Note-bashing with YouTube

I frequently turn to YouTube to help me learn unfamiliar church music repertoire; even if I already have a recording, it’s often easier to reach for an online performance than trying to locate it on a CD or cassette tape.

It’s quite a hit and miss exercise, however. If I haven’t got the music yet, the best find is one of those videos where the score scrolls past as the music plays. Failing that, a well-made recording of a quality performance can be very useful. While these may be available for some really obscure pieces, there are other standard repertoire ones which aren’t represented on YouTube at all.

Then again, some YouTube videos can be less than helpful. There’s no shortage of badly recorded, out of tune performances which I will not make it to the end of. My personal nadir was the clip of a jokey encore piece I sang recently. The only performance on YouTube was a rather heavy-handed one by a German choir, in a mixture of German and strongly accented English, which bore out all the stereotypes of Germans not understanding our humour.

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a Bairstow and Stanford-fest

I took part in the latter part of the Cathedral Chamber Choir’s visit to York Minster. (Rather annoyingly, this meant that I missed meeting the Precentor, a college friend of mine).

The visit was a little subdued because one of the organisers of this choir had died a few weeks previously. The services I sang in were dominated by the music of two composers: Bairstow and Stanford. At least the Bairstow loony did not reappear to claim that he cause the First World War. And sadly the charmingly mad Lord Bicester (and that really was his title) died at the turn of the year.

Our Communion setting was put together from Stanford’s ‘Coronation’ Gloria (a large-scale setting previously unknown to me) and his Communion in G. The latter is at partly reconstituted from other pieces; the Benedictus comes from the Nunc in G, which we’d sung the previous day, and the Agnus from another source (responses to the Commandments, perhaps?). Then at Mattins came the old faithful Canticles in B flat (I sang the verse part in the Te Deum).

As at our last visit, we sang Bairstow’s Blessed City (the entry I used to find a problem has now been nailed thanks to some memorising) and at Mattins I sat down under his shadow. Another piece which reappeared was the Magnificat of Gibbons’ Short Service, as well as canticles by Wood (Coll. Reg. this time).

Other music new to me during my time on the tour was Tye’s Nunc Dimittis (I can’t think why this isn’t more of a repertoire piece) and Vast ocean of light by Jonathan Dove, whom we’re beginning to specialise in after doing another piece of his last year. This came together nicely in performance, despite the lack of rehearsal with the organ (as at St George’s earlier this summer; we never rehearsed the morning canticles with organ at all).

Visiting choirs at York are now rather more restricted in what they can do. Unusually, we could only use one setting of the Responses during our week (it was Clucas) and we didn’t sing Psalm 150 in procession after the Eucharist. I noticed that York has joined Liverpool in installing a lift (down to the crypt); unfortunately this obscures a carved angel holding a tablet commemorating the restoration of the song school. I hope that the angel will be liberated and moved to where she can be seen properly. I hope also that it won’t be too long before I’m back, maybe on a Priory Voices weekend.

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a change of Musical Director

Bristol Choral Society is advertising for a new Musical Director, as Adrian Partington is stepping down after fifteen years in the post. Further details may be found here.

There are a lot of local changes going on, as Bath Camerata has recently changed director and I’m told that the Paragon Singers are shortly going to do so. In each case the MD is or has been there for a couple of decades. I’m not sure who will hold the record for longest tenure round here after they are replaced, though if you include church choirs Peter King and John Marsh have some claim.

The transition to a new director can be a tricky time, as anyone who was in the Brandon Hill Singers may recall.

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Three Proms

Between us we went to three Promenade concerts. Firstly Prom 9 – the Mahler Chamber Orchestra and Leif Ove Andsnes conducting and playing Beethoven’s 1st and 4th piano conceros and Stravinsky’s Apollon Musagète, which went down well with those in the family who went.

Later we went to Prom 18 with the BBC Symphony Orchestra conducted by Semyon Bychkov, sat as high as one can without being in the gallery. The programme began with the Lebècque sisters playing the K365 double concerto. We had an almost overhead view of the two pianos (otherwise our view was rather restricted); a rather baffling encore turned out to be by Philip Glass. Then came the Leningrad Symphony. This goes in and out of favour, but for all its ramblings I’m very attached to it. This particular performance had a great sense of stillness in the quiet passages, but also sustained the huge spans.

