Soundboard No. 30 - Church Music Dublin

SOUNDBOARD
NOVEMBER 2013 1
SOUNDBOARD
CHURCH MUSIC AND MUSICIANS
THE MAGAZINE OF CHURCH MUSIC DUBLIN
▪
Giving worship a vibrant voice through music
Learning is for life
ISSUE 30 NOVEMBER 2013
In this issue
“Anyone who stops learning is old, whether at twenty or eighty. Anyone who
keeps learning stays young.” - Henry Ford
When setting up Church Music Dublin in 1990, the dioceses were clear about
the importance of training and they allocated funds to the new body for that
purpose. Since then, much of CMD’s thinking and time has been applied to
providing education programmes for parish church musicians.
Most organisations impress on their employees the importance of continuing
professional development. Why this emphasis on life-long learning? The
increasing pace of change is one of the main drivers. Work life is changing and
most adults are now likely to change jobs several times in their lifetime. We all –
including those who work in churches - need systematically to maintain,
improve and broaden our knowledge and skills. Church Music Dublin urges
every church musician to think positively about training and the benefits it can
bring as they provide music to support the worship of Almighty God Sunday by
Sunday.
Learning does not necessarily involve going on a course. The occasional cup of
coffee and chat with an organist from a neighbouring parish can teach one a
great deal. Do consider attending at least one session of next January’s Living
Worship course (see page 2). You will leave a couple of hours later with at least
one practical idea to bring back to your church. You also will enjoy the thirty
minute break half-way through, socialising with others present. Living Worship
is not only for musicians; parish clergy and singers in choirs have found the
sessions every useful.
Hearts and hands and voices is a very successful course for church organists. It
was first held in South Wicklow earlier this year and will be repeated elsewhere.
Perhaps you might decide to find out more and help with the local
arrangements. A course on how to accompany hymns will be announced
shortly. A training video, similar to Music, Eucharist & You will be produced.
These initiatives should have wide appeal.
And please inform yourself about the three-year training course leading to a
certificate awarded by the Archbishop, even if you yourself do not wish to signup. Several parish musicians are graduates of the course and we look to clergy
and others to draw attention to this valuable training. A one-year foundation
course, tailored for transition year students, will be in place shortly.
If course fees have to be paid musicians need not be shy about seeking
financial help from Select Vestries. Those on church committees will recognise
how in-service training benefits all involved.
While our contribution to parish music may be appreciated and all may be
going well, let us remember that a new generation of musicians must be trained
and nurtured. The worship they support may be different but without well
trained musicians the Church will be the poorer.
Pay your Soundboard subscription online
Subscriptions for 2014 can be paid now
€15 or £13 (3 issues throughout the year)
Use your debit or credit card and avoid cheque and postage charges
Go to www.churchmusicdublin.org/payment
LIVING WORSHIP 2014 … 2
CHILDREN AND THE CHURCH
making youth music … 3
CHURCH HYMNAL SUPPLEMENT .. 3
IN MEMORIAM
two church-music giants … 4
NEW ORGANS FOR ALL
Two new cathedral instruments … 6 & 7
TRINITY COLLEGE DUBLIN … 8
POLYCARP’S TO WESTMINSTER … 9
GALWAY’S SCHOLA CANTORUM … 10
THE GOSPEL ACCLAMATION … 11
2 SOUNDBOARD NOVEMBER 2013
Living Worship 2014
This popular course will take place from 10am to 1pm on three
Saturdays commencing 18 January, as usual in Mageough Hall, Cowper
Road, Rathmines (beside Cowper tramstop).
18 January Speaker: Mark Duley. Re-imagining a tradition.
Mark will talk about new choral and congregational initiatives at Galway's
Collegiate Church of St Nicholas, focussing initially on the recently established
Schola Cantorum. He will make practical suggestions on how to enhance
congregational singing in the liturgy. There will be plenty of scope for learning
and singing new material. Mark Duley is organist and choirmaster at St Nicholas’
Church.
25 January Speaker: Peter Barley. Successfully introducing new repertoire.
Peter will give practical tips on teaching new material to the congregation, using
the supplement to Church Hymnal as a starting point. This session will involve
singing new material, receiving guidance on how to teach it and advice on where
it fits within our worship. Peter is director of music at St Mary’s Cathedral,
Limerick.
1 February Speaker: Aidan Greene. Gospel music within liturgy – an Irish
perspective.
Aidan is the former musical director of Gardiner Street Gospel Choir. He will
discuss the role of Gospel music in the liturgy, in particular in an Irish context.
Aidan’s work as a second level music teacher will inform his presentation of
music that is accessible to all ages. There will be an opportunity to learn new
repertoire and have a good sing.
Information about booking is on www.churchmusicdublin.org
Companion to
Church Hymnal
is a superb resource for musicians and
clergy. It contains fascinating
background information on every item
in Church Hymnal and a useful chapter
on choosing and playing hymns. Soon
will be out of print. Still available at the
special price of €40 from David at
[email protected] /
+353 87 668 3998
Photographs for SB
We welcome readers’ photographs of
church music-related events for use in
future issues. Informal ‘action’ images—
people doing things—are especially
welcome. While there always will be a
place for more formal photos, they will
be used sparingly. Images should be
sent electronically in .JPG format with a
resolution of at least 300 dpi.
