Soundboard No. 27 - Church Music Dublin

SOUNDBOARD
SEPTEMBER
2012 1
SOUNDBOARD
CHURCH MUSIC AND MUSICIANS
THE MAGAZINE OF CHURCH MUSIC DUBLIN
▪ Giving worship a vibrant voice through music
Sharper service
Welcome to another edition of Soundboard, packed with articles and titbits that
we hope you will find interesting. We discuss the recent Eucharistic Congress
and also include short reports about summer schools. Did you manage to get
to a course this summer? Perhaps not, but nevertheless you visited a church
while on holidays and were inspired (or maybe not!) by something you
experienced. We all need to rethink our role from time to time; even if only to
affirm that we are doing our best within the circumstances. Attending courses
seems to be part of modern working life, whether to up-skill individuals or to
comply with new regulations. Many musicians continue to study and learn,
attending masterclasses and courses regularly. If you are not one of these,
perhaps you need some encouragement:
Do it for you – we should never feel that improving our skills is being selfish.
The better you are, the more benefit to the church. It is good to engage with
new material, ideas and people. If you later wish to move to a different church,
it will aid your application.
Do it for your church – musicians have particular skills to assist our corporate
worship. If your ideas are fresh and innovative, then people will be inspired.
Your church should be pleased to meet half the cost, or even more (as
suggested in the diocesan remuneration guidelines). Ask! Show them this
article if you are shy! Churches have budgetary constraints, like everywhere else;
however, worship is the one activity that differentiates the Body of Christ from
the local club down the road. If we do not invest in equipping the key people
involved, the main calling of the Church will falter. If funds are scarce, select
vestries ought to give priority to expenditure on worship. The clergy of our
dioceses attend a conference each year, usually returning with a spring in their
step. We all need encouragement: to be able to engage with new material and
ideas, away from the demands of the weekly commitment; and to share our
experiences with others (perhaps you will inspire someone else at the course –
yes, you!)
ISSUE 27 SEPTEMBER 2012
IN THIS ISSUE
ICMA SUMMER SCHOOL … 2
THE MUSICIAN AS THEOLOGIAN
BY HOUSTON MCKELVEY … 3
THE SPIRIT OF WORSHIP
TECHNOLOGY & LICENCES … 5
CONSIDERING THE
CONGREGATION … 5
If you are a member of the clergy, please encourage your musician to attend
something and explain why they should do so– they may not wish to spend a
week learning a skill they feel unsure about using. Failing that, as a first step,
ask them to attend Living Worship next January/February. You could come
along too! Courses and seminars of varying length are available at different
times of year and Church Music Dublin will be glad to suggest some.
Elsewhere in this issue, we hear from Gloria’s Tim Thurston about an exciting
project based around Bach’s organ works, from the former Dean of St Anne’s
Cathedral, Belfast Houston McKelvey about the role of the parish musician, and
from Colin Mawby on spirituality in liturgical worship. A feast of interesting
material for you to enjoy as autumn gets under way. In more strictly practical
terms, copyright compliance is part of the Church’s responsibility. It is always
nice to see a friendly face behind the logo, so Chris Williams from CCLI tells us a
bit about himself and his work with churches of all shapes and sizes. There is an
article on the church musicians as theologian, discussion about the role of the
organ voluntary, an update on the proposed supplement to the hymnal,
spirituality in music and lots more, including letters and reflections from YOU,
the readers.
Finally, if this issue brings anything to mind that you would like to share with
the rest of us, please contact us—details as usual are on page 12. Enjoy!
THE EUCHARISTIC CONGRESS … 6
A SIMPLE HYMN ACCOMPANIMENT
for St George’s Windsor … 7
BACH WORKS ON GLORIA … 8
THE RSCM … 9
AROUND THE COUNTRY … 11
2 SOUNDBOARD SEPTEMBER 2012
News from the
Executive Committee
The Archbishop of Dublin’s Certificate in Church Music
Exam Results, May 2012
Year 3 (Final)
Róisín Rowley-Brooke, Nenagh Distinction
Róisín Burbridge, Zion Honours
Helen Dawson, Christ Church Cathedral Group Honours
Year 2
Inga Hutchinson, Geashill Distinction
Jamie Boshell, Christ Church Cathedral Honours
Beth Burns, Geashill Honours
Year 1
Joseph Bradley, Newcastle Distinction
Matthew Breen, Taney Distinction
Stephanie Maxwell, Clontarf Distinction
Committee appointments
Joseph Bradley, recently appointed TCD organ scholar, with director
of chapel music Dr Kerry Houston & Margaret Bridge, choir director
Tristan Clarke, who teaches at St Columba’s College, and Philip
Good, assistant organist in the parish of Castleknock and
Mulhuddart with Clonsilla, have been co-opted to the Executive
Committee. Both are recent ACCM graduates. Tristan tells us that
he accepted the invitation because he wants to help with the
excellent work Church Music Dublin is doing to help educate and
encourage church musicians at all levels. Philip sees joining the
Executive as an opportunity to help maintain and improve the
high standard of choral music in the dioceses. The other
members of the Committee are Archdeacon Ricky Rountree,
Jacqueline Mullen, Maedhbh Abayawickrema, Judy Cameron, Ann
Keary, David McConnell, Donald Maxwell, James Pasley, Derek
Verso, and Fraser Wilson.
Foundation organ / keyboard course
Plans are at an advanced stage for a 4-module foundation course
offering practical training in leading singing from a piano,
keyboard or organ. Topics will include introducing new hymns
and songs, how to practise, and other useful tips. There will be a
mix of group and individual sessions and the rectors of the
sponsoring parishes will attend the first module, with their
musicians. The first course will be launched early in 2013 in a
parish away from Dublin.
Soundboard subscriptions
If you have not yet renewed for 2012 - please do so! If not
already a subscriber - please consider becoming one. It costs only
€15 / £13 per annum. You will find payment details on page 12.
We encourage all readers of Soundboard to share it with their
Living Worship 2013
This popular course wlll take place again on Saturdays 12,19 and choir, clergy, and friends; for extra copies, contact
26 January. Speakers will include Dr Peter Thompson, rector of info@churcmusicdublin.org.
Donaghmore parish (Armagh diocese) and Secretary of the
Hymnal Committee, and the Revd Stanley Monkhouse, rector of www.churchmusicdublin.org
Port Laoise group (Leighlin).
When did you last visit our website? It contains a huge amount of
interesting and relevant information, including the findings of the
2011 Survey of Church Music in the Dublin and Glendalough
Training Video
Responding to a clear need, a short training video on choosing dioceses. And don’t overlook the Links page, which will direct you
music for the Eucharist will be launched later this year. The video to other sites of interest. Please also check whether there is a link
will be on the website with optional supporting documentation from your church’s website to Church Music Dublin. If not,
perhaps you could have a chat with your website administrator!
available for download.
