singing or
accompanying; when friends came to
stay, they were roped in for duets,
quartets, or glees; he carried a key in his
pocket for tuning some of the more
frightful pianos, and expected to work
running repairs on harmoniums. He gave
impromptu lessons to many young
players, and spent much energy sourcing
copies for them. Dodelinette, by Gounod,
seems to have been a favourite in 1877.
Scores were expensive. Sir Robert
Prescott Stewart, renowned organist,
conductor and composer, comments that
each copy of Judas Maccabeus for the
Bray Philharmonic Society cost a guinea.
Whole teams of young ladies and not a
few men spent their spare time copying
out parts in manuscript. Equally, choral
and orchestral works which most people
would never hear in live performance
were adapted for the piano. The Revd
Whelan notes a drawing-room session
where he played through Stabat Mater,
and another with the ‗Jupiter‘ Symphony
arranged for two players. At dinner at
Powerscourt, he ―played part of a Haydn
Symphony with Lady Mildred‖.
We are given an idea of the songs which
were then in the popular
repertoire: The Bells of St
Michael‟s Tower, Old Robin
Grey, and Tom Bowling; ―in
capital voice‖ he sings ‗In
Native Worth‘ from
Haydn‘s Creation at a
concert in Greystones; he
also plays for weddings,
which seem refreshingly
different from the present
day. When Alice Hackett
(from Crinken Rectory)
married John Baptiste
Crozier (who became
Archbishop of Armagh in
1911), he reports that ―the
service was brightened by
music performed by the bridesmaids,
other lady friends, and the bride herself,
who sang like any ordinary mortal‖. Then,
―I played Mendelssohn, to the great
satisfaction of all present‖.
Ernest Whelan certainly considered
himself a serious musician, refusing, for
instance, to take part in too many
entertainments in neighbouring parishes,
in case he ―degenerated into a solo
pianist at small concerts‖. He had a
whole musical life in Dublin. He was a
member of the Harmonic Society and
Trinity Choral Society, and in touch with
all the well known names of Dublin
musical scene. Sir Robert Stewart ―drags
(him) off to settle about the Concert‖;
James Culwick takes him to Alexandra
College to help with the singing there
(―my first time at intoning‖). Rehearsals
took place in private homes – Orpen,
Hackett, Culwick, Stewart, Dix, Elliot,
Peebles all took their turn. Concert
programmes included Melusina, and
Herold‘s Zampa; Mendelssohn‘s
Lobgesang, Beethoven‘s Love and Wine
S O U N D B O A R D A P R I L 2 0 1 1 11
taken up. There should be at least one
hymn that the children know from
school. We should not repeat the same
hymns too often. In our church, the
Rector always has the final say, so we
send the list of suggested hymns to
him for approval.
We also had a list of hymns that the
band has learnt to play, in a table that
contained the information we needed
to apply the rules. The table included
the theme or subject of each hymn as
provided in the hymnbook. It also
specified whether the hymn was lively
or gentle, if it was used in school and if
it had enough verses for the offertory.
We also had a list of the hymns played
by the band on each Sunday during
the last year. This helped with the rule
that stated that we shouldn‘t repeat
the same hymns too often. The
children engaged enthusiastically in
the process of picking the hymns.
Many suggestions were made and
each one was checked against the
rules. Some were eliminated while
some passed all the tests. Children
lobbied for their favourite hymns by
highlighting how many Sundays had
passed since they were last played.
By the end of the class we had a list of
hymns we were happy with that also
obeyed all our rules. Here‘s the list of
hymns we chose, with the numbers in
Church Hymnal:
25, All things bright and beautiful
596, Seek ye first the kingdom of God
276, Majesty, worship his majesty
5, If I were a butterfly
138, Soon and very soon
There was one final rule to be applied,
so we submitted the list to the Rector
for his approval. It was accepted
without any changes!
The service itself was a success: the
various aspects of the service fitted in
with the theme identified by the
readings. The prayers the children had
prepared were used and everyone
enjoyed singing the hymns chosen.
