Soundboard No. 22
Transcription
Soundboard No. 22
SOUNDBOARD A Magazine for Church Musicians Number 22 !!! November 2010 Looking to the future Two events since the end of summer have given the Church Music Committee good cause to celebrate. Firstly, we were delighted to welcome six new students to the Archbishop's Certificate Course in Church Music, bringing the total number of current students across the three years to fourteen. Their arrival was marked on 9 September with Choral Evensong and a reception at Christ Church Cathedral during which our chairperson, Archdeacon Ricky Rountree, wished them well in their studies and thanked them for their dedication and the hours of hard work they will devote in the coming months! In the two decades since its inception this course has trained over 60 church musicians in the three key disciplines of organplaying, choral leadership and liturgical practice, and thanks to much hard work by many people (not least the students themselves, and their tutors) it has developed into a balanced and comprehensive course which is a benchmark for similar schemes elsewhere. Those who complete the course are able to provide and develop music of a high standard in their own parishes, thereby enlivening musical worship across the diocese. Last year we revised the organplaying syllabus to cover a wider and more relevant range of disciplines, and this year's choral training element has been more comprehensive than ever before, largely due to the admirable work of the tutors Ite O'Donovan and Peter Parshall. The 'Living Worship' lecture series, held in January each year, forms a part of the course but its content is relevant to a far wider audience; those of all musical and religious dispositions (and none) will find much food for thought. The 2011 series, which begins on Saturday 15 January, is — as ever — open to all. We warmly invite you to visit our website to find out a little more about what has become one of our most successful projects. The Committee seeks to identify and respond to the needs and demands of church music here in Dublin and Glendalough, and the nature of these will necessarily change over time. Just as we keep our training schemes under review, so too are we aware of the need to continue to offer relevant resources, support and events. To that end, two days after welcoming the students, the Committee met for a 'brainstorming breakfast' — the second of our 'events' — followed by a morning of lively discussion (admirably led by Ruth Handy). This left us in a much clearer position about the shape that our work should take in the future. You will see the fruits of this in the coming months. We realise that to be truly effective we have first to understand exactly who we are serving and why; therefore, we propose to invite every parish in the united dioceses to help us undertake a 'music audit', in which they will describe their music activities and identify areas of limitation and opportunity (which can often be the same!). This is sure to be a thought-provoking and worthwhile exercise for each parish and its musicians; combined, the results will be even more powerful because they will enable us to serve you even more effectively. Other future work will focus on the 'next generation' of church musicians and on working with other organisations whose interests chime with our own, in the belief that together we can provide a more relevant and powerful service. So, this is an exciting time for church music in the dioceses of Dublin and Glendalough. As always we acknowledge and commend the great work that is done by those who make music, Sunday by Sunday, for the further glorification of God. We warmly encourage you all to take full advantage of the services and opportunities we provide: we are your resource and want to serve you. Keep in touch with us by email and in person; write an article or letter for Soundboard; let us know what is happening in your church. As the busy seasons of Advent and Christmas approach, we wish you all the best with your music ministry, and look forward to a prosperous and musically fulfilling 2011 for us all! ! WHAT’S IN THIS ISSUE The Role of Music in Liturgy Edgar Swann’s Living Worship talk The Wesley Family David McConnell writes A Nonagenarian Remembers Maedhbh Abayawicrama talks to Janet Ashe Worship with the Spirit Geoff Weaver in Romania Seventy Years of Sunday HalfHour Randal Henly reports Music Technology Philip Good writes about music notation programs The Organs of Former Churches St Mary’s, Mary Street, Dublin Church Music in Kilternan Ann Keary writes Do You Know Your Music 24 questions to test your knowledge Maynooth 2010 Summer School Fran Scott reports Unlikely Bedfellows Michael Johnston points to similaritie between two different traditions Organ Recital Programmes Some reflections from the Editor Notes & News Details of the forthcoming Living Worship course and a miscellany of other items here The Role of Music in Liturgy Each year, as part of the Living Worship series of lectures, we aim to include one session on the role of music in liturgy, to enable church musicians to develop their understanding of the place and meaning of music within worship. Last February we were pleased to welcome Archdeacon Edgar Swann to discuss the topic. This is a condensed version of his talk, which we hope will provide food for thought to all involved in worship. The Book of Common Prayer, including the Canticles and Psalms, was part of my upbringing. It provided me with a good weekly liturgical basis for worship. The BCP had not changed in any real way since the version published in 1662 (itself based on Archbishop Cranmer's work a century earlier). I also grew up with Church Hymnal which, of course, is still alive and well today. My sense of how worship can be enriched by music was instilled by my membership of a church choir. All of these helped me to develop an understanding of the Church's year. At that time Morning Prayer and Evening Prayer were the norm for Sunday worship. Holy Communion was celebrated either early in the morning or following the main morning service. Thus, mainstream Anglican worship for most people was associated primarily with an amalgamation of the monastic offices, which originally were designed for a daily round of prayer. The concept of Parish Communion was limited to places that would have been considered 'high church'. Change Much has changed in the last twenty-five years. In 1960s, the Church of Ireland, along with the rest of Western Christendom, began to experiment with liturgies in order to produce expressions of worship suitable to a new generation in a modern age. The most radical change occurred in our Holy Communion or Eucharist Service. Even a perfunctory comparison of the 1662 Communion Service (which lacked format, dramatic structure and a proper celebration of the saving acts of Christ) with our modern Eucharist will demonstrate a much more radical departure than a simple modernisation of language. In contrast, Morning Prayer and Evening Prayer changed little, aside from more modern language and new forms of confession and absolution. There also is a wider selection of Canticles, including versions in metrical form. Worship It is worth considering what we actually do in our worship and why. We meet in God's name primarily to give Him praise. We celebrate the great acts of salvation as we read the Scriptures, just as the Jews read the Torah. In telling our story and reenacting that story week by week as a community. we respond to what God is doing for us, through Jesus Christ. Structure There is a basic structure to all our acts of worship. • The Gathering of God's People • Proclaiming and Receiving the Word • The Prayers of the People • Celebrating at the Lord's Table when there is Holy Communion • Going Out as God's People A Service of the Word This was designed to allow