The Irish Church Music Association Summer School
Marty Haugen led this year’s ICMA Summer School in the first week of July, with a gentle grace, encouragement and passion for the
liturgy, which inspired all present. ‘Marty’ is a liturgical composer, workshop presenter, performing and recording artist and author
from Eagan, Minnesota. The week consisted of the usual heady mix of liturgies, rehearsals, tutorials, meals and fun! Over 200 parish
musicians from all parts of Ireland took part in tutorials which included: Repertoire, Primary Schools Music, The Parish Cantor,
Liturgical Composition, Irish Music for the Liturgy, Choral Direction and Conducting, and Organ Tuition.
While the celebration of the Eucharist in Maynooth College Chapel was the
focus and highlight of each day, there were special events throughout the week.
On Tuesday evening, participants and guests celebrated Evening Prayer in St
Mary's Church of Ireland at the College gates and heard a stimulating address
by Archbishop Michael Jackson. On Thursday evening, Haugen launched The
Collected Masses of Fintan P. O’Carroll (Veritas, Dublin), and adapted for the
third edition of the Roman Missal, by the composer’s son, Kevin O’Carroll.
The week provided the opportunity for old friends to greet each other once
more and was also marked this year by a large number of first-timers. A
noticeable trend in recent years is the sizeable cohort of young people. Young
and old alike prayed and sang together in a week that refreshed spirits and
renewed hearts. In continuing the theme of the recent Eucharistic Congress,
people were inspired to 'become what you receive' - or, as was posed to
participants during the week: to 'become “whom” you receive.'
SOUNDBOARD
SEPTEMBER
2012 3
A half-century’s service
David Lawrence retired recently having played the organ in the Tullamore, Co.
Offaly group of churches for over 50 years. On 30 March, St Sinian’s Church,
Tyrrellspass, was packed for Songs of Praise, at which David selected and
accompanied ten well-known hymns. It was a very enjoyable finish to a fulfilling
career. Afterwards, he received a presentation from rector, Canon Gerald Field,
on behalf of the parishioners.
David had an early start on Sunday mornings, as the service at Tyrellspass is at
9.15. He also played at Newtownfertullagh until the church closed in 1989.
Music flows through the Lawrence family. David’s mother, a very competent
and committed organist, played at Rochfordbridge for many years. His
daughter Sandra, plays occasionally, and his grandson Diarmuid O’Brien is
organist at St Michael’s Church, Castletown Geoghegan.
The musician as theologian
HOUSTON MCKELVEY reflects on the role of the parish musician
For me, the role of an organist/choirmaster - call the post what
you will – involves much more than musical knowledge and
ability. It is not simply a matter of producing sounds, no matter
how pleasing they are to the human ear. An organist/choirmaster
will be a person of vision, who knows his/her choir’s abilities and
can gently and responsibly take them to new levels of
endeavour. But I stress that he/she must also be a practical
theologian, an enabling moulder of faith within the parish
community. My views are based not just on reading and study
but on two seminal experiences in my own faith journey.
I think firstly of the small rural parish in which I was raised in the
faith and tolerated in the choir. Despite our small numbers we
maintained a tradition of sung services - Matins and Evensong
were the orders of that day, prior to the parish communion
movement affecting Ireland. Usually we had good and faithful
local musicians as organists. But during one interregnum a
startling development occurred. There were two military bases
nearby, RAF and Royal Navy, and these occasionally brought our
way singers and musicians, some of whom enlarged our vision
and capabilities. One such was an organist and choirmaster who
not only got this small rural choir to sing items from Messiah but
also to record them. This was the era of wind-up record players
and we cut our one and only disk in bakelite. But the experience
did a lot for our choral confidence, our faith, our vision, and our
commitment as choir members. It was obvious that our musical
catalyst had the confidence and support of our rector.
A later experience was during the fourteen years while rector of a
Connor parish – a large public housing estate where we also
sang Matins and Evensong, complete with two different sermons
which I had to craft for each Sunday. The greatest gift available
to me in terms of worship was the organist and choirmaster,
Ernie McCleary. He too had been raised and nurtured in the
Church of Ireland. He was familiar with the Church’s year and was
sensitive to the flow of the liturgy. He chose the hymns and
anthems and, as this was the period of the Ulster Workers’ Strike
and attempted bombings and killings in the immediate area, I
was mighty glad of his assistance. More often than not, the
choice of hymns, particularly the hymn after the sermon, was
more appropriate and sensitive than if I had done the job. Ernie
– a boarding school teacher and superb cricketer, footballer and
golfer – would have told me to feel my head if I said he was a
practical theologian. But that is what this organist and
choirmaster was.
Ask most people in any local congregation or parish who the
theologian is, and they will point you to a clerical figure. Mark
Gorman, writing in the Duke Divinity School Magazine, 1 recently
suggested that congregational musicians, because of their
shared leadership of worship with the clergy, have a
responsibility for the practical daily theology of most worshiping
groups. Making decisions about which hymns to choose, which
anthems to pair to specific biblical texts can have as much
impact on how those texts are understood by the congregation
as anything the preacher says from the pulpit. And that means,
he said, that congregations need to make sure that their
musicians have the resources and training they need to
accomplish that work.
Mark Gorman continued:
“In most churches, the musicians are not world-class performers,
but volunteers or part-time workers, often overworked and
underappreciated.
“Musicians, whether or not they are aware of it are shaping
congregations theologically through their music. Congregations,
even if they don’t explicitly know it, are formed theologically by
the music of their worship services, just as they are formed by the
sermon, the prayers, and the sacraments. Vibrant worship,
therefore, requires that both church musicians and the
congregations they serve become more sensitive to the theological
work of music.”
Clergy and church musicians are in the business of soul shaping
and their efforts must share the same goal. That the overall
theological direction of a parish is the responsibility of the
incumbent and the bishop is a basic legal and doctrinal fact of
the Church of Ireland’s way of being church. But where there is
Christian respect for each other and a sense of mutual
accountability, there is room for two theologians in a parish,
expressing the same truths in complimentary ways. Our constant
aim must be: the Word, spoken and sung, shaping, nourishing
and nurturing the People of God in a manner which truly
reflects the ethos and identity of the Church of Ireland in the
totality of its worship.