Deputy organists
If you are on the deputy organist list, be
sure to let us know when your contact
details change. We receive occasional
complaints that the contact numbers
are incorrect or that organists are no
longer available. To view the list, go to
churchmusicdublin.org/deputy
Remuneration guidelines
The guidelines and recommendations
are on the website. The suggested rates
continue at the 2009 level. The
guidelines are published jointly by
Church Music Dublin and the Advisory
Committee on Church Music of the
Roman Catholic bishops.
Music, Eucharist & You
Have you watched our training video?
www.churchmusicdublin.org/video
Subscriptions
New CD from St Bartholomew’s Church
St Bartholomew’s Church, Dublin 4 has recently issued a new CD, the fourth to
feature the boys and men of the choir. The CD contains an assortment of well–
known anthems and Mass settings, including Haydn’s Little Organ Mass,
Benjamin Britten’s cantata Rejoice in the Lamb and the title track, SS Wesley’s
Easter anthem, Blessed be the God and Father.
The choir was directed by St Bartholomew’s director of music, Tristan Russcher
(pictured above with Father of the Choir Bobby Barden). The organist was David
Grealy, the CD was produced by Judy Martin, and the engineer was Brian McIvor.
Blessed be the God and Father is available at €15. It can be purchased from St
Bartholomew’s Church or online from the parish website
www.stbartholomews.ie and is also available to download from iTunes.
Subscriptions to Soundboard for 2014
will be due in January. There are online
payment details on page 1 and other
payment options are provided on page
12. Should you require additional
copies, please contact us.
When the time comes...
This is not a particularly festive issue of
Soundboard: but then it is hardly time
yet! When Advent has been and gone,
then is the time for rejoicing and
celebrations; so we wish you a very
merry and rested Christmas when the
feast is at last upon us!
SOUNDBOARD
NOVEMBER 2013 3
Children and the Church
JACQUELINE MULLEN on how to make youth-oriented music
Yes - another article on children and
music in church. In preparation for
this article, a quick look at the index
of Soundboard gave rise to the
discovery of some interesting articles
on this subject. Much of what exists
in the archive continues to be
relevant.
Children are brought to church by
their parents, other family members
or guardians. They cannot come
alone and when we discuss ‘children’
per se, we might more helpfully
discuss ‘family’.
While the term ‘child’ indicates
someone of immature years, there is
a vast difference between a toddler
and the feisty 12-year-old. Those
under 18 years are regarded legally
as ‘children’ but often are more
aware of the technical and scientific
world that surrounds us than the
average adult.
We must, while using such
terminology, understand that each
‘child’ is an individual, largely
influenced by their family and
environment. They have individual
preferences and it is not helpful to
assume that they will like a particular
genre of music. (I wonder how retired
people in a congregation would feel
if we put in a special hymn for the
‘oldies’ – watch out for the clip
around the ear!) We must avoid
boxes that are age related and
condescending.
Some might be tempted to say that
anyone under the age of twenty-five
will be comfortable only with loud,
syncopated music by the ‘in’ singers
or bands. This is rubbish! Many
young people learn to play
instruments, others sing and
participate to a high level in school
choirs, and enjoy various types of
music.
Music on the school curriculum does
not allow for a narrow-minded
approach but rather makes the study
of classical, traditional and popular
music mandatory. The opportunity to
perform vocally or instrumentally
from whatever genre is your
particular speciality, is included as
part of the examination
process.
Where small children are
concerned, we do need to
include simple but scripturallybased hymns and songs to be
sung in Sunday school and in
church. We can all benefit from
simplicity. (Older folk may
recall the wonderful biblical choruses
that were typical of some Sunday
schools.)
However, it does nobody any harm to
hear the sounds of good church
music. We wouldn’t exclude a small
child from the table at a family
gathering; they might not appreciate
the taste of the food at a young age
but can sample it and know that it
exists. It can be useful to know what
is being sung at assemblies in the
parish school. The rector may be able
to help if asked regularly; contact the
Principal and ask if there is a
designated teacher with this
responsibility; ask children from the
school what they sing.
There are many adults out there who,
for whatever reason, no longer attend
church and yet they can sing the
hymns they grew up with. Let us
resolve to ‘haunt’ our young people
with a few of the classic hymns that
will remain with them throughout
their lives.
Mention must be made of the largely
unseen work carried out in individual
churches. Young people are included
in choirs that sing to a high
standard. Many of these choirs have
a repertoire that is extremely
demanding. Here we must also
mention the Archbishop’s Certificate
in Church Music, through which a
large number of people under the
age of 25 years have successfully
come, having learned to lead
hymns, Anglican chant, responsorial
psalms, anthems, a setting of the
Eucharist, play voluntaries and
achieve relevant keyboard skills.
The advent of worship songs has led
some to believe that classic hymnody
will fade away. That is very
questionable. It seems that
songwriters are now looking to some
of the great hymns of the past and
one the latest the latest type is the
‘re-imagined’ hymn! This is a classic
hymn (lyric and melody), to which
have been added words and music
for a bridge, a pre-chorus and a
chorus. Put it all together and it’s
new. (For those who are baffled by
the terms ‘bridge’ and ‘pre chorus’
just think ‘interlude’). The other
phenomenon is the use of the phrase
‘Kyrie Eleison’ in new material. You
see, there is ‘nothing new under the
sun’ (Ecclesiastes 1:9).
So, returning to our family
worship. Would it be too much to
suggest that we include as many
varieties of church music as
possible? Do we really need to make
the music so accessible that it is
useless? Back to the school
curriculum: if we are looking to be
‘accessible’, then Shakespeare and
many of the poets on the syllabus
had better be outlawed.
