Musical repertoire

Barry Ferguson reviews the repertoire of the musicians of Rochester Cathedral. Featured in The Friends of Rochester Cathedral Annual Report for 1989-1990.

'There is no such thing as coincidence', said a colleague of mine. He was commenting on the fact that often the music selected, or the psalms appointed, have an unexpected, sometimes poignant significance. 'Such things are meant to be', he says. On this historic Sunday on which I write, the day of Nelson Mandela's release from 27 years of captivity in South Africa, the anthem at Evensong that had been chosen 5 weeks beforehand with Education Sunday in mind, is a setting of the Beatitudes by the contemporary South African-born composer John Joubert. It includes, of course, Christ's words: 'Blessed are the peacemakers: for they shall be called the children of God'. In the event, this anthem has movingly fulfilled the three great requirements of church music: that it should be appropriate musically, liturgically, and pastorally. Indeed, the apt choice of music by these criteria is one of the most exciting challenges to the church musician Today this anthem touched powerfully upon our present liturgical and pastoral concerns:

Education Sunday; South Africa and its divided people; the need for peace in our troubled world.

The music. with its restless modern-sounding chords, suggested the tension of our present time; the alternation between soloists and choir suggested the anxieties of individuals and nations alike.

At such moments the music gathers up, focusses, and illuminates the thoughts and pravers of those present. It can also be understood as an offering on behalf of those members of the Cathedral family who are not actually present at the time. (This is how I explain to choristers what we are doing at weekday services when perhaps few people are present).

Such special moments are also the culmination of many things involving many people: daily rehearsals and the scheduling of rehearsals in collaboration with the King's School; administrative

matters such as recruitment of choir members; preparing the monthly music sheet in collaboration with the Precentor and the Cathedral Office; choosing and ordering of new music;

Barbershop songs, and songs and song cycles by Elgar, Poulenc and Britten.

The Cathedral, sadly, is not rich in early music manuscripts or printed music books. Not a single part-book from the Tudor era -

'Golden Age' of church music - has survived.

Many Cathedrals still have theirs. Where have Rochester's gone? Were they destroyed? or stolen? or lost? The chance discovery in 1984 of a manuscript fragment - the treble part of Byrd's 'O Lord, make they servant and I call and cry'

- in the binding of a book in the Cathedral Library,

was exciting but tantalising. Will other things come to light?

The oldest printed books here date from about 1760: a reprint of Maurice Greene's Anthems (first published in 1741); William Boyce's 'Cathedral Music' Volume | (1773); Samuel Arnold's

'Cathedral Music' (1790), and music by our own Ralph Banks: 'Cathedral Music (1840). There are also volumes of music by William Croft, Walmisley, and our own J. L. Hopkins (organist 1841-

1856). These and other volumes are of musical interest, but are not collectors' items.

However, from time to time Rochester has been in the forefront of church musical history. Dr.

Godfrey Goodman, a former Dean, wrote an eloquent text about Christ's birth, ministry, death, and resurrection - 'See, sse, the World is incarnate - which Orlando Gibbons, one of the finest composers of the 'Golden Age', set to music for voices and strings. This is performed here regularly, to the great delight of one of Dean Goodman's successors, Dean John Arnold.

Rochester was one of the very first Cathedral choirs to make a gramophone record - two in fact in the 1920s - in the time of Charles Hylton Stewart, with Percy Whitlock at the organ. These records, which include Stanford in B flat Evening Service, are certainly collectors' items.

Percy Whitlock's own compositions were destined to become known and loved throughout the world, and still are today.

Dr. Robert Ashfield, who celebrates his 80th birthday in 1991, has composed many pieces, several of which have become part of the repertoire of most, if not all, English Cathedrals.

With the major rebuilding and restoration of our organ by N. P. Mander and by Plowden and Smith - and with Paul Hale's expertise and vision - we can justifiably expect to be in the forefront of outstanding English Cathedral organs, particularly in the hands (and feet) of Roger Sayer.

An article on musical repertoire ought perhaps to mention music publishers. Until about twenty years ago a great amount of music was published at low cost. Publishers have recently had a change of policy and have considerably reduced their output. The price of music has also risen sharply. To equip the music library with one new piece costs on average about £40, and considerably more for a long piece or for a French piece, by say Vierne or Langlais. The arrival of photocopiers has been a traumatic one. Illegal photo-copying still poses a serious threat, even to the main publishers such as Novello and Oxford University Press. Offenders have been heavily fined. Nevertheless there has also been a significant increase in small music publishers, which may seem surprising in the light of the above facts.

