S_L

Sorry Martin - but, in the spirit of the board, always willing to correct - it was Wood in E flat No. 2!!! I've been hugely impressed with some of the broadcasts from York Minster. Beautiful, sensitive singing and splendid organ playing.

Wow, Barry - that's some time ago!! David Ingate left the Minster, in Beverley, in 1962. He had been appointed in 1957. He was succeeded by Peter Fletcher - to whom I owe a considerable debt!

Todays Church Times: David Hill writes: RICHARD HEY LLOYD, who has died, aged 87, was a cathedral organist and choirmaster and a prolific composer of anthems, canticles, and organ music. He was born on 25 June 1933, near Stockport, Cheshire, the younger of two children. He was a chorister at Lichfield Cathedral from 1942 to 1947, and retained strong links with the cathedral during his lifetime. He went on to be educated at Rugby School, where he was a music scholar. In 1952, he went to Cambridge as organ scholar at Jesus College. He read for a degree in music and became a Fellow of the Royal College of Organists. In 1957, he was appointed assistant organist of Salisbury Cathedral, where he also taught in the cathedral school. This allowed him to share his life-long love of English literature with the pupils alongside sport, particularly cricket, and music. In 1966, he was appointed organist and master of choristers at Hereford Cathedral, succeeding Melville Cook. He became immersed in the Three Choirs Festival, directing three Hereford festivals in 1967, 1970, and 1973, where he brought a freshness of ideas and approach to programming. In 1973, he started the festival with Mendelssohn’s Elijah, which had not been heard in Hereford in the festival since 1914. His final work at the Three Choirs was Elgar’s Apostles, unheard there since 1904. He was an avuncular, caring, and sensitive character, and so he found facing professional orchestras, not generally known in those days for emitting welcome or positivity to conductors, a challenging and draining experience. On one occasion during a rehearsal, in which Dame Janet Baker was the soloist, the orchestra was not being helpful or supportive to him: Dame Janet stood up, faced the players, and suggested that they should pay attention, as “this young man has something to say about the music.” The rehearsal orchestra was duly admonished, and the rehearsal continued, but with a changed atmosphere. The orchestra soon realised that his innate musicality was something that they knew that they should respect. He was a “musician’s musician”, able to produce top-quality performances for which he was increasingly recognised. His contribution to the Three Choirs Festival was unquestionably significant. In 1974, he was appointed to Durham Cathedral, where he spent 11 years, by all accounts, his happiest. He was loved by the choristers and lay clerks for his care in rehearsals and ability to draw the best from each person. They looked forward to the arrival of the latest composition and another descant to add to the roster of superb last verses of hymns. Composing was always a central part of his musical life; he produced around 600 compositions and arrangements, many of which were written during his time in Durham. He has been an inspiration to many musicians, writing accessible, beautifully crafted music of very high quality for both parish and cathedral choirs. Richard’s gift for melody and harmony came from his love of English music from the early 20th century, particularly Howells and Vaughan Williams, whom he would describe as “proper” composers, such was his self-effacing personality. Richard had an unmistakable “voice” as a composer, unable to be a pale imitation of someone else. Some of his favourite compositions were recorded on two CDs by the Bede Singers and funded by his former choristers. The sopranos involved, none having known him or his work previously, all remarked on the quality of the music and how special the sessions were. Richard’s sense of humour, never far away, would manifest itself in a myriad of ways. He would compile public music lists in which acrostics would be placed. A different set of Responses was sung each day, and, by printing Byrd, Ayleward, and Tomkins on consecutive days, he would be create “BAT” and another reference to cricket. His love of the sport extended to an acrostic in 1976 which read “Geoff (Boycott) gains the ashes.” This one made it to the Test Match Special Commentary team on the BBC. He was a brilliant, intuitive musician with a particular gift for improvising, regularly witnessed and appreciated by the three assistants who worked with him: Alan Thurlow, who was sub-organist when he arrived at Durham, me, and Ian Shaw. I was fortunate to be in the organ loft in Durham in 1982 when Dame Margot Fonteyn, Chancellor of the university, was arriving in the cathedral. Richard launched into an improvisation based on Tchaikovsky’s “The dying swan” (from Swan Lake) on full organ. I turned round only to see a wry smile and glint in his eye: it was quite brilliant. He loved life, the countryside, food, wine, beer, cricket, literature, and his dogs; but, above all, it was his family that played the most central part in his life. He left Durham in 1985 and returned to Salisbury to become deputy headmaster of the cathedral school, but retired after three years from ill health in 1988. He devoted himself to composition and examining for the ABRSM, while living in Anglesey and before settling in Herefordshire in 2001. He married Morwenna, a nurse, in 1962. She has been the rock of love and support, and, with their four daughters, Emma, Julia, Catherine, and Olivia, survives him. He died in Hereford on 24 April after a short illness.