1
Duke Divinity School Magazine (North Carolina), Fall 2011
The Revd Houston McKelvey is a former Secretary of the General
Synod Board of Education (N.I.) and was Dean of Belfast from
2001 to 2011. He currently is editorial adviser to
www.churchnewsireland.org
4 SOUNDBOARD SEPTEMBER 2012
Reflections on the Hymnal Supplement
PETER THOMPSON, Secretary of the Hymnal Sub-Committee, provides an update
Last May, General Synod overwhelmingly
endorsed the work done so far on a
supplement to Church Hymnal and asked
the Hymnal Sub-Committee of the
Liturgical Advisory Committee to bring
detailed proposals to the 2013 Synod. A
supplement containing 150 hymns and
songs and liturgical material is envisaged
and, while a publication date has not been
mentioned, it is reasonable to hope that
the Supplement will be in the pews by the
end of 2015. The provisional list of
contents is available on the web at
churchmusicdublin.org/supplement.
songs in use in 2011-12 are not readily
available to most parishes in the Church of
Ireland. The new supplement will include
most of these in a format that is accessible
to parishes with even the most modest
musical resources.
churches or on many occasions, and
whether it is specific to a particular time,
place or event.
To keep costs to a minimum, most of the
work is being done in-house by members
of the LAC and the Hymnal SubCommittee. It is envisaged that there will
be only two editions available: words-only
and a full music edition. All this will help to
keep costs low without compromising
quality. We hope that every parish will use
the Supplement and find their worship
enriched and enhanced by a range of new
music.
Every year new hymns and worship songs
are written – some gain popularity; many
pass out of the memory quickly. The
Hymnal Sub-Committee aims to make a
selection after sifting what has become
available in the past two decades and then
by evaluating what is gaining in popularity.
Sometimes we will get this right – and
Some may wonder why we need a sometimes not – just as for any other For parishes that do not have the benefit
supplement so soon after the publication hymnal.
of live music each Sunday, recordings will
of Church Hymnal, fifth edition, in 2000.
be made available too. It is also hoped that
Others may question whether, in current
a book similar to Companion to CH5 will
financial circumstances, the cost to
be produced to tell the stories behind each
parishes is justified. While it is only twelve
hymn, so that we may sing not only with
years since CH5 was published, it is
the spirit, but also with understanding, and
eighteen years since General Synod
that all we do may be to the glory of God.
appointed (1994) a committee to start the
The LAC has launched a competition to
planning process, which involved agreeing
‘name that book’. Entries to the musical
the contents, editing texts and music,
editor (revpeter@gmail.com
or St
obtaining copyright permission, and
Michael’s Rectory, 66 Main Street,
meticulous proof-reading. So by the time
the proposed Supplement is released, The consultation process has revealed a Castlecaulfield, Co Tyrone, BT70 3NP)
some two decades’ worth of new material real demand for new material, from all before 31 December 2012. The winning
title will be announced at General Synod
will have become available.
parts of the Church of Ireland. We have 2013.
Each year CCLI (Christian Copyright received suggestions of over 1,500 items
Licensing International) produces a list of from clergy, musicians, and others. One
the most popular songs, based on licence frustrating aspect of our work is the reality
returns from across the UK and Ireland. Of that we can use only about one out of The Hymnal Sub-committee: Bishop Harold
the current top 25, only 8 are printed in every 10 suggestions received – and so our Miller (chair), Peter Thompson (secretary),
CH5. It is staggering to realise that over criteria include how wide an application a Julie Bell, Alison Cadden, Donald Davison,
two-thirds of the most popular hymns and hymn has, whether it is sung in many Jacqueline Mullen, and Derek Verso
Pressed into service! How DONALD MCLEAN became an organist
I was very interested in the recent article in Soundboard dealing with simplified hymn
tunes. I am a parishioner in Straffan Church, Co. Kildare and am a past member of 1st
Dublin Company of the Boys’ Brigade, where I joined the band and started learning the
cornet, later progressing to the trombone. This gave me a lifelong interest in music and
instruments: piano, guitar, clarinet, saxophone, flute, double bass, and sweet patio
(search the internet for this one!).
In 1991 the organist, who had played for many years, felt that she would like a break.
After many requests to the Rector to find a replacement, with no results, she issued an
ultimatum: she was retiring and he would have to find a new organist. The Rector
arrived at my home one evening and arranged with my wife that I would play. I learned
of this the next morning! I requested six weeks to practise and told an organist friend
what I had agreed to. While she may have thought me crazy, she gave me a copy of
the simplified hymns tunes book, which I still have. I picked three of the simplest and
best know hymns and practised until I could play without the book. No pedals at that
stage, of course.
At that time there was virtually no choir in Straffan and the Rector, who had a very loud
voice, bellowed out of time while a lady who sat in the choir seats sang out of tune
loudly and raucously. It came to the Sunday of my first appearance as organist and the
lady in question decided to sit right behind me to provide moral support. Readers will
appreciate my unease - but because of my six weeks learning period, I was like a robot
and able to survive. Once the previous organist discovered I could scrape by, she
returned and we played on alternate Sundays and she also played for special services.
By using the book I was eventually able to add the pedals and extra harmony. This did
not suit four-part singing but was better than nothing.
We hope to publish Donald’s article about music in Straffan in the future – Ed.)
A good innings!
Ann Keary is pictured receiving a
presentation from Canon David Moynan
on behalf of the parish in recognition of
her 28 years’ service as organist of
Kiltiernan Parish Church. Ann (also a
member of the Church Music Dublin
Executive) is moving home to Shillelagh,
Co. Wicklow, and so the church is seeking
a new organist. Details of this and other
vacancies can be found on the Church
Music Dublin website.
We wish Ann good luck in her move and
the church as it begins its search for her
successor.
SOUNDBOARD
How Are We?
SEPTEMBER
2012 5
THEO SAUNDERS reflects
I expect that Soundboard is read mainly by people who are actively involved in church music, whether as singers, players, or
conductors. But how often do we consider those who listen to music in church without performing it? Yet these people make up a
pretty good proportion of the church on any Sunday morning. I would argue that we should all take time to listen properly, whether
it be to our neighbours, our selves, or indeed God. And what is the best starting point for listening? I consider total silence, and
stillness to be a very good place; but others may argue that we should be listening in the midst of our daily activities. Perhaps they
both have their place, regardless of our own preferences. No doubt, listening is an excellent prelude to good prayer.
So, when we go to church, what does the music at the beginning of the service do? Does it calm us down, and bring us to a point of
stillness – or does it excite us, and thus prepare us for a rousing opening hymn of praise. Well, sadly, sometimes it does neither. How
often do we encounter a few chords hastily thrown down onto the Swell organ, regardless of the key of the first hymn – or indeed
some strumming on the guitar with the tapping of the microphone to the vocalisation of the words, Testing, Testing, Testing.
Whatever your preference – and you may have other ideas about pre-service music – do think about it from time to time, and be
prepared to ask others what they like, and don’t like: or better still, find out what is beneficial, thus avoiding our likes and dislikes. Is
this something worth discussing with your Rector? Come to think about it, perhaps I had better take a leaf out of my own book and
do the same tomorrow morning – listen!
