A 1 SOUNDBOARD

S O U N D B O A R D A P R I L 2 0 1 1 1

SOUNDBOARD

Organs and organists 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

Choirs and singing 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

Comment and reviews Letters: organs and recitals page 14

The Father of Soundboard page 14

CD review page 14

Musical resources page 15

Book reviews page 15

People and places 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

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!

His is a tough act to follow, no question: and in my first issue as editor I have tried to continue his approach of covering a broad range of subjects which reflect and respond to the needs and interests of church musicians in our dioceses and beyond.

I particularly wanted to celebrate music-making across the generations: while we admire Billy Adair‘s eight decades of devoted service, marvel at the stamina of the Musical Curate, and draw inspiration from Tim Thurston‘s

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.

In keeping with the lengthening days and warmer weather (and this is tempting fate, I know!), there is a focus in this issue on the good things that await us this summer: courses, schools, festivals and recital series. The Pipeworks Festival and the Dún Laoghaire organ concerts probably need no introduction to Dublin readers; but we should spread our wings and visit Galway or Belfast or Glenstal or other places where good music is to be found this summer. And, closer to home, lesser-known joys such as Taizé worship await our discovery.

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 your opinions and knowledge with our readers in a future issue. I hope, too, that I have preserved the essence of Soundboard while also ensuring its continued relevance and vitality; again, to use Randal‘s words from page 1, issue 1, ―the proof of the pudding is in the eating―, and I warmly invite you to send the chef your compliments (or otherwise)! Your input can only help to make Soundboard more interesting, more relevant, and more successful.

Fraser Wilson, Editor [email protected]

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

CHURCH MUSIC AND MUSICIANS

and (as ever) a Multitude of Musical Matters A Musical Marathon page 16 Living Worship 2011 page 2

Taizé worship in the heart of Dublin page 7 The Archbishop‘s Certificate Course page 2 Online resources page 16

2 S O U N D B O A R D A P R I L 2 0 1 1

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

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

Living Worship 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


“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.

I introduced the first series with these words:

―I believe that the human voice is the most beautiful instrument of all and - especially unaccompanied - a choir can be the most moving of all musical sounds. The original purpose of most choral music was of course to enrich

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.‖

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 to include contemporary music.

In a two-hour programme, contrast is important – not just in musical style. I try to vary the vocal and instrumental forces – with different types of choir – male and female voices only – boy trebles and sopranos on the top line – large choirs and small vocal ensembles with one voice to a part, choirs from all over the world – and solo voices are also featured. My definition of sacred music is loose – it‘s certainly not all liturgical: I like to follow a substantial

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.

Music can surely ―take us to the threshold of the full life we hope for‖. To so many it is a great solace in these distracted times – and it gives me the greatest joy to be able to share my musical passions every Sunday.

• Based on a 2008 article in Search

• Gloria is at 7-9am every Sunday morning. Programmes and playlists are available at www.rte.ie/lyricfm/gloria

• Tim would be happy to hear from anyone with queries about recorded sacred or early music, or archival or forthcoming playlists, at [email protected]

Musica Dei Donum Optime TIM THURSTON SHARES HIS THOUGHTS ON HIS ICONIC RTÉ PROGRAMME GLORIA


Sumer is icumen in…Sumer is icumen in…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 much-

loved annual series of organ concerts

at St Michael‘s Church in Dύn

Laoghaire. Now entering its thirty-

eighth 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

Ireland and one of the longest-running

organ series in Europe.

The quality of players is always

exceptionally good and 2011 is no

exception, with the series featuring

some new faces in Andrew Cyprian

Love (Glenstal Abbey), Stuart

Nicholson (St Patrick‘s Cathedral),

Darren Magee (St Mary‘s Pro-

Cathedral), some regular favourites

such as Gerard Gillen and David

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]

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-

finals and finals will as usual take place

at Christ Church Cathedral in Dublin.