Richard Lloyd's funeral takes place in Hereford, I think, today. Daniel Cook posted this on the Durham Cathedral website: “Richard’s time in Durham was transformative, and his legacy is still very keenly felt here. He made several acclaimed recordings with the Cathedral choir, and the sound of the trebles during his time was characterised by a wonderful bell-like freshness and innate musicality which perfectly reflected Richard’s own gifts as a musician. He was very supportive of his successors, and I will particularly miss his unsolicited letters and emails offering congratulations and encouragement, especially after broadcasts. He left Durham 36 years ago, but it is a testament to both the work he did here, and the quality of his personality that his death has been so deeply mourned by our community. He is and will be sorely missed, but we are tremendously grateful that we were lucky enough to have known him.” I am a little surprised that Richard Lloyd's death has brought no comments at all on this forum. I had thought that a number of contributors may have had experiences of his teaching or of his music during his time at Salisbury, Hereford and Durham. Also announced recently are the deaths of the distinguished French Organist Dominique Preschez, aged 66 - the organist of Eglise St. Augustin in Deauville and of the Dutch organist Liuwe Tamminga - organist of the Basilica de San Petronio in Bologna. He was 68 and also an authority on ancient instruments

Good news!! The large 3 manual Denman organ rescued from St. Michael-le-Belfry, and restored by Nicholson & Co., is now finished and being used for services at St. Laurence's in York. Today I received an invitation to a 'Festival' to celebrate the refurbishment. The Festival takes place, at the church in York, between Saturday 29th of May and Saturday 5th of June. It begins, on the Saturday, with a demonstration of the organ by Nicholson & Co and an Organ Recital by Robert Sharpe with Festal Choral Evensong and the Blessing of the organ by the Bishop of Whitby (himself an FRCO) on the Sunday. Further organ recitals by William Campbell, Jonty Ward, David Norman and Timothy Hone as well as a recital by the 'Black Sheep Consort', a Sung Mass for the Feast of Corpus Christi and Choral Matins follow during the week. Because of the current restrictions places are by reservation at festival@stlawrenceparishchurch.org.uk

I had to think for a second - but, yes, wonderful story!!!

I never thought of that! - and it would work too! I had that recording too and always enjoyed it! It doesn't alter what I think of the piece though!!!!

And here is an interesting article by John Rutter. "Did they mention the music?" Did they mention the music? | John Rutter

I don't know to be honest John. It was, certainly, loud! My late wife used to tell me of an organ recital she went to in the Minster, given by a well-known, and still alive, distinguished organist. She sat, in her innocence on the front row of the Nave only to go home with a ringing in her ears as he made, to say the least, liberal use of the Tuba Mirabilis. This would be around 1962/3 - she would have been 10 or 11 years old!! My only experience of York Minster is playing annually 'cello continuo in there for Matthew/John Passion/Messiah etc. - usually with FJ conducting although I did take a choir to sing Evensong in the 1980's and, yes, slightly to my annoyance because I didn't think it was particularly appropriate for a Saturday evensong, my organist played the Cocker Tuba Tune afterwards!!! I think it is a disgusting piece of music - but great fun!!!

I wonder how many forumites listened to Evensong this evening from York Minster. Beautifully sung - and ending with the Cocker Tuba Tune!! Here it is: LIVE: Choral Evensong and the Installation of Honorary Canons - YouTube

There are only three - and you can listen to them at any time!! I'm sorry, Tony, but if that's your only complaint then I think the programme did pretty well l

The organist and composer Richard Hey Lloyd died yesterday. Born in 1933, he had been a chorister at Lichfield, was Organ Scholar at Jesus College, Cambridge, assistant organist at Salisbury Cathedral and then Master of the Choristers at Hereford Cathedral and Durham Cathedral. He became Assistant Headmaster of Salisbury Cathedral School and retired, in 1988, due to ill health. He was an important figure in the 20th/21st century in the English Cathedral tradition and leaves a large number of Anthems/Service Music for Choir - frequently beautifully crafted music. May he rest in peace.

As always Martin - spot on!!

