Lichfield Cathedral School Open Afternoon for Boy Choristers 2002

 

Chorister Voice Trials at Lichfield Cathedral - December 1984

 The following information was sent to potential choristers who would have their voice trial in December 1984; scans of the original documents are under the transcribed text.

LICHFIELD CATHEDRAL

AND

LICHFIELD CATHEDRAL SCHOOL (ST. CHAD'S) 

VOICE TRIAL FOR THE ELECTION OF CHORISTERS

The following information applies to the December 1984 Voice Trial.

1. A Voice Trial for boys wishing to enter the Choir of Lichfield Cathedral will next be held on Saturday, 1st December 1984. 
2. There are 18 Chorister places in the Choir, a small number of which, usually three or four, become vacant each year. Choristers are required to be full boarder pupils at the Cathedral School, the prospectus of which should be read with this notice. They each receive a Dean and Chapter Choral Scholarship which covers two-thirds of the School fees. Successful candidates, who will enter the School in September 1985 will be required to serve a period as Probationers: this will normally be of three terms' duration, each place carrying with it a Scholarship of half the current fees. Probationers can be full or weekly boarders or day pupils.
3. (a) Choristers must attend the daily practices, all sung services on Sunday mornings, and Evensong daily except for one weekday, usually Wednesday. They are also required to practise and sing services daily in the period from the end of the School's Christmas term until 26th December, during Holy Week and Easter, and during the weekends before and after other terms. They have about three weeks' holiday after Christmas and in April, and nearly eight weeks in the summer plus half term breaks. Al-though the leave of boarder Choristers is of necessity restricted, they are granted leave on most Saturday afternoons and on Sundays when not required for practice or services.
   (b) Probationers keep ordinary School terms, attending Choir practices and at least one service during the week but will not normally be required for Saturday Evensong and the Sunday services, nor for the Christmas and Easter festivals.
4. Candidates for the Voice Trial should normally be between 7 and 9 1/2 years of age on the day of the Trial. They will be required to sing a hymn or song of their own choice, to sing scales, to repeat notes heard in quick succession on the piano, to differentiate between two, three or four notes played simultaneously on the piano, to memorise short melodic and rhythmic phrases played on the piano, and they may be asked to sing a simple melody at sight. They also have to take a test in verbal reasoning and to show that they are able to read English fluently. 
5. Previous knowledge of a musical instrument is not necessary, but boys are encouraged to start the piano on arrival at the School, and to take up a second instrument in due course. Should a candidate be able to play an instrument already, he should come prepared to play a short piece at his Voice Trial. 
6. Depending on the number of candidates it may be necessary to hold Voice Trials in small groups during the morning and then to draw up a short list. Boys who are placed on the short list will be given individual auditions during the course of the afternoon and at that time will be asked to play their musical instruments if they have come prepared to do so.
7. Choristers are expected to remain in the Choir and at the School until their fourteenth year when they will have the opportunity of winning valuable Scholarships to Public Schools. All Probationers will fill Chorister places after three terms in normal circumstances, although this will be subject to their progress as Probationers. 
8. Full details of arrangements for the day of the Voice Trial will be sent to applicants about a week beforehand. All candidates and adults accompanying them must be prepared to be in Lichfield by 9.30 a.m. but a timetable of appointments will be included with the details and the distance families have to travel will be taken into consideration.
9. Parents who would like to enter their son for the Voice Trial should complete the enclosed form and return it to the Head Master as soon as possible. The closing date for the receipt of applications is 22nd November, 1984. 
10. Parents entering their child for the Voice Trial are strongly advised to visit the School with their son before the date of the Trial so that they will have an opportunity to meet and talk with the Head Master and also to see round the School in detail. A tour of the School will be conducted by a senior pupil on the day of the Trial for those parents who have not visited previously and the Head Master will be available. How-ever, the amount of time for discussing matters on an individual basis is bound to be limited on such a busy day. An appointment for a visit can be made by telephoning the Head Master's Secretary at the number given below. 
11. A registration fee of £40 is payable when a place in the School is accepted and is returned after settlement of the final account when the pupil leaves the School. 

IAN J. WREN

HEAD MASTER

JONATHAN REES-WILLIAMS

ORGANIST AND MASTER OF THE CHORISTERS

Lichfield Cathedral School,
The Palace,
LICHFIELD,
Staffordshire.
WS13 7LJ. 

Tel: Lichfield (05432) 23326 

St Chad's Cathedral School (latterly Lichfield Cathedral School) Prospectus from early 1980s

 

Telephoning the Church Service - The Bury and Norwich Post, 30 September 1890

 Our attention was drawn to this some months ago, and the clip was reproduced on our social media amidst all the links to online Christmas services. However, the news item is transcribed in full, and reproduced here 131 years after its initial publication on page 8 of the 30 September 1890 edition of 'The Bury and Norwich Post' (a scanned image of the original can be viewed online).

Telephoning the Church Service

The Birmingham Daily Mail announces that the Rev Canon Wilcox, of Christ Church, New Street, has consented to allow the telephone to be introduced into his church, so that certain persons may hear what takes place at the service without personal attendance.

This novel application of the telephone came into use for the first time last Sunday, when the harvest festival commemoration was held at the church, and the listeners at the instrument were able to hear, besides the sermon and the ordinary service, tenor and alto soli by two of the vicars choral of Lichfield Cathedral.