Finally, some of us went to hear the Royal Scottish National Orchestra and Peter Oundjian in Prom 63. This began with Messiaen’s Hymne, an early piece very much in mystical Catholic mode. Then Igor Levit in Mozart’s K595 piano concerto. He had a curious hunched performing posture, but gave a pleasing performance, though one of our party found it rather mannered. Finally came Bruckner’s Seventh Symphony. We have heard some great Bruckner at the Proms – including what turned out to be Günter Wand’s final appearance – and this performance stood up well, dispelling any doubts as to whether the brass in particular would do it justice.

Reviews of Prom 18:

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at the home of the Garter

It was a long time since I’d sung at St George’s Chapel at Windsor Castle – previous visits were quite social affairs with a drinks party for us in the conference centre next to the Chapel. This time the Erleigh Cantors had heightened security, having to give personal details in advance and show ID if we came in individually. The rehearsal room for visiting choirs is still the former dungeon, which isn’t as oppressive as it sounds, although you can still see where the cell doors used to be.

We had a busy schedule (especially for me, having sung Mahler 8 the day before) with three services on the Sunday (we were allowed to sing Elgar’s Te Deum at Matins). But we got only very short snippets of psalmody (as do the Chapel’s own choir) – because of the presumed attention span of tourists? [I’m told that isn’t the reason, but also that it was only a short-term policy]

I’d sung some of our repertoire (Pärt Magnificat, Chilcott Downing Canticles, Purcell I will sing Unto the Lord) for the same conductor earlier in the year, but one new piece was Francis Jackson’s Missa Matris Dei, a large-scale setting written for Farm Street Church, which was new to all of us. There were some very characteristic phrases, with leaps of fourths and slightly modal harmony. I also had not sung Gretchaninov’s Nunc Dimittis before.

There was an Ascensiontide feel to some of the music with Maurice Greene’s O Clap your Hands (transposed up a tone) and Patrick Gowers’ Viri Galilæi. Gowers’s son Tim, a distinguished (Fields Medallist) mathematician, is slightly known to me and in fact was a guest at our engagement party, Perhaps the mathematical connection explains the particularly complicated way in which the score of Viri Galilæi represents duple time, and the 18/4 time signature at one point.

For the record, the other pieces were the Tunnard Responses, Sing Joyfully by Byrd and Britten’s Jubilate in C.

The Chapel is of course strongly associated with the Order of the Garter, with rows of elaborately coiffed helmets behind the choir stalls. If they ever strip anyone of the honour and reinstate the ceremony, it would be good to be invited back for the occasion (provided the choir was seated elsewhere). According to Wikipedia ‘While the Garter King of Arms read out aloud the Instrument of Degradation, a herald climbed up a ladder and removed the former knight’s banner, crest, helm, and sword, throwing them down into the quire. Then the rest of the heralds kicked them down the length of the chapel, out of the doors, and into the castle ditch.’* Now that’s what I call liturgy!

[*October 2025: all they did for Prince Andrew was discreetly remove his banner. A missed opportunity.]

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Dibble-Dibble. . . GUSTAV!!

In the immortal words of Leif Segerstam. I don’t know whether he was talking about Mahler 8, but it seems an appropriate response.

At last, an opportunity came round to perform this again. It didn’t work out quite as planned, because my attempt to travel to Poole to sing in the performance conducted by Gavin Carr failed. However I was able to arrange to sing instead in the second performance in Exeter Cathedral conducted by Philip Mackenzie.

I rehearsed the work with Bath Minerva Choir and we joined forces with members of the Bournemouth Symphony Chorus, some of whom joined us for a rehearsal in Saltford before a big joint rehearsal near Bournemouth. The chorus was not huge and so a lot of the ‘scaled-down’ subsections of it in part 2 were sung by all of us. As I was singing in choir 2 this time, there was a lot of new music to learn.

Our orchestra were the young professionals of the Amadeus orchestra. The children’s chorus (and you know it’s getting really serious in this symphony when they come in – it’s a bit like the xylophone in a symphony by Shostakovich) were the BSO youth choir.