• James Pasley is a member of the music
team at St Andrew‟s, Lucan
Celebrating Victoria
BLÁNAID MURPHY DIRECTS THE PALESTRINA CHOIR IN A MAJOR PROJECT THIS YEAR
To celebrate the 400th anniversary of the death of the wonderful, passionate and
quintessentially Catholic composer Tomás Luis de Victoria, the Palestrina Choir will
perform all twenty of his Mass settings at the Pro-Cathedral throughout 2011.
This is a big undertaking but one that is very exciting for a choir that already has a
large repertoire of Victoria.
A particular highlight for me so far has been the triple-choir Missa Laetatus Sum. I
am also especially looking forward to the sublime Requiem in November.
The schedule is as follows:
Jan 16 Missa O Magnum Mysterium
30 Missa Trahe Me Post Te
Feb 13 Missa Surge Propera
27 Missa Quam Pulchri Sunt
Mar 6 Missa Laetatus Sum
20 Missa Ave Regina
Apr 3 Missa Quarti Toni
10 Missa Pro Victoria
May 8 Missa Gaudeamus
22 Missa Vidi Speciosam
Jun 5 Missa Ascendens Christus
12 Missa Dum Complerentur
Sep 11 Missa De Beata Maria
25 Missa Simile est Regnum Caelorum
Work in progress: The organ of St Fin Barre‘s Cathedral, Cork
The organ, famously located in a pit in the north transept, contains a nucleus
of pipework from the original Hill gallery organ of 1870, reworked and
augmented in successive rebuilds by Magahy (1889), Hele (1906), and Walker
(1966). The present rebuild (by Trevor Crowe Ltd.) incorporates all the existing
pipework in an expanded specification, including a new, Nave Great division
of seven stops located in the old organ gallery (vacated in 1889).
These photographs show the new console and rearranged Choir pipework,
which is now in regular use. The Choir organ soundboard and pipes now
occupy an expanded console cabinet adjacent to the choir stalls, with a lid
which lifts, in grand piano style, to direct the sound into the chancel area.
Oct 9 Missa Salve Regina
23 Missa Ave Maris Stella
30 Missa O Quam Gloriosum
Nov 6 Missa Officium Defunctorum
13 Missa Requiem a 4 voces
• 11am Sunday Masses on the above dates
• www.procathedral.ie/music
Pipe organs: an investment for life
DAVID O‟SHEA PRIORITISES PRESERVING THE PIPES
I don‘t envy any organist who has to
muster up the courage to ask church
authorities to spend a significant sum
of money on the organ. One can
imagine the inevitable questions:
Precisely why does the organ deserve
to have money spent on it? Wouldn‘t
an electronic organ be far cheaper and
just as good? It‘s only an organ after
all—the church existed quite
successfully before the advent of
organs, so why does such an
instrument deserve such a large cut of
the parish budget?
the decades of reliable service that a
well-maintained pipe organ will
provide, unlike a factory-built
electronic which will require
replacement in a few years like any
other electrical appliance.
Because of this, purchasing an
electronic organ in order to replace a
pipe organ that requires a major
overhaul will often provide a false
sense of economy: this can plainly be
seen in the number of churches who
have recently opted to throw out
electronic organs in favour of
overhauling a disused pipe organ or
even installing a second-hand pipe
organ in its place.
Organists would be wise to remind
themselves that most clergy,
treasurers, vestries, parish committees
and other such authorities do not
understand the workings of the organ.