At the end of the choir stalls, on the top of the lectern and the reading desk of the pulpit, were placed small metallic-cased transmitters, arranged that no member of the congregation, unless familiar with the fact, would be led to suspect their real nature. They were so regulated that sound was gathered in without requiring the voice to be directed in close contiguity upon the plate of the transmitter. 

This was not the first occasion upon which the telephone has been net up in a place of worship. At Bradford (Yorkshire) it is in use in several places worship other than the Church. It has also been recently introduced at the parish church of Chesterfield, and at all these places subscribers have more or less extensively availed themselves of its use, and it has been found possible for forty or fifty persons to hear a sermon simultaneously. 

In one of those churches the pulpit transmitter was placed underneath a cushion covering the stone top, a circular piece being cut out of the cushion for the purpose. One time a strange preacher, not knowing of its existence put his watch in the circular aperture, thinking it to be a receptacle designed for such use. The next day persons who had listened to him through the telephone said they had heard him very well, but they thought he must have been wearing a very loud “ticker,” as it made quite as much sound as he did.

Lichfield Cathedral Choir Publicity Booklet 1989

 

Richard Lloyd (1933-2021): A personal recollection

originally published in 'Beyond the Quire' (August 2021), the newsletter of the Lichfield Cathedral Former Choristers Association by Wealands Bell, former Precentor of Lichfield Cathedral.

Of the many smiling faces I saw on the September Saturday in 2007 when I was installed as Precentor of Lichfield, none gave me more joy than that of Richard Lloyd, attending the Cathedral that day for the usual Evensong for former choristers. This happy meeting renewed a fruitful association with our best-known musical alumnus, leading to the commissioning of new music, and some convivial occasions in 23 The Close, notably his 80th birthday celebration in 2013.

I was a ten-year-old Durham Chorister when Richard arrived as Organist in 1974. With his predecessor in post almost as long as Richard had been alive, he was a much-needed new broom, inspiring each of us to play our part in raising the choir’s profile in a new era. He composed prolifically for us, multiplying his spidery manuscript through the glamorous innovation of the photocopier. His Advent Drop down ye heavens was among my favourites, while his inexhaustible tide of descants was always exhilarating. His rehearsals were enjoyable, punctuated with niche questions on the Prayer Book, music, cricket: correct answers earned sweets or coins, hurled at whichever boy answered successfully.

Yet life was not all fun and English cadences: Richard demanded perfection of himself, and commitment from everyone. Fortunately, standards quickly rose, and we were soon back on Choral Evensong.

Richard’s wife Morwenna and their daughters played a central part in this happy experience, their hospitality offering us respite from the challenging, still-Edwardian regime at school.

Fifty years on, former choristers and colleagues still share ferociously fond memories of Richard, who is honoured and loved more as a friend and father than just as the teacher and musician he quintessentially was. May he rest in peace and rise to loud organs with Christ, Blessed Mary, St Cuthbert and St Chad.

Lichfield Cathedral Choir sing music by Lichfield Composers (1980) Sleeve Notes

 Transcribed from the LP sleeve, these are the sleeve notes to accompany this recording of Lichfield Cathedral Choir singing music by Lichfield Composers, which can be heard at

SIDE ONE

Michael East was Organist of Lichfield Cathedral in the early seventeenth century. He was born in about 1580 and was a lay clerk at Ely Cathedral before taking up his appointment at Lichfield in about 1615 where he remained for some twenty-five years. He is thought to have been the son of Thomas East. the influential music publisher; this would account for the unusually large number of publications to his name — a precocious contribution to The Triumphs of Oriana (1601) and seven collections of madrigals, Church music, instrumental fantasias etc. spanning the years 1606 to 1638. He died in London in 1648.

Most of his Church music is to be found in three of the published collections, that of 1624 (the sixth set) being devoted entirely to sacred music. His style is simple and direct with an appealing vitality, and it demonstrates an ability to write fluently in up to six parts. His music displays an attractive lyricism but the development of his ideas tends to be four-square, a weakness overcome by only a few of his contemporaries such as Gibbons and Tomkins. Ten of the twelve published anthems are in the early Baroque verse style — with solo sections accompanied instrumentally alternating with chorus. Although the published anthems were designed for accompaniment by viols, the existence of a number of contemporary organ arrangements indicates that this was normal practice for liturgical purposes.

Lichfield Cathedral enjoyed an excellent musical reputation while East was Organist. The Vicars Choral provided six Gentlemen for the celebrated Chapel Royal Choir although most cathedrals sent no more than three. In 1634 Lieutenant Hammond in his Survey of Twenty-six Counties commented that "The organs and voices were deep and sweet . . . (the singers) most melodiously acted and performed their parts . . . the melodious harmony of the music invited our longer stay."

1. WHEN ISRAEL CAME OUT OF EGYPT
This setting of part of Psalm 114, was one of the most popular verse anthems of the period. It appeared in the Third Set of Books (1610), a collection consisting for the most part of secular music, and this influence may be found in some of the word-painting, particularly in the appealing duet "The mountains skipped like rams" and "Tremble thou earth" with its bold chorus interpolation. The work ends with a sweeping 'Amen' so characteristic of East's church music.

