The Royal Canadian College of Organists
Le Collège royal canadien des organistes
KINGSTON CENTRE
NEWSLETTER
Opus 54 - December 2003
From The President
Having neither wise nor foolish words for you at this time, I wish you splendid
festive services, joyous holidays and all you could wish for in 2004.
"Aesthetes or Populists" From the Editor
In a house full of books, one sometimes has the good fortune to come upon
a book, long untouched and scarcely remembered, which commends itself on sight
as the very book one needs to read next. Such was my luck the other day when
I came across a rather old book on a very current topic. It was Music and
Worship, by Walford Davies and Harvey Grace, published in 1936. Walford Davies,
later to become Master of the King’s Music, was organist of the Temple
Church in London from 1898 to 1923; we have sung two of his anthems in the
last few weeks at St Mary’s Cathedral. Harvey Grace was organist of
St Mary Magdalene’s Church, Munster Square, in London, from about 1915
to 1925. The two lived until the early 1940s; and although the problems of
music in the Church of England at that time differed in detail from those
with which we are all currently acquainted in the early part of our present
century, most of those problems were basically the same; and one might hope
and expect that the principles which govern the suitability of music for Christian
worship are likely to remain the same - if only we can discover what they
are!
In the last few days I have read a good deal of Walford Davies and Grace;
and I also turned to the account given by Nicholas Temperley in The Music
of the English Parish Church (Cambridge: Cambridge University Press, 1979)
of the developments in the late nineteenth and the twentieth century. I found
there a telling summary of a main focus of the debate which is perhaps as
relevant to our present situation as it was then. Temperley cites two opposing
views in a paragraph which I will quote in full (op.cit. p.343):
“In 1949 A.S.Duncan-Jones, Dean of Chichester, who was a veteran of
the first archbishops’ committee on church music, said to a meeting
of the Church Assembly: ‘The whole of the movement for the improvement
of church music [in the twentieth century] was dominated by the idea that
music in church is primarily an offering presented to God, and only secondarily
for the edification of the congregation’, and must above all be ‘good
of its kind’ (English Church Music xx, 1950: 11). This was a classic
statement of the traditional high-church point of view. But it was already
out-of-tune with the times. The prevailing view is that of Canon H.M.Waddams:
‘neither priest nor organist nor choir has, nor can have, any other
function than to help God’s people to do the liturgy, to do their service.’
“
These conflicting views seem to have marked developments in the Church of
England since at least the eighteenth century. The Duncan-Jones position reflects
the admiration for the cathedral tradition, which at various times the parish
churches sought to make their own; the Waddams position represents the movement
to restore the church’s music to the congregation, at least in parish
churches, but also in some minds in the cathedrals themselves. Surely, however,
this also has a contemporary ring about it. Duncan-Jones, after all, might
well have been an RCCO President, defending the insistence on the highest
traditional standards; while the by-now notorious view of the editor of the
Presbyterian Record, that we should abandon organs and choirs and anthems
in favour of ”soft rock” as the “culturally relevant”
style of music today, might well be understood as taking Canon Waddams’
view to its logical conclusion!
This controversy might seem to be encapsulated in the title of one of Temperley’s
sections - “Aesthetes and Populists”. But as I read Temperley’s
fascinating narrative, it occurred to me that the whole controversy seems
to be mistaken, and the problem of church music misconceived. This arises
at least in part because of the neglect of a distinction that Walford Davies
and Grace place at the very head of their discussion. Their style is comparatively
extended and leisurely, but I will quote at length from their original statement
of the distinction:
“…we most of all need to distinguish between two great orders
of all church music, both capable of being perfected along two markedly different
lines. We have to distinguish between (1) all musical utterances used to dispose
men to worship, in the way architecture and applied fine art can dispose men
to worship; and (2) all musical utterance used as the immediate vehicle of
the spirit of worship itself…Thus, an Anthem or a Voluntary is definitely
music in aid; a Gloria or a Kyrie may be music as the very channel of worship
itself….It is clear that, on the one hand, music as elaborate and exactingly
complex as the most elaborate architecture in the world can be devotedly offered
by church musicians; and it can be as beautifully in place in Westminster
Abbey or York Minster as the elaborated architecture itself is in place. On
the other hand, it is equally clear that the attempt to make such elaborate
music an integral part of the utterance of the musically unskilled worshippers
themselves, whether in Westminster Abbey or anywhere else, is to defeat its
true end. It is like demanding of worshippers that they should build their
own churches and stain their own glass. We must, for good, open the gates
to the two orders of church music.” (op.cit. pp.18f.)