freer forms of worship within a liturgical structure, using basic guidelines. The BCP provides a template and helpful guidelines. A booklet using four basic services of the word is also available. Different credal formulae may be used: for instance, the question-and-answer version in the Baptism Service. The Eucharist As I remarked already, the most dramatic change in our liturgical practice has been in Eucharistic worship. The structure of the present service is radically different from the 1662 format. Moreover, there has been a shift in the theological focus. In the modern Eucharist, it is crystal clear that we are obeying Christ's command to 'do this in memory of me'. We re-enact the events of our salvation; we retell our story as Christians; we proclaim the risen Christ; and, having received the sacrament, we are strengthened to go out and proclaim the good news of the Gospel in communion with our Lord. All our senses are involved as we experience and act out this drama and I believe that music has a particularly important role to play. USING THE MUSIC For many years, I preferred worship to begin with a hymn of procession which set the tone of the season or the theme of the day. I now prefer a quieter opening that includes a liturgical greeting, a sentence of Scripture and an introduction to the liturgy of the day, only then followed by a hymn. In my opinion, the Collect for Purity leads naturally into the penitential section, which in turn is followed by the Gloria in Excelsis. The Ministry of the Word I believe that the Revised Common Lectionary (RCL), which provides three readings and a psalm, is designed to be an integral unit and should be adhered to. The Gospel readings follow the liturgical year and reflect the story of our redemption from Advent Sunday until Ascension. During the Sundays after Trinity ('Ordinary Time') the Gospel readings focus on the teachings of Jesus. The RCL follows a three-year cycle. In year A the Gospel readings are from Matthew; in year B they are from the Gospel according to Mark and in year C, from the Gospel according to Luke. St John's Gospel is used at festivals. During the Sundays after Trinity, there is an option to read the Old Testament either semi-continuously over three years, or 'paired'; that is, linked thematically with the New Testament readings that follow. The Psalm is a reflection and response to the Old Testament reading. The Gradual Hymn This has become standard in most parishes and seems to be a peculiarly Anglican phenomenon. It could be said that a hymn after the second reading is particularly apt in churches where a Gospel Procession occurs, the Gospel Book being carried into the congregation as it is sung. Immediately after this a Gospel Acclamation (especially one of the well-known Alleluia settings) can make the proclamation of the Gospel very special. The Prayers of the People A sung response, such as the Taizé chant 'O Lord hear my prayer', is particularly appropriate during the prayers of the people. (Another suitable place for music during prayer is during the penitential rite, in the singing of 'Kyrie eleison'.) The Offertory The term offertory refers to the bringing of gifts of bread, wine and usually money, to the altar at the Eucharist. This is an opportunity for a rousing hymn, one of suitable length to allow bread and wine to be presented, a collection taken and the table prepared. Many of the hymns in the Eucharist section of Church Hymnal 2000 are suitable for this purpose. Celebrating at the Lord's Table The Eucharistic Prayer is a communal act at the climax of the service. The Sanctus and Benedictus should be sung whether there is a choir or not, these being hymns of praise at a poignant moment in the Eucharist. The Agnus Dei is an ancient, effective prayer of the church and may appropriatly be sung as the Priest and Assistants receive holy communion. Going Out as God's People My preference is to observe the Great Silence in total silence, which means that time is taken after the music and movement have finished. I then say the post-communion prayer which is followed (in order) by the thanksgiving hymn, the Prayer of Thanksgiving, the Blessing (which is optional) and always the Dismissal. (To follow the dismissal with a hymn reduces the impact of 'Go in peace to love and serve the Lord'; it is preferable to have organ or other instrumental music.) I hope these reflections will provide stimulation as you consider the use and meaning of music in your worship. I do encourage you to make us of the wide range of resources and materials available today. The Church Music Committee website is a good place to start. ! Edgar Swann was rector of Greystones, Archdeacon of Glendalough and Chairman of the Church Music Committee until his retirement in 2008. edgarjswann@eircom.net The Wesley Family David McConnell writes about three generation of a remarkable family 2010 marks the bicentenary of the birth of Samuel Sebastian Wesley (1810-76), composer, organist and teacher, who was considered the greatest composer of church music during his time, in the English cathedral tradition. Wesley had the highest ideals and was a tireless advocate and fighter for improvements in the standards of church music, frequently making himself unpopular among vested interests. By the time of his death, his influence in raising standards had been profound. He became successively organist of the cathedrals of Hereford, Exeter, Leeds Parish Church, and of the cathedrals of Winchester and Gloucester. He was the author of a 'pointed' psalter, showing ideas fifty years ahead of their time. The best of his compositions are of high quality and originality and are still frequently sung and played. The lengthy anthem The Wilderness still moves those who hear it and most cathedrals include Blessed be the God and Father in their music lists during Eastertide. The latter was written for use in Hereford Cathedral on Easter Day 1833, when Wesley knew that the only forces available were the boy trebles and one bass (the Dean's butler)! Wesley was awarded a civil list pension of one hundred pounds by Queen Victoria three years before he died. S.S. Wesley's father was Samuel Wesley, Snr (1766-1837). Samuel YOU CAN HELP US! Earlier this year, we enclosed a letter to many on the mailing list suggesting that they might be willing to send an annual subscription — in view of rising costs.! !15 or £13 is all we ask for. We are grateful for the excellent response.! Perhaps there are others who are willing to subscribe.! Cheques, please, to Church Music Committee, 18 Villiers Road, Dublin 6. Or call 087 668 3998 to pay by credit card or laser. ! ST ANN'S, DAWSON STREET, has commissioned a new Irishlanguage work from Dublin composer Fraser Wilson for this year's Christmas celebrations.!The new piece is a setting of Diarmaid Ó!Tuama's atmospheric poem An Nollaig sin fadó. The choir will give the first performance at the church's!Carol Service on Sunday 19 December. Further details of this exciting project, and of the carol service itself,!can be found at http://stann.dublin.anglican.org/. Wesley was a musical prodigy. He was recognised as the finest organist and extemporiser of his day, and described by William Boyce as 'the English Mozart'. In spite of his family background, he developed a strong connection with the Roman Catholic Church in his teens. This was largely through his friendship with Vincent Novello, who was organist at the Portuguese Embassy Chapel. He was the friend of Mendelssohn and, like him, a great champion of the work of J.S. Bach in the days when that composer's outstanding genius was only here and there admitted. The eight-part motet In exitu Israel is perhaps Samuel Wesley's best known choral work, and most organists are familiar with his charming Air and Gavotte. Samuel Sebastian Wesley was the grandson, and Samuel Wesley was the son of