Trebles: Thomas Barnard, Patrick Craig, David Craig
Altos: Raymond Leang, Dermot Coleman
Tenor: Michael Guest

2. O LORD, OF WHOM I DO DEPEND
This anthem was included in the Fourth Set of Books (1618). The text, by the late sixteenth century devotional writer, William Hunnis. is set in a simple but appealing manner for two solo boys, chorus and accompaniment. It is interesting that the work shares the text and some of the musical material with John Mundy's setting published in 1594.

Trebles: David Craig, Mark Hindley

3. WHEN DAVID HEARD
East's Version of When David heard (1618) is one of eight early seventeenth century settings, the most familiar being by Weelkes and Tomkins. Arguably his finest composition, the rhetorical and poignant text is set in a largely diatonic idiom which matches the composer's austere and dignified conception.

4. MAGNIFICAT — VERSE SERVICE
5. NUNC DIMITTIS — VERSE SERVICE
The Verse Service comprising the evening canticles Magnificat and Nunc Dimittis survives in manuscripts at Lichfield Cathedral and Peterhouse, Cambridge. The organ part has been editorially supplied by the writer. Its layout for SSATB chorus (rather than the normal SAATB) reflects the vocal disposition of East's church music in the madrigal part-books while similar influences are to be found in some of the word-painting and the unusually long instrumental incipits to the main sub-divisions. As in Gibbons' Second Service, the same splendid 'Amen' ends both canticles.

Altos: Mark Cowley, Raymond Leang
Tenors: Geoffrey Talbot, Peter Bailey
Bass: David Hill

SIDE TWO

1. EXALT THYSELF, O GOD William Byrd
Byrd's festive anthem Exalt thyself, O God, a setting of Psalm 57, vv 6. 8-12, ranks among his best works for the Anglican liturgy. The writer has reconstructed the work from an incomplete anonymous score (previously thought to be by Tomkins) in Worcester Cathedral, together with an authentic bass part. The opening 20 bars, lacking in the Worcester manuscript, arc recapitulated towards the end in the same way as Gibbons' Hosanna to the Son of David with which Byrd's anthem com-pares in several respects.

2. OUT OF THE DEEP John Alcock
John Alcock (1715-1816) was Organist of Lichfield Cathedral from 1750 to 1760. Out of the Deep was included in his Six and Twenty Select Anthems (1771). It is a simple but dignified setting of part of Psalm 130 and is a typical example of cathedral music of the period.

Treble: Mark Hindley
Alto: Mark Cowley
Tenor: Geoffrey Talbot

3. KING OF GLORY, KING OF PEACE William Harris
4. ALMIGHTY AND MOST MERCIFUL FATHER William Harris
5. I WAS GLAD WHEN THEY SAID UNTO ME (Psalm 122) William Harris
6. COME DOWN, O LOVE DIVINE William Harris
Sir William Harris (1883-1973) was assistant organist at Lichfield Cathedral between 1911-19 and was subsequently organist at New College, Oxford (1919), Christ Church Cathedral, Oxford (1928) and St George's Chapel Windsor (1933). His compositions are in a conservative, tonal idiom characterised by a pleasing lyricism, grateful vocal writing, tasteful chromaticism and a clear sense of structure.

King of Glory was written for the choristers of New College, Oxford in 1925. Almighty and Most Merciful Father is a setting of the last prayer of Samuel Johnson, famous son of Lichfield; it was composed in 1968 for Richard Greening and the Choir of Lichfield Cathedral. Psalm 122 is sung to a chant by Harris. Harris wrote a number of effective anthems based on hymn tunes; Come Down, O Love Divine, composed in 1965, is based on his own tune North Petherton.

THE CATHEDRAL CHOIR
The Choir of Lichfield Cathedral consists of eighteen choristers and nine Lay Vicars Choral, whose work it is to maintain the tradition of daily sung services in the Cathedral. a tradition which stretches back several hundred years. In order that this work may be performed to the highest possible standard, the boy choristers arc educated in a choir school, situated in the Cathedral Close and maintained by the Dean and Chapter. Although this school for centuries existed exclusively for the choristers, since 1942 it has been run as a normal Preparatory School of which the choristers are a part. Every day the choristers rehearse for an hour in the morning and half an hour in the evening before singing the Office of Evensong; this, of course, is extra to a normal school timetable during the day. The choristers come from homes in different parts of the country, some a great distance from Lichfield; this requires most of the boys to live in the school. All choristers are expected to learn to play two instruments and some reach a high standard of proficiency by the time their course here comes to an end. There is then an opportunity of winning a substantial Scholarship to a Public School for the continuation of their education.

Trebles
David Craig (Head Chorister)
Mark Hindley (Second Head Chorister)
Douglas Jones
Mark Parrott
Sebastian Prentis
Richard Simpkin
Thomas Barnard
Patrick Craig
Alastair Hodgson
Paul James
Daniel Hunt
Robert Ninis
Alan Richardson
Jonathan Cooper-Bagnall
Daniel Norman
Christopher Betts
Angus Veitch

Altos
Raymond Leang
Dermot Coleman
Mark Cowley

Tenors
Geoffrey Talbot
Michael Guest
Peter Bailey

Basses
Edgar Parkinson
Sandy Hunt
David Hill

Jonathan Rees-Williams
Jonathan Rees-Williams studied at the Royal Academy of Music with Arnold Richardson and at New College. Oxford where he was Organ Scholar and Acting Organist. After a period as Assistant Organist of Hampstead Parish Church and St Clement Danes, London, he was appointed Assistant Organist at Salisbury Cathedral, where he was also Director of Music in the Cathedral School and Chorus Master to the Portsmouth Festival Choir. He took up his appointment as Organist and Master of the Choristers of Lichfield Cathedral in 1978.