Of course, nobody can blame them for
this: as a non-driver, I don‘t have any
need or desire to understand the
workings of a car. However, sometimes
this lack of knowledge can breed an
indifference towards the fate of an
instrument in the parish‘s care. The
organ is often among the oldest
features of a church building, and so
church authorities have a duty as
custodians of the church building to
protect the organ and to care for its
Why should the organ be a financial
wellbeing as far as possible.
priority for the parish? It can be
difficult to justify spending money on
While several notable restoration
the organ when there are many other
projects have been undertaken over
pressing issues which demand
the last few years, many organists
considerable financial outlay—heating,
continue to struggle to protect their
lighting, building maintenance, etc. I
beloved instrument from ruin in the
recently had a conversation on this
face of a general apathy towards its
fate from those controlling the purse- subject with a member of the clergy
strings. Even during the writing of this who made quite an interesting point,
asking why heating should be given
article I heard sad news about yet
greater priority than the organ since
another perfectly good pipe organ
being evicted from a church in order to music is such a central part of worship
make way for an electronic substitute. and after all, people can always wear
warmer clothes to church if they feel
There is a common perception among cold!
those unfamiliar with the workings of
Unfortunately there is a perception in
organs that electronic organs have
reached a stage of such technological some quarters that music is a
dispensable part of the service and
advancement that they have become
that the organ is only of secondary
cheaper, more reliable and perhaps
importance to the liturgy; whereas, in
even more musically satisfactory than
truth, without a well-maintained organ
the ‗real thing‘. While this might be
to lead congregational singing and
true of a high-quality professionally
provide a musical accompaniment to
voiced installation, utilising a large
the service our liturgy can seem bare.
number of speakers and top-of-therange components, a mid-range
Spending money on an organ is not
electronic installation cannot possibly something that should be done lightly.
compare to a well-proportioned pipe
I am aware of several situations where
organ in terms of musical effect and
churches were so eager to spend
longevity. Spending €50,000 on
money on the organ (either to placate
upgrading a pipe organ might seem
the organist or to use up money
like an enormous expense, but it is
donated for that express purpose) that
value for money when one considers
enormous sums of money were
wasted, in some cases creating more
problems with the organ than had
existed beforehand.
In order to avoid such an unfortunate
situation (and regardless of how small
the job may be) the church would be
wise to employ a consultant to review,
approve, oversee and evaluate the
work. The consultant would ideally be
someone impartial, with a reasonable
(not necessarily expert) knowledge of
organ-building. A well-informed and
open-minded consultant will be able
to present a variety of options so that
the parish can secure value for money.
Parishes on a tight budget needing to
upgrade to a larger instrument need
no longer resort to cheap electronic
organs. Last year I visited St Mary‘s
church, Cahir, Co. Tipperary to play the
organ recently overhauled by Stephen
Adams (pictured left): it is now a socalled pipe/electronic ‗hybrid‘ which
combines the modest pipework of the
original organ with digital stops to
create a versatile instrument which
now gives an excellent account of itself
in the large building which houses it.
The main difference between this sort
of approach and the factory-built
electronic organ is that the electronic
stops are voiced individually to blend
with the pipe stops and also with one
another, giving a coherent, musical
sound with strong impact but also
subtlety when required. A parish
church organ must fulfil a variety of
different and often conflicting roles:
accompanying a choir, leading
congregational singing and playing a
wide range of repertoire from across
different centuries. St Mary‘s now
possesses an instrument capable of
doing all of these things, and it came
at a surprisingly reasonable cost.
Is every pipe organ worth maintaining?
The simple answer is no. There exist a
great number of poor instruments with
ugly cheap cases, lifeless choruses,
unmusical extension schemes, poorly
designed consoles and all sorts of
other shortcomings. However, there
are many fine second-hand organs
available that could easily replace such
instruments at a cost much less than
even a mid-range electronic organ.
Regardless of financial position, there
are many options available to those
churches interested in maintaining an
existing pipe organ or acquiring a new
one. The wonder of a pipe organ is
that with regular maintenance it will
probably long surpass the lifetimes of
every member of the congregation!
Investing in a pipe organ, then, is truly
an investment in the church‘s future.
WE ARE PLEASED TO PRESENT THIS PAGE IN ASSOCIATION WITH
The Royal School of Church Music in Ireland
• We bid farewell to Judy Martin
and Peter Parshall, who recently left
Dublin after eight years here. Under
Judy‘s leadership the worship of
Christ Church Cathedral scaled lofty
heights of musical achievement and
spiritual conviction; while Peter
worked tirelessly for the RSCM in
Ireland and devoted himself to the
music of St Bartholomew‘s and to
music education in general. Many in
Dublin will miss them and their
ministry, and we wish them every
blessing. We also look forward to a
new chapter in the musical life of
both churches.