Actually I'm not surprised at all to be honest!!! Thank you for that Vox. Living where I live I'm a little out of touch, especially with the BBC, and any recommendations are always very welcome. I've listened to the first programme and it was a revelation. I don't know a lot of Rheinberger. I knew the great Harold Truscott and played the D min. Trio and the Piano Quartet with him - I suspect from copies that he had stored in that vast cupboard of obscure music he had. He tried to persuade me to play the 'cello Sonata (along with Sonatas/Concerti by Donald Francis Tovey, Arthur Sullivan and Pfitzner). I know of the Organ Sonatas and of the Masses and, in truth, possibly due to ignorance and prejudice have hardly ever, if ever listened to them. But I didn't know of the Concerti. The slow movement of the first Organ Concerto in F was wonderful and, as a consequence, I have ordered the Peter King recording. I didn't know any music by the Icelandic Jon Leifs or the Hungarian Piet Eotvos but, thanks to the programme, have given my Credit Card a real bashing and quite a few hours of excellent listening in the future. I shall now listen to the other two of Iveta Apkalna's programmes and, presumably give my Credit Card more of the same!! And good for the BBC for broadcasting them. Again, thank you Vox, - really appreciated!

Ah - you see Rowland, we don't just press a key and noise comes out - we had to, firstly, find the note on the string, get the finger in exactly the right place, nurture the note, warm it, decide what type of bow stroke to use! etc. I never play the 'cello nowadays and, frighteningly, was known amongst the local circle more as an organist than a 'cellist which, at something like ARCO standard, the tests were easy - it's the pieces that would fox me, I always found a little worrying!

I can't answer your question, I'm not an organist but I did read Music at Cambridge - a long time ago! NPOR is out of date, I think, for nearly, if not all of the above colleges. I wonder why you are enquiring - perhaps thinking of applying for an Organ Scholarship? (Have got the right person?) Are those the colleges were there are vacancies this year? What has influenced your list? I think that is the most important question. All the colleges on the list are around the same size although Pembroke is twice the size of Peterhouse, the smallest and oldest Cambridge, in student undergraduate and graduates. Are you planning to read music? Sorry - perhaps that's not the answer you were hoping for!! And perhaps I've got hold of the wrong end of the proverbial stick!! I'll send you a private message. Welcome back by the way!!!

sorry - posted twice!

Ah!!! I see he began his life playing a proper instrument!!!! (sorry - private family joke!!!)

Well - part of the statement was correct!! How silly of me - by the Duke's 75th birthday Britten had been dead for nearly 20 years!! Yes, it was written at Aldeburgh in February 1961 and published that same year. My copy says by OUP although I have found a reference to it being published by Chester. At the time of its composition the Duke was, indeed, in this 30's - he was 40 four months later! I read that it is thought that the Duke may have suggested its composition as early as 1958. And performed as part of the Duke's 80th and 90th birthday celebration as well! My apologies for my mistake and my thanks to Choir Man for pointing out my error!

I didn't hear or watch the service live but I did watch the 'stream' loaded onto YouTube on Saturday evening. I didn't hear the organ music beforehand JS Bach 'Schmuke Dich' BWV654, the Adagio - Harris from the A min. Sonata, Salix - Percy Whitlock, Berceuse - Vierne & Rhosymedre Vaughan Williams nor did I hear BWV 546 played afterwards. I thought the standard of singing to be absolutely superb - as it always is on these occasions. I have heard some criticism of the Soprano but I noted her beautifully controlled singing during the Croft Funeral Sentences and her adopting a different type of sound during the Britten and the Loveday. I didn't like the arrangement of 'Eternal Father' although I suppose I can understand the need for an arrangement. And I hadn't realised that the Britten Jubilate was written at the request of the Duke and first sung in honour of his 75th Birthday. The Ecclesiasticus reading 'Look at the rainbow and praise its maker' was completely fitting and, of course, the St. John reading made absolute sense for the occasion. I watched from afar in the French countryside and I remember thinking that whilst watching that, to quote an American "Only the British can put on a show like this" - and it is true!! Wonderful ceremony - wonderfully performed music - and, in my opinion, a most fitting occasion for a man who was a hugely important part of public life for so long. Requiem Aeternam ........................... and, and I make no apology, - God save the Queen.

James Hunter ?

I see, in the 'Church Times' today there is an advert for Dean of Sheffield. "Previous Cathedral experience is not essential"

Direct quotation from 'Wikipedia'

The only authority I know on Masonic music is John Morehen, formerly Professor at Nottingham. I was going to suggest that you contacted him via his website but I hear, from a friend in the UK, that Prof. Morehen died on March 25th. FRCO (Chm) and FRCCO as well as MA and Ph.D from King's College, Cambridge, he was an important figure in music in Nottingham. May he rest in peace.

Thank you Rowland for that picture of Amiens, which I know well, complete with serpents! I think we had this discussion before but I wonder how many there are still lurking in cases and cupboards up and down the country. I know of one at Berkswell near to Coventry and at Selby Abbey and I've seen one somewhere else - but I can't think where! Is there an Anaconda anywhere around? But, as usual, we digress!