We are deceiving ourselves if we
think that we will attract young
people by changing our music. The
New Testament says nothing about
the first Christians attracting fellow
believers by singing. They preached
the gospel and lived the gospel. If
our music is to the highest standard
that we can achieve, is prayerfully
chosen and properly prepared, it may
sound different to that heard
elsewhere but unlikely to dissuade
people from attending.
Let us resolve to continue to sing the
hymns, yes, even the ones with
inaccessible words. Try ‘Immortal,
invisible, God only wise. In light
inaccessible hid from our eyes’ for a
start. Better still, first find a ten year
old and explain it to them – it will be
good for both of you.
4 SOUNDBOARD NOVEMBER 2013
With sadness, we record the deaths earlier this year,
just weeks apart, of two giants of Irish church music
HARRY GRINDLE 1935-2013
DONALD DAVISON 1937-2013
Harry Grindle joined the choir of Bangor Abbey parish
church at seven years of age and this started a lifelong
love of Anglican church music and liturgy.
He was a graduate of QUB, and studied organ with Flor
Peeters in Belgium and conducting with Sir Adrian Boult
in London.
In 1964 Harry Grindle was appointed Organist and
Master of the Choristers at St Anne’s Cathedral, Belfast,
where he revitalised the music and established and
maintained a very high level of choral singing.
In 1975 he moved to a senior music lectureship at
Stranmillis College of Education. He founded the
Cathedral Consort in 1966 and in 1986, the Priory
Singers, a chamber choir which he directed until 2008.
Harry Grindle was awarded the Lambeth Doctorate of
Music by the Archbishop of Canterbury in 2005 and was
honoured with an MBE in 2009 for his services to music.
His book Irish Cathedral Music (1989) is widely regarded
as a definitive work on the subject.
Harry Grindle died on 4 July.
The Port Laoise Organ
STANLEY MONKHOUSE, rector of Port Laoise, is also an organist
In spring 2011 I came for a job ‘interview’ to Portlaoise. Did it
matter what sort of organ was in the church? You bet it did. I
saw a west gallery instrument with mechanical action, handblowing still working in case of a power-cut. Nothing special
to look at, but certainly nothing offensive. No ugly
excrescences of extra pipes. So what’s it like? A little history
first.
An obsession with size is a normal part of adolescence. It’s
fun swooning over 32 ft flues at York or Carlisle or Durham
or Exeter or Salisbury, and drooling over tubas. I grew up in
Cumberland where there was, and is, only one 32 reed (St
Bees, closely guarded), and only one four-decker (Carlisle,
where I had lessons). But in the churches in and around
Penrith where I did my practising, I came to understand that
size isn’t everything. There was a good 10-stop Nelson at
Renwick Methodist, an aristocratic 25-stop 3-decker Jardine
at Christchurch Penrith, a Hill at Patterdale, an early Harrison
at Kirkoswald, a lovely Wilkinson at Orton (near Tebay). All
tracker with straight (and often flat) pedalboards. Since then,
I’ve played memorable organs by Marcussen, Binns and
Harrison, and now here I am in Portlaoise with its 13 stop
Bevington. Despite an ordinary stoplist, this is an
extraordinary instrument. Whether it’s anything special by
Irish standards I don’t know, but I think it’s a rare treasure.
The quality of tone and forthrightness of voicing are
remarkable. The Great Flauto Traverso (open wood from
middle C up) is big and has great 'presence'. Add the
Principal and you’d swear there’s a fifteenth somewhere,
such is the harmonic development of the latter. The Great
Diapason alone is tremendous, and Great 8 and 4 diapasons,
Donald Davison gained his FRCO at the age of nineteen
and then obtained a degree in Physics from Queen’s
University and a doctorate in Theoretical Chemistry from
Cambridge University. For many years he held a senior
academic post at QUB.
However, fundamentally, Donald was a parish church
musician and one of great distinction. He was appointed
organist at St Jude’s Church in 1964 and was organist at St
John’s Church, Malone from 1977 until his death.
He sat on the Joint Committee for Church Music in Ireland
in the early 1980s and around the same time founded the
Ulster Church Music Centre, which provided much needed
support, training and advice to church organists and choirs.
For twenty-one years he held the post of Belfast City
Organist. Dr Davison was an inspirational organ teacher
and composed many works for church use.
He was music editor of Irish Church Praise (1990) and the
5th edition of Church Hymnal (2000). He joined forces with
Edward Darling to co-author the authoritative Companion
to Church Hymnal (2005).
Donald Davison died on 1 August.
with Pedal 16 coupled to Great and Swell Cornopean make a
most satisfying organo pleno. Try the 6-part Aus tiefer on
this, and revel in the richness. The Dulciana and 4 flute go
well together, though the Dulciana could do with opening up
a bit.
The Swell Open makes a warm sound, just right for
something like Brahms Schmücke dich. Swell chorus, 8 4 12th
and 15th is almost a match for Great 8 and 4. The Swell
Lieblich, again open from middle C, combines beautifully
with the Cor Anglais (a viole really). The Cornopean is loud
and brassy, a bit sluggish, but you can’t have everything. The
full-compass Vox Humana, in a small extension at the back of
the box, sounds well. When slightly out of tune, with the Cor
Anglais and a good bit of imagination, there's something of
the Ile de France, though of course it’s usually more than
slightly out of tune. The stop-head is out of line with the
others, and the engraving doesn't match. Was it a later
addition?