Theo Saunders is organist and master of the choristers at St Patrick’s Cathedral, Armagh. We were delighted to learn that Theo recently
returned to work after a lengthy illness. theodore5@btopenworld.com
Encouraging the spirit of worship
CHRIS WILLIAMS describes how changing technology is being used to convey the Christian message
As a school leaver I had great plans for my life. Like most boys of
my age I was going to be a pilot, fireman, or rock star. It’s strange
how we can end up in a career that’s a million miles away from
what we planned in the school playground. I joined Christian
Copyright Licensing International (CCLI) in the winter of 1991 at a
time when churches across the UK were going through some
quite radical changes. These were mostly to do with styles of
sung worship, live bands versus organs,
and the technology within the church
building, i.e. how it was to be used.
When I became a Christian in 1983 at a
very small Anglican church in the West
Midlands the congregation was singing
from a mixture of hymn books, songbook
supplements and bright coloured song
sheets that were produced on a badtempered Gestetner printing machine
down in the dark chambers of our
building. To be honest, I hated that
machine, which distributed ink to every
part of my body and clothing and hardly
any to the paper for which it was
intended. Oh happy day when a man took
our Gestetner away and delivered our first
basic photocopier which looked cheap and plastic but cost the
same as a small family car. We could now photocopy from books,
newspapers and other sources. A whole new era of publishing
had arrived. We then purchased a strange machine that projected
through clear plastic acetate sheets – the Overhead Projector.
This, in addition to introducing a new style of ‘hands free’
worship, also introduced us to bad spelling as the acetates were
usually written in felt-tip pen by someone with a very shaky hand.
Today, many churches are looking at new technology in the form
of LCD projectors to deliver words stored on a computer, with
screens that either pop-up out of pews or roll down from the
ceiling at the click of a switch. What's next? Perhaps we'll be
handing out iPads to visitors at the door pre-loaded with
readings and hymns for today's service.
Whichever song delivery system is used for church services, my
role as Key Account Advisor at CCLI is to educate and encourage
churches about the benefits of having the appropriate copyright
licences to ensure hymn/songwriters are properly rewarded for
the reproduction of their work. This role takes me to pretty much
every denomination head office across the UK and Ireland,
Catholic and Protestant, charismatic and traditional, large and
small. What constantly surprises me, over the many miles and
years, is how alive the gospel is in all corners of the Church. A
leader at a Salvation Army Citadel once told me how he gathers
old brass instruments to be refurbished and fixed so as to hand
them on to the children in his local area. These instruments,
trumpets, trombones etc, come with free lessons. While the
children are learning in the lounge their parents are in the
kitchen doing an impromptu Alpha course. Or there’s the church
in Birmingham which has invested in bean-bags and a popcorn
machine to use with their special film nights for children.
None of the CCLI team, to the best of my
knowledge, is passionate about copyright
licences. But as many of the team are
worship leaders and pastors in their local
churches, we get quite excited to see how
sung worship, though diverse in sound
and delivery system, is very much alive dare I say evolving. The vision statement
at CCLI is to Encourage the Spirit of
Worship. When I first started at CCLI
there were 6,000 churches licensed with
one type of licence. Today, CCLI licenses
over 23,500 churches and 14,000 schools
with six different licences covering music
performance, song projection and the use
of films. Churches are embracing all of the
different means of multimedia available to
them. The Apostles travelled the Roman roads and Martin Luther
had the printing press to deliver the gospel, so it is easy to
believe that the internet is to play a strong role in current church
communication. A number of Roman Catholic churches in my
own area are now streaming their services live to local old
people’s homes and those not able to get to church because of
illness. Websites are great communication tools providing maps,
testimonies and even a means of hearing last week’s sermon,
which has been made available as a downloadable Podcast.
So the message remains the same but the styles, people groups
and technology change. I believe strongly that we should never
fear change, but also that change should never control us. As for
the future I’ll keep travelling the miles meeting leaders to try to
break down some of those fears and misunderstandings that can
quite easily creep into matters such as these. I hope to hear new
testimonies from churches who have found ways to use modern
technology and resources to communicate the gospel in the
language and understanding of society around us – in short…to
keep on Encouraging the Spirit of Worship.
Chris Williams is Key Account Manager for Christian Copyright Licensing
International (CCLI) and is an elder who heads up the worship team at
ChristChurch, a New Frontiers church in Hailsham, East Sussex.
cwilliams@ccli.co.uk
6 SOUNDBOARD SEPTEMBER 2012
Have we lost the plot?
Controversy about the music used at the International Eucharistic Congress
prompts DAVID MCCONNELL to reflect on singing the liturgy
Criticism of the music used during the concluding Mass at the
recent International Eucharistic Congress (IEC) has raised
questions that every church musician should reflect on from time
to time: What is the purpose of music in worship? How is that
purpose best fulfilled?
Speaking at a meeting of American church musicians in Salt Lake
City on 27 June, the Executive Secretary of the International
Commission of English in the Liturgy (ICEL) launched an
outspoken attack on changes to Roman Catholic worship
introduced since the Second Vatican Council. Msgr Andrew
Wadsworth instanced the closing Mass of the recent IEC in
Dublin as harking back to immediately after Vatican Two, with its
absence of Gregorian chant and Latin. He complained of the
appalling banality of much liturgical music and the lack of any
true liturgical spirit in the use of music.
Fr Wadsworth complained that at the Mass in Croke Park on 17
June, none of the antiphons of the proper were sung for the
entrance offertory and communion processions, and he spoke
scathingly about the “celebrity spot during the distribution of
Holy Communion” when three clerical tenors sang “the
impossibly sentimental song ‘May the road rise to meet you’”
“What is wrong”, he asked, “with the Communion antiphon and
psalm?”
However,
Fr
Paddy
Jones, Director of the
National Centre for
Liturgy at Maynooth
described
the
comments as “unhelpful
and unfair and not
reflecting what those
who were present are
saying.. He said “there’s
lots of loose language
in his criticism of the
closing Mass”. Fr Kevin
D o r a n,
Secretary
General of the IEC,
wrote that he felt that
Msgr
Wadsworth’s
concerns “were more
about
the
Second
Vatican Council than
the Eucharistic Congress. The Congress simply happens to be a
convenient target for him”.
Catholic Liturgical Music
Whatever one’s view of Msgr Wadsworth’s comments (and I
believe many musicians will privately concur to some extent), it is
worth exploring a little of his thinking. A starting point is an
address1 he gave in London in May 2012 to a meeting of church
musicians from the Archdiocese of Westminster. He spoke about
the value of liturgical chant,
“which enables the word of truth to be expressed in the beauty
of song in a way which is not adequately described by the
comparatively sterile designation of the individual elements of
words and music. In our Catholic tradition, liturgical chant is first
and foremost cantillation, a song which arises from the text, a
song which is essentially a heightened proclamation of a verbal
message and which takes its emphases from the natural
accentuation of the text and finds its melodic rhythm from the
cadence which is already in within the words.”