The quarter-finals will feature fourteen

competitors (reduced from the largest

ever number of applicants)

encompassing eighteen nationalities

and representing five continents. The

jury members are all internationally

renowned: David Higgs (USA), Jon

Laukvik (Norway/Germany), Sophie-

Véronique Cauchefer-Choplin (France),

Jacques van Oortmerssen (the

Netherlands), and David Titterington

(UK). They will not only provide their

expertise in adjudicating the

competition but will each give recitals

and masterclasses (and for the first

time Irish students will be offered

Pipeworks Scholarships to attend these

masterclasses).

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

Christ Church Cathedral, where the

entire Psalter will be performed in one

day by different choirs or groups of

friends, by singing all 150 psalms in all

their guises: plainchant, Anglican

chant, responsorial psalmody, hymn

paraphrases and favourite composed

settings. Choirs (and groups of friends)

who would like to participate in the

Psalmathon should aim to raise €250

for each psalm that they sing. All the

money raised will go directly to

presenting this year's festival

(Pipeworks is run by a volunteer

committee) and help Pipeworks to

continue its valuable work despite the

current fraught economic climate.

• www.pipeworksfestival.com

• If your choir would like to be involved in

the Psalmathon, please email

[email protected]


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

Irish Church Music Association

4-8 July, St Patrick‟s College, Maynooth

A residential course; the fee includes access

to all classes, accommodation and all

meals . This year the director is Dr Orla

Barry. Daily participants are welcome.

Usually about 200 people attend; the

summer school is built around daily

services of morning and evening prayer

and the celebration of Mass. Very

enjoyable relaxed atmosphere in the

fabulous surroundings of the old college

buildings.

email enquiries@

irishchurchmusicassociation.com

tel 01 708 9478

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

right) where full accommodation is also

available in the Abbey Guest House. The

July course covers repertoire, and is led by

baroque specialist Douglas Hollick; it is

open to organists of all abilities in a relaxed

and supportive learning environment. Bring

whatever music you wish. The August

course covers improvisation and is tutored

by Ansgar Wallenhorst. Alternatively,

forget the organ and just go to breathe in

the idyllic atmosphere that is Glenstal. One

way or another, you will return refreshed!

web www.glenstal.com

email [email protected]

tel 06 162 1000

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

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

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.

All these courses have one common

aim – to provide a friendly

environment in which people can learn

and improve their skills. There are

always ―new‖ people attending who

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?

Here we take note of some of the

principal events taking place in Ireland

this summer.


Summery snippets

• 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

• Now in its ninth year, the Pro-Cathedral 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 email [email protected] 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

Grand goings-on in Galway RAY O‟DONNELL ON THE CATHEDRAL‘S SUMMER CONCERTS

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


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

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.

• Interested choirs from across Ireland should contact Evelyn Todd on (028) 9266 5752 or [email protected]

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.

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.

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.

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.

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.

• Taizé worship takes place each Thursday evening at 8pm at St Finian‟s Lutheran Church, 24 Adelaide Road, D2



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 was born on 16 February 1921 in the North Belfast home of my paternal grandmother, a large and formidable lady. On looking at me for the first time she advised my mother to ‗look after him well, dear, for you won‘t have him long‘. My brother arrived four years later. We had loving, sensible parents and a happy childhood in Belfast. I had a good grounding in the ‗three Rs‘ at St Luke‘s Public Elementary School where we were paraded to church each morning in Holy Week, and had ―Religious Instruction‖ from the clergy once a week. Later I went to night classes in the Belfast Technical College and read continuously.

I lived through the ―hungry 30s‖ when nothing was handed to you on a plate, and there was no such thing as a ‗free lunch‘. You had to pay for what you got, and that included education. My parents had sacrificed enough, so at sixteen I entered the world of business by necessity, instead of the world of academia which would have been my choice. For the next 49 years I worked in the textile company William Ewart and Son Ltd., and retired as Export Office Manager in 1986.

I had known my wife Dorothy since Sunday School days and we were married in 1935 and have a son and a daughter and two grandchildren. We have lived in the same house for fifty-six years.

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.