It is my aim - and 10

land perhaps of all my

predecessors) _io include the very best of every period of church music. Although there are

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An article on musical repertoire ought perhaps to mention music publishers. Until about twenty years ago a great amount of music was published at low cost. Publishers have recently had a

volicy and have considerably reduced their output. The price of music has also risen equip the music library with one new piece costs on average about £40, and y more for a long piece or for a French piece, by say Vierne or Langlais. The arrival of rs has been a traumatic one. Illegal photo-copying still poses a serious threat, even to blishers such as Novello and Oxford University Press. Offenders have been heavily

fined. Nevertheless there has also been a significant increase in small music publishers, which may seem surprising in the light of the above facts.

It is my aim - and I believe the aim of my predecessor Dr. Ashfield (and perhaps of all my predecessors) - to include the very best of every period of church music. Although there are many pieces that are common to every Cathedral, it is a particular glory that part of the repertoire Varies from place to place. We are all proud of our local composers. Some have famous names,

Vann at Peterborough strongly resisting requests from other Cathedrals to use his osalm chants and other compositions. The unique flavour of that Cathedral's repertoire was thus preserved in Dr. Vann's time there.) Composers of local significance at Rochester include lohn Heath (organist

1614-1668) whose Magnificat, music of great distinction and sweetness, can be heard on Abbey record APR 302; John Jenkins; Ralph

1790-1841); Frederick Bridge, Percy

The arrival of the A.S.B. in 1980 has challenged composers to respond to a more contemporary language, and to a greater emphasis placed on congregational participation. Many Cathedrals have accepted the challenge, and here two of our present Lay Clerks. Michael McCree and Simon

Mold. have contributed stimulating new works to the repertoire, including a Gloria for choir and congregation, as well as canticles, anthems and responses. I myself have enjoved writing pieces to celebrate some of the holy men and women who are commemorated in the calendar of the

A S.B.: George Herbert. Nicholas Ferrar Francis Sales, Julian of Norwich, and Mother Teresa

of Calcutta -

- who is not ver mentioned in

Calendar, but who surely will be. have also

enioyed writing music for the Cathedral

together, at the Advent carol Service, for example. An innovation last vear was the inclusion of a violinist and a flautist in a setting of a poem by John Betjeman.

From time to time our choristers compose interesting pieces: introits by Duncan Atkinson (winner of the 1987 national Choristers' Composition Competition) and lan Webb contribute a young

person's vision.

The repertoire at Rochester is, I believe, vibrant, and expanding to meet the needs of a living church. Some contemporary music may seem strange and puzzling, to the musicians as well as to the listeners. (But even Tchaikovsky, so universally admired now, wrote music that was at first greeted with Hostility). Care is taken to give a copy of the text to the congregation, or the text is read out first. or a few words are said to explain what is in the mind of the composer. The listener, nonetheless. has to make a positive effort to listen, to concentrate, and to be receptive. It can be hard but rewarding work. We would in any case all agree, surely, that in worship, as in so many other spheres of creativity, the maxim '| know what | like, and I like what | know is not quite good enough!

In conclusion, may I repeat my belief that the musical repertoire should gather up, enlighten, and unlift the worshipper in a stimulating and not a battling way. In the words ot one of the prayers we use at our early morning boys' practices:

'Lord, help us to be an inspiration, and not an irritation, today'.

Barry Ferguson

Organist and Master of the Choristers

SIDELIGHTS ON ROCHESTER CATHEDRAL

ITS MUSIC AND ITS WORSHIP

Early in 1984 the Cathedral Assistant Organist, Mr. Paul Hale, discovered a collection of service sheets, written by the Precentor and bound together, beginning on October 28th 1889 and ending on November 7th 1897. These are of considerable interest both for the musicologist and, because of the non-musical annotations made by the Precentor, for the historian of the Cathedral.

Throughout this period Samuel Reynolds Hole was Dean and John Hopkins was Cathedral organist. There were three Minor Canons, the senior of whom was the Precentor, Grevile Livett The Cathedral choir consisted of six lay clerks, eight choristers and four probationers. Mattins and Evensong were sung daily, except on Friday - and even on that day both services were sung unaccompanied in Lent and Advent. The service sheets give no times for the services, but in 1880 Dean Scott had informed the Ecclesiastical Commissioners that on Sunday, Morning Service (with Litany) was sung at 10.30 a.m., followed by Holy Communion (sung on the first Sunday of the month) and Evening Service at 3 p.m. On week-days Morning Service (with Litany on Wednesday

settee u wasat 102 m.and Evenino Service was at 30 minthowa