So you’re sat at the console having a good time. You lean
back slightly—and you get a surprise, for loud becomes
louder. Much of the sound goes over your head unless
you’re very tall, and the organ is best heard from the front
pews, or the Rector's stall. A normal congregation of 50 can
easily be led on Swell Diapasons 8 and 4. It is difficult to
persuade the organists of this, so I’m used to being
deafened. Fortunately, I’m deaf.
Please come and try it. Organs need to be played. Ring or
email me to fix. You will be most welcome, and I’m always on
the lookout for people to play in the summer lunchtime
series.
[email protected] / 087 365 2365
SOUNDBOARD
NOVEMBER 2013 5
The Archbishop of Dublin’s
Certificate Course in Church Music
Presentation of certificates, November 2012
The Archbishop, Róisin Rowley-Brooke, Stephanie Maxwell,
Róisín Burbridge, Inga Hutchinson, Matthew Breen
Exam Results, May 2013: Year 3 (Final): Inga Hutchinson, Geashill Honours;
Year 2: Joseph Bradley, TCD Honours; Matthew Breen, Taney Honours;
Stephanie Maxwell, Clontarf Distinction. Year 1: Jonathan Wilson, St Ann’s Honours
as a Church.
Supplement to
Church Hymnal
The material has been
sourced from a wide range
of genres and styles and
reflects a broad church
view. The aim has always
been to include new material
that will sit easily alongside
the current
repertory. Naturally, it is
hoped that members of
other denominations will also choose to
buy and enjoy the supplement.
An analysis of the current (5th edition) of
Church Hymnal revealed areas requiring
further resources. One such area, about
JACQUELINE MULLEN provides a progress
report
which the sub-committee is particularly
enthusiastic, is the liturgical section. The
The sub-committee of the Liturgical
matching of music with the lyrics of new
Advisory Committee with responsibility for
hymns has been undertaken with care and
the proposed supplement to Church
some well-known Irish folk tunes have
Hymnal, chaired by Bishop Harold Miller,
been included to give the book a sense of
has met regularly over the past four
location.
years. It was gratifying that in May 2013
General Synod gave approval for
The opportunity to include new tunes by
completion of the project.
Irish composers has not been lost and it is
hoped that many congregations will take
Ways of producing a book of high quality
time to learn some of these, thus affirming
at relatively low cost are now being
the talents within our faith community.
discussed. The members of the subcommittee are enthusiastic about the
The sub-committee is conscious that
supplement, seeing it not only as a
particular times in the life of the Christian
resource to refresh the worship of the
family, such as baptism, attract visitors to
Church of Ireland but also as a record of
our churches. This knowledge has guided
our sung repertoire. Overall, it is important the pairing of well-known tunes with new
that the supplement will be accessible to
hymns that reflect the theology of these
all local churches, regardless of size and
special events.
musical resources.
In addition to meetings of the full hymnal
By compiling a new authorised publication, sub-committee, a sub-group meets under
the Church of Ireland is agreeing on a set
the chairmanship of the musical editor, the
of hymns and songs to take us forward for Revd Dr Peter Thompson. We deeply
a number of years, as local assemblies and regret the passing of Dr Donald Davison,
who provided valuable advice until ill
health intervened. We were privileged to
enjoy his wisdom and are keen to continue
the musical standard set by him in editing
Church Hymnal.
Some tunes for inclusion in the
supplement require arranging for piano
and organ. Guitar chords will also be
provided. The pitch of the tunes also has
been the subject of serious reflection.
Discussions continue with Cumann
Gaelach na hEaglaise with a view to
making Irish-language resources
available. Options such as the inclusion of
a section of translations from the existing
repertoire in English are being explored.
One such example is The Spirit lives to set
us free, a hymn already available in the
current Church Hymnal. Liturgical items in
Irish may also be included.
Recordings will be made of some items,
adding to the existing resource of CDs
available for use at services. A guide to
choosing hymns and songs from the
supplement with reference to the
Lectionary and Liturgical Calendar is
planned, as is a resource giving the history
of each item, together with biographical
details of authors and composers.
Work continues with seeking necessary
copyright permissions, followed by the
exacting task of typesetting and proofreading. It is anticipated that the
Supplement will be available early in 2015.
Jacqueline Mullen is choir leader at St
Patrick’s Church, Greystones, Hon. Secretary
of Church Music Dublin and a member of
the Liturgical Advisory Committee.
[email protected]
6 SOUNDBOARD NOVEMBER 2013
The organ of St Fin Barre’s Cathedral, Cork
RONAN MURRAY describes the recently rebuilt
instrument, dedicated on 20 October 2013
The organ in St Fin Barre's Cathedral, Cork began life in
1870 as a three-manual William Hill instrument of about
40 stops, situated in the west gallery of this fine French
Gothic revival church designed by William Burges. In
1889, it was relocated to a pit in the north transept by
Magahy of Cork, and underwent subsequent enlargement
to four manuals by Hele of Plymouth around 1906. J.W.
Walker overhauled and revoiced the organ in the 1960s
and it was this much-altered instrument that organbuilder Trevor Crowe was engaged to reconstruct and
expand, starting in 2010.
The organ was supplemented with a west gallery nave
division and major tonal enhancements to the main
instrument, including a full-length 32' extension to the
Pedal Trombone. Of great significance is a revised layout
which enables the previously buried organ to sing
unimpeded into the body of the cathedral.
