wolsey

...now Dame Judith Weir D.B.E.

Piet Kee's Fantasia on Wachet auf, ruft uns die Stimme (Sleepers, wake) is a possibility. It was originally published as one of Two Pieces by Hinrichsen (H810b), now Edition Peters. It's long been out of print, but it looks as if it can be purchased again from abroad. In addition, libraries may have it on their shelves. If you can get hold of Volume 1 of Choralvorspiele für Orgel zum Gotteslob (Carus catalogue no. 18.202), Kai Schreiber's bluesy chorale prelude Herr, send herab uns deinen Sohn is effective. A redacted preview is viewable on page 19 of the document here.

While there are some pipes of the 32' Double Open Wood in the south screen, are not the longest of them lying horizontally behind the west side of the screen?

It's far from recent, and appears to be a return to what was the case decades ago; I've now gone back to doing it myself. During my younger years, I remember noting that Philip Ledger at King's, George Guest at Johns (including Peter Hurford during GHG's sabbatical), and both Sidney Campbell and Christopher Robinson at Windsor being absent from the quire at the start of service (often in the organ-loft), and coming down either during or after the first lesson to conduct the Magnificat etc. The reason for this? The choir (especially the top line) needs to concentrate totally on accuracy of pointing and ensemble in the psalms, and the skill of listening along and across the stalls is heightened. The skill is demonstrated by a number of a cappella choirs without a conductor (e.g. King's Singers) - and, of course, chamber music ensembles and others. Incidentally, I know of one foundation where until 2001, the then DoM often accompanied the psalms.

Case closed. The RSM acknowledges the detective-work of the many who supplied suggestions.

It's probably earlier - December 1924 - and another sleuth on social media has posted a scan (too large to upload here) of a review of the LNER Musical Society's Christmas concert which states that the conductor is William Johnson Galloway. A highlight was the cantata Christmas Eve, specially written for the occasion and dedicated to the society by Stanley Marchant, then Sub-Organist of St Paul's Cathedral - whom I believe to be at the organ console. The soloists were Lillian Stiles-Allen and Dorothy Clark.

Harry was appointed MVO (fourth class) - now known as LVO - in the 1961 Birthday Honours and promoted to CVO in the 1974 New Year Honours on his retirement. Richard was promoted to LVO on his retirement having been appointed MVO in the 1990 Birthday Honours.

It's the LNER Male Choir at the Queen's Hall. As to the conductor, organist(s), two female soloists and orchestra, who knows? PS What substantial choral work (judging from their vocal scores) requires two female soloists, male-voice choir and organ? The organist may be Sir Stanley Marchant...

Until 1985, the post-nominal 'MVO' was used for both MVO (fourth class) and MVO (fifth class). Both McKie and Campbell were appointed MVO (fourth class) - in other words, what is today an LVO. Christopher Robinson was appointed LVO in 1986 before being promoted to CVO on his move from Windsor to Cambridge. For a church musician at the royal peculiars/St Paul's/W Abbey, such a promotion within the Order as Dr Robinson's is rare.

The RSCM Millennium Youth Choir sang it as an introit at evensong on Wednesday at Winchester Cathedral as a tribute to Martin. The RSCM has posted their practice of it earlier that day as the organisation's tribute to him.

Sorry to digress and nit-pick, but is this really true?

A reliable source has reported on Facebook the death last Friday of Simon Preston CBE. He was 83, and had been suffering for some years from dementia.

Having read this article (subscription access), I wonder if Terry's knighthood was a calculated means of applying balm after the unhappy episode of his being sacked from the editorship. Both events happened in 1922, and the citation ("For research work in early English manuscripts in music") becomes even more telling. Other aspects about him are revealed here.

The citation is "Founder Director, The Cardinall’s Musick and Director of Music, St Paul’s Cathedral. For services to Choral Music". I suspect that the honour is more related to his work over more than thirty years with the Cardinall's Musick because with the exception of Charles Macpherson who suffered an untimely death and Malcolm Archer who was in post for three years, five of his predecessors have been honoured within the Royal Victorian Order.

Terry certainly achieved sufficient distinction "For research work in early English manuscripts in music" to earn a knighthood in the 1922 Dissolution Honours after being appointed by Cardinal Vaughan as the Cathedral's first Master of Music (sic), but what with unsatisfactory performance of his duties, by 1924 he was forced to resign (according to the late Colin Mawby) for swearing at the choir.

Adding to what has been said above, Charles Macpherson died suddenly aged 57. Marchant and Bullock were knighted for their work as conservatoire heads.

If this drawing is accurate, it's probably not.

For those who missed it, IBO Chairman Andrew Scott wrote a letter to The Times which was published two days later.

As it happens, the centenary of Gordon Reynolds' birth was last Wednesday (30 June).

I think you will find that in 2021, the number of DoMs not from a public school or Oxbridge is certainly higher than it was, say, thirty years ago. As for ethnic diversity, we saw the sad death in February of one former cathedral organist from what was then Ceylon; his son now directs the choir of a Cambridge college. By a happy coincidence, the DoMs of two discrete choirs of HM Chapels Royal should not be overlooked. The assistant of Portsmouth Cathedral, the organ scholar of Leeds Minster (formerly in that role at Guildford Cathedral) and the Asst at St George's, Hanover Square (formerly ADoM at Birmingham Cathedral) are quietly forging successful careers.

'So mote it be' should be in the same key as Laus Deo/Redhead No 46. The problem with St Oswald being so widely used for the closing ode is that it's in D, and it ends (for men's voices) on tenor D; 'So mote it be' is sung in F or G. As far as tonality is concerned, St Oswald is a poor choice of tune, and that's why Laus Deo/Redhead No 46 is a better musical fit, and arguably a better tune.

While a few Lodges will have local variations, St Oswald is by far the most commonly used tune for the closing ode. It is true that the juxtaposition of 'So mote it be' in G major after the last verse of the closing ode in D major (St Oswald) jars the sensibilities of many masonic musicians, but it would be unwise to attempt to change something (i.e. leaving 'So mote...' in D major) to which many are accustomed. Moreover, it has become so ingrained that in the occasional situation where musically untrained masons sing the ode unaccompanied, they will jump the upward perfect 4th from the end of the ode to the 'So mote...' without any difficulty.

I don't think that the engagement of a vocal coach/tutor has any bearing on the choir-training strengths of the DoM. I can think of plenty of foundations with fine choirs under excellent directors where a vocal specialist is also part of the music team.

Many happy returns! (A YouTube virtual celebration is here.) !

It is a matter of public record that “He wants me to stay in post, so I will stay because that’s where my orders come from, that’s where my mandate comes from. I’m going to stay and continue to work wholeheartedly at these matters.”