• Details of our work & future events
are at www.rscmireland.com
Singing for success
All of this built towards the
presentation ceremony at which the
A highlight of the RSCM‘s activities
Dean, the Very Rev Robert McCarthy,
each year is the Voice for Life
presented each chorister with a
Awards Service, at which winners of
certificate marking their Voice for Life
the Bronze, Silver and Gold Awards
success; as a choir and congregation
join together as a massed choir to
were pleased to congratulate them all.
sing a service and are presented with We hope that many of them will be at
their certificates.
another presentation service soon,
The most recent event took place in St being congratulated on receiving their
Patrick‘s Cathedral, where choristers
next award!
from many choirs (under the direction Afterwards, the singers and their
of Stuart Nicholson, Master of the
families gathered at a reception
Choristers) created a marvellous
(kindly hosted by the Grammar
sound in the canticles in B flat by
School) during which the choristers
Dublin‘s famous son Charles Villiers
were once again applauded for their
Stanford, and the radiant O thou the
achievements, and Chair of RSCM
central orb by Irishman Charles Wood. Ireland Peter Barley wished them well
On such an occasion it is exciting to
in their future musical challenges and
see how the singing progresses from encouraged them to start working
relatively humble beginnings in the
towards their next Voice for Life
trebles-only rehearsal to the mighty
award!
sound produced by forty singers in a
Peter commented that ―we are
cavernous cathedral! One junior
chorister, receiving his Bronze Award, delighted by the ever-increasing
decided that his favourite moment of number and standard of entrants. The
Voice for Life scheme is incredibly
the day was ―walking into the
cathedral for the first time, because it valuable to both choir trainers and
choristers, and it helps to produce
was so big and it‘s amazing to think
really well-rounded choristers who
we filled it with our singing!‖
know not just how to sing but what
The organ was played by David Leigh, they are singing about and why!‖
Assistant Organist, and we particularly
enjoyed his vivid illustrations of the
Helen Thomas
―trumpets and cymbals‖ in Psalm 150! [email protected]
Voice for Life is a vocal training scheme
which supports and promotes singing in
churches, schools and communities. It
enables choral singers to develop their
vocal skills, their musical understanding,
and their knowledge of repertoire. There
is a wealth of teaching material and
supporting resources. It is intended to
enable trainers and teachers to train their
musicians highly effectively, and to help
singers grow as people and musicians.
Singers work through a colour-coded
series of grades, and at each level they
are permitted to wear a special medal
with ribbon of the relevant colour. The
Bronze, Silver & Gold Awards are
externally assessed exams that validate
the levels achieved within the choir.
It covers all aspects of singing in a choir,
from vocal technique to knowledge of
theory and repertoire. One of the key
strands is ‗Choir in context‘, whereby
singers develop their awareness of the
meaning and significance of music within
the liturgy, of music‘s spiritual power,
and of their duties as worship leaders.
Voice for Life is highly recommended to
anyone who runs a choir or would like to
learn more about singing. An increasing
number of choir trainers in Ireland are
adopting Voice for Life, so you may well
know one or more of them – do ask
them for advice. Sample materials are
available online so that you can try out
some of the material with your singers.
You might also like to take a look at the
website or contact us for further
information.
• www.rscm.com/voiceforlife
Your Soundboard
write to Your Soundboard, 23 Ludford Park, Ballinteer, Dublin 16
LETTER TO THE EDITOR
Organ access and recitals
How absolutely right Randal Henly is in his
excellent article in Soundboard, November
2010!
Readers might be interested to know that I
recently presented myself in the National
Concert Hall to have a look around, as I had
never been in the venue (despite regular and
frequent visits to Dublin) since the installation
of the Kenneth Jones organ in 1981.