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 salary of £40 per annum. There were four applicants for this position and the audition piece was Lord, for thy tender mercies‟ sake by John Hilton. (Apparently I was the only applicant who spotted the altos singing wrong notes!) I had three happy years there before moving to the lovely church of St Patrick, Jordanstown, where I had a better organ, a poorer choir and a slightly higher salary (£60), but train fares to pay. The Rector had a bad reputation in his handling of organists, but we got on splendidly, and when he died three years later I decided to move on.

In 1947, St John‘s Malone was advertised. I applied, had a trial and got the job at double my previous salary! The choir was of boys and men, which meant more practices and much hard work. I greatly respected the Rector, the Revd F.H.P.L‘Estrange, and his successor the Revd E.W.L.Garrett: both faithful priests, Catholic in their outlook. After fourteen happy years there I was persuaded to apply for Lisburn Cathedral and was appointed. Now it was back to women and men and lots of hard work in quite a different ethos. The choir and congregation were warm and friendly and the Rector scholarly (M.A., B.D., Ph.D.) but I never really settled happily.

Three years later, when my local parish of St Mark, Dundela was seeking an

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 take-over 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.

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


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 sixteenth-century 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 non-Irish 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 un-explanatory. 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]


A guest appearance at Sunday School

JAMES PASLEY HELPS WITH THE HYMNS

At Sunday school, we spent some time studying the structure of the service. This was prompted by an open discussion on the reasons for why we sometimes don‘t pay attention in church. One reason the children identified was that they didn‘t always understand what was happening or how the various parts of the service related to each other.

On the three Sundays leading up to the family service on 21 November, the

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 Service of the Word is used and church band (consisting of keyboard, guitars and drums) plays instead of the organ.

I was invited to talk to the class about the music. We set ourselves the task of picking hymns for the service. Most importantly, we had to ensure that the hymns fitted in with the theme of the service. The first reading prophesied the coming of a King who will reign wisely. It also contrasted Him with the leaders of the day. The second reading described Jesus as the firstborn over all 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 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

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.


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


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.

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

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


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?

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 wellbeing as far as possible.

While several notable restoration projects have been undertaken over the last few years, many organists continue to struggle to protect their beloved instrument from ruin in the face of a general apathy towards its fate from those controlling the purse-strings. Even during the writing of this article I heard sad news about yet another perfectly good pipe organ being evicted from a church in order to make way for an electronic substitute.

There is a common perception among those unfamiliar with the workings of organs that electronic organs have reached a stage of such technological advancement that they have become cheaper, more reliable and perhaps even more musically satisfactory than the ‗real thing‘. While this might be true of a high-quality professionally voiced installation, utilising a large number of speakers and top-of-the-range components, a mid-range electronic installation cannot possibly compare to a well-proportioned pipe organ in terms of musical effect and longevity. Spending €50,000 on upgrading a pipe organ might seem like an enormous expense, but it is value for money when one considers

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.

Why should the organ be a financial priority for the parish? It can be difficult to justify spending money on the organ when there are many other pressing issues which demand considerable financial outlay—heating, lighting, building maintenance, etc. I recently had a conversation on this subject with a member of the clergy who made quite an interesting point, asking why heating should be given greater priority than the organ since music is such a central part of worship and after all, people can always wear warmer clothes to church if they feel cold!

Unfortunately there is a perception in some quarters that music is a dispensable part of the service and that the organ is only of secondary importance to the liturgy; whereas, in truth, without a well-maintained organ to lead congregational singing and provide a musical accompaniment to the service our liturgy can seem bare.

Spending money on an organ is not something that should be done lightly. I am aware of several situations where churches were so eager to spend money on the organ (either to placate the organist or to use up money donated for that express purpose) that 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 so-called 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.


Pipe organs: an investment for life

DAVID O‟SHEA PRIORITISES PRESERVING THE PIPES


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 A highlight of the RSCM‘s activities each year is the Voice for Life Awards Service, at which winners of the Bronze, Silver and Gold Awards join together as a massed choir to sing a service and are presented with their certificates.