I do not deny that this distinction, important though it is, leaves many key
questions unanswered. In particular, the acceptance of the first order of
church music does not mean that all pieces of serious and aesthetically compelling
music are suitable aids to worship, even if consciously intended as such,
any more than acceptance of the second order entails that all pieces which
the congregation likes and is able to sing are suitable vehicles of worship.
But the acceptance of the two orders clearly lays upon us the obligation to
examine, and carefully apply, the criteria of suitability which belong to
each order by virtue of its purpose, and not, for example, to condemn the
use of anthems because the people cannot sing them, or reject simple pieces
of music written for congregational use on the ground that they are not high
art.
Space does not permit the further pursuit of these problems here. But if the
wind blows fair I hope to return to them in a later issue.
The Fall Party
The Fall Party took place as announced
at Carol Ramer’s lovely house and grounds in the wilds of Hartington
on Sunday afternoon (September 21st). Carol had sent out an attractive announcement
to all members, accompanied by clear instructions about how to get there -
no-one got lost (as far as we know). About twenty of us sat down both in and
out of the house (the weather was kind) to a splendid turkey with more than
all the trimmings, supplied partly by Carol and partly, together with luscious
desserts, by guests. We once more owe Carol - and Gordon - our cordial thanks
for a most enjoyable occasion.
Maxine Thevenot's Visit
The recital by Maxine Thevenot duly took place in St George’s Cathedral
on Friday, October 24th. Musically it was, predictably, a tremendous success,
but the attendance, though fairly typical, was disappointing. It was unfortunate
that the recital was sandwiched between three concerts which formed a weekend
series at Queen’s. The Executive is very conscious of these problems
and proposes to make a serious study both of the holding of organ recitals
and of the adequacy of our publicity.
But to return to the music. The details of the programme wre given in the
last issue, and we will not take up space by repeating them here in full.
Perhaps the chief impression left by the concert was of the catholicity of
Ms Thevenot’s musical sympathies and the versatility of the St George’s
organ when entrusted to the right hands. One has perhaps tended to think of
this organ as most suited to the romantic and modern French repertoire. On
this occasion we were indeed treated to more of the latter in Messiaen, Dupré
and Vierne, but Ms Thevenot began her recital with Buxtehude, Guillaume Guilain
and J.S.Bach. We have all heard many and various interpretations of Bach on
this instrument over the years, a good number of which confirmed the impression
that the clarity and articulation which Bach demands were hard to come by
on it. Ms Thevenot did Bach and the organ a service by re-uniting them in
a happy co-operation of elegant clarity. The Prelude, Fugue and Ciacona of
Buxtehude on the other hand is marked by an air of rhapsodic improvisation
which is not easy to bring off convincingly. Again, the recitalist’s
strong sense of rhythm, and her ability to engineer sudden changes of rhythm
and tempo so that they flowed naturally, rescued the music from any sense
of waywardness.
The Mendelssohn Andante which was to have served as a bridge between the Baroque
and the Romantic was in the event omitted from the programme, and we proceeded
straight to the only piece which was not perhaps quite convincing - not because
of the way it was played but in itself. This was the setting of the old English
song Early One Morning by Percy Grainger, realised and edited by Iain Quinn.
A disconcerting element of this arrangement was that it started off by converting
the simple country tune into the minor key, which to one auditor’s ear
was quite out of keeping with the spirit of the song and seemed an unusual
move for the normally effervescent Grainger.
Then came the works which to many of us presented the greatest challenge:
Le Banquet céleste and Versets pour la fête de la dédicace
of Olivier Messiaen. I find myself still trying to come to grips with this
composer, but any progess I have made is largely due to the playing of them
by David Palmer and now Maxine Thevenot. I was genuinely enjoying this performance
when I heard a strange sound. My first thought was of the composer’s
well-known fondness for bird-calls, but then I realised that no part of the
organ was situated in the gallery from which the sound came. It took me some
time to idenify the sound as a cell-phone which some unspeakable technocrat
had left on during the performance.
The first half of the concert was then brought to a satisfying close by Marcel
Dupré’s Cortège et Litanie.
The second half was devoted to the Third Symphony of Vierne. This impressive
five-movement work was not previously known to me, but, played as it was with
authority and sensitivity, it made a strong and favourable impression, and
I look forward to a second hearing. It made a worthy climax to a fine recital.