Charles Wesley (170788), the hymn-writer who, with his brother John Wesley (1703-91), founded the Methodist movement. ! David McConnell is organist at Zion Church and Three Patrons Church, both in Rathgar. He is a member of the Church Music Committee. davidmcconnell@eircom.net A Nonagenarian Remembers Maedhbh Abayawickrema talks to Janet Ashe, 91, who has recently retired as organist of St Matthew's, Newtownmountkennedy. MA. What was your path into church music? that had been turned over to construction. They were making parts for airplanes. My job was to go and look at the drawings from which they were doing it and making sure it was accurate, putting my stamp on it. JA. I was born in 1919 in the Cathedral close at Exeter. My father was a clergyman: the Revd RWB Langhorne. He was a priest vicar at the Cathedral and he was also head-master at the Cathedral choir school. From a very In 1942, the Choir early age, as long as I School and my can remember, I could home at Exeter hear church music. I received a direct hit could play in the from a German garden and listen to bomb, intended for the boys being Mrs Janet Ashe with the Reverend the Cathedral. The rehearsed for their next William Bennett on her retirement bomb totally from playing the organ in St evensong — an Matthews destroyed the anthem, Stanford in B building, killing my flat or whatever. I grew up in a circle sister and three domestic servants. of church music, Cathedral music. Fortunately, the choristers were on We always went to church at the holiday and my parents away. My Cathedral. We never went anywhere father immediately looked for and else, so I always heard that sort of found a large house 16 miles from music. I had no knowledge of parish Exeter and equipped and church life at all until I came here to reassembled the choristers there Newtownmountkennedy. only two or three weeks later. There MA. What brought Newtownmountkennedy? you to JA. It's a long story. I was at home in Exeter at school and then when I left school in 1937, I worked for my LRAM (Licentiate of the Royal Academy of Music) piano. For the first time, I had a few organ lessons from the assistant organist, Harry Gabb. He eventually became the master of music at Temple Church, St James's in London. He gave me a lesson once a week for about a year, that's all the tuition I ever had in the organ. At that point, war broke out. It was 1939. I wasn't immediately called up, but was appointed temporary sub-organist at Exeter Cathedral because all the regular men had been called up. I did that for a while and I also taught arithmetic and other things to the young boys in my father's school. I would rehearse the boys for the psalm for the next day. We went through an evening rehearsal for the next day's psalms which were to be sung at the Cathedral. Then I was drafted to the Aeronautical Inspection Directorate of the Ministry of Aircraft Production. After some training, my job entailed touring the West Country, Devon and Cornwall, visiting the factories and garages they stayed until the end of the war, travelling by train into Exeter three days a week to keep the choral services going. I did that until the war finished in 1945, by which time I decided I was not going to be a piano teacher, which had been my original intention. I went to London and did secretarial training and then got a job in the Royal Institute of International Affairs, Chatham House, as assistant to the publications officer. While there, I sang for three years in the Royal Choral Society, which was conducted by Malcolm Sargent at the time. We used to do three concerts a year in the Albert Hall. So, I covered most of the oratorios in those days. That was fun. I worked there until I got engaged and married in Exeter Cathedral in 1948 to my Irish husband and we moved to Ireland. We eventually found this house and moved into it in 1949 and here I still am 61 years later. MA. Until recently, you have been organist of St Matthew's, Newtownmountkennedy. When did you begin to play there and how did you come to take up the position of organist? JA. Almost from the time I arrived here, I got inveigled into the church. When I came there were three elderly ladies who used to take it in turns to play at Sunday services. One by one, they dropped off the twig and I was left 'holding the baby' and so I've been doing it ever since until just a month or so ago. My eyesight has been deteriorating lately. I have macular degeneration. When it got to the point when I could no longer see the music or the words that I was trying to accompany, I handed in my resignation. Now I am just in the congregation. It feels strange to be sitting in a pew instead of on the organ bench, but it's very nice not to have to think about what music we're going to have next Sunday. MA. What instrument did you have at your disposal in St Matthew's? JA. It's a nice two-manual organ, a Conacher, with one or two very pleasant-sounding stops. It's not a big organ, but it's quite nice. People who come and play it always seem to like it. We now have, among others, a 17 year-old boy from Kilpeddar taught by David Adams. He comes and practises on the organ at St Matthew's. MA. How long did you play at St Matthew's? JA. For over 50 years. Soon after I started playing here all the time, I began keeping little notebooks to jot down what music we had. I kept them up at the organ. There are 17 notebooks in all, dating back to Christmas Day, 1959 [see panel below]. They contain the hymn numbers and tunes used, canticles with chants and the psalms we sang on any given Sunday. Unfortunately, about a year ago, one of these red notebooks went missing. It leaves a slight gap, but the rest is complete. It has been very useful. I can look back and see what I used before. For example, on Passion Sunday, I could look at what I'd had last Passion Sunday. It saves me time thinking about them. I can repeat what I had if I know that I had chosen something suitable before. MA. Have you noticed a change in the type of music sung at services over the years? JA. We gave up singing the psalms when the new BCP came in in 2004. All the words are different. I used to play a psalm every Sunday until that happened. Now I see that we just have three or four hymns, and if we have a canticle it is said rather than sung. I notice that since I left, it has become a little less elaborate. I left the notebooks there with a pencil beside them, so that people can write in what they have played if they wish. MA. Did you choose hymns or were they chosen for you? JA. I chose them myself on Saturday evenings. I wrote a little note for the rector and the choir, so that they would know what was coming and what chant they were going to sing. I don't think any of them read music. I've been through four or five rectors here. Some of them like to choose the hymns or some of them, say 'I'm going to preach on such and such, can you choose something suitable?' Our present rector never does it, he left it entirely to me. MA. Do you have any special memories from your time at the organ? JA. I was asked once to play at a wedding in Newcastle; our neighbouring parish, with whom we have a combined vestry. I agreed and met with the couple beforehand. The groom mentioned that his godmother would like to sing a solo at the wedding. His godmother was Bernadette Greevy! She sent me the music she had decided to sing and we agreed to meet early on the day of the wedding to rehearse. When she arrived in the church on the wedding day, she announced that she had changed her mind and would like to sing something different. I had been practising the other piece like mad and it was too late for a run-through. I got through the piece, though. MA. When did you decide to leave the position? WORSHIP WITH THE SPIRIT Geoff Weaver reflects on his experience of worship in Romania For the past 15 years or so I have been