Peter King
Peter King, the Assistant Organist of the Cathedral, was a chorister of the Cathedral. Subsequently, he was educated at the King's School. Canterbury, going on to read Music at Queen's College, Cambridge. He is frequently heard as a recitalist and broadcasts for the BBC. Since last autumn he has been Assistant Chorusmaster and Accompanist to the CBSO chorus.

THE CATHEDRAL ORGAN
The organ by William Hill was installed in 1884, incorporating earlier pipework (1861) by George Holdich. An extensive rebuild in 1974 by Hill. Norman and Beard provided the instrument with a remodelled Choir Organ and some extra ranks including a Trompette en chamade. The organ is tuned to a sharp pitch (C = 540), over a quarter tone higher than present day pitch.

Produced by Peter James

Executive Producer Harry Mudd

Recorded in Lichfield Cathedral July 1980

Sleeve Notes by Peter James

Cover Photograph Lichfield Cathedral from across Minster Pool by John Rackham

Recording first published 1980

Sleeve printed by Senor Printing Limited

Lichfield Cathedral Choristers sing Christmas Carols (1972) Sleeve Notes

Transcribed from the LP sleeve, these are the sleeve notes written to accompany this recording of the Lichfield Cathedral Choristers. The record is available to listen to at

Directed by Richard Greening, Organist and Master of the Choristers,

and accompanied by the Assistant Organist, Peter Noyce, unless otherwise indicated.

Side 1

Silent night - arr. Richard Greening (soloist: James Lockyer)
An arrangement by Richard Greening of the well known tune

Lute book lullaby - Richard Rodney Bennett
This early work of Richard Rodney Bennett takes its name from a lute book by William Ballet dating from the early 17th century. Ballet himself set the words to music in the style of his own period, an echo of which lingers in Bennett's music. The carol was written for the pupils of Betteshanger School.

Behold, I bring you glad tidings - Maurice Greene, arr. Richard Greening (Harpsichord: Robert Watt Boyd; Violoncello: John Clemson; Double Bass: Peter James)
Maurice Greene was Organist of St. Paul's Cathedral in the time of Handel and most of his anthems were for solo voices with some choruses. This treble solo (sung here by all the choristers) begins his 'Anthem for Christmas Day' taken from his Second Book of Anthems, published by Walsh in 1743. It is one of the few anthems which Greene wrote to words from the New Testament (Luke II). The continuo part, originally intended for organ, has been realised by Richard Greening. The solo originally ended in the dominant and was followed at once by a chorus. The repeat of the ritornello at the end is editorial.

Away in a manger - Alfred Noyce (soloists: James Lockyear, Andrew West)
Alfred Noyce was the father of the present Assistant Organist of Lichfield Cathedral. He composed this charming music to the familiar words while he was Organist of Rugby Parish Church.

As I outrode this enderes night - Gerald Hendrie
Gerald Hendrie wrote this lively music for the choristers of Norwich Cathedral. The shepherds' pipes are heard fading into the distance at the end.

The Birds - Benjamin Britten (soloist: Andrew West)
Though this is not strictly a carol, Hilaire Belloc's words speak of the infancy of Christ and Britten has added music which matches their charm and simplicity.

Ah, my Saviour (from Christmas Oratorio) - J S Bach (echo voice: Andrew West; Oboe: John Sankey; Chamber Organ: Peter Noyce; Violoncello: John Clemson; Double Bass: Peter James)
This aria, with its attractive echo music in the oboe and voice parts, comes from Part IV of the Christmas Oratorio. Usually in performances of the oratorio the soprano soloist is echoed by another soprano standing at a distance. In this performance the solo is sung by a number of boys, and the echoes by a single boy.

Organ: Marche de Rois Mages - Theodore Dubois (Organ: Peter Noyce)
Theodore Dubois was an active composer, teacher and organist. He succeeded Saint-Satins as Organist of the Madeleine in 1877 and was head of the Paris Conservatoire 1896-1905. His organ music is slight in importance, but the 'March of the Magi Kings' has been included for two reasons, apart from its attractiveness. It is an organ piece specifically connected with Christmas, though it is not much played nowadays. It employs the amusing device of a deliberate fault known as a cypher (or note sticking on). The player is advised to engage an assistant to hold down the key throughout the piece, or else to place a weight on the key. Peter Noyce uses a small wedge of folded paper. Dubois intended the continuous note to suggest the guiding star continuing unchanged over the various harmonies beneath it. The cypher device is particularly appropriate since the Cathedral organ is now in a precarious condition and it is to undergo an extensive and costly restoration during 1973.

 

Side 2

Away in a manger - W J Kirkpatrick (soloist: Holger Aston)
Kirkpatrick's famous tune makes an interesting comparison with the setting by Alfred Noyce on Side one.

The Blessed Virgin's Cradle Song - Sir Edward Bairstow (soloist: Andrew West)
This favourite late Victorian carol setting was written when Sir Edward Bairstow was Organist at Wigan Parish Church. All the boys sing the verses, and there is an additional solo part to round off each section.

Song of the Nuns of Chester - 15th century, ed. David Wulstan
This mediaeval carol is taken from the Processional of the Convent of S. Mary, Chester. The words are in Latin, the solo voice announcing the text and the chorus answering with lullabies. The exact meaning of the words is not as important as the atmosphere created by the beautiful tune.

