All Souls Day at Bath Abbey

The Abbey Chamber Choir sang evensong for a transferred observance of All Souls’ Day. I’m not sure whether this was a first for Bath Abbey, but we were able to submit names of the departed in advance and they were remembered by name during the service. [A later suggestion that incense might be used at one of the Christmas services was, however, firmly refused.] Clearly quite a few people asked for this, though the list was not as long as at another service in Bath some years ago.

We sang Sumsion in A and Bullock’s Give us the wings of faith. In October, the choir sang one of the large-scale anthems that were commoner in its repertoire when it was founded four years ago: Harris’ Strengthen ye the weak hands, which was known to few, other than me and those who’d been at the same college as our conductor.

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why you have to collate editions

I hadn’t sung in St Albans Cathedral in quite a few years, although at one time I did so several years in a row with different choirs. I visited the city three years ago but to rehearse in another church. Returning with the Erleigh Cantors, I noticed quite a few new features such as an extension on the South side (we rehearsed in a large room in the basement of this) and a reconstructed shrine to St Amphibalus.

I’d never sung Weelkes’ Sixth Service before. On arriving at the first rehearsal I was asked to compare the two editions being used, and found they differed in almost every possible respect: pitch, barring, underlay, note values, some variant melody lines and most critically the verse sections. One soprano verse soloist was puzzled that she had been given nothing to do, because she’d been given an edition which set the verses for lower voices only. The reason is that the work is preserved in two sources; they differ and also the verse parts are deficient in both, so there has had to be much editorial reconstruction. Copies of the edition with soprano verse parts were then sourced for everyone. I’ve come across this problem before, most notably when I sang Gibbons’ See, see. the Word is incarnate. I’m always glad to encounter a Tudor verse setting for the first time and there are plenty left that I’ve never done.

The main new piece for me was Howells’ I love all beauteous things which proved a tricky piece to learn, with the characteristic difficulties of late Howells: constant changing of time signature and entries on notes which are far from obvious. It was written for St Alban’s and our congregation included someone who had sung in the first performance.

Other pieces included a revisit of Ronald Corp’s Missa San Marco, Maurice Greene’s substantial setting of O clap your hands, the Walsh responses which we were asked not to do a year ago, Lassus’ Ave verum corpus and the Leighton First Service, which was new to quite a few in the choir

St Albans is not awash with suitable places to stay, but I found a pleasant AirBnB near the Cathedral with a host who regularly accommodated members of visiting choirs (another Erleigh Cantor had booked it independently). Details can be supplied on request. We were also entertained to drinks by the Dean after the Saturday evensong, an act of hospitality that’s now quite rare on Cathedral weekends.

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a Capitular Mass

Visiting Sardinia in mid-October, I went to Mass in the Duomo in Cagliari. We’d visited the building earlier and explored the network of subterranean chapels. I attended the ‘Capitular Mass’ which I think means the Bishop is supposed to be there although I don’t think he was. I might have done slightly better to go to the previous Mass which (to judge by the pewsheets left behind) used quite a lot of plainchant. But this Mass had a musical component too, provided by an organist.

St Cecilia – 19th century mosaic, west front of Duomo, Cagliari

Not for the first time, I sensed a player who was feeling frustrated at the restricted amount they had to do. What he actually played was part of Bach’s (and Vivaldi’s) BWV 596 and one of Bach’s chorale preludes based on the Passion Chorale. You sensed he was itching to do more.

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a short rehearsal period for Brahms

The course of this blog has periodically been punctuated by performances of Brahms’ German Requiem, either sung by me (with four different choirs) or heard (curiously I’ve never sung it in Bristol though Bristol Choral Society performed it twice there while I was singing with them).

Gloucester Choral Society now can’t have our autumn concert in November and we don’t use autumn half-term, so our performance of the Brahms was pushed into mid-October, giving a compressed rehearsal period. A double-header rehearsal one Saturday eased this a little, although there were a lot of dots to master for the minority who’d never sung it before. I believe I’ve said this before, but I think this is the most physically demanding work for the chorus in the standard repertory, and this may have been the first time I really felt I had the stamina and pacing worked out. Before I get polishing the halo, I also discovered a note I’ve been singing incorrectly all these years which had to be unlearnt and fixed.

Our capable orchestra was the Cheltenham Symphony Orchestra. The programme also included Brahms’ familiar Geistliches Lied and opened with the overture to Humperdinck’s Hansel and Gretel. I dedicated my performance to the memory of my friend Richard, who died in an accident in Scotland in the summer.

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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 (as did the details of services we sang), 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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