directing the music for the International Ecumenical Fellowship at its annual summer conference. The IEF was founded more than 40 years ago by lay Christians across many European countries to promote ecumenism. In 2009 we were hosted by the Romanian Orthodox Church in Cluj-Napoa, and this gave rise to some memorable experiences. In many ways Romania is still recovering from the rule of Ceacescu; in the cities it gives the impression of being a sophisticated 21st century country but away from the cities and the major roads, the horse and cart are still widely used for farming and village life goes on much as it has done for centuries. Before the conference began, I was able to visit some of the fortified Saxon churches in Transylvania. These are evidence of the repeated attacks which the Saxon (German) villages sustained over many centuries. Their solution was to fortify the churches — some had fortifications two or three walls thick, with the motto 'Ein feste burg ist unser Gott' over the outer gateway. JA. When I could no longer read the hymns, psalms, chants or canticles, I handed in my pedal shoes. I have seen rectors come and go, but I hope our present rector, the Revd William Bennett, will follow my example and stay with us for the long haul. ! Post 1989, the Saxons, who had been in Romania for many centuries, were invited to return 'home' to Germany. Many did so, and this has left the fortified churches as a rather sad reminder of what were once thriving Christian communities. Lutheran services in German still take place, often with very few people present. Music from Christmas Day 1959 (Notebook 1 of 17) Hymn(*) 84 Hark! the herald angels Venite sung to Chant 312 Psalm 19, Chants 291 & 292 Jubilate, Chant 17 Kyrie 1; Doxology 7 Hymn 89 While shepherds watched Hymn 209 Bread of the World Hymn 86 O come, all ye faithful Since 1989, the Orthodox Church has once again asserted its dominance, and it is extraordinary to see how many new churches are being built. Attending the Eucharist in a parish church on a Sunday morning I was intrigued to discover that only children up to a certain age (seven, I think) receive the sacrament as a matter of course. Any adult wishing to receive has to go through a period of fasting and confession — with the result that in this particular service, only three adults out of 200 did receive! This (*) These hymns refer to the 1919 edition of Church Hymnal seemed to be the norm; even in the Cathedral in Cluj, where the service was accompanied by splendid, rich unaccompanied singing (the choir director doubles as the vocal coach at the local Opera House!) and though there was a con-stant queue of those wishing to kiss the icon, very few actually received. The most remarkable act of worship in our time there was a Healing Service, which took place in an open-air arena by a newly-built monastery in the countryside outside Cluj. The service was due to start at 10 p.m. — but long before that crowds began to wend their way up the valley, including many young families with children, some 500 worshippers in all. During the service many of the Gospel accounts of Jesus healing the sick were read; while one priest read, the other priests, with their elaborate copes, came down to stand with the people, who rushed out to touch the priest's robes. The first to arrive actually hid underneath the robes. This sequence of readings and prayers went on until well after midnight, when the crowd finally dispersed. We reflected afterwards that these scenes felt mediaeval — or even older — and I found myself deeply touched by the devotion of the worshippers. One could question the expression of such a simple faith, but the sight of hundreds of faithful worshippers, holding candles as they came forward to kneel and pray, was profoundly moving - and a challenge to us cerebral Western Christians. ! Geoff Weaver is an internationallyknown church musician, having worked for the Church Mission Society in Hong Kong and Selly Oak, Birmingham, from where he undertook teaching assignments in the Philippines and Nigeria, and published two volumes of World Praise. This article has been reprinted, with permission, from Praxis — News of Worship, Summer 2010. weavergj@aol.com Seventy Years of Sunday Half Hour Randal Henly I imagine many organists and choir directors know about and watch Songs of Praise on TV on Sunday evenings. This is one of the BBC’s longest running TV programmes, having been first broadcast in 1961. on 18th July and came from the church of St Martin in the Fields in London’s Trafalgar Square, where massed choirs and trumpeters were assembled. On that programme, the great contemporary hymnwriter Bishop (retired) DudleyI wonder though, (1) was present Smith how many listen to and spoke: ‘People Sunday Half Hour on sometimes come up BBC Radio 2 at 8.30 to me at a p.m. each Sunday? conference and say This programme of “Timothy Dudleyhymn singing has Smith? I thought you been an even longer were dead” — on the running series, now assumption that all going back seventy Fr Brian D’Arcy hymnwriters are years. It is a dead! But they programme of Christian hymns — aren’t, and it’s lovely to be sharing in very much traditional ones — sung this special programme. I believe that each week by a featured choir, one of the purposes of a hymn must which is always a good one. There and foremost be the praise of God. I are always a few dedications and a think it’s true that the vast number of closing prayer to finish. churchgoers remember the hymns It was first broadcast in 1940; for its when the sermon slips their memory. first fifty years a large number of We British people tend to be a bit shy presenters took part, the longest when it comes to talking about our serving of these being the Revd faith, but in our hymns we can Roger Royle, an Anglican priest who express happily, publically and was host to the programme from together, our love for, and faith in 1990 to 2007. Readers of ‘Woman’s Christ and our response to His call. Own’ may have come across Roger Another contemporary and popular Royle; he wrote a regular article, hymnwriter, Graham Kendrick(1) which was always interesting and also gave a short message on that readable and carried a Christian programme: ‘there’s something message. Roger Royle retired in unique about hymns and I hope we 2007. never lose them and I hope that we The current presenter is Father never stop hearing them on the radio Brian D'Arcy, a Passionist priest because I think they reach part that based in Enniskillen, County nothing else really reaches in Fermanagh. Father D’Arcy serves as connecting us with faith with God Rector of St Gabriel’s Retreat, the and with one and other’. Graan in Enniskillen and is a noted I have been listening to Sunday Half author, newspaper columnist, Hour, on and off, for the best part of broadcaster and preacher. His sixty years. It was one of my weekly column in the Sunday World mother’s favourite programmes and has been running for over 30 years. it has certainly added to the number He has his own music programme, Sunday With Brian D'Arcy, on BBC of hymns with which I am familiar. Radio Ulster. (1) Well-known hymns by Bishop Father Brian has broadcast for Dudley-Smith include: Lord, for the Ireland's RTE Radio for the past 35 years, Name of all majesty, Tell out, years. His recently published my soul, and some of Graham memoirs, A Different Journey, was a Kendrick’s hymns are Lord the light number one best-seller in Ireland of your love, The Servant King, Make last Christmas. way, make way for Christ the king The seventieth birthday programme and Meekness and majesty. of Sunday Half Hour was broadcast Music Technology Music notation programs can save the church musician a great deal of time and even novices will find them easy to use. Philip Good looks at some of the options available I recently re-watched Amadeus, the film