As the instrument now stands, it is perfectly judged for
the building. Trevor Crowe's extensive improvements to
the layout have succeeded in overcoming the obstacles of
its subterranean location. Whereas before, a listener could
be forgiven for thinking that they were hearing a
recording, on account of the reflected and disembodied
nature of its sound, the organ now speaks with great
clarity and warmth right throughout the cathedral.
The west-end Nave division is especially useful for
accompanying congregational hymns and also adds even
more éclat and immediacy to repertoire requiring another
finely voiced principal chorus, of which the organ has
several. The Pedal's 32' Sub Bass, now augmented by a
Quint 10 2/3 adds especial grandeur to these.
In character, the large variety of flute ranks and orchestral
reeds is delightful, with the presence of two undulating
strings - gentle Vox Angelica in the Swell division and
more incisive Voix Céleste in the Solo - a rare luxury for
an Irish organ. Most of the Choir Organ is housed in an
enclosure attached to the console, the lid of which can be
raised or lowered electrically by the organist. This highly
innovative arrangement allows the division to serve as a
romantic English Choir, a symphonic and classical French
Positif, a German Rückpositiv, and an effective continuo
organ.
The chorus reeds on all divisions are of special interest, as
they cover a huge spectrum of timbre, from the rich
English style warmth of the Solo division's Posaunes,
through more open and fiery Great reeds and Pedal
Ophicleide (available at 16', 8' and 4' pitches),
underpinned by the gravitas of 32' and 16' Trombones,
right up to a superb Tuba on the Solo division.
With 88 speaking stops, St Fin Barre’s Cathedral organ is
now the largest on the island of Ireland, and can safely be
described as one of the truly great organs of Europe.
[email protected]. The full specification can be
found at www.churchmusicdublin.org/information
SOUNDBOARD
NOVEMBER 2013 7
The organ of the Cathedral Church
of St Laserian, Leighlin
a review by MARK DULEY
Leighlin Cathedral must count as one of Ireland’s truly
hidden gems. The monastic site dates back to the seventh
century, the present building to the twelfth. It nestles in its
hollow deep in the Carlow countryside, its presence
unknown to most (although in fact it is mere minutes from
the M9 motorway). As with many Irish country cathedrals,
the nave is seldom used and is divided from the crossing
and choir by a large screen of glass and wood. Sometime
in the late nineteenth century the choir was eventually
fitted out as a parish church, with eastward-facing pews,
and a small one-manual organ by Browne installed in a
newly constructed chamber on the north side.
Ongoing restoration work on the cathedral fabric
necessitated the removal of both organ and chamber (the
latter formed an ugly protrusion into the lady chapel). The
Browne organ did not fit comfortably into the only other
space available for an organ (on the south side, next to the
tower arch) and was moved to the nave, where it awaits
possible restoration or relocation. As the cathedral
community had no available funds for a new instrument
for the choir, Dean Tom Gordon and I decided to seek out
a redundant organ from elsewhere. Our search led us to
Co Durham and the Church of St John the Baptist,
Hamsteels. The little 1909 Harrison & Harrison organ there
stood in a position remarkably similar to that on offer in
Leighlin, and we could see immediately that it would be a
perfect fit.
The instrument itself was in original condition and a
perfect example of the new direction Arthur Harrison was
taking the Harrison firm at that time. It consists of just six
stops: a Great diapason chorus of 8’ & 4’, Swell flute
chorus of 8’ & 4’ plus 8’ string, and pedal 16’. But despite
its diminutive specification, it sounds like a much bigger
instrument. It has all the qualities one would expect of a
Harrison organ of the time: remarkably robust
construction, elegant console in the new style that was to
become a Harrison hallmark (ivory draw stops set in
angled ebony jambs, etc), and a remarkable dynamic
range despite the small number of stops. The voicing style
is not to everyone’s taste – this is definitely an Edwardian
rather than a Victorian organ – but the even perfection of
its execution is without doubt and entirely typical. The
manual and stop action is mechanical, and the pedal
action tubular pneumatic.
We were met in Hamsteels and shown the organ by Bill
Heslop, the Care of Churches Secretary for the Diocese of
Durham, and Richard Hind, the diocesan organ advisor. It
was clear that the diocese was looking for a suitable new
home for the instrument where its quality would be
appreciated and used well into the future. Although there
had been other visitors and expressions of interest, our
situation was considered the only one to meet these
criteria, and so it was agreed that the organ would go to
Leighlin. We then set about the business of having various
renovations undertaken, a side casing made for the
westerly aspect of the organ, and the organ moved to its
new home, all of which was undertaken by Irish organ
builder Trevor Crowe, and his colleagues at P&S Organ
Supply Company in Suffolk. A particularly tricky and
painstaking job was the releathering of the bellows
including a complex concertina connecting them to the
windchest – we were keen to keep this unique feature of
the organ’s winding system. The instrument was ready for
its solemn dedication, in memory of departed loved ones,
by the bishop during a special Michaelmas vespers in
October 2012.
A recurrent comment from those seeing the organ for the
first time is that it looks as if it has always been there, and
it is true that in its proportions and materials it chimes
with its new home very happily. The forthright Great Open
Diapason amply fills the space of the choir and leads the
congregational singing with ease. The little Swell division,
complete with trigger pedal and a particularly beautiful
Salicional, has proved itself on several occasions in choral
accompaniment. Whilst it is not intended that the organ
should be able to lead the singing of a congregation in
the nave, on a couple of occasions recently, where the
whole cathedral has been filled and the screen opened
out, it has managed this task tolerably well. Above all, the
cathedral community is delighted with the revitalised
worship and new musical opportunities the organ has
made possible.