Others deal with this subject.
At the conclusion of the first part
of a paper2 on the use of strophic hymns in Anglican and
Catholic worship, Fr Mark Woodruff (a former Anglican cathedral
organist) argues that “when English hymnody is used just to give
the congregation something to do, as if assisting through other
parts of the liturgy was doing nothing, it distorts its purpose in
the non-Catholic traditions that formed it, and undervalues the
use to which it can be put in the Roman liturgy”. On the other
hand, he continues, when Anglicans uses strophic hymns with
thought and sensitivity, such hymns can become a means of
mental engagement and active participation in the liturgy, as
opposed to simply ‘joining in’.
Frs Wadsworth and Woodruff are among a growing number of
thoughtful people who feel that worship in many Catholic
parishes has become banal to an extreme, has been dumbed
down and has lost the sense of awe which many instinctively
long for. Musicians in the Church of Ireland would do well to be
aware of these views which, in essence, call for increased
reflection and discussion about what constitutes ‘music of
worship’ as opposed to merely ‘music in worship’ – a subtle, but
important differentiation.
Liturgical worship in the Church of Ireland
Liturgical worship is a fundamental aspect of our Church of
Ireland / Anglican tradition. In the Office (Morning and Evening
Prayer) the Psalms and canticles such as Benedictus and
Magnificat have been sung
to Anglican chant for over
300 years. More recently,
successive speakers at the
annual
Living
Worship
course in Dublin have drawn
attention
to
the
key
importance of encouraging
the
whole
worshipping
assembly to sing at least
some of the unvarying parts
of the Eucharistic liturgy
(Kyrie, Gloria in excelsis,
Acclamations, Sanctus) to
simple melodies.
When the use of strophic
hymns (those that repeat
metrical verses to the same
melody) became widespread
in the Church of Ireland in the mid-19th century, their value was
probably seen mainly in terms of conveying the religious
meaning of services, nourishing popular devotion with Scriptural
substance, and helping to put faith into words and practice. In
more recent times, and reflecting the extent to which the
Eucharist has moved centre-stage in Church of Ireland worship,
the concept of liturgical hymnody has developed, as evidenced
by official and quasi-official publications.
In 1990, in its report Silent Worship?3 the Joint Committee for
Church Music (representing the Church of Ireland Choral Union
and RSCM), stated that “Church Music means singing the Liturgy,
regularly every Sunday. The function of church music is to
emphasise and intensify significant parts of the Liturgy (e.g.
Gloria, Sanctus, Benedictus and Magnificat). Hymns and psalms
are our response to hearing and receiving the word of God in the
Liturgy.”
More recently, the 2004 edition of The Book of Common Prayer
directs that “in the selection of hymns, careful attention should
be given to ensure that they are appropriate to the Bible
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readings and sermon”. (The compilers might usefully have added
that hymns also should be appropriate to their position within
the Liturgy.) Church Hymnal, 5th edition, unlike its predecessors,
has a separate liturgical section and it is heartening to know that
the forthcoming Supplement will add to the existing official
provision. The clear implication of all this is that liturgical song is
at least as important as strophic hymns and that great care is
needed when selecting and positioning hymns. As Mark
Woodruff succinctly observes, “It is not a matter of choice and
favourites, but of design and fit.”’
SEPTEMBER
2012 7
out of place. Though, interestingly, the piece is not mentioned
on the IEC website, so may have been a last-minute production
decision, to appeal to the television audience.
Let Brendan Conroy, composer and leader of the young people’s
choir in Holy Cross Church, Dundrum, writing in The Irish Catholic
(26 July) have the final word.
“I love Gregorian chant ... I love Taizé chant even more ...
Amazingly to me, I know some people who find both Gregorian
and Taizé chant a little weird! And so we sing other songs that
people judge to be prayerful, perhaps because in singing them
people touch, in an intangible way, a profound truth that we all
Back to the I.E.C.
The programme of music used at the week-long IEC is still on the profess to believe, that we are really and truly the risen body of
official website4. Broadly speaking, it reflects what is used in Christ on earth.”
parish churches throughout Ireland Sunday by Sunday. If one of
1
The full text of Msgr Andrew Wadsworth’s address is on the
the purposes of music in worship is to create a sense of
Church Music Dublin website
community and to point towards the Almighty, then most will 2
The Hymn Society Bulletin, Summer 2012
The report Silent Worship? is on the website
agree the choice was appropriate for the occasion. Perhaps, in 3
The list of IEC music is also on our website
retrospect, one of the Masses should have used the propers, 4
sung to traditional chant. “May the road rise to meet you” sung David McConnell is organist at Zion Church, Rathgar and the Church of
by three priest-tenors certainly was an error of judgement and the Three Patrons, Rathgar. davidmcconnell@eircom.net
Simplified hymn accompaniments
Eight simplified hymn accompaniments are now on the Church Music Dublin website, including St George’s, Windsor, firmly
associated with the Harvest-tide hymn Come, ye thankful people, come.
The text, by the Revd Henry Alford, was first published in 1844. Henry Alford was a man of many literary gifts. He died in 1871,
having been Dean of Canterbury since 1857. The original text was altered considerably by Alford and others. The version in
CH5 closely follows an 1865 version.
The tune, St George’s, Windsor, first appeared in 1858 and has been associated with the text since the first edition of Hymns
Ancient and Modern in 1861. The composer, George Job Elvey, was Organist and Master of the Choristers at St George’s
Chapel, Windsor from 1835 to 1882. Elvey wrote many Anglican chants, 17 of which are included in The Irish Chant Book. G.J.
Elvey’s elder brother, Stephen Elvey (1805-1860), while rather less prolific, is also well represented in the ICB.
8 SOUNDBOARD SEPTEMBER 2012
Bach organ music on Gloria
TIM THURSTON suggests how organists can become involved with Gloria transmissions
For over 15 years I have had the pleasure every Sunday of sharing my love of sacred
music of many sorts from many centuries over the airwaves and internet on Gloria on
RTE Lyric FM.
For the forthcoming church year, beginning on Advent Sunday, 2 December 2012, I
intend to play approximately 15 minutes of Bach’s organ music every Sunday morning
at around 9 am. Many of the chorale preludes are specific to particular Sundays and I
will precede these with appropriate cantatas by Buxtehude or Schütz. Just as the
cantatas astonish with one unknown musical delight after another, so the organ works
are known to a tiny proportion of music lovers - I fear the airwaves are not over full of
the sound of the King of Instruments - even by the King of Composers! Even rarer are
performances of the superb works of his greatest predecessors.