I had to do something I’d never done before, which would have come naturally to many organists: follow the conductor on a screen (direct view was blocked by a pillar). This was tricky at first because of having to watch a two-dimensional object not a 3-dimensional one, but by the performance I’d got used to it. The system has the possible advantage that the conductor can’t see you or glare at you.

I’ve done so many great works with Gavin and it was a shame not to sing this under his baton, but it was not second best to sing the Exeter performance only – I’m told by people who sang in both that each had its merits. Exeter Cathedral more or less sold out in what space we left for the audience.

I hope it won’t be too long before I get to sing this again. I still find the words of Part II a bit hard to take – all that business with floating hermits and so on – and the chorus part of Part II is very fragmented, but there’s really nothing else like this work.

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Bostridge on Winterreise

We went to hear a postponed talk by Ian Bostridge in a local church, connected to his new book on Winterreise. He talked in general terms about the work’s history and his own performance history of it, and then expanded his thoughts on a few of the songs: their structure, mood and influence. I was interested to learn that the poems in the second half of the cycle were written after Schubert had set the first half; Schubert declined to insert settings of these poems in between those he had already composed, which may account for the disjointed narrative of the second half of the cycle.

There were just a few questions at the end. An inherent danger with post-talk question-and-answer sessions is that they get taken over by people who like the sound of their own voices, and talk at length before allowing the speaker to make a short reply. A particular hazard when many in the audience are singers!

The evening was also a fine assembly of Bath’s musical great and good, and a chance to catch up with chatting to a few of them.

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a 1950’s toreador

My husband went to prop up ENO’s bank balance and see their production of Carmen, as he happened to be in London.

Vocally it was good, with Michaela as the pick of the bunch. The main problems he had centred on Escamillo. Firstly, the production was set in around the late 1950’s and this didn’t jar too much, except when he appeared in full toreador rig. And despite his singing, it was rather hard to understand what Carmen might have found attractive about him.

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The Bristol Connection

The final concert of Bristol Choral Society’s season, in the Cathedral, was largely music connected to Bristol. (Incidentally I had my triennial audition, and can continue to sing.)

Bristol does not feature very largely on the map of British composers. Our concert had something in common with a rather similar one I once performed in with the Brandon Hill Singers in St. Mary Redcliffe: a substantial work by Samuel Wesley. This time it was Exultate Deo, which blossomed when given space in the generous Cathedral acoustic. (I don’t think I’d have wanted to have met Samuel Wesley, and I think he might well have been in trouble with Operation Yewtree had he lived closer to our own time). The evening opened with a zippy setting of Psalm 150 by David Bednall, who accompanied, and later played an improvisation. We sang the rather pleasant opening of Pearsall’s Requiem mass, a work which perhaps deserves rather more exposure as it would be a useful standby for church choirs; I’d never even heard of it. One piece had a more personal connexion, Raymond Warren’s A new thing, as I was at university with his daughter and am still in occasional contact; it was also written for and dedicated to a member of the choir. The half ended with a warhorse of cathedral music, O how glorious is the kingdom by Harwood.

The second half featured Vaughan Williams – folk-song arrangements, ‘Linden Lea’ and Julia Hwang playing The Lark Ascending, with piano accompaniment. We ended with three items from the ‘Encores for Choirs’ book: Good Hope which combines words from various African languages (clicks and all), a 3-minute condensed version of the Messiah and finally an arrangement of ‘Every time I feel the Spirit’.

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Trumpet and organ in Bathwick

St. Mary’s Bathwick is beginning a fundraising campaign for its organ (I think this is at least the third such campaign since I’ve been in Bath). It’s a Willis, and still at old Philharmonic pitch, which makes some performers baulk at tuning to it.

Joel Cooper and Shean Bowers presented a concert of popular classics for trumpet and/or organ. Strictly speaking trumpet and cornet – a piccolo trumpet was also on display for the audience to look at. We got a mixture of trumpet originals (Clarke’s voluntary), arrangements (e.g. Jesu Joy of Man’s Desiring, where we wisely were given only one verse), and some pieces for organ alone.