8 SOUNDBOARD NOVEMBER 2013
Chapel Music at
Trinity College,
Dublin
an update
Eleanor Jones-McAuley has been
appointed as Conductor of Trinity
College Dublin Chapel Choir for the
2013-14 academic year. Joseph
Bradley has been re-appointed Organ
Scholar to the College.
Eleanor is from Sandyford in Dublin
and has recently completed her studies
in Music and Modern Irish. She has
been a member of the Chapel Choir
and one of its choral scholars for
several years. In addition to being an
accomplished singer and conductor,
Eleanor is a talented pianist and cellist.
She studies with Arun Rao and Mary
Lennon at the DIT Conservatory of
Music.
Music
appointments
at Glenageary
DEREK VERSO, director of
music, describes recent
developments
Joseph Bradley is
from Lanarkshire in
Scotland and is
studying music at
TCD. He also studies organ with David
Adams (a former Director of Chapel
Music) at the Royal Irish Academy of
Music. Prior to his appointment at TCD
Joseph was organist at St Matthew’s
Church, Newtownmountkennedy.
Kerry Houston, Director of Chapel
Music at TCD said, “Eleanor and Joseph
are working in the chapel at a very
exciting time as we continue to
celebrate the 40th anniversary of the
1973 decision to open College Chapel
for use by the major Christian
Glenageary is in the south Dublin suburbs,
just beyond Dún Laoghaire. This Church of
Ireland parish is one of the largest
numerically in the Dublin diocese and has
a vibrant music tradition going back many
years.
In 2012, the parish church, St Paul’s,
closed for nine months for major
refurbishment. At the re-dedication
service last May our rector, Gary Dowd,
challenged us by saying, “we’ve done the
easy part – we’ve restored the building.
Now for the hard part....we need to look at
ourselves and consider our own personal
renewal”.
A recent survey had pointed to the need
to refresh worship, particularly in the area
of services that would be attractive to the
many young families in the parish. A
monthly ‘All Age’ worship service was reintroduced and the monthly evening
service Worship & Wedges became more
informal and was held in the parish centre.
To harness the musical gifts of the young
people at these services, the parish
advertised for a Music Group Leader and
offered an annual scholarship for a trainee
organist.
Ciaran Smith (pictured above left) was
appointed Music Group Leader. Highly
regarded as a gifted musician and teacher
with many years experience leading music
denominations in Ireland. The College
Chapel and its music is not just for staff
and students at Trinity. Everyone is
welcome at Thursday Evensong
(5.15pm) and Sunday morning Sung
Eucharist (10.45am).”
For further information on the choir or
to enquire about joining, please
contact Eleanor Jones-McAuley at
[email protected]
in churches, his role is to work with me ‘at
developing music skills within the parish’
and to ‘grow our own’ music group.
We received four good applications for
the scholarship, which was offered to
Matthew Breen (pictured below left), an
impressive 15 year old who had won the
Junior Organ prize at the 2013 Feis Ceoil
and had successfully completed the first
two years of the Archbishop’s Certificate
in Church Music.
Matthew will gain valuable practical onthe-job experience of the many skills
involved in parish church music – singing,
playing, taking rehearsals, choir
management, music planning and
administration – and working as part of a
team with Ciaran and me, while at the
same time bringing new ideas and a
freshness to the music of our parish.
At a time of economic recession and
facing repayment of a large debt, these
appointments reflect positively on the
Rector and Select Vestry’s vision for the
future of the parish. “Where there is no
vision, the people perish” Proverbs 29:18
Details of services and music activities are
available on our parish website:
www.glenageary.dublin.anglican.org
[email protected]
SOUNDBOARD
NOVEMBER 2013 9
Belfast sings at Westminster
SIMON NEILL writes about a choir visit to Westminster Abbey
I had full confidence in each singer and the choir sang
some stunning music, matching (I felt sure) the
standard of any English cathedral. Following the
service, while standing outside the Abbey attempting
to work out the direction of our dinner restaurant, I
saw the Dean walking towards me with his hand
stretched out. He congratulated us on a ‘beautiful
service’ and said that he had been moved to tears by
the anthem (Evening Hymn by Balfour Gardiner) and
was greatly looking forward to tomorrow's service. I
was almost speechless -shocked at his kind words and felt relief wash over me as the music for Monday's
service was certainly more challenging than what was
to follow the next day.
St Polycarp’s at the Abbey
Ever since receiving the email last December inviting St
Polycarp’s choir to Westminster Abbey, I had been a
whirlwind of excitement! But reality didn’t hit me until the
Monday morning in August when, weighed down by spare
robes, additional folders, and mountains of anthems and
psalms I took a taxi and arrived at the Great West Door of
the Minster! Guided by vergers and security guards, I was
directed to our spacious rehearsal space. I was quite envious!
The adults rehearsed in the morning, the trebles after lunch,
the full choir at 3 pm and then I had a robed rehearsal in the
Quire Stalls at 4pm. While the choir assembled in the South
Aisle prior to 5 o’clock Evensong, panic set in, especially
when the Dean of Westminster arrived. As we processed
through the Nave and entered the Quire to organ music, I
was reminded of the many television occasions watching the
Royal Family walk the same path. It was reassuring to see so
many family members, friends, and parishioners sitting in the
stalls around us. More daunting, however, were the 600
other worshippers.