After the recital, a reception for the performer was given by Jill Mingo at
her house. We thank her for her hospitality.
The Four Points Hotel once more kindly provided Miss Thevenot’s accommodation.
During her visit Miss Thevenot gave a master class at St George’s and
two private lessons. The performers at the master class were Jill Mingo, Marek
Krowicki and Thomas Tang, and both the playing and the comments were much
appreciated by those present.
Anthem Reading
On Sunday, November 2nd, David Cameron
and members of his choir gave us a most enjoyable afternoon. The advertised
topic was Old and Recent Favourites, and the session involved reading through
anthems from the Chalmers’ repertoire, at first of David’s choice
and latterly by request from those present. We owe thanks to David and also
to the members of his choir for giving up their Sunday afternoon to choir
work as well as their usual Sunday morning.
It is unfortunate that the small attendance of visitors (i.e., non-members
of the Chalmers choir) frustrated the original purpose of the occasion, enjoyable
though it was. If memory serves, the impetus for such an event came from the
observation that our standard anthem readings normally very largely comprise
new works hot off the press, and works moreover not always of very good quality.
This is especially the case when publishers have supplied free copies of their
publications to those who attended, for naturally they are interested in selling
their new listings. On occasion, the Centre has asked the music store presenting
the reading to provide a mixture of new and established works, a request which
has met with varying degrees of fulfilment. This situation suggested to some
of us that the clientele which we are most interested in helping - namely,
organists and choir directors who have not had much experience in selecting
music for their choirs, let alone training in the riches of the repertoire
- could with advantage be given anthem readings consisting chiefly or entirely
of established works. It was also felt that this repertoire would be displayed
to the best effect if members of an established choir, familiar with what
was to be sung, provided a nucleus of experienced singers for the read-through.
As an additional bonus, the singing of the music to the organ was regarded
as desirable if practicable, in order to give a rendering of the work as near
as possible to what it would sound like in church (though this last provision
is perhaps more ideal than essential). The first, and so far only other, anthem
reading of this kind took place at St Mary’s Cathedral a couple of years
ago, and illustrated the difficulty of achieving our original objective; for
of the eighteen or so people who had expressed an intention of attending,
only six turned up.
Anthem readings are arguably one of the most important features of the educational
work of the Centre, and on occasion have in fact yielded new members and subscribers,
in particular from among the “reluctant organist” (and choir director!)
segment of those whom we are committed to helping. I hope that both sorts
of anthem reading will continue to be pursued with zeal by the Executive,
and I recommend that the Executive consider how it can lay on some extensive
telephoning, not just to members but to potential members, in preparation
for these events. Lists are available in the database of all those who have
attended recent anthem readings, and also of those who have indicated, on
the questionnaires which have been sent out in the past, anthem readings as
one of the RCCO activities in which they have a special interest. As a corollary,
I have to admit that the database badly needs bringing up to date and extending,
and it might be worthwhile to establish an ad hoc committee to undertake this
project. I have discovered to my regret that the task of keeping the data
current and complete is too much for one person - or at least, this person
- to accomplish single-handed!
N.B.
William Wright's Workshop by Carol Ramer
William Wright's workshop on November 22nd, which was attended by a small
but enthusiastic audience, was extremely interesting; we were treated to an
informative and enjoyable lecture, illustrated by performances of sections
of works of all the composers discussed. John Uttley and Elisabeth Mitchell
made the arrangements at St Thomas’ Church and provided the group with
coffee and refreshments beforehand.
The organ is a Gabriel Kney tracker, and therefore well-suited to the topic
of the day. Professor Wright’s enthusiasm for tracker organs was very
evident in his presentation to us. We learned of "The Legacy of Bach"
- his sons and students who followed him including his favourite son, Wilhelm
Friedemann, who was very talented but had a miserable life and ended up poverty-stricken.
He sold many of Bach's manuscripts in later life to make ends meet. William
told us that at least two thirds of Bach's manuscripts have been lost through
this and other means.
C.P.E.Bach’s organ works are perhaps somewhat better known than those
of Wilhelm Friedemann, and show development towards the pre-classical as well
as his father’s influence. We also listened to works by Johann Ludwig
Krebs, one of Bach's more famous students, and also enjoyed music by Homilius,
Kittel, Rinck and others, including Mozart, and even, more surprisingly, Liszt,
whose inclusion brought the line of development firmly into the Romantic era.