about the life of Wolfgang Amadeus Mozart, as seen through the eyes of rival composer Antonio Salieri. Towards the end of the film there is a scene in which Mozart is very ill in bed and Salieri is in the room with him writing down his music by hand. Mozart is ‘dictating’ the music to him and Salieri is transcribing all the notes. But that was then and this, I'm glad to say, is now. Music notation has been around for centuries — people have long sought to preserve for prosperity the music they have created. However, since the advent of the computer age in the 1980s, this had become considerably less of an ordeal than in Mozart's time. A scorewriter, or music notation program, is a computer software program used for creating sheet music. Put simply, a scorewriter is to music notation what a word processor is to text. Scorewriters have made the process of transcribing music considerably easier. Today, we can click a mouse and a note will appear on the stave on the screen. We can even play the music — through a midi keyboard, for instance — and the music will appear on the screen. In the early days, two main programs dominated the music notation market, Sibelius and Finale. Now, however, the list of such programs is considerably longer and includes Noteworthy, Encore and Capella, to name but a few. All of these brands offer various versions of their music notation programs, from full programs to cutdown versions with limited features, and, of course, the price varies depending on the version you choose. A word of warning: the full versions of the more popular programs can be expensive, particularly if you're only going to use it occasionally. For example, the full version of Sibelius retails at over !700 in Ireland. So it might be worth considering some of the less expensive programs or the cheaper versions of the mainstream programs, depending on your needs. There are even educational versions of some of these programs for teachers and students. The Organs of Former Churches 1.!St Mary’s Church, Mary Street, Dublin 1 St Mary’s Church in the city closed for public worship in 1986, owing to diminishing congregations. It first became a home decoration store before it was purchased in the early 2000s to be turned into a bar/restaurant. The ‘tower’, which houses a lift, was built to provide wheelchair access to the restaurant which is situated on the gallery. The organ would have been a fine one in its day and the case is still a significant feature of the building. It is good that the present owner of the building decided to leave it there. The organ was taken down when the church was refurbished and it was re-erected by Stephen Adams in 2002-03. There was no point in rebuilding the innards — they were in tatters. The case is by Renatus Harris who built the original organ, and which dates from about 1713. Most of the organ that was scrapped, after the church closed in 1986 was built by Telford & Telford of Dublin. Music Technology (continued) The basic version of Sibelius is called Sibelius First and this retails at around £129 for the download version. You can download a trial version from their website, www.sibelius.com. In fact, most of the brands listed above have trial versions of their programs for download, generally on a 30-day basis, so you can try the software before forking out any money. I would recommend trying out a couple of programs before making a decision, to ensure that the program/version you do buy has all the features you require. The details shown on what’s left of the console reads: Great Double Open Diapason Great Open Diapason Open Diapason Stopt Diapason Principal Twelfth Fifteenth Sesquialtera Pedals Swell Hautboy Trumpet ? (stop label missing) Flute Swell ? Cornet Stopt Diapason Swell Coupler Open Diapason Swell Bourdon ? If you're still sceptical about using a music notation program, it might be worth trying the free one called Muse Score (http://musescore. org/) This is an ‘open source’ program, and is still very much in the early stages of development, but I'd recommend downloading and trying it. It may not be for you, but what do you have to lose by trying it out? Indeed, the same is true for the trial versions of the commercially available programs, too. However, one drawback with Muse Score is that any work you do on this program cannot be transferred to another program if you decide to go with something else down the line. So, if you're still living in the age of Salieri and transcribing music by hand, maybe now is the time to try one of these easy-to-use music notation programs instead. Make a note of it. ! Philip Good is organ scholar in Castleknock Parish. pcpg5@yahoo.ie CHURCH MUSIC IN KILTERNAN Ann Keary are classical in style, others are more contemporary. Last year I purchased the RSCM Season by Season folder which contains a wealth of accessible and interesting music, generally easily learned by a small parish choir and very suitable for a gradual or communion anthem. When I first took up my post as organist and choir director in Kilternan in September 1984, little did I think I would still be involved 25 years later! I imagine I can speak for other church musicians when I say that I have never reached a time when I have felt completely satisfied with how I direct the music each Sunday; there is always so much room for improvement. The everchanging patterns of life itself and, consequently, in worship and people’s expectations, greatly challenge the role of the Parish musician. Choir membership has changed so many times over the last 25 years also. We have had fallow periods when little or no leadership in singing took place at worship. These last few years, however, have seen an improvement. We now enjoy the presence of a small but hardworking and committed choir, some of whom have sung in choirs before, some who have no experience. A full attendance means we can divide into 4 sopranos, 2 altos, 2 tenors (one of whom is a versatile lady borrowed from the altos, the other a versatile gentleman borrowed from the basses!!) and 3 basses. We meet every Tuesday for rehearsal and learning of new music. On Sundays we meet for a warm-up before the service. I’m a firm believer in spending time with technical exercises for the voice and for the body — much to the consternation of the choir at times!! Tuning, blending of voices, voice projection etc. all improve with exercises. We have even been known to play ball! Practically all the music is learned by rote. I believe in spending a good period of time in preparing the hymns so that the choir feels confident in supporting the congregation. However, we don’t allow the congregation to sit on their laurels, as they must sing verses alone from time to time. On other occasions ladies only or men only, will sing a verse. I feel this encourages a greater awareness of the words. For communion we sing a suitable anthem of varying styles, ranging from easy but effective unison pieces to 3 and 4-part. Some Also, since the launch of Psalms for Singing, we have used it as a bridge between the Anglican Chant format and simply saying the psalms. As there is a growing population of young families from mixed traditions, familiarity with Anglican chant is a rare thing now, as indeed it is with a number of the hymns. To reach out to a congregation of such diverse backgrounds is a healthy challenge to all leaders of worship. The first Sunday of every month sees a more contemporary angle to worship, with a couple of guitarists and some percussion contributing a more informal approach to hymn singing. The very presence of such instruments opens opportunities to sing more ‘modern’ hymns/songs, thus including the young members of the congregation. However, we still have to successfully reach out to the teenagers and young adults in our community; something that will hopefully materialise in the foreseeable future. The Junior Choir is made up of 16 lively and very enthusiastic children, ranging from 7 to 12 years. We practise at 8.15 a.m. twice a week for 25 to 30 minutes, beginning with stretching exercises, singing games, lots of rounds followed by learning of repertoire for Church and events, such as singing in our local nursing home, competing in Wesley Feis (where we were highly commended this year!), taking part in the school assembly every month, etc. The support of the parents is crucial to the survival of this choir. Something I must keep reminding myself is the fact that these members are committed on a purely voluntary basis. Meeting over a meal in a local restaurant, travelling to participate in worship in another parish outside Dublin, having a Christmas party at the Rectory (thank you David and Isabel!!) all greatly contribute to helping the choir to ‘bond’ and feel comfortable with one another. I feel privileged to be part of this warm, friendly community. ! Ann Keary is a member of the Church Music Committee ann.keary@dit.ie Do You Know Your Music? 