The most recent event took place in St Patrick‘s Cathedral, where choristers from many choirs (under the direction of Stuart Nicholson, Master of the Choristers) created a marvellous sound in the canticles in B flat by Dublin‘s famous son Charles Villiers Stanford, and the radiant O thou the central orb by Irishman Charles Wood. On such an occasion it is exciting to see how the singing progresses from relatively humble beginnings in the trebles-only rehearsal to the mighty sound produced by forty singers in a cavernous cathedral! One junior chorister, receiving his Bronze Award, decided that his favourite moment of the day was ―walking into the cathedral for the first time, because it was so big and it‘s amazing to think we filled it with our singing!‖

The organ was played by David Leigh, Assistant Organist, and we particularly enjoyed his vivid illustrations of the ―trumpets and cymbals‖ in Psalm 150!

All of this built towards the presentation ceremony at which the Dean, the Very Rev Robert McCarthy, presented each chorister with a certificate marking their Voice for Life success; as a choir and congregation were pleased to congratulate them all.

We hope that many of them will be at another presentation service soon, being congratulated on receiving their next award!

Afterwards, the singers and their families gathered at a reception (kindly hosted by the Grammar School) during which the choristers were once again applauded for their achievements, and Chair of RSCM Ireland Peter Barley wished them well in their future musical challenges and encouraged them to start working towards their next Voice for Life award!

Peter commented that ―we are delighted by the ever-increasing number and standard of entrants. The Voice for Life scheme is incredibly valuable to both choir trainers and choristers, and it helps to produce really well-rounded choristers who know not just how to sing but what they are singing about and why!‖

Helen Thomas [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 Your Your SoundboardSoundboardSoundboard email [email protected] write to Your Soundboard, 23 Ludford Park, Ballinteer, Dublin 16

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 science-teaching 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

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 Recent Installations: Stephen Adams 2010, as yet unreleased

This 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.

F.J. Ricketts), and Robert Prizeman‘s Toccata for Organ, all recorded on the 32-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 cost-effective 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.


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 distance-

learning 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

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 book is in four parts, and the list of

contents, preceded by a foreword by

Wilfred J Harrington OP, demonstrates

a logical approach to the Psalms.

Examples of chapter headings are

‗Psalms that ask, Where is God in all of

this?‘, ‗How the early Christians heard

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

worship. In warmly recommending this

book may I challenge us to really

engage with the history, subject matter

and relevance of the Psalms, thus

further enhancing our understanding?

Jacqueline Mullen

[email protected]

MUSICAL RESOURCES

A most valuable asset Alison Cadden and Peter Thompson,

Singing Psalms: Responsorial Psalms set

to Simple Chants, in three volumes.

Columba Press, 2008-2010. ISBNs 978 1

85607 722 5 (Year A) 978 1 85607 641 8

(Year B) 978 1 85607 679 1 (Year C)

This is a most welcome publication, made up of three volumes corresponding to the three-year cycle of the Revised Common Lectionary, containing the Sunday psalms set to music by Alison Cadden and Peter Thompson.

An initiative of the Liturgical Advisory Committee, Singing Psalms is devised to encourage the singing of psalms by the entire congregation.

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

‗there is some stylistic variation in detail and approach‘. While the variety offers choice, and both systems work well, a greater degree of collaboration might have led to a more consistent treatment.

It is confusing to see two different methods of pointing, often on adjacent pages. Thompson has wisely confined himself to writing just nine chants for the entire three-year cycle, which makes eminent sense. He also envisages unison singing and the keys he chooses are generally safe and easy.

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.

Alison Cadden writes original chants to match the sentiment of each psalm and offers the useful option of singing the verses either in unison or harmony.

It is in the matter of the responses (or refrains) that for me presents the main weakness of this publication. A response needs to be short and pithy

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.

Overall, this publication is a great step forward in putting the psalms back into the hands and voices of the people. Selectively and judiciously used, Singing Psalms can be a most valuable asset in every parish church.

Derek Verso [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

MUSICAL MARATHON Sutton Methodist Church (200 yards past Sutton Cross towards Howth on the corner of Church Road) Saturday 16 April, 11am-8pm, admission €10

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]

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 large-

print 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 sub-committee 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

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

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

A 1 SOUNDBOARD

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