why there are no posts in September

Of course that isn’t true because this will be the only September 2025 post in my blog. September, like January, is always a rather slack time for performances and this September just saw me singing in an evensong at church and an audition for Three Choirs.

Normally though I’d be writing about Proms, and in many seasons I’ve gone to a Prom in September, when I’ve realised I hadn’t yet been to any. But this year I gave the Proms a complete miss, not because there weren’t worthwhile concerts, but mainly because the concert experience itself has been unsatisfactory recently. Usually because of poor audience behaviour (something others complain about) but on one recent occasion because a physical barrier was placed between me and the performers. Unless I’m going to be in London anyway as I was last year, this makes me think twice about making the effort.

However even when there is no performance, change is afoot. Some ideas from Exeter are making their way into the Abbey’s Chamber Choir, among them discussions about what we wear and when we sing. After four years when you had to look on a music list to find a mention of us, there is now a dedicated section about the choir on the Abbey website.* Secondly, we can now take away a cardboard wallet with our music in after rehearsals, obviously bringing it all back again next time. Until now, the music has had to be handed in at the end of a practice, so that you weren’t guaranteed to be singing from the same copy next time. There were attempts to be reunited with the copy with one’s markings in by marking one’s initials discreetly on the cover, but now that is unnecessary!

*although it is not strictly true that the Chamber Choir started off singing monthly at the Family Communion and then took on other services. Our very first service was a weekday Evensong, and Evensongs and the more formal 11.30 Eucharist have been assigned to us from the start.

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Our Lady of Confusion

This is a cult of the Virgin (apparently a variant of Our Lady of Sorrows) associated with western Sicily. Our holiday just outside the town of Salemi coincided with the beginning of the festival in her honour, and the Capuchin church dedicated to her there held a special event: the rededication of their Ruffatti organ after restoration work. (Another Marian feature of this church was the lengthy extract from Schubert’s Ave Maria played on a recording of a carillon to introduce the Angelus.)

The Ruffatti organ at Maria Santissima della Confusione, Salemi

A local choir, the Coro Polifonico San Pietro Trapani, gave a concert which began with a prayer of dedication and sprinkling the console with holy water. Most of the pieces they sang weren’t known to me, and I would imagine they were post-Baroque pieces of Italian church music. However there was one piece I recognised, a setting of O sanctissima, O purissima. The melody of this turns up in Church of England hymnbooks to the words O most merciful! as a short Communion hymn and is known as the Sicilian Mariners’ Hymn. The source (English, late 18th century) claims the hymn was sung by Sicilian sailors at the end of the day, although there is no independent confirmation of this, or earlier attestation of this precise text.* I find it hard to believe that a stray traveller was able to transcribe a four-verse hymn in Latin from the singing of Sicilian fishermen! Within a few years of publication in London it was all over the Catholic world, the tune sung by Protestants to other words, and the precise origins lost. But if the attribution is taken at face value, it’s the only Sicilian tune to have made it into my hymnbooks.

The exterior of the church during the festival


There were of course organ pieces to show off the refurbished instrument, including Dubois’ Toccata. I hope the organ gets plenty of suitably ambitious music played on it in future. For the organ nerds among you, here’s the spec.

Facebook users can see a post by the choir about the concert here.

* Wikipedia is not to be relied on here – the text cited from Speyer Cathedral is a German translation of the end of the Salve Regina, and I’ve not been able to check whether Kleber’s earlier organ tablature for a text beginning ‘O Sanctissima’ is in the right metre. Also, all the sailors I know would head for the nearest bar at the end of the day rather than singing a hymn.

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lots of 5/4 at Llandaff

One theme running through the Erleigh Cantors’ choice of music for our visit to Llandaff Cathedral was pieces with bars in 5/4 time. I got quite used to it.

Welsh cakes kindly served by locally-connected choir member and organist!

The most ambitious piece we did was a reprise of Frank Martin’s Mass for double choir, which we previously sang at St Edmundsbury in 2015. Despite my previous claim that it was engraved on my memory, I had my work cut out to re-acquaint myself with this piece and there was a further twist: this time we were also expected to sing the Kyrie, which is one of the longer movements. But it does repay the effort.

As this left less rehearsal time for other pieces, they were kept relatively simple, with the exception of Naylor’s Vox dicentis (I seem to be running into this piece a lot at the moment) and Howells’ Evening Canticles in B minor. The new piece for me was Eleanor Daley’s Upon your heart which is popping up all over the place on music lists, although I haven’t come across anything else by her. Other pieces included Gibbons ‘Short’ service and David Willcocks’ Sing! which is really some vanilla words set to the background of Widor’s Toccata, but does boast a particularly good dedication.

The dedication of David Willcocks’ ‘Sing!’