1. The walls of which biblical city fell down when the trumpets were blown? 2. Which composer named a quintet after a fish? 3. Which fish? 4. In which of Ketelbey’s compositions is the Kyrie chanted? 5. Whose song is the Nunc Dimittis? 6. What is a virginal? 7. What is a timbrel? 8. Which queen favoured Handel with her patronage when he arrived in London? 9. Which composer died on Good Friday, according to his wish? 10. For which popular sacred composition is Stephen Adams noted? 11. Who said ‘Music is the only sensual pleasure without vice’? 12. With what instrument do you associate the name Cremona? 13. What is a chanter, in terms of a musical instrument? 14. What is the name of the Barber of Seville? 15. What is tintinnabulation? 16. Who composed the music for Onward, Christian Soldiers? 17. What is a shawn? 18. Who composed the tune for The Church’s One Foundation? 19. Who composed the music for Land of Hope and Glory? 20. Who wrote the music for The Lost Chord? 21. For what profession was Handel originally intended? 22. Which famous musician was Prime Minister of Poland at one time? 23. Into which of Beethoven’s works did he introduce the British National Anthem? 24. Who wrote the song Where’re you walk? Answers in Notes & News It's July! It's Maynooth! It's Summer School! Fran Scott The first Monday of July each year brings joy to my heart. Several hundred people of all ages involved in Church music ministry will descend on St Patrick's College with a bounce in their step and a song in their heart. Following registration they can be seen clutching coloured folders containing an abundance of music which they will sing throughout the coming four days. First-timers struggle to familiarise themselves with names of rooms such as Middle Loftus, Callan Hall, Pugin Hall and Bewerunge. Some teenagers look in awe as they describe the college as “real life Hogwarts!” And so, the Irish Church Music Association Annual Summer School begins. This year saw the 41st such Summer School open. As we prepare to host the International Eucharistic Congress in 2012, the theme of this year's Summer School was 'Lord Jesus Christ, gather us together'. This year's guest director was Christopher Walker, an internationally renowned composer, conductor and lecturer who last directed this annual gathering in 1999, and prior to that in 1984. I was one of the 'unfrozen chosen,' as he often referred to those of us involved in liturgy, who was also in attendance in 1999. Chris was born in England and began life as a boy chorister at Bristol (Anglican) Cathedral. Following his master's degree in music composition, he became director of music at Clifton Cathedral, Bristol and director of music for the Clifton diocese. He now lives in Los Angeles and is music lecturer at Mount St Mary's college and director of music and worship at St Paul the Apostle Catholic Church. The summer school commences on the first afternoon with rehearsal/Eucharist in the College Chapel. Official opening follows the evening meal with rehearsal and evening prayer taking us to the day's close. Each day the summer school begins with Morning Prayer followed by breakfast and registration for day attendees. Then follows a talk/ presentation related to the theme of the summer school given by the chosen lecturer for the particular year. Rehearsal of the music for that day's Eucharist takes us to coffee break. Each participant can then select two tutorials to attend before lunch from a given list and one tutorial in the afternoon. Tutorials are offered in: • Music in the classroom • Cantor Training • Parish Repertoire • Contemporary/Gospel music The celebration of Eucharist in the College Chapel each day is very special. The liturgy is always uplifting and inclusive. The music learnt that day is sung with great enthusiasm by all and accompanied by the organ tutors and scholars. Instrumentalists attending the summer school are also invited to provide accompaniment on selected pieces throughout the week. Each evening brings different celebrations ranging from evening prayer in St Mary's Church of Ireland, to Taizé prayer and diocesan gatherings, quizzes, céilithe and concerts. The summer school closes with final Eucharist at noon on Friday. Friendships have been formed, mobile numbers and email addresses exchanged and promises to support each other during the year, regardless of the distance between dioceses, will be kept. I have been privileged to be a member of the Irish Church Music Association since 1998 and, with the exception of one year, have attended each summer school since then. The summer school would not happen without the dedicated work of the staff of the National Centre for Liturgy and the hard work of the members of the Council of the ICMA. Míle buíochas le gach duine. ! franscott@vodafone.ie Fran Scott is co-founder and codirector of Whitehall Parish Youth Choir, 1999 — 2006. more of a connection than we might realise, for at the root of both Charismatic and Orthodox liturgy is a grasping for the transcendent, for the numinous. What makes much of the best Charismatic and Orthodox worship so attractive to Western Christians is this 'non-rational' grasp for the numinous - the ability to 'let go' in the face of transcendent mystery. So much of Western worship is rational and didactic, a time for teaching and explication aimed primarily at the intellect — appealing to the rational mind rather than to the soul. As explicated by German theologian Rudolf Otto (18691937), the numinous is that nonrational, non-sensory experience of the divine, primarily located outside of oneself — the transcendent power of divinity, a mystery at once both terrifying and fascinating, fearful yet compelling. The best Charismatic and Orthodox worship taps into our Western need to 'let go' in the face of the mystery of God. In the case of Charismatics this is primarily through an openness to the Spirit (and the Spirit's gifts), the joyful use of music and the loss of that human inhibition that too often holds us UNLIKELY BEDFELLOWS ? The Revd Michael Johnston suggests that Charismatic and Eastern Orthodox worship have more in common than may appear at first sight. It has been noted that two branches of the Christian Church that currently are experiencing growth in the Western world are Charismatic Churches and Eastern Orthodoxy. One of the reasons given for this growth is liturgy — their forms of worship seem to be, at present, particularly attractive. We might wonder what relationship there could possibly be between such, seemingly, vastly differing liturgies: one using modern worship songs and the latest technology, the other steeped in centuries old tradition. However, there may be • Organ Liturgical Composition • Chant • Choral Direction/Conducting • Special Choir (continued over —>) ORGAN RECITALS Randal Henly suggests