I asked if I might have a look into the main auditorium and view the
instrument. Despite many staff hanging about, and virtually no visitors in the
open Reception area, I was told that it was not possible even to look through a
door and visualise what the auditorium is like. I tried the usual blarney, which
always used to work anywhere in Ireland (―I 've come from the North specially
to see the Hall, Could you not even let me see in, Is the manager about?‖ etc) but all was in vain. So I went my merry way resolving that clearly the National
Concert Hall is a no-go area!
As to recitals, how I agree with Randal Henly. I will not elaborate, except to say
that the powers-that-be so often forget who it is that provides these facilities
(the taxpayers and the citizens), and why they provide them (presumably, to be
enjoyed). The taxpayers and citizens will not for long wish to provide such
facilities simply for the purist!
Having said all that, it is no different in the North, although the Ulster Hall has
at last opened its doors and provides coffees, etc, and one can enter the
Auditorium. We in the Ulster Society have been working with the Belfast City
Organist to try to obtain more access for the ordinary citizen, with some
developing success!
Alasdair MacLaughlin
President, Ulster Society of Organists & Choirmasters
[email protected]
• Rosita Wolfe, Head of Marketing and Communications of the National Concert Hall,
tells Soundboard that “if Mr MacLaughlin had contacted us in advance, we could have
arranged to give him a tour of our venue and the organ. We do not let members of the
public wander freely through our venue of their own will. The National Concert Hall is
welcoming to all visitors and we regularly arrange tours for visitors. The organ is a central
part of the architecture of our main auditorium and is programmed for concerts where
possible. It features across a range of concerts including the RTÉ National Symphony
Orchestra Season.” - Ed.
• We invite you to join the debate. Do you feel that organ recitals can or should have
more mainstream appeal? Why? How? Write or email your views to the address above
CD REVIEW
F.J. Ricketts), and Robert Prizeman‘s
2010, as yet unreleased
stop Cahir organ. The Introit, Kyrie and
Postlude from Eric Sweeney‘s Mass of St
Patrick are played by the composer. The
disc is not yet officially available to buy
due to copyright licensing issues, but this
should change soon. If in the meantime
you wish to acquire a copy, please send a
donation (payable to the Irish Hospice
Foundation) to Stephen Adams,
Tankardstown, Tullow, Co. Carlow (tel 087
643 5374). J.M.
Stephen Adams adds: The CD demonstrates
the many virtues of amalgamating ‗real‘
and virtual pipes. The scheme is both costeffective and mindful of an organ‘s historic
provenance, conserving original material
and character. The result in Cahir is a
dramatically enhanced instrument,
effortlessly venturing from ppp to fff with
seemingly infinite increments of volume
and variety of tone.
Recent Installations: Stephen Adams Toccata for Organ, all recorded on the 32This CD was recorded to raise funds for the
Irish Hospice Foundation and is dedicated
to the memory of Dr Anne Leahy. It is a
compilation of recordings of four recently
restored organs, focusing on the organ in
St Mary‘s, Cahir, Co. Tipperary (see p.12).
The music is played by eleven Irish-based
organists: David Adams, Stephen Adams,
Eanna McKenna, David Milne, Colin
Nichols, Padraig O‘Donovan, David O‘Shea,
Tristan Russcher (also the producer), Eric
Sweeney, Simon Stroughair and Warren
Symes. Between them they play various
pieces from well-known composers of
different eras. The content varies in mood
and style and overall this disc offers a very
positive listening experience, even for
those unaccustomed to organ music.
Examples are Offertoire in D Minor
(Lefébure-Wely), Colonel Bogey March (Lt.
AN APPRECIATION
The Father of
Soundboard
After more than ten years as a
member of the Diocesan Church
Music Committee, Randal Henly has
decided to step down both from the
Committee and as editor of
Soundboard. This magazine was
Randal‘s brainchild and it has gone
far in raising the profile of church
music in the dioceses, further afield
in Ireland, and abroad. From very
simple beginnings to its current
sophisticated and attractive
appearance, Randal has been at the
helm, and has devoted an incredible
amount of time and energy to the
publication.