Not long afterwards Llandaff’s voluntary choir paid a visit to Bath Abbey and I went to hear them as I knew one member of the choir.

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Abbey interregnum

It’s now time to quickly cover some services I sang at Bath Abbey during the gap between the departure of Dewi and the arrival of Adam. (Much of the Abbey Chamber Choir’s 4-year existence to date, including one period of 18 months, has been this sort of interregnum.) Actually, Adam did conduct a number of services and rehearsals during this time, when Exeter Cathedral could spare him. And as I’ve already said, I missed the big event when the St Peter’s Singers made their return visit.

As it was a time when numbers were also low – I myself sang only three services – and conductors of services chopped and changed, there were some pieces that made repeated appearances in recent months: Palestrina’s Missa Brevis, Elgar’s O Salutaris Hostia, and Bairstow’s Jesu, the very thought of Thee. However there was one new anthem for me, by a composer I’d never sung before: Amy Beach’s Peace I leave with you.

The autumn marks a fresh start, and the possibility of some welcome changes inspired by what happens over in Exeter. See my September post for an explanation!

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an Olympic Sanctus

I rejoined the South Cotswold Big Sing Group in Gloucester Cathedral to sing a work that had been on my hitlist for a while, Berlioz’ Te Deum. I’d heard a lot about performances of this piece that others had sung in (one other singer proudly boasted it was her 10th!), but hadn’t even heard performances or recordings of it that I recall. Given the forces required this is not so surprising.

I went to a workshop and thereafter the choir accumulated more and more singers until performance day. (There was no equivalent of the objectionable singer who appeared in an equivalent concert a few years ago and found fault with almost everyone around him.)

This is grand, ceremonial music, something which was understood by the organisers of the 2000 Olympic opening ceremony in Sydney when an extract accompanied the final transfer of the flame at the climax of the ceremony. But just before that is the quieter, intimate setting of the words Sanctum quoque Paraclitum Spiritum for lower voices alone; the same effect simply couldn’t be achieved with upper voices at the same pitch. Surely Berlioz was one of the great composers for the ATB combination? (I suppose Byrd and Rachmaninov might have a word to say about this too.) And there are also some very exposed and awkward quiet entries.

It wasn’t the only piece on the programme. The tenors and basses sang the Alto Rhapsody in accompaniment to Dame Sarah Connolly and we sops and altos had Fauré’s and Messager’s Messe des pêcheurs de Villerville, a work written as a ‘benefit’ for the fishermen of the place where they’d gone on holiday. I was expecting this to be new to me, but on singing through I immediately realised that Fauré had redeployed some parts of it in his later Messe Basse, in some cases setting them to different texts. Messager’s contribution was a couple of movements in a rather more operatically-inflected though not conflicting style.

I had not sung the Messe Basse since I was at school, but it remains firmly engraved in my memory. We used to sing it at confirmation services along with Mozart’s Ave Verum and in my register of pieces that I’ve sung it is the first item.

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Quadruple booked

Saturday 28th June was a day when I was wanted everywhere. There was a Berlioz Te Deum rehearsal in Gloucester; a wedding at church; the return visit of St Peter’s Singers of Exeter to join Bath Abbey Chamber Choir in an evensong with Howells and Britten; and Bristol Choral Society’s Missa Solemnis. Strictly speaking, this could have just been a triple booking, as I think it was just possible to do both the wedding and the evensong at Bath Abbey. I didn’t do either though, or the Berlioz, as the Missa Solemnis is a categorical imperative.

One question I am often asked is why I don’t sing in a large choir in Bath. I normally reply with a question of my own: when was the Missa Solemnis last performed here? (The answer is 1982, and this doesn’t look like changing any time soon.) I have to seize any opportunity that comes my way, and even having sung the work twice I feel I’ve only just scratched the surface. One aspect I particularly noticed this time round is how rhythmically complex it can be, much more so than the 9th Symphony finale.

It was a good way to end singing with Bristol Choral (at least for a while); rehearsal night clashes gave me a difficult decision for the forthcoming season.

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a service for PSOs

a hard-earned perk: the Bishop's Palace garden, Wells

a hard-earned perk: the Bishop’s Palace garden, Wells

PSO in this context stands for ‘Parish Safeguarding Officer’, a job I’ve been doing at my church for four years. This year Bath & Wells, for the first time, organised social events specifically for us (some other Dioceses have been doing this for years) and a garden party at the Bishop’s Palace was preceded by Evensong in the Cathedral, which was for the feast day of St John the Baptist.

I hadn’t heard the Cathedral choir for some years and they sounded in good form. The music was all by Naylor: his canticles in A and Vox dicentis, which sounds more preposterous every time I hear or sing it.