Dinner at the Bank, Westminster was a gastronomic
experience of the highest standard and it was wonderful to
sit, relax, chat to friends, and unwind after a long day. I am
fortunate to have wonderful support from the choir,
enthusiastic trebles, fantastic choir parents and friendly
spouses. The social side of any church choir is so important.
Tuesday soon arrived and the same routine. I felt proud to
have our male and female head choristers sing a duet in
Harwood’s Magnificat in A flat. They sang angelically, their
soaring top notes matching their musical ability. Regrettably,
the service soon came to an end and the tour was drawing to
a close. However, the four days were an experience that we
shall all remember for the rest of our lives.
It was icing on the cake when the Dean tweeted about our
tour and personally thanked us. This was followed by a letter
from the Abbey, inviting us to return. To be asked back is a
rare honour and I do hope that we can do so in the near
future.
Simon Neill is Director of Music at St Polycarp's Parish Church,
Belfast. [email protected]
Christ Church Cathedral music
IAN KEATLEY on current ac vi es
Outreach and education are an integral part of the focus of
the music department at Christ Church Cathedral. A Summer
School welcomed children from local schools into the
cathedral community. Participants took part in music
workshops, rehearsals and other events with Director of
Music, Ian Keatley and Education Officer, Lesley-Anne
Carey. At the end of the course, a joint service with the
Cathedral Choir on 6 June really engaged the imagination of
young people who had not previously experienced cathedral
worship and liturgy (photo on p.12).
A Choral Mentoring Scheme continues the programme of
education and outreach. This initiative creates opportunities
to work with talented musicians in developing the
sightreading skills that are essential to pass an audition for
the cathedral choir. At the end of October, four young singers,
Aoife Gibney, George Hutton, Rachel Manning and Kathleen
Nic Dhiarmada started training sessions with Ian Keatley. The
Cathedral Voluntary Choir is another development and has
already sung services, directed by Assistant Organist David
Bremner. The voluntary choir will promote music-making
within the cathedral and also will draw in people of other
faiths who have never been to Christ Church Cathedral before.
The Diocesan Music Outreach programme has also started,
with a visit to Powerscourt, Co. Wicklow to support the local
Harvest celebrations.
Overall, since the end of August, the cathedral has welcomed
seven singers into the main cathedral choir, four students into
the Choral Mentoring Scheme and twelve new choristers into
the Girls’ Choir, which is now oversubscribed. Having said
goodbye to our outgoing Organ Scholar, Donna Magee, who
takes up a post in the parish of Sandford and St Philip’s, we
are delighted to welcome our new Organ Scholar, Martina
Smyth, who joins us from Our Lady of Mount Carmel Church,
Firhouse and the Royal Irish Academy of Music.
Some future events: 7 Nov, 8pm, Fauré Requiem, etc. (Dir. Ian
Keatley). 1 Dec, 5pm, Advent Sunday Procession and Music.
Sunday organ recitals, 4.45pm: 10 Nov, Stephen Disley
(Southwark Cathedral); 17 Nov, Ian Keatley; 24 Nov, Stuart
Nicholson (St Patrick’s Cathedral); 8 Dec, David Adams.
10 S O U N D B O A R D N O V E M B E R 2 0 1 3
Schola Cantorum, Galway
MARK DULEY on the group’s first twelve months
Schola Cantorum programme. This involved singing at the
main Sunday Eucharist as well as at a series of late night
candlelit Compline services, and various other concerts
and events in both church and university. Next up was
the St Nicholas Singers – a large all-comers group of
between fifty and sixty singers, which gave two concerts
of major choral works appropriate to the season, in
Remembrancetide and Eastertide. The anchor ensemble
of the Schola is the already pre-existent Parish Choir:
these dedicated folk provide music for the parish
Eucharist most Sundays and this last year also sang
Evensong several times as well as at the special services of
Advent/Christmas and Holy Week/Easter. As part of the
new programme, the Parish Choir (whilst retaining its
open unauditioned membership policy) has upped its
game both in terms of repertoire and commitment.
With a total of four ensembles offering a wide range of
styles and repertoire, St Nicholas Schola Cantorum has
been able to enrich the liturgical life of the church and
expand the number and range of sung services. It is
encouraging to witness the growing support for the more
contemplative liturgy on offer, such as Evensong and
Compline. The Schola’s educative brief is particularly
evident in the emphasis on musical literacy that forms the
bedrock of the programmes for Choristers and Choral
Scholars. The Schola funds two tutor positions, open to
Choral Scholars possessing the requisite ability, who assist
with sightreading tuition and sectional rehearsals for all
the adult ensembles.
Galway’s most prized medieval building, the Collegiate
Church of St Nicholas, stands right in the heart of the city.
There can be few churches anywhere that enjoy such an
intimate relationship with the surrounding townscape.
This relationship has been given fresh expression recently
in a new musical initiative, looking back to the ancient
medieval college of clerks and choristers (established in
1486) that sang the daily services in the church.
Established in June 2012, St Nicholas’ Schola Cantorum
has three principal aims: enriching worship, educating
singers and promoting the arts.