During a lifetime of teaching at
Mount Temple School on Dublin‘s
northside, he built up quite a
reputation editing school scienceteaching publications; and his skills
and enthusiasm were made freely
available to our committee. His
genius at compiling crossword
puzzles is well known to readers of
both Soundboard and Church Review.
His persistence in extracting material
from reluctant or hard-pressed
contributors is well known and has
resulted in a wide variety of articles
that appeal to all tastes. He has left a
sure foundation on which his
successors will be able to build.
Aside from his teaching career,
Randal has also been active as an
organist: first of all in St Peter‘s
Church in his home town of
Drogheda, and now for a good
number of years at St Mary‘s, Howth.
We thank Randal most sincerely for
his tireless work both as a committee
member and as editor of
Soundboard. At a recent lunch
gathering we said our formal
goodbyes and presented him with a
specially commissioned decanter and
set of glasses. We wish him well in
the future in whatever other activities
he is involved with and pray that
under his guidance the music in St
Mary‘s will continue to flourish.
Donald Maxwell
and the Church Music Committee
‗there is some stylistic variation in
detail and approach‘. While the variety
A most valuable asset
offers choice, and both systems work
Alison Cadden and Peter Thompson,
well, a greater degree of collaboration
Singing Psalms: Responsorial Psalms set
might have led to a more consistent
to Simple Chants, in three volumes.
treatment.
Columba Press, 2008-2010. ISBNs 978 1
85607 722 5 (Year A) 978 1 85607 641 8 It is confusing to see
(Year B) 978 1 85607 679 1 (Year C)
two different methods
of pointing, often on
This is a most welcome publication,
adjacent pages.
made up of three volumes
Thompson has wisely
corresponding to the three-year cycle confined himself to
of the Revised Common Lectionary,
writing just nine chants
containing the Sunday psalms set to
for the entire three-year
music by Alison Cadden and Peter
cycle, which makes
Thompson.
eminent sense. He also
envisages unison
An initiative of the Liturgical Advisory
singing and the keys he
Committee, Singing Psalms is devised
to encourage the singing of psalms by chooses are generally
safe and easy.
the entire congregation.
MUSICAL RESOURCES
The aim has been to provide a way for
everyone to sing the psalms with ease.
I believe that the composers have
achieved this aim and should be
congratulated. ‗Simple Chant‘ is the
name they have given to their chosen
method of setting the psalms, which is
a variation of the responsorial method
used by the Roman Catholic Church
since Vatican II, itself based on the
work of French Jesuit Joseph Gelineau
in the early 1950s.
In the helpful ‗Performance Notes‘,
Cadden and Thompson admit that
BOOK REVIEW
Psalmody and spoons
Margaret M Daly-Denton, Psalm-Shaped
Prayerfulness: A guide to the Christian
Reception of the Psalms
Columba Press, 2010
ISBN 978 1 85607 715 6
On my first encounter with this book I
looked at the cover for several
minutes. It is a very confident,
contemporary design, in plain black,
with white and red script announcing
the title.
Dr Daly-Denton led a Living Worship
session in early 2006 on early Christian
worship. She is a composer, organist
and has lectured in various institutions
on the Bible and liturgy. This book
originated in a commission from the
Dominican friars at the Priory Institute
in Tallaght, Dublin for their distancelearning B.Th degree programme and
as such is more study guide than a
book to be read straight through.
However, it is extremely accessible, in
layout and language, to the ordinary
reader. Dr Daly-Denton advises the use
of a scholarly translation of the Bible
(listed), and suggests that various
Most importantly, the
melodic range is usually
ideal for any congregation, although
his higher G major chant (Psalm 118)
would be sung with less strain if
transposed down a tone.
and be comfortably within the melodic
range of the congregation. A quick
glance at the range of responsorial
psalmody since Gelineau reveals that
the most effective responses are 4-6
bars in length (8 bars being the
exception).
By selecting a verse from
the psalm, Cadden and
Thompson have ended
up with responses of
mostly eight bars in
length, although many
are of up to 12; a few
(quite unmanageable)
responses, such as that
to Psalm 91, stretch to
16!