a more populist approach to programming It was talking to David Bedlow in the National Gallery on the recent Culture Night, that sowed the seeds for these thoughts about organ recital programmes. The White Elephant in Earlsfort Terrace Every time I enter the National Concert Hall, I admire the great white elephant in the gallery. How often in the course of a year do we have a recital on the NCH organ? In most (all?) European capital cities, you’ll find weekly (some much more frequently) daytime organ recitals, certainly throughout the summer — except in Dublin. Last month I spent three days in Prague. On each of those days there was an organ recital in a city-centre church. The NCH in Dublin’s city centre has a versatile organ that can make a very fine sound, and Dublin has lots of competent organists (including some amateur ones) that could easily play, say a 45 minute programme every so often. Some years ago, I wrote to and sent similar thoughts to the NCH’s Director Judy Woodworth; her reply was that organ recitals don’t attract sufficient attendances to make them viable. Maybe so, but I would suggest the reason is that too many organ recitals are composed of pure organ music, and will not attract ‘ordinary’ concertgoers. To appreciate much ‘real’ organ music fully, one must have some knowledge of harmony and counterpoint, and as for modern organ music ...... few can relate to it. Carlo Curley draws large attendances at his recitals, the reason being that he plays ‘listenable-to’ programmes that are a bit of everything — music that the ordinary person can relate to. Peter Sweeney played some ‘popular’ recitals shortly after the NCH organ idea of mounting a series of recitals by top-class players, with free admission. ........... The playing was phenomenally good, the organ stupendously impressive; but there the superlatives must end. The programme was uncompromisingly severe: Hindemith Symphonic Metamorphosis, Judith Weir Ettrich Banks and Vierne Symphonie V.’ ‘ ......... the entire evening lacked anything that that would be regarded as a tune by anyone other than cognoscenti or musicologists. After the first 30 minutes of unrelieved dissonance, some of the visitors gave up hope and ‘voted with their feet’ ‘ ...... I left feeling very sad that such a bold and imaginative (and free!) series should have contained an entire evening where the music was so unapproachable and the atmosphere so impersonal.’ And in another letter: was installed, and my memory was that they were exciting and well attended. I seem to remember that they included Lefebure-Wely, Handel and Sousa amongst the offerings. And as part of Culture Night a year ago, Mark Duley (in the NCH) played a lively programme (ending up with the Widor Toccata). I reckon there were about 400 attendees — and I’m sure this wasn’t just because it was free. And Gerard Gillen’s programmes too, are always easy to listen to. During the last year or so, there has been much correspondence in the (quarterly) Organists’ Review about this matter. Letters in two recent issues express the general sentiments of the whole correspondence: ‘Recent correspondence has made interesting reading. I noted with approval Westminster Cathedral’s ‘ .... the audience’s powers of endurance were tested to the limit. The choice of music was unfortunate in that two modern works opened the programme, lasting some 40 minutes. ..... This is NOT what an organ recital should be about, and there MUST be points of contact between the audience and performer, which were sadly lacking at this recital. Organ recitals should be a mixture between that which is educational and that which is entertaining. I will conclude by asking why it is that so many recitalists persist in thinking that their audiences are composed entirely of other organists?’ Personally I would much prefer to listen to a recital by a local organist playing a tuneful programme than by some internationally-famous person playing a tuneless one. Organ recitals should be enjoyed, not endured. So, recitalists, how about making organ recitals become appealing to the populace once more. ! rhenly@eircom.net (continued from previous page) back from experiencing God. Within Orthodoxy it is that assault on the senses through icons, vestments, incense, repetitive chant, bodily posture - the creation of another world within which we can let go in the face of the numinous. Perhaps in our Western Churches we need to pay more attention to our primal human need to 'let go' in the face of the divine; to shift the balance from the rational, intellectual and controlled, to include more of the non-rational, the sensorial and the uncontrolled — dare one even say 'dangerous', for the power of the numinous, the power of God, is both attractive and terrifying. The writer Annie Dillard perhaps sensed this when she wrote: “On the whole, I do not find Christians, outside of the catacombs, sufficiently sensible of conditions. Does anyone have the foggiest idea what sort of power we so blithely invoke? Or, as I suspect, does no one believe a word of it? The churches are the children playing on the floor with their chemistry sets, mixing up a batch of TNT to kill a Sunday morning. It is madness to wear ladies' straw hats and velvet hats to church; we should all be wearing crash helmets. Ushers should issue life preservers and signal flares; they should lash us to our pews.” ! Michael Johnston is rector of the Shinrone group of parishes, Dioceses of Limerick and Killaloe. mejohnston@iol.ie N otes and ews LIVING WORSHIP A course in liturgy, music and worship The annual Living Worship course will be held again on four Saturday mornings early in 2011, starting on 15 January, when Bishop Michael Burrows, will speak about liturgical space and the re-ordering of the interior of churches, with particular reference to recently-approved Church of Ireland guidelines. On 22 January, Róisín Dexter and some members of the Discovery Gospel Choir will lead a workshop on gospel music. On 29 January, Archdeacon Ricky Rountree will explore the various ways in which music may be used in A Service of the Word and other non-eucharistic worship; and the final session on 5 February will be led by the prominent Belfast musician, Harry Grindle, who will draw on his wide experience when discussing the role of the church musician and the concept of the ministry of music. This course is always well-attended. It aims to place the work of the church musician in the wider context of liturgy and theology. Venue: Mageough Hall, Cowper Road (beside Cowper Luas). Course Fee: !100. Booking and further information: info@churchmusicdublin.org and 087 668 3998. HOW TO CHOOSE AN ORGAN VOLUNTARY (Reprinted from Vivace) There is such a wealth of organ music that it is sometimes difficult to select suitable voluntaries. The first rule is never choose a piece which is beyond your ability! By all means extend your technique but never go beyond its limits. Allocate sufficient practice time and don't be tempted to play without enough rehearsal — this is a recipe for mediocrity and disaster. Don't choose music merely from one period — use as wide a selection as possible. Always publish your list and plan ahead for three or six months. Keep abreast of new music and choose from it what is suitable. You can listen to CDs and see if they contain usable works. New first-year ACCM students: Richard Whittern, Margaret Stokes, Jamie Boshell, Inga Hutchinson and Beth Burns (Absent: Hugo Stewart). ACCM COURSE 2010—11 In September, six students entered year 1 of the Church Music Training Course. The sponsoring parishes are Castlemacadam (Co. Wicklow), Christ Church Cathedral, Athlone, Boyle (Co. Roscommon) and Geashill (Co. Offaly). There are now fourteen students altogether in the three years of the course. This session's choir training module for the church music students took place during