I would like to inform Irish organists which works may be heard, so they may if they
wish play the same works live during - or before or after - their liturgies later on the
same day. A detailed list of my selection will be on the Gloria page of the Lyric website
and on the Church Music Dublin website. I also hope to set up a facility, possibly using
Facebook, to advertise where the works may be heard live and every now and again I
will mention on air the opportunity for Gloria listeners to visit their local churches to
experience the "live event".
For those organists who have been considering making a recording then this would be
a good time to do so. The more Irish organists and instruments I can include the better
- though I cannot guarantee inclusion! Keep an eye on www.rte.ie/lyricfm/gloria and
www.churchmusicdublin.org/ for further developments. timthurston1610@gmail.com
Notes from the North
As I sit here, I’m watching the Olympic Games and the perfection
that is the Men’s 3 metre diving semi-finals. Such precision
makes this very much a niche sport, requiring a really special set
of skills, much the same as being an organist and choirmaster although fortunately we don’t require the honed athletic frames
to do our jobs!!
Being summer, there isn’t a lot happening here apart from some
of the local choirs doing their week’s residency in various
cathedrals in the land, and of course it’s the season of weddings.
These are fast becoming opportunities to further marginalise the
organist’s unique and highly honed skillset to that of a simple
wallpaper provider, giving cover to the conversation beforehand
as the great and the good parade their wardrobe (and wallet)
skills, and catch up loudly and irreverently on the intervening
years.
I tend not to do away gigs of this type. I find it too frustrating to
chase money and deal with a set of people that I don’t know
from Adam, and the music has always been selected without any
input from me. So (if you’re lucky and getting ‘real’ hymns) you
see “Love Divine” and you think “Great! I wonder which tune
they are expecting”. You try to find the groom - he might know,
so you ask the clergyman. He is far from sure, he really only
knows the bride’s family, and can’t recognise the groom all
dressed up. So you end up asking one of the party who’s who,
and see if you can get an answer about the tune - and also get
your “envelope” rather than having to chase around outside
afterwards.
I did two weddings recently which I feel I must share with you.
First one was where the bride was coming in to a ‘proper’
performance of that awful piece by Pachelbel. I stopped at the
appointed signal, and there was silence. A lot of it. Maybe fifteen
seconds. Then some mains hum which got steadily louder and
morphed into a nice few seconds of feedback. The volume
control was swiftly pulled back and exactly the same procedure
followed as the guy on the sound desk tried in vain to find the
right knobs. The bride had already been standing waiting to go
for about a minute. She eventually decided that it wasn’t going
to happen and set off, but a few steps in the sound man found
the right switch or plugged a lead in or something, and we all
got our ears cleaned out with the very elevated volume settings.
I wonder would using the organ not have been better. She also
went out to a CD of a pop song, but at that stage I was well on
my way on the open road. They had some crooner singing
constantly below the note with piano accompaniment (ever
heard Elton John’s “Your Song” using the chords I, IV, V & VI in C
major?) and I’m afraid her rehearsal beforehand was enough for
me.
The second occasion was much more annoying. There I was in
the middle of the final movement of a Handel Organ Concerto
(on probably one of the worst toasters I have ever played) when
the clergyman came over and said I had to stop now, he had an
announcement to make. I tried to tell him, whilst still playing,
that I had just a minute to go till the end of the piece, and would
he mind waiting. “No, I have to do it now” was the curt reply. I
just lifted my hands off, and stopped. He then proceeded to do
the usual announcement about mobile phones and emergency
exits. He then looked over and nodded expectantly. I shook my
head in disdain. Over he came, and said you can play again now.
I said it really doesn’t work like that, treating music and musicians
like that is not good. He replied that I was a guest in his church,
and this was the way we do things here, and I should respect that
and do as I was told.
Doubleopenwood
ULSTER SOCIETY OF ORGANISTS AND CHOIRMASTERS
With the regrettable demise during the 1970s of the Leinster Society of Organists, the Ulster Society of Organists and Choirmasters
(USOC), is now the only such association in the country. The USOC publishes a monthly newsletter and its programme includes
training events, recitals and an annual trip to a location outside Ireland. In May 2012, 30 members spent three days visiting and
playing organs in and near Frankfurt. Annual subscription £20. www.usoc.org.uk
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SEPTEMBER
2012 9
THIS PAGE IS PRESENTED IN ASSOCIATION WITH
The Royal School of Church Music in Ireland
RSCM Awards Service - 29 September 2012 at 5pm
We are delighted that over 30 candidates successfully passed their Voice for Life examinations and Deirdre Macklin from Monaghan
is the first person in Ireland to achieve the Church Music Skills award. Members of the RSCM from across Ireland will gather at St
Bartholomew’s Church, Ballsbridge, Dublin 4, on Saturday 29 September at 5pm, when the award winners will receive their
certificates in the context of Evensong.
Voice for Life provides a framework for choral singers to develop their vocal skills, their musical and liturgical understanding and
their knowledge of repertoire. The scheme comes with a range of teaching material and supporting resources and gives plenty of
advice on the practicalities of running a choir. It is intended to enable choir trainers and teachers to train their choir or group more
effectively, and to help singers grow as people as well as musicians. www.rscmireland.com/voiceforlife/
Church Music Skills is an education programme designed to help practising church musicians to develop the skills and
understanding they need for their role. www.rscm.com/education/skills.php
Come & Sing Fauré Requiem & Vivaldi Gloria: 20 October 2012 at 1.30pm
Following the success of last year’s Come and Sing, a similar event will be will be held on
Saturday 20 October, again at St Bartholomew's Church, Ballsbridge, to sing Fauré’s
Requiem and Vivaldi’s Gloria.
1.30pm: Registration
2pm:
Rehearsals (including refreshment breaks)
5pm:
Performance (finishing at approx. 6.15)
Details & booking at rscmireland.com/events/downloads/come-and-sing-barts.pdf
Forms should be returned by Friday 5 October. Please remember to bring your own scores
if you have them, or indicate otherwise on the booking form. You are most welcome to
invite friends and family to attend the performance which begins at 5pm. We look forward
to seeing you on 20 October for what promises to be an exciting event!
RSCM IRELAND NEEDS YOU!
There are many ways to become involved in the work of RSCM Ireland. Firstly, you can become a member of the RSCM and join a
network of over 8500 schools, churches and individuals across the world. The support of our members enables us to offer education
and training courses, published resources, and activities for all those involved in music in worship. RSCM membership is available
both to organisations and individuals. Full details of how to become a member are available on the RSCM Ireland website or you
can contact us direct on info@rscmireland.com. If you have any questions regarding your membership or wish to arrange a visit to
your church, choir, school, or have any other queries, please use the above email address in the first instance.