In what might seem to be somewhat deranged ambition,
the Schola Cantorum committee in less than a year has
established three new ensembles to meet these aims and
drawn over one hundred people into the life of the
church. First up were the Choristers – twelve boys and
twelve girls aged 8-12 who, in their first year of existence,
have sung at seven services and two concerts. Recently
they were the invited guest choir for Grammy-winning
singer/songwriter Tom Chapin’s appearance at the
Baboro festival. The next ensemble to be established was
the Choral Scholars – students at NUI Galway awarded
scholarships funded by the university to take part in the
Galway has a very active arts scene, and the church is one
of the city’s premiere arts venues. The St Nicholas Singers
offer an opportunity for anyone regardless of age or
ability to take part in the arts programme in the church
and sing concert pieces that have a special relevance to
the church year. This stress on access for all is a major
plank in the strategy of the organisation. St Nicholas
Schola Cantorum offers to anyone regardless of age,
gender, ability, denomination or cultural background the
opportunity to be part of a tradition that, whilst over five
hundred years old, looks forward to the ongoing needs of
both church and community. [email protected]
SOUNDBOARD
N O V E M B E R 2 0 1 3 11
Q: I have just been appointed choirmaster of my local church. What qualities do I need?
Colin Mawby: A very important question and you are totally right to pose it. Obviously, musical competence is important but
apart from this you need unlimited enthusiasm. If you have this in abundance you will raise your choir to new levels of
achievement. A choir without enthusiasm is never of great quality: with it one can aspire to ever greater spiritual and musical
heights. This is one of the vital ingredients in a complex recipe. Best of luck!
From Vivace! No. 118 – An online newsletter from Colin Mawby KSG; www.music-for-church-choirs.com
The Gospel Acclamation
DAVID MCCONNELL describes a significant sung enhancement at the Sunday Eucharist
The rubrics and general directions for public worship in The Book of Common Prayer are worth reading from time to
time. They contain a wealth of useful information and guidance. For instance, a rubric on page 204, suggests that ‘A
canticle, psalm, hymn, anthem or acclamation may be sung’ before the Gospel Reading.
In using the term ‘acclamation’, the compilers of the prayer book clearly had in mind the tradition of singing an alleluia
to welcome the proclamation of the Gospel. (This must not be confused with the response1 used after the Gospel has
been announced).
In Zion Church, Rathgar, for some time we have sung the Gospel Acclamation2 to one of the settings provided at No.
713 in Church Hymnal, while whoever is to proclaim the reading moves to the pulpit or other prominent position in the
church. Initially, the singers were a little self-conscious about this innovation but they quickly were singing the
acclamation with conviction. On special occasions, we added a trope (verse) and then repeated the Alleluia. The trope
is a brief sentence appropriate to the Gospel reading or the liturgical season.
The obvious next stage was to sing a trope at every Sunday Eucharist and we made this move very recently, with
immediate success. In time, we hope to encourage the whole worshipping assembly to sing the Alleluia.
Zion Church choir is numerically quite small. Rehearsals take place twice a month before the Sunday liturgy and very
occasionally on weekday evenings. While the music for upcoming Sundays has to be the priority, we are always
working on something fresh and new. I have found that even four or five singers can sing the Gospel acclamation
clearly and with confidence. This gives a slight challenge to the choir and also adds liturgical colour and significance to
a high-point in the Sunday morning worship. Here are examples:
1
In Zion Church, the responses, Glory / Praise to you, Lord Jesus Christ before and after the Gospel Reading are now always said, as
to sing these in addition to the Acclamation would, to my mind, overburden the liturgy with music.
2
From Ash Wednesday to the Wednesday in Holy Week, we substitute the acclamation Praise to you, Lord Jesus Christ, King of
eternal glory using one of settings in the RSCM publication Music for Sunday Services.
12 S O U N D B O A R D N O V E M B E R 2 0 1 3
Young singers at Christ Church Cathedral’s Summer School 2013
Read the article on page 9
Interested in playing brass? St George’s Brass Band is Dublin’s leading adult
brass band, 34 strong, playing a wide variety of music from classical to modern.
The band has performed in the National Concert Hall on several occasions and
performs indoor and outdoor concerts throughout the year. We currently are
looking for two tuba players (B B Bass) and one percussionist. Other
instrumentalists may also apply. We have some good spare instruments, which
we lend to those joining or wishing to learn to play brass. We currently have
several organists in our ranks. We meet on Monday evenings in SS. George &
Thomas Church, Cathal Brugha Street, Dublin 1. Contact: Neville Bryan 847 3111
& 086 894 9344. www.stgeorgesbrassband.ie
Na Draoithe, Chamber Choir of St Mary’s Haddington Road: A new mixedvoice chamber choir will sing regularly at mass in St Mary’s Church, Haddington
Road, Ballsbridge, Dublin under the direction of Kevin O’Sullivan. The choir
accepts singers over the age of 18. Kevin writes that “while sacred music will play
a large part of our repertoire, it is hoped that we will have many opportunities to
try our hand at many genres in concert and competition.” For details, go to the
website www.ceolkevin.com/draoithe.html
Following the recent article in these pages, the Dublin Unitarian Church are
pleased to announce that they have recently launched a Sponsor A Pipe scheme
for their upcoming Organ Restoration to be undertaken by Trevor Crowe. Pipes
range from €40 - €400. Further details of the scheme and the project can be
found on the church’s website www.dublinunitarianchurch.org/restoration
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ISSUE 30: NOVEMBER 2013
Edited & designed by Fraser Wilson
Photography by FW, named contributors,
& public domain sources
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