I particularly enjoyed the biographical asides about these composers. All
in all, it was a most enjoyable morning. William is not only a scholar and
a gifted player but an accomplished and entertaining lecturer with a lively
sense of humour.
Members Recital
Thanks to Charlie Walker and the members of his church, the RCCO members’
concert is to take place at Sydenham Street United Church on Sunday, February
15th, 2004, starting at 2:30 p.m. and ending after the music with light refreshments.
There is a large three-manual Casavant in excellent acoustics in the church
together with a newer grand (not upright) piano. So far five of your colleagues
have volunteered to produce solo and duet organ music for us. There is room
for a few more. So, if you would like to entertain us with your favourite,
or other, music do get in touch with Charles Balme at cbalme@kos.net. Organ,
piano, solo or ensemble singing or instrumental music of any style are all
very welcome.
Playing or just listening, don't forget to mark Sydenham Street United Church
on February 15th in your new calendar as the place to be.
Center Organ Scholarships 2004
At the present time, the regulations
governing organ scholarships given by or through the Centre are being reviewed,
and may change in some minor ways. When they are available, the up-dated regulations
will be displayed on the website. But potential candidates and their teachers
should know that the closing date for applications has been put forward to
Saturday, February 21st. Auditions will probably be held on Sunday, March
7th, but this of course will be confirmed with applicants, together with the
precise time and place.
Lylian Forsyth Scholarship
Applications are now being received
for the 2004 Lilian Forsyth Scholarship for Church Music. The award of up
to $2,000 may be used for summer study programmes, regular diploma or degree
courses, or private tuition. Candidates should be active church musicians
who have completed their basic musical training. The committee will also consider
an application from someone who would benefit from this scholarship but who
is not a practising musician, such as a member of the clergy.
For application forms and information, contact: The Registrar, Lilian Forsyth
Scholarship, Knox Presbyterian Church, 120 Lisgar Street, Ottawa, Ontario,
K2P 0C2. e-mail: knoxottawa@sympatico.ca.
Application deadline: February 28th, 2004.
A Performance Not to Be Missed
A couple goes to an opera matinée
performance of Otello starring Placido Domingo and Renée Fleming. It's
been sold out for months, so they are surprised to see an empty seat next
to them. At the end of the first act, the woman on the other side of the empty
seat says, "Isn't this a wonderful performance! I wouldn't have missed
it for anything!" "Oh, yes," responds the woman who is there
with her husband. "But I'm surprised to see this empty seat. Do you know
the person who had this ticket?" "My late husband and I have subscribed
to these seats for years, but unfortunately, he didn't live to make it to
this performance." She wipes a tear from the corner of her eye. ”Oh,
I'm very sorry to hear about your loss. But surely you must have a friend
or relative who would have enjoyed coming with you today and using the extra
ticket?" "No, none of my friends or relatives could come today.
They're all at the funeral."
Supply Organists
Michael Goodwin is available for
all church services (experienced in Anglican liturgy), also weddings and funerals.
mgoodwin@kos.net
Ross Trant is available as a supply
organist (when home) for Sundays and special services, especially in the Quinte
area. e-mail: trant@reach.net.
President: Robert Hunter Bell e-mail: rhb@kingston.net
Vice-president: Carol Ramer e-mail: gcramer@sympatico.ca
Recording Secretary: James Zehr e-mail: j.s.zed@sympatico.ca
Treasurer: Joan Egnatoff e-mail: joane@kingston.net
Publicity & Website: Stan Stinchcombe e-mail: rcco1423@sympatico.ca
Corresponding and Membership Secretary and Newsletter Editor:
Norman Brown email: njpbrown@cogeco.ca
Scholarship Secretary: Nora Vincent email: vincentn@post.queensu.ca
Website: http://www.rcco-kingston.org
The Kingston Centre Newsletter is edited by Norman Brown, e-mail: njpbrown@cogeco.ca.
It is published four times a year, in September, December, March and June,
and is sent free of charge to all members of the Kingston Centre of the R.C.C.O.,
and to current scholarship holders. It will be sent on request to others on
payment of an annual subscription of $10.00, which should be sent to the Treasurer,
Joan Egnatoff, (cheques should be made payable to R.C.C.O. Kingston Centre).
Deadline for all submissions to the March Newsletter: February 27th, 2004.