RSCM COMMITTEE NEWS
We seek someone to look after our website and publicity on a voluntary basis. If you or someone you know is interested, please
contact Mark Bowyer (see below). Warmest congratulations are extended to the Revd Paul Arbuthnot, ROI committee treasurer, who
has been appointed as Minor Canon (Precentor) at St Alban's Cathedral in the UK. Paul has carried out his role on the committee
and as treasurer with diligence and always with a smile! We will miss him, and we wish him and Emma well as they plan their move
later this year. We are now also on the lookout for a new treasurer for the ROI committee.
YORK SUMMER SCHOOL 2013
After a five-year gap, the next RSCM International Summer School will be held in York from 12 to 18 August 2013. As usual, there
will be a packed programme of workshops, seminars and worship. Something for all tastes and levels of ability. An opportunity to
share experience, get fresh ideas, learn new skills. www.rscm.com/issc
There was a significant Irish presence at the summer schools in 2005 (York) and 2008 (Canterbury), and there is a link to brief
reports by Irish participants on the General Information page of www.churchmusicdublin.org
FOR MORE DETAILS on the work of the RSCM in Ireland please contact the co-ordinator, Mark Bowyer, who will be happy to
discuss any queries and arrange a visit if necessary.
APPOINTMENTS
mbowyer@rscm.com + 353 (0)87 117 2995
I greatly benefited from the work of the
RSCM, and its inspirational leadership. I
The RSCM has appointed Andrew Reid to look forward to leading the RSCM forward
be Director in succession to Lindsay Gray. in its work of inspiring, training, and
Andrew Reid (right) has been Director of encouraging church musicians.”
Music at Peterborough Cathedral since
2004. Before that he served in a number of Two deputy director appointments have
assistant organist posts including at both also been made recently; Rosemary Field
Westminster Abbey and Westminster will be Deputy Director (Education and
Cathedral. “I am delighted and honoured Voluntary) taking over from Sue Snell, and
to be appointed Director of the RSCM”, Stephen Mansfield will be Deputy Director
Andrew said. “As a parish church chorister (Operations and Finance).
10 S O U N D B O A R D S E P T E M B E R 2 0 1 2
The importance of spirituality in liturgical music
The Sistine Choir recently visited
London and sang at Westminster
Cathedral. It was a wonderful occasion. I
want to focus on what for me was the
main thing that came out of this
experience of hearing this magnificent
choir - and that is the vital importance
of spirituality in liturgical music.
Writing for the liturgy is a great
challenge for composers. Understanding
of the text is essential and you cannot
write well without this. Technical
competence and vocal knowledge are
also important but the music must
spring from the composer’s own
spirituality. It must speak from the soul.
I have also been much impressed by the
congregational response to hymnody.
Hymns mean much and speak to
people’s deepest feelings. The appeal of
a good hymn is universal. As the Pope
has said, sacred music is an important
part of the process of evangelisation:
this places a great responsibility on the
shoulders of the liturgical musician. We
need to be aware of the meaning of
sacred music and our singing must be
infused with prayer and religious
feeling. We must never allow our music
to become a ‘whited sepulchre’: it must
always display a deep internal meaning.
The attitude of conductors and singers
is another factor. Unfortunately for
some choirs, singing at Services is
primarily a musical experience and the
much wider context of spirituality is
overlooked. This will always show and
cannot be hidden. A conductor has a
responsibility to ensure that a
performance goes far beyond musical Colin Mawby KSG
and technical perfection. Both are music-for-church-choirs.com
essential but they are a means and not
an end. The choir is expressing beauty
The quality of the music being and belief in a totally unique manner.
performed is highly important. So much
contemporary work is devoid of
spirituality. Much of it is well written and
‘comfortable’ but unfortunately it is
banal and meaningless. Christ so often
said that one must take up one’s cross
and follow him. The quality of pain is
rarely to be found in contemporary
liturgical music; happy clappy is fine but
its expression is severely limited. The
Resurrection came from pain and death,
it didn’t happen as a result of
undisciplined and unrestrained joy.
Liturgical music needs to express the
fullness of our belief. It will not bring
lasting peace to people if the quality of
anguish is missing.
In a way this is more important today
than it has ever been in the past. The
world is a violent and disturbed place
and sacred music should provide a
space where people can not only take
refuge but also experience the love and
creativity of God. We question where
the soul of sacred music comes from
and it’s not easy to find a
comprehensive answer – the mystery of
God is beyond our understanding.
It’s never too late!
BARBARA HALL writes about becoming a church organist
Having taken to organ playing late in life, I would like to share my experience with those who might perhaps think it is too late to
start – in my case it was in my mid-60’s. I was invited ‘just to play a few hymns’ and, frankly, I was quite terrified. I refused in the first
instance but was persuaded otherwise. I had absolutely no experience in the art of organ playing – my only instrument having been
the piano and, practising not high on my list of priorities in my youth, I had played strictly for my own entertainment. Now, being
exposed to playing in public, this had to change and I found myself practising for hours on end – and enjoying it. The sense of
achievement was a delight and surprise to me! I had no idea that I had now been introduced to what was to become my favourite
instrument and for which I appeared to have more aptitude than I had had for the piano. I very gradually gained more confidence
and started introducing simple voluntaries. In this I was ably assisted by the following publications:
Short and Easy Manuals Collection (Kevin Mayhew)
Best-Loved Organ Music for Manuals, Book 1 (Kevin Mayhew)
Wedding Album for Manuals, edited and arranged by C H Trevor (Novello)
Old English Organ Music for Manuals 4, edited by C H Trevor (Oxford)
Samuel Wesley: 14 Short Pieces for Organ, edited by R Langley (Oxford)
These are simply and beautifully arranged and have given me a feeling of competence I would not otherwise have had. Five years on,
I am still plugging away and very grateful to the person who insisted that I give it a try. I am at present one of a team of four here in
Killarney.
Barbara Hall is one of a family of church musicians. Her grandfather, Henry C. (Harry) Shellard, was organist at Christ Church Leeson Park, Dublin from
1901 to 1955 and his brother, Thomas V. Shellard, was a chorister in St Patrick’s Cathedral. Barbara’s brother, Kenneth, is organist at St Patrick’s Church,
Dalkey, and her nephew, Stephen, is senior alto lay clerk at Worcester Cathedral and founder of the Worcester Chamber Choir and Orchestra.
barbarahall9@eircom.net
SOUNDBOARD
SEPTEMBER
2 0 1 2 11
Pipeworks Summer School
In June, thirty people attended the first Pipeworks Summer School which took
place in Holy Trinity Church, Crosshaven, Co. Cork, using its fine new (2010)
Henk van Eeken organ. Masterclasses were given by Harald Vogel (Germany) on
the seventeenth-century North German school and liturgical accompaniment.