It would have been
preferable to use the
tried-and-tested Grail
Psalter responses, which
are already widely used in Ireland and
elsewhere. The melodic range of the
responses, too, in many instances
needs to be more in keeping with the
average congregation‘s tessitura.
Alison Cadden writes original chants
to match the sentiment of each psalm Overall, this publication is a great step
and offers the useful option of singing forward in putting the psalms back into
the verses either in unison or harmony. the hands and voices of the people.
It is in the matter of the responses (or Selectively and judiciously used,
refrains) that for me presents the main Singing Psalms can be a most valuable
asset in every parish church.
weakness of this publication. A
response needs to be short and pithy
Derek Verso [email protected]
psalters may also help. She advises
that the opportunity to engage with a
Psalm will present frequently. At these
points precise instructions are given to
aid the reader in thinking for
themselves. No spoon-feeding here!
the Psalms‘, and Grappling with
Lament‘. The author states at the
outset that the book of Psalms is, in
fact, ‗an anthology where compositions
by different authors living at different
times have been collected and
preserved.‘ A glossary at the end of the
book aids understanding of unfamiliar
words. The clever use of icons, one
showing an open Bible, the other a
library (further reading), exists
throughout the book.
The author deals with all aspects of the
Psalms and does not shy away from
the graphic language of violence. She
uses the text of the Easter vigil
(without naming the rite) to
demonstrate how the wording of a
Psalm can point to what was occurring
at the time.
As church musicians, we agree on the
importance of Psalmody within
The book is in four parts, and the list of worship. In warmly recommending this
contents, preceded by a foreword by
book may I challenge us to really
Wilfred J Harrington OP, demonstrates engage with the history, subject matter
a logical approach to the Psalms.
and relevance of the Psalms, thus
Examples of chapter headings are
further enhancing our understanding?
‗Psalms that ask, Where is God in all of
Jacqueline Mullen
this?‘, ‗How the early Christians heard
[email protected]
Bitesize news
• A free edition of Hauptwerk Virtual
Pipe Organ (reviewed in issue 11 of
Soundboard) is now available. The
program allows the user to call upon a
library of pre-recorded ‗real‘ pipe
organ sounds and to play them via an
electronic piano connected to their
computer via USB or MIDI
www.hauptwerk.com
• Just ten years after it was published,
the Church Hymnal (Fifth Edition) is
currently out of print. This
extraordinary state of affairs came to
light late last year when a bookstore
attempted to order copies from the
publisher, Oxford University Press.
However, as Soundboard goes to press,
we are pleased to learn that that the
General Synod Standing Committee
has requested OUP to maintain a stock
of the full music edition. The largeprint words edition will also be
reprinted
• The music sub-committee of the
Liturgical Advisory Committee now
has responsibility for monitoring
developments in hymnody and
searching for suitable material to add
to the resources available to church
musicians and the worshipping
community. Digital technology has
reduced dramatically the cost of
setting and distributing music and a
massive amount of new material is
being published all the time. The subcommittee hopes to make some of this
available to the wider Church by means
of a modest, low-cost supplement to
the current hymnal. This is good news
and Soundboard hopes that any
supplement will include liturgical
material. Many musicians now
understand that the Book of Common
Prayer provides plenty of scope for the
Sunday assembly to ‗sing the liturgy‘ as
well as strophic hymns. Suggestions for
inclusion are welcome and should be
sent to the sub-committee Secretary,
the Revd Peter Thompson, St Michael's
Rectory, 66 Main Street, Castlecaulfield
Co. Tyrone BT70 3NP; email
[email protected]. Other members
of the sub-committee include Bishop
Harold Miller, Julie Bell (Belfast), Alison
Cadden (Portadown), Dr Donald
Davison (Belfast), Jacqueline Mullen
(Dublin), and Derek Verso (Dublin)
• A recording and sample score of
Fraser Wilson‟s musical setting of
Cardinal Newman‘s text A Voice from
afar, composed in memory of Fr John
McKay (a former Vicar of St
Bartholomew‘s, Ballsbridge) and first
performed at his funeral last August,
can be downloaded from his website at
www.fraserwilson.org.uk/voice.htm
Sing to the Word
MUSICAL MARATHON
The importance of effective worship
planning is widely recognised and
Bishop Edward Darling‘s Sing to the
Word is a most valuable reference
resource when selecting hymns from
Church Hymnal. STTW has been out
of print for several years and the
Liturgical Advisory Committee is
examining the feasibility of making
its contents available electronically
through the worship pages of the
Church of Ireland website
www.ireland.anglican.org
(200 yards past Sutton Cross towards Howth
on the corner of Church Road)
Saturday 16 April, 11am-8pm, admission €10
Diocesan survey of church music
As outlined in November‘s
Soundboard, the Church Music
Committee plans to audit church
music in the Diocese of Dublin and
Glendalough. This will commence
immediately using an online facility
and all clergy in the Diocese will
receive a letter regarding this in the
first weeks of April. Our hope is that
clergy and musicians in each church
in the Diocese will complete the
questions together, which should
prove to be a useful exercise.