When Christ born of Mary free - John Gardner
The mediaeval English words are set to modern music by John Gardner (op. 55). The only similarity with the previous carol is the absence of accompaniment.

Blessed be thou hevene Quene - 13th century, ed. HK Andrews
This, though it is possibly the earliest music on this disc (13th century) has a fresh and appealing tune. The suggestions of knightly chivalry in the words are rooted in the secular music of the period.

A new year carol - Benjamin Britten
The quiet calm of Britten's music, written in 1934, is closely akin to some of the best English folk songs.

From virgin's womb - William Byrd (String accompaniment: The Duggan Consort (Celia Davis, Susan Jacob, Geoffrey Duggan, John Clemson))
Byrd set these splendid words (by Francis Kindlemarsh) for solo voice with string accompaniment. There were four verses in the original, separated by choruses which have been omitted in this performance. The source is Songs of sundrie natures (1589).

O men from the fields - Arnold Cooke
Described as ‘A cradle song’, Arnold Cooke's quiet tune matches perfectly the words by Padraic Colum,

Chanticleer's carol - Norman Fulton
Norman Fulton's forceful and exciting music, to the words by William Austin (d. 1633), was commissioned for The Cambridge Hymnal. Choristers enjoy singing the fast phrase especially, since it ends with a note of 15 beats, which is further extended by a pause.

Three different places were used for the recording of this disc. All the items with piano, harpsichord and string accompaniment were recorded in the Great Hall of the Bishop's Palace at Lichfield (now part of St Chad's Cathedral School). This hall has a resonant acoustic. Numbers 3, 4 and 5 on side two were also recorded in the Great Hall. Three items (side one numbers 5 and 8, side two number 2) were recorded in the choir of the cathedral using the cathedral main organ, which is almost a semitone sharp to standard pitch. In the choir of the cathedral there is little resonance. All the remaining items (side one numbers 1 and 7, side two number 1) were recorded in the Lady Chapel of the cathedral. The organ used for part of these items is an 18th century chamber organ of three stops, restored by Noel Mander. The Lady Chapel has a fairly resonant acoustic.

All the instrumentalists involved are at present working in the Midlands. Two of them — Dr Peter James and Robert Watt Boyd — are members of the cathedral choir. All the boys study instrumental music as well as singing. Andrew West has passed Grade VIII of the Associated Board with distinction. He is a flautist and is going on to Malvern as a scholar.

The cover photograph shows the choristers in front of the altar and reredos of the Lady Chapel with the famous glass from Herckenrode in Belgium glowing in the East window.

The Choristers
James Lockyer (Head Chorister), Andrew West (Deputy Head Chorister), Jamie Adamson, Holger Aston, Robert Boyce Shaun Carvill, Frederick Dunstan, Jeremy Grinnell-Moore, Christopher James, Robert Langford, Crispin Morton, Andrew Mould, David Newell, James Newell, Adrian Peacock, William Ring, Jeremy Summerly, David Winfield.

Produced by Richard Greening

Recorded by Harry Mudd

Cover Notes by Richard Greening

Cover Photograph by John Rackham of Lichfield

Record first published 1972

Cover printed by West Brothers Printers Limited, London

'His Praises Sound' (1966) Sleeve Notes

Transcribed from the LP sleeve, these are the sleeve notes written by Richard Greening to accompany the earliest known commercial recording of Lichfield Cathedral Choir, which is available online: 

BENJAMIN BRITTEN'S setting of Jubilate was written at the request of HRH The Duke of Edinburgh for the choir of St George's Chapel, Windsor Castle, and it is now often sung in conjunction with the composer's earlier setting of the Te Deum in C. The music is of great brilliance, and incorporates an exciting organ part which makes much use of simple scale passages. The voice parts are mainly concerned with a short phrase, heard at the opening, and its inversion. There is a quiet, subdued middle section, and the music of the opening returns at the Gloria, which ends quietly and is followed by an extended Amen in the form of a coda. The words are those of Psalm 100.

JOHN SHEPHERD'S anthem, I give you a new commandment, was published in 1560 by John Day in his Certaine Notes. It also appears in some early MSS at the Bodleian, dated c.1547. The music is for men's voices, and the transposed version sung on this record is for two alto parts, one tenor part and one bass part. The text is from St John 13.34-35

HENRY PURCELL'S eight-part setting of the words Hear my prayer, O Lord is perhaps the finest of all Restoration full anthems. The music is developed from two short ideas, the second of which is capable of inversion, and contrasts a major with a minor third. From a quiet beginning by the first altos a complex mass of counterpoint is built, ending in a great climax, using only the material of the first four bars as a basis.

ORLANDO GIBBONS' Second Service, from which this Magnificat and Nunc dimittis are taken, is a verse service — a term which implies the treatment of the music sectionally, using an independent organ accompaniment and exploiting various combinations of solo voices for some sections, interspersed with chorus passages. Gibbons was one of the younger composers of the late 16th century period and wrote church music to English words only. His verse service is the most beautiful example of this type and period which we have. It explores many different combinations of voices and the word-setting is particularly fine.

Prevent us, O Lord, is a splendid example of WILLIAM BYRD'S music for the English church. Written for five voice-parts, it is a setting of the collect from the communion service, and demonstrates all his skill in portraying the sense of the words and his handling of the sonorities of a choir.