He also delivered the keynote address at a symposium on identifying and
nurturing a native organ tradition, and gave a public recital. On Sunday
morning, music at the Eucharist was provided by the Crosshaven Consort
(pictured, left, in rehearsal). The weekend was very successful and Pipeworks
plans to develop the masterclass concept further, building on ideas put forward
by Prof Vogel, focussing on hymn accompaniment and how it can enhance
congregational singing. The symposium raised many issues, including the
protection of our organ heritage and the need to identify the most important
instruments in Ireland. A future symposium will, it is hoped, build on this.
St Nicholas Schola
Cantorum is launched
in Galway
A new choral initiative in Galway’s medieval
Collegiate Church of St Nicholas reflects a
partnership between the parish, the city, and NUI
Galway. At the launch on 19 June, Mayor of
Galway Hildegard Naughton observed that “at
the core of the medieval college was the
complementary relationship between daily sung
worship and musical education. I congratulate
the rector, select vestry and the parish
community for reviving the ancient college
through this new initiative.”
Organist of St Nicholas’s and director of the new
Schola Cantorum, Mark Duley, outlined the
fourfold structure, consisting of choristers
(children aged 8-12) drawn from across the city,
choral scholars from the university, an all-comers
adult group and the existing parish choir, each of
which will have a distinct role within the church’s
liturgical life. The choristers will receive a first
rate musical education through the RSCM Voice
for Life scheme. The choral scholars will be
promising young singers drawn from NUI Galway,
and will rehearse twice-weekly within two
semesters each academic year, each of which will
contain a series of sung services of Compline.
Future plans, Mark Duley said, include the
establishment of an organ scholarship in
partnership with Galway Cathedral. Dean of Arts
at NUI Galway, Dr Edward Herring, expanded on
this new link “between two great institutions in
Galway”, describing how the choral scholarships,
funded by the Galway University Foundation,
form part of the university’s holistic approach to
education – a “cultural investment in students”.
Kilkenny travels to Cork
Sunday 24 June saw the choir of St Canice’s Cathedral, Kilkenny visit Cork. In the
morning they sang in Crosshaven Church and in the afternoon joined
Monkstown Chamber Choir to sing Evensong in St John’s Church (pictured
above). The Chamber Choir, directed by Roger Ellis, is an eclectic group that
sings at weddings, concerts and other events in the Cork area. Malcolm Proud is
the organist and choirmaster at St Canice’s, assisted by David Forde.
At Evensong, Richard Ayleward’s setting was used for the Preces and Responses,
the Service was by Herbert Sumsion and the anthem was Give us the wings of
faith by Ernest Bullock. The singers relaxed afterwards in the rectory, over a
glass of wine provided by rector, Elaine Murray.
Other news from the Cork area
The Crosshaven instrument continues to evoke much interest and early in
August a group of ten organists from Belfast visited Crosshaven church and
other organs in other Cork area churches, organised by Pádraig O’Donovan.
The three-year training programme for organists provided by the Cork
Diocesan Church Music Committee is a welcome initiative. It is similar to the
Church Music Dublin scheme, and further information is available from Dr
Ursula O’Donovan, admin@ccrd.ie and Malcolm Wisener, the Committee’s
chairperson.
Companion to Church Hymnal – shortly out of print –
special offer €40
Many musicians regard Companion to CH5, by Edward Darling and Donald
Davison, as a must-have reference book and resource. Some churches keep a
copy in their choir stalls! The volume contains background information on the
text and music of every item in Church Hymnal, 5th edition. Also, an
informative summary of the history of hymnody in the Church of Ireland; and a
most useful chapter on the selection and use of hymns and helpful guidance
for organists on how to play them.
Dr Edward Deering, Julie Feeney, Mark Duley,
rector Gary Hasting, & Mayor Hildegard Naughton
Photo: The Connacht Tribune / Joe O’Shaughnessy
The publishers have very few copies left. It is unlikely that the book will be
reprinted. It was retailing at €53. Soundboard has negotiated a reduced price of
€40. If you don’t buy now, you may regret it. Contact David McConnell at
churchmusicdublin@eircom.net or +353 87 668 3998
12 S O U N D B O A R D S E P T E M B E R 2 0 1 2
St Bartholomew’s choir men, with Tristan Russcher, director
of music (extreme left) and Bobby Barden (centre)
St Bartholomew’s Choir launches Friends Scheme
Music has been a key feature of the worship at St Bartholomew’s, Dublin, since its consecration in 1867. During the past decade, the
musical foundation has expanded with the addition of a girls’ choir and a varied concert programme. The music budget, €60,000 a
year, is under severe pressure as parish income has fallen due to the current economic situation. The choir must raise a larger portion
than before of its own expenses and has launched a Friends of the Choir scheme. A membership form may be downloaded from
www.stbartholomews.ie/choirfriends and there is an online payment facility. The church’s most recent CD, And the house was filled
with smoke, would be a most acceptable Christmas present for any musician and can be also purchased online!
Bobby Barden has been singing in the choir for seventy years and has worked with ten Vicars and seven Directors of Music. On 25
March this year there was a special celebration to mark Bobby’s 80th birthday.
Notes and news
Pipeworks @ the NCH: Earlier in 2012, Pipeworks, in association with the RTÉ NSO
and the National Concert Hall, ran two early-evening organ recitals that explored
ideas in the NSO concerts that followed. A full season of five organ recitals will now
take place as part of the 2012-13 NSO season. They will be given by Pipeworks
Associate Artists: Mark Duley, David Leigh, David Adams and Colm Carey. Dates and
programme details are on www.pipeworksfestival.com/events.html.
The Irish Church Music Scene: Harry Grindle’s wide-ranging and informative article
on church music in Ireland is now on our website. The article first appeared in
Organists Review in August 2011.
Vacancies: We are pleased to publish church-music vacancies on our website. The
closing date for the St John’s, Sandymount vacancy is 14 September. Edna Wakely,
who has been organist at St John’s for several years, has resigned and is to be
ordained deacon in September. Kiltiernan Parish Church also has been seeking a
musician. Ann Keary resigned recently as she is moving home to Co. Wicklow (photo
on page 4).
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in local churches
ISSUE 27 (SEPTEMBER 2012)
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
Views expressed in signed articles and
letters are not necessarily those of the
editor or the Executive Committee
Chair Archdeacon Ricky Rountree
Secretary Mrs Jacqueline Mullen,
23 Ludford Park, Ballinteer, Dublin 16
Telephone +353 (0)1 298 8923
email info@churchmusicdublin.org
website www.churchmusicdublin.org
► Post to Church Music Dublin, 18 Villiers Road, Dublin 6
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The next issue of Soundboard will be
published in December, so material
should arrive by 12 November please