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SOUNDBOARD THE MAGAZINE OF CHURCH MUSIC DUBLIN ▪ Giving worship a vibrant voice through music ISSUE 30 NOVEMBER 2013

CHURCH MUSIC AND MUSICIANS

“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 sign-up. 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.

Learning is for life In this issue

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

Pay your Soundboard subscription online Subscriptions for 2014 can be paid now

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Use your debit or credit card and avoid cheque and postage charges

Go to www.churchmusicdublin.org/payment

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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

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.

Living Worship 2014

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 churchmusicdublin@eircom.net / +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

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!

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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 scripturally-based 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.

Children and the Church

JACQUELINE MULLEN on how to make youth-oriented music

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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.

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.

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, hand-blowing 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,

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.

stanleymonkhouse@gmail.com / 087 365 2365

The Port Laoise Organ STANLEY MONKHOUSE, rector of Port Laoise, is also an organist

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Supplement to Church Hymnal JACQUELINE MULLEN provides a progress report

The sub-committee of the Liturgical Advisory Committee with responsibility for the proposed supplement to Church Hymnal, chaired by Bishop Harold Miller, has met regularly over the past four years. It was gratifying that in May 2013 General Synod gave approval for completion of the project.

Ways of producing a book of high quality at relatively low cost are now being discussed. The members of the sub-committee are enthusiastic about the supplement, seeing it not only as a resource to refresh the worship of the Church of Ireland but also as a record of our sung repertoire. Overall, it is important that the supplement will be accessible to all local churches, regardless of size and musical resources.

By compiling a new authorised publication, the Church of Ireland is agreeing on a set of hymns and songs to take us forward for a number of years, as local assemblies and

as a Church.

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 which the sub-committee is particularly enthusiastic, is the liturgical section. The matching of music with the lyrics of new hymns has been undertaken with care and some well-known Irish folk tunes have been included to give the book a sense of location.

The opportunity to include new tunes by Irish composers has not been lost and it is hoped that many congregations will take time to learn some of these, thus affirming the talents within our faith community.

The sub-committee is conscious that particular times in the life of the Christian family, such as baptism, attract visitors to our churches. This knowledge has guided the pairing of well-known tunes with new hymns that reflect the theology of these special events.

In addition to meetings of the full hymnal sub-committee, a sub-group meets under the chairmanship of the musical editor, the Revd Dr Peter Thompson. We deeply 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 proof-reading. 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. honsec@churchmusicdublin.org

Presentation of certificates, November 2012 The Archbishop, Róisin Rowley-Brooke, Stephanie Maxwell, Róisín Burbridge, Inga Hutchinson, Matthew Breen

The Archbishop of Dublin’s Certificate Course in Church Music

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

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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 organ-builder 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.

ronanmurraymusic@hotmail.com. The full specification can be found at www.churchmusicdublin.org/information

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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.

The organ of the Cathedral Church of St Laserian, Leighlin a review by MARK DULEY

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Music appointments at Glenageary

DEREK VERSO, director of music, describes recent developments

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 re-introduced 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

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 on-the-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

versod@indigo.ie

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.

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

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 jonesmce@tcd.ie

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Christ Church Cathedral music IAN KEATLEY on current acvies

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.

Belfast sings at Westminster SIMON NEILL writes about a choir visit to Westminster 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.

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.

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. sineill7@gmail.com

St Polycarp’s at the Abbey

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Schola Cantorum, Galway MARK DULEY on the group’s first twelve months

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

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 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. markduley@gmail.com

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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.

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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 mixed-voice 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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which is appointed by the Dioceses of Dublin and Glendalough to support and resource music and musicians in local churches ISSUE 30: NOVEMBER 2013 Edited & designed by Fraser Wilson Photography by FW, named contributors, & public domain sources Correspondence and material for future issues should be sent to soundboard@churchmusicdublin.org

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Young singers at Christ Church Cathedral’s Summer School 2013 Read the article on page 9

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