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The Bath Festival Chorus redux

Long-term readers of this blog will know that I long for the Bath Festival Chorus to be revived. I was asked for my thoughts by another interested party and here they are, edited slightly in the interests of diplomacy:

The original Bath Festival Chorus existed in the earlier years of the Festival under Menuhin. It was revived in 1992 by Nigel Perrin and championed by Richard Hickox, performing in the Bath Festival and the Bath Mozartfest as well as giving independent concerts. The core of the membership were members of the Bath Camerata, with invited singers from other choirs in Bath. But in the new millennium its performances grew rarer and its final appearance was in 2005 when it took part in an orchestral concert in the Abbey and a concert of its own conducted by James MacMillan, no less, in Christ Church Julian Rd.

I never sang in the BFC myself, though I was offered a place and turned it down, which I later regretted because the chance to join didn’t come again. So I’m a bit vague about how exactly it worked – actually this vagueness may have been one of the problems with it.

So what went wrong? The following reasons have all occurred to me or been suggested by others:

a) lack of support from Festival organisers. I don’t think Joanna MacGregor had any interest in the BFC when she ran the Festival, and no attempt was made to revive it then. But it was already less of a fixture when she took over. There were also concerns about the choral/orchestral concerts taking risks with a substantial slice of the Festival’s budget.

b) neither the Forum nor the Abbey were ideal venues and the BFC often performed elsewhere such as Wells Cathedral or Clifton Cathedral. But Wells Cathedral became more problematic as a venue, I’m told.

c) Richard Hickox was busy with the BBCNOW, then started spending much of the year in Australia and no longer had time to be involved. Some of us hoped that if he retired to the area he would take up the BFC again, but his death in 2008 put paid to that idea.

d) someone needed to do the admin, with time and energy, as well as the connexions in Bath’s choral world.

e) ‘it was hard to find rehearsal times because every night one or other of Bath’s choirs would be rehearsing’. I’ve been told this but don’t really believe it as the BFC had only a few rehearsals per event, on different nights of the week.

The obstacles. to restarting the choir are rather different from the reasons it wound up in 2005, I think. One is the general shortage of audiences for choral concerts – a serious problem in Bristol at the moment and not unknown in Bath. (My theory for what it’s worth is that there are more choirs around giving concerts, but audiences have not expanded at the same rate.).

I also don’t think it would now be possible to run the choir in the invitation-only way it worked before. These days, such a choir would be expected to have a website and a procedure for applying to join. This and other matters such as music hire would require administration.

There might also be resistance from those who currently sing in Festival choral concerts, when they occur. And it would be essential to have the support of people high up in the organisation of the Bath Festival and/or the Mozartfest.

On the other hand, there is a feeling that the Bath Festival shouldn’t become a festival of chamber music (as nearly happened in 2014), and that other similar festivals (Cheltenham, 3 Choirs etc.) have their own choruses, so why can’t Bath? There certainly are a lot of singers around here, and not all to be found in Bath’s choirs.

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Dropping the chamber organ

I hadn’t sung with Priory Voices since 2013 but the chance came to join them at Canterbury Cathedral. It was nearly taken away again, as the original dates were double booked; fortunately we were able to transfer to the following weekend. This was at the cost of both choir and organist having very restricted rehearsal time (something which has happened on several of my visits to Canterbury), which the Cathedral acknowledged had created difficulties for us.

As at Worcester, we sang Gibbons’ Second Service for Saturday evensong. No complaints here as I think it is my favourite canticle setting. This time we used the edition by Robert King which gives it a (mostly) 2/2 time signature; Fellowes’ 1936 edition has no time signature and this was the first performance I’ve sung in which was beaten in minims. Here it was paired with Great Lord of Lords, a piece of which I know the Amen because it was one of a repertoire of Amens we used to sing at the end of Evensong at one of my former churches.

Canterbury has a rather nice chamber organ which would have suited this music well, but it is now forbidden to visiting choirs because last year another visiting choir dropped it. How do you drop a chamber organ?!

On Sunday we brought out Continental Romantic repertoire for the Eucharist – Widor’s Mass Op 36 and Rossini’s O Salutaris Hostia. For Evensong there was the British equivalent – Wood in E flat no. 2 and that great Trinity warhorse, Stainer’s I saw the Lord.

Canterbury clearly does well out of the tourist trade – well enough to be able to afford to have the heating on even at the end of May (it was definitely needed).

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