September/October. The four sessions were led by Peter Parshall (St Bartholomew's) and Ite O'Donovan, founder of the Dublin Choral Foundation, and director of The Lassus Scholars and Piccolo Lasso. There was a particular emphasis on the role of the cantor as it seems probable that this role will become increasingly important in Church of Ireland parish churches. Continual education in the organ repertoire is essential. Don't close your mind to new ideas always keep it open. Make sure that your organ is sufficient for what you choose. Messiaen, played on a one-manual organ with 5 stops is not a good idea! Start making your list by looking at the liturgy of the Sundays on which you will be playing. Is there a voluntary appropriate to the day? What length is most suitable? A large church will probably need a long voluntary, a small one a shorter piece. Above all, play music that you enjoy. Your pleasure will communicate with the listeners and add to their appreciation of your work. The voluntary is a very important part of the Service: it needs to be chosen and practised with care. Colin Mawby KSG LETTER TO EDITOR Michael Johnston’s article on Posture (Soundboard, No. 21) is timely.! While it is clear that our modern liturgies expect a greater amount of standing than those based on mediaeval practice, the Book of Common Prayer has few instructions about where to stand/sit/kneel.! Therefore, those leading worship need to develop skills in indicating what to do, without unduly interfering with the flow of the liturgy. In my experience, Roman Catholic clergy tend to be more sensitive and adept about this than those of the Church of Ireland.! In our Anglican tradition, there is a deeply embedded worship-memory that insists that worshippers must kneel at the words ‘let us pray’, even if this is not necessary. Therefore phrases such as ‘we remain standing as we pray’ or ‘I invite you to stand for the intercessions’ need to be substituted. Most liturgists recommend that the entire Introductory/Gathering section at the Eucharist should be done standing.! Rather than introducing the Collect with the traditional ‘let us pray’, how much more effective it can be if the presiding priest regards this as a high point that sums-up the gathering of God’s people, and encourages the entire assembly to stay standing while s/he offers the Prayer on their behalf. David McConnell, Zion Church, Rathgar. VACANCIES FOR MUSICIANS Are you aware that vacancies for organists, cantors, singers and other musicians may be advertised on our website? If you wish to advertise, send the information to info@churchmusicdublin.org. N otes and ews ST BARTHOLOMEW'S CHURCH An interesting exchange of roles has taken place at St Bartholomew's Church, Clyde Road: Since 1 September, Peter Parshall is Director of Music and Fraser Wilson is Assistant Director of Music. Fraser tells us that he will now have more time to follow his interest in music composition. Peter, meanwhile, has been concentrating on recruitment with the result that the boys' choir now numbers twenty-six and the girls' choir, eighteen. Significant dates in the St Bartholomew's musical calendar during the coming period are Tuesday 2 November, Solemn Eucharist of All Souls at 8 p.m. at which the choir of boys and men will sing Fauré's Requiem. The annual concert of carols and readings featuring Alan Stanford and the choirs of boys, girls and men, will take place on the evening of Sunday 12 December. Further information can be had on www.stbartholomews.ie RSCM IRELAND Peter Parshall also is co-ordinator for RSCM Ireland. Recently, choristers who have achieved success in the RSCM's Voice for Life choral training scheme came together to sing Choral Evensong in St Patrick's Cathedral, under the direction of Stuart Nicholson, Organist and Master of the Choristers. During the service, choristers were presented with their certificates by the Dean of St Patrick's. The next RSCM event in Dublin is a Choral Singing Day on Saturday 20 November at St Mary's Pro-Cathedral. This will be a joint event with the Pro-Cathedral Choral Department at which church and school choirs come together to explore new repertoire under the direction of Blánaid Murphy before singing at an evening Mass. Further details will be found on www.rscmireland.com. SINGING PSALMS, YEAR A The lectionary moves to Year A on Advent Sunday (5 December) and Singing Psalms - responsorial psalms set to simple chant -Year A (The Columba Press) will be launched in Dublin and Belfast during November. This will be the third and final volume in the series. Keep an eye on the church music website for details of dates and venues. ANSWERS TO DO YOU KNOW YOUR MUSIC 1. Jericho 2. Schubert 3. Trout 4. In a Monastery Garden 5. Simeon 6. 16/17th-century instrument of the harpsichord type but smaller and of different shape. 7. A tambourine 8. Queen Anne 9. Handel 10. The Holy City 11. Samuel Johnson 12. Violin 13. The pipe of a bagpipe on which the melody ips played 14. Figaro 15. A ringing or tinkling sound 16. Sullivan 17. Obsolete double reed woodwind instrument, forerunner of the oboe 18. S. S. Wesley 19. Elgar 20. Sullivan 21. The Law 22. Ignacy Jan Paderewski 23. Wellington's Victory, or the ‘Battle Symphony’ 24. Handel The Church Music Committee supports and resources music and musicians in the local church. The Committee is appointed by the Church of Ireland Dioceses of Dublin & Glendalough. Website: www.churchmusicdublin.org CONGRATULATIONS! Tom Gordon has been a popular speaker at the Living Worship course in the past (and, we hope, will be back with us in the future). We congratulate him on his recent appointment as Dean of Leighlin Cathedral and Adult Education Officer for the dioceses of Cashel and Ossory. BERT KAVANAGH (1922-2010) We record with sadness the death on 3 September of Bert Kavanagh, a church organist for over 70 years. He served most of this time at Wicklow Parish Church and before that at St Saviour's, Arklow. JAMES QUINN, SJ (1919-2010) We also regret to record the death in Edinburgh on 8 April 2010 at the age of 90, of the well known hymnwriter, Father James Quinn. An examination of his many hymns shows the breadth of his subject matter, his love for the worship of the Church, and the range of metres in which he wrote. James Quinn joined the Society of Jesus in 1939 and was ordained in 1950. From 1972 to 1976 he was a consultant to the International Commission in English for the Liturgy. Eight of his hymns are included in Church Hymnal 2000, including Forth in the peace of Christ, we go, Christ be beside me and a translation of the Maundy Thursday Liturgy, Ubi Caritas / Here in Christ we gather. DO WE HAVE YOUR (CURRENT) EMAIL ADDRESS? Our email alert service gives information about concerts, courses and other events of interest to church musicians. We already have a large number of addresses on our circulation list. But recently we notice an increasing number of returned 'undeliverable' messages or 'bounces'. Many people change their email supplier from time to time. To be sure that you are still on our list or if you wish to sign-up to it, please send a quick message from your current email address to info@churchmusicdublin.org. Chairman: Archdeacon Ricky Rountree, Powerscourt Rectory, Enniskerry, Bray, Co Wicklow. Secretary: Mrs Jacqueline Mullen, 23 Ludford Park, Ballinteer, Dublin 16, Tel. (01) 298 8923., Email: info@churchmusicdublin.org SOUNDBOARD is published by the Church Music Committee. Views in it are not necessarily those of the Editor or of the Committee. Annual Subscription: !15/£13 Editor: Randal Henly, 81 Offington Avenue, Sutton, Dublin 13. Tel (01) 832 3647; Email: rhenly@eircom.net Assistant Editor: Maedhbh Abayawickrema, Tel (01) 822 6298, Email: mdaltun@yahoo.com NEXT SOUNDBOARD Number 23 February 2011 The deadline for receipt of material for the next issue is 31 January 2011