The main organ was not used (at the end of the service an accomplished pupil at the Cathedral School played some Mozart on the piano). I’m not sure whether this was just to give the organist an evening off or because the organ is on the verge of collapse. [update October 2025: its state is now so parlous that an urgent refurbishment is going to start in January 2026]

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a 35th anniversary concert

The Erleigh Cantors were deprived of any sort of 30th anniversary concert because it would have fallen in 2020. Nevertheless, an anthem was commissioned from Andrew Millington, and the 35th anniversary was marked in the same way with a new anthem by him, I sing the almighty power of God. The composer and his wife came to hear our premiere of it at a concert in St Peter’s Earley, and some of us enjoyed meeting them informally while we consumed our own refreshments beforehand in the church hall.

This anthem has an optional trumpet part and several other pieces in the concert made use of our trumpeter, Mark Kesel. We revisited ones we’d done over the years, including Vaughan Williams’ wonderful Lord, Thou has been our refuge, Sidney Campbell’s Sing we merrily and Richard Shephard’s Ye Choirs of new Jerusalem. A recording of us singing part of this last, made when the choir was half as old as it is now, is still on YouTube!

Back when I was a student there was a period when I couldn’t move for singing Lobet den Herrn: as well as the previously mentioned Hungarian tour, I sang it within a few months in a complete performance of Bach’s motets by the Cambridge Chamber Group and in Truro Cathedral on an Exon Singers tour. This year it happened again, as I quickly had to override Gloucester Choral Society’s interpretation with the Erleigh Cantors one and adjust to singing Lobet with fewer performers. Parry’s I was glad was another Transylvania repeat, and as it was a celebration concert we sang Zadok the Priest.

For a gentler contrasting mood we did a Byrd set: Sing joyfully, Justorum animae and the piece I once waited so long to sing again, Lætentur cœli. The concert was held over from the usual May till June (late Easter made it hard to schedule rehearsals) and I was double-booked, turning down a chance for solos in a Gibbons-themed evensong Service in Ross, but not as over-committed on the day later in the month I’ll write about shortly.

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the Transylvania programme

Gloucester Choral Society sang the same programme everywhere on our choir tour of Transylvania. Three blocks of choral music interspersed with organ pieces. (Except that in the castle we gave a cut-down unaccompanied programme twice with different singers each time.)

What is it about Stanford’s Coelos ascendit hodie and foreign choir tours? Years ago, some people I knew sang at an audience with Pope John Paul II and chose the very end of this piece to perform for him. We did it on Bristol Choral Society’s Latvia tour (spending a considerable amount of time teaching it to the choir) and it turned up on both this Gloucester Choral tour and the last one, rather more seasonally as they were in Ascensiontide.

Ascension, Sinaia Monastery

Another piece which I associate with choir tours in these parts is Bach’s motet Lobet den Herrn. We took it on tour to Hungary with my college choir, the strangest performance being given to some pleased but bewildered holidaymakers in a hotel TV lounge by Lake Balaton. This time it formed the single longest piece on our programme. One of the difficulties with performing Lobet to people who don’t know it is stopping premature applause before the final Alleluia – not a problem JSB would have had in church.

There were no pieces on this tour that were totally new to me. We started with a group of Tudor English anthems, then a whistle-stop tour round Europe with Locus iste, Brahms’ Geistliches Lied, Grieg’s Ave maris stella, Bogoroditse Dyevo by Rachmaninov and ending with the Bach. Our closing set was the Stanford, Parry’s My soul there is a country and ending with a couple of ‘bangers’ in the shape of his I was glad and the Hallelujah Chorus.

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Gloucester Choral Society plays Transylvania

It’s a remarkable choir that persuades dozens of its members (and hangers-on) to spend over three days travelling by train from one end of Europe to the other to go on their choir tour. But many of us on the tour did just that, stopping in Paris, Ulm and Budapest and joined in Braşov by others who had travelled by air.

An Art Nouveau piano in a peacock cabinet, Pelișor Castle, Sinaia

An Art Nouveau piano in a peacock cabinet, Pelișor Castle, Sinaia

We performed in four places: Bran Castle, the fortified church at Honigberg/Hărman, the Church on the Hill in Sigişoara and the Black Church in Braşov itself. All the churches were Lutheran ones with much history behind them, and with organs that made accompanied pieces and solo organ items possible.

The most memorable performance was at Honigberg, where we were given an introductory talk about the church and a chance to explore it and the fortified precinct surrounding it. The audience started to arrive an hour before the concert and entirely filled the building. Our encore (a folksong arrangement) brought them to their feet applauding as soon as they heard the opening line.

There was also time for exploration without performing; such as contrasting castles at Sinaia and impromptu games of chess in the hotel lobby (involving one Vlad who claimed to have played Karpov, and some very large drinks).

I’ll describe our concert programme in the next post.

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