The Committee believes that this
survey will, amongst other things,
illuminate areas where more
resources and training are needed.
This will help us to plan future events
and to streamline the Archbishop of
Dublin‘s Certificate in Church Music
according to current patterns of
parochial worship.
We are also very interested in
creating a database of musicians
working with children‘s choirs,
Sunday Schools, parish schools, and
parochial youth organisations. If you
or someone in your church fulfils
such a role, please send your details
to [email protected]
• The link for the survey is
www.surveymonkey.com/s/
G2SJ26H
Recent Appointments
• Tristan Russcher is Director of
Music of St Bartholomew‘s, Clyde
Road, Dublin, while Fraser Wilson
remains Assistant Director of Music
• David O‟Shea is Organist of
Sandford & St Philip‘s (Milltown)
Churches in Dublin
• William Woods is Organist of the
University Church, St Stephen‘s Gn
• Aiden Scanlon is Organist of
Clontarf Presbyterian Church, Dublin
And finally...
The next issue of Soundboard will be
published in July 2011; material will
need to arrive by Monday 20 June
Sutton Methodist Church
All proceeds in
aid of St Francis‘
Hospice, Raheny
Each choir will
sing for 30
minutes;
between choirs
there will be
piano and organ
music, and the
audience will be
invited to join in
with well-known
hymns.
Tea and coffee
available all day
“Come for an hour… or stay for the day”
11.15 St Fintan‘s Church, Sutton
12.00 Cameron Singers
12.45 Glasnevin Concert Band
1.30 All Saints‘ Church, Raheny
2.15 St Brigid‘s Church, Killester
3.00 Third Day Chorale
3.45 North Dublin Community Gospel Choir
4.30 Howth Singing Circle and An Góilín
Traditional Singers Club
5.15 Cantairí Avondale
6.00 Fingal Chamber Choir
6.45 Holy Trinity Church Singing Group
7.30 Enchiriadis Chamber Choir
Details from [email protected]
SOUNDBOARD is published by the
Dublin and Glendalough Diocesan
Church Music Committee
Views expressed in signed articles and
letters are not necessarily those of the
editor or Committee
ISSUE
23 (APRIL 2011)
Edited & designed by Fraser Wilson
Photography by FW, Patrick Hugh Lynch,
named contributors, & public domain sources
The editor would like to express his
gratitude to all who have so generously
contributed time, energy and expertise to
this issue. Correspondence and material
for future issues should be sent to
[email protected]
Annual Subscription: €15 / £13
The Church Music Committee supports
and resources music and musicians.
The Committee is appointed by the
Church of Ireland United Dioceses of
Dublin and Glendalough
Chair Archdeacon Ricky Rountree
Secretary Mrs Jacqueline Mullen,
23 Ludford Park, Ballinteer, Dublin 16.
Telephone 01 298 8923
website www.churchmusicdublin.org

soundboard - Church Music Dublin

Transcription

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