MAURICE GREENE was Organist of St Paul's Cathedral in the time of George II — a time during which English music was much overshadowed by continental musicians, of whom Handel was the most important. The anthem Lord, let me know mine end, is none the less one of the finest productions of English Cathedral music of any period. The sombre words are most movingly matched by the music, and a feature of the work is the organ bass which proceeds in crotchets from first to last as if to mark the passage of time. There are two choruses for four voices, separated by a verse for two trebles. The realisation of the original figured bass is by Sir Ernest Bullock, and may be regarded as a model. The words are from Psalm 39.

Eheu, sustulerunt Dominum is a motet which was included by THOMAS MORLEY in his Plaine and Easie Introduction to Practicall Musicke, a treatise on composition which he published in 1597. It may be sung at Easter, or on the feast of St Mary Magdalen, the words being those she is recorded as saying in St John's Gospel. The sense of loss at finding the tomb empty on the first Easter morning is well conveyed by the music, perhaps especially by the opening, where the word Eheu (Alas!) is repeated by all the voices.

MICHAEL EAST is the earliest Organist of Lichfield of whom we know any details. He is thought to have been the son of the famous Thomas East (or Este), who published music by almost all the great Elizabethan composers. Michael East was Organist of Lichfield from 1618-1638. His anthem When Israel came out of Egypt (words from Psalm 114) is in verse form, the verses being for alto, tenor, and two trebles in various combinations. It is a less successful example of the form than the Gibbons service but it shows great vitality and a feeling for expression.

The Evening Canticles — Magnificat and Nunc dimittis — have been set to music several times by HERBERT HOWELLS, who is one of the most distinguished church music composers of our time. He has written settings for many choral foundations, such as Gloucester, St Paul's, and New College, Oxford. This Nunc dimittis (Collegium Regale) was written for the Choir of King's College, Cambridge. It opens with a solo for tenor, with choir and organ accompaniment. The fine Gloria (also used to end Magnificat) commences with an ecstatic passage in which all the voices are employed in a high register, and there is a matching climax at the end.

RG

Long play 331/3 R.P.M. record

mono

Made in England by "EROICA" SOUND RECORDING SERVICES LIMITED ALTRINCHAM, CHESHIRE from Tapes supplied by the Organist, 1966

Printed by Lomax's Successors, The Johnson's Head, Lichfield, Staffs.

The Friends of Lichfield Cathedral are grateful to A.B.C. Television Ltd. for permission to reproduce the photograph of the Choir.

Lichfield Cathedral Choir 1996

 

Kenneth Baker visits Lichfield Cathedral and Lichfield Cathedral School (February 1990)

reproduced from 'Choir Schools Today', the magazine of the Choir Schools' Association, Issue 4, 1990

Mr Baker Visits

Mr Kenneth Baker and Lichfield Choristers after Evensong
choristers from left to right, back row: Richard Shakeshaft, James Holliday
front row: Giles Derrett, Alexander Makepeace

Mr Kenneth Baker, Conservative Party Chairman, visited two of our members earlier this year while still Secretary of State for Education and Science. Mr Baker visited Lichfield in February to open Broadhurst, the new purpose-built pre-preparatory department at the Cathedral School. During the official opening ,six year-old pupils monitored his heart as part of a health programme and gave him the good news that his heartbeat recorded a normal 80 beats a minute!

When Tony Hart took over as Head-master of Reigate St. Mary's in January 1984 there were 47 boys and three full-time members of staff. Numbers have now increased to 210 pupils and 16 full-time staff. This meant that new buildings had to be provided, which were opened by Mr. Baker in May. 

The ceremony was preceded by a concert of choral and instrumental music in St Mary's Church. Mr Baker told parents and members of the school that choir schools needed support and protection. He felt the school's link with the local church was important and congratulated the school on quadrupling its numbers in five years. He said it was a very good example of the faith placed by parents in independent education.

Lichfield Cathedral Choir France Tour 1996: Itinerary, Music List and Tour Diary

Following the Cathedral Choir's tour to France after Easter 1996, a post-tour concert was held in Lichfield Cathedral on 2 May. The post-tour concert's programme included the list of concerts and services at which the choir had sung during the tour, and a Tour Diary. 

Itinerary and Provisional Music List

TUESDAY 9th APRIL Concert at Les Soeurs de l'Assomption 

• Rejoice in the Lord Mulliner Book
• In pace John Sheppard
• Hosanna to the Son of David Orlando Gibbons
• Lord, let me know mine end Maurice Greene
• Ave Maria Camille Saint-Saens
• Ex ore innocentium John Ireland
• Lord, thou hast been our refuge Ernest Walker
• Locus iste and Christus factus est Anton Bruckner
• Ubi caritas Maurice Durufle
• Faire is the heaven William Harris

WEDNESDAY 10th APRIL Concert in British Embassy

• Rejoice in the Lord Mulliner Book
• Ave Maria Robert Parsons
• Faire is the heaven William Harris
• Friday Afternoons (Jazz-Man; Cuckoo; A tragic story; New Year Carol; There was a monkey; Old Abram Brown) Benjamin Britten  
• Quem vidistis pastores Francis Poulenc
• Ubi caritas Maurice Durufle
• Ave Maria Franz Biebl
• Somewhere over the rainbow arr. Pickard

WEDNESDAY 10th APRIL Evensong in St George's Church

• Preces & Responses Michael Walsh
• Psalm 114 Edward Bairstow
• Magnificat & Nunc dimittis in A E W Naylor
• Locus iste Anton Bruckner

THURSDAY 11th APRIL Evensong in St Paul's Church, Lyon 

• Preces & Responses Michael Walsh
• Psalm 121 H Walford Davies
• Magnificat & Nunc dimittis in A E W Naylor
• Faire is the heaven William Harris 

FRIDAY 12th APRIL Concert in Ste Foy Centre Church

• Rejoice in the Lord Mulliner Book 
• In pace John Sheppard
• Hosanna to the Son of David Orlando Gibbons
• Lord, let me know mine end Maurice Greene 
• Organ solo: Piece d'Orgue J S Bach 
• Locus iste; Christus factus est; Os justi meditabitur; Ave Maria Anton Bruckner 
• Organ solo: Carillon Sortie Henri Mulet 
• Evening Hymn H Balfour Gardiner
• Ave Maria Franz Bieble
• Vox dicentis E W Naylor 

Tour Diary

Sunday 7 April
Depart Close after Evensong. Have supper at Chieveley Services. Leave for Portsmouth but have to return to Chieveley after 10 minutes to pick up an abandoned chorister coat. Once on the ferry, boys to cabins, most adults to bar. Despite the extremely smooth crossing, one boy sick (too much chocolate - Ed). Very clear announcement on ferry tells us that breakfast will be at 5.15am and that the boat works on British time. 4.15am - knock on Barnards' cabin door - one chorister, fully clothed, saying that his cabin were up and dressed and shouldn't we all be at breakfast! Dealt with swiftly. Ten minutes later, another chorister appears on the same mission. Dealt with even more swiftly. Precentor (who is sharing said cabin with the Barnards) snores through it all. 

Monday 8 April
To Paris via L'Arche for coffee and Les Andelays (a medieval ruined castle) for a stretch of the legs. Arrive at Convent in Paris in time for lunch and making of beds. Interesting experience. 16 choristers look rather bemused, not knowing what to do with sheets and blankets ... 'oh for a duvet!' Headmaster extols the virtues of hospital corners to Organist, who looks even more bemused. Boys go on Bateaux Mouches and up the Eiffel Tower where visibility was not at its best - Precentor puts this down to all the incense used in the churches the day before. Adults scatter all over Paris - some even walk to Sacre Coeur - a good two hours which might have been much longer had not the Bass Choral Scholar come to the rescue with a map. Boys return to Convent for supper and bed. A sign of the times: four choristers have to be told that they are actually supposed to sleep between the sheets. Much mirth amongst the adults. 

Tuesday 9 April
Boys to Science park to push buttons, clamber over submarines and generally get lost. Adults on more church/art gallery crawls and, for some, a jolly decent lunch. Rehearsal in the very warm chapel at the Convent for our first concert that evening. A few worries about how many will be there - turns out to be over 100 and very enthusiastic too. Assistant Organist does marvels with the transistor radio - i.e. a rather ancient electronic organ. 

Wednesday 10 April
Leisurely morning build up to a lunchtime concert and reception at the British Embassy. One chorister, when asked if he was looking forward to this event, says "well, I don't really know why we're singing there". When pressed on this, he continues "well, all they do there is drink beer and play darts". He had to be told that it was actually the British Legion that he was going to, not the British Embassy. Everyone bowled over by the building and the hospitality. Some interesting mirrors, including one which was supposed to make you look slimmer - one or two were not convinced. The warmth of the audience reception and our host was matched by the stunning food and wine served afterwards. Canapes, quails' eggs, 1990 claret ... several adults look rather uneasy and mutter that perhaps they should get their tax returns in a little earlier this year. After a drive to Sacre Coeur (passing a few areas where the boys' eyes were out on stalks), Evensong at St George's Anglican Church, which is modern and in a basement and had a much better acoustic than the Organist feared. The route home included an amusing journey round the Arc de Triomphe - Keith, our driver, rolled up his sleeves and was heard to say something along the lines of "when in Paris..." before putting his right foot to the floor. Also, some French person had broken down right in the middle of all the traffic and cars were at all angles trying to get past ... with much honking of car horns, of course. 

Thursday 11 April
An all day drive to Lyon, aided and abetted by a spoof Robin Hood film and Mr Bean. We run later and later and, after a very brief mayoral reception in Ste Foy, we sing Evensong in St Paul's Church in Lyon where, having been told that there was only a chamber organ, discover a sizeable newly-renovated instrument that was to have its opening that very night! Our first sizeable echo which the choir laps up. Disperse to hosts for supper and, for a few of us, some very rusty O-Level French. 

Friday 12 April
Morning visit to a vineyard for a little degustation (well, it had to be done) and, after several tastings, the plastic glasses were more heavily laden. Meanwhile the boys played football in the car park (honest - Ed). Back to Lyon for a superb picnic in glorious sunshine outside Fourviere, the massive church which dominates the Lyon skyline. Much gloating after the word gets round that it was snowing at home. The church has an enormous acoustic and we sing some Bruckner for fun. Boys' eyes on stalks for a much healthier reason. Disperse for quick visits to either a Roman amphitheatre, some patisserie in Old Lyon or the bar at Fourviere. Evening concert at Ste Foy, which was a great success, though one Alto Lay Vicar's host did admit afterwards that she had never heard a noise like that coming from a man. The church lighting proved to be different. During the first piece, the local priest decides to fiddle with the switches with the result that, for about ten seconds - though it seems an eternity - the choir was plunged into darkness. Meanwhile, at the other end of the Church, the Chancellor and Precentor were puzzling over why the lights came on for about 20 seconds and then went off. The reason: movement/heat-detectors fitted to the lights. The result: Chancellor and Precentor waving and leaping around at the back of the church trying to keep them on. (Fabric Advisory committee, please note.) 

Saturday 13 April
Beginning of the long journey home, this time aided by the more sober version of Robin Hood, via a cave and a hypermarket for purchasing of smelly cheese etc. Another lovely picnic in a wooded lay-by, where the boys decide on re-enactment of the aforementioned film, which leaves one of them holding an ice-lolly to his bruised head. Alastair Maclean keeps the assembled company quiet for most of the rest of the journey. Safely on to boat ...

Sunday 14 April
.... which docks an hour earlier than we were originally told. Despite the article in the Times about radioactivity given off mobile phones, the Headmaster rings the Service area where we are to have breakfast to warn them of our impending arrival. They cope superbly, even if we did arrive before the place was even open. One chorister dumped at a Little Chef near Oxford (parents were present) and, an hour and a half later, 33 rather sleepy people arrive in the Close, just in time for Eucharist.

Annual Reports on the Cathedral Choir's Activities from the Lichfield Cathedral School Magazine

The annual magazine of Lichfield Cathedral School includes a short report on the Cathedral Choir's activities over the past year written by the Organist and Master of the Choristers. The following articles are the reports reproduced from 1985, 1986, 1987 and 1989 editions of the magazine.

CATHEDRAL MUSIC written November 1985

Some years ago, the Headmaster of St. John's College School, Cambridge wrote an article under the heading In Quires and Spaces where they cling. That phrase eloquently describes the plight of the Cathedral Choir on its return from vacation in September, 1984. The loss of some eight experienced singers the previous July created plenty of vacuum for would-be clingers, and the expression "thrown into the deep end" became a reality. (Literally in the case of Giles Gilbert, whose voice descended octaves within minutes at the beginning of the term!)

However, great things were to be achieved during the course of the year. A good start was made at Derby Cathedral, where a fine account was given of a wide-ranging programme: the generous resonance of the building was a great asset at this stage. Steadily, confidence grew, and some difficult new music was introduced and mastered, notably the demanding Evening Hymn by Kenneth Leighton. By the time December came along, and the Advent was turning everyone's mind towards Christmas, the choir was in reasonable shape, contributing ably to a performance of the Monteverdi Vespers of 1610 directed by Simon Preston. I am sure nobody will have forgotten the five hour wait between rehearsal and performance, only relieved somewhat by the vending machines at Birmingham Science Museum!

Special talents now began to emerge. Richard Towers' contribution to the choir as a leader and a soloist was quite outstanding, and his beautiful singing over the Christmas period captivated many, and was a prelude to things to come. Younger talent began to reveal itself, two choristers being selected as finalists in the National Young Cathedral Singer of the Year competition. As each of the ten finalists won a substantial sum for his Cathedral, we were more than grateful for the efforts of Jeremy Parker and Andrew Gardner, the latter eventually being awarded third prize.

It goes without saying that the tour of the South-Eastern states of America ranked as the highlight of the year. Preparations, lasting well over a year involved Lay Vicars and Choristers alike in various forms of fund-raising activity. Families and friends helped enormously in backing this our biggest venture so far and this backing and preparation paid off, for unlike some similar ventures by others we had few real anxieties whilst away. Much has been spoken and written about the tour, but I should like to record my personal appreciation of the wonderful teamwork shown throughout by all who went, socially and professionally. Throughout, the performance level was outstanding and the enthusiasm of the audiences well-deserved! Some musicians of standing went so far as to rate performances as the best they had ever heard.

Be that as it may, we all know about the days that aren't so good. The foggy November Friday with Tallis in the Boring Mood (sic) is a far cry from Space Shuttle Wilson in the fiery heat of Florida; interminable psalms; oh dear .... not more Byrd!

The American Adventure served to show that a challenge can be mastered and new heights reached, and that it is only the fact of singing every day, good music or indifferent music, whether we like it or not, that enables the expertise, experience and confidence to be gained in order to build a solid choral team capable of ambitious and exciting work. 

CATHEDRAL MUSIC written December 1986

A rousing performance of Walton's The Twelve ended a year of uncertainty and upheaval in the Cathedral Choir. Not a week seemed to pass before Easter without a major calamity — "for my bones are vexed", sung by one chorister from a wheelchair seemed to be the order of the day.

But through adversity comes strength. A small body of determined characters successfully entered the field of chamber music shortly after Christmas as, for about a fortnight, eight boys alone tackled the work with great aplomb; some lovely, if rather quiet, performances were given. Under the forthright leadership of Michael Brown, the repletion of the ranks slowly took place, bringing a new brightness to the faces and the sound.

Notwithstanding the difficulties, two very good BBC broadcasts were made, and an exciting concert of Christmas music was sung in Burton-on-Trent with Orchestra da Camera. Rather more swinging was the concert of Music Straight and Crooked in Denstone College Chapel. David Rees-Williams joined the Choristers on that occasion; Harry Stoneham and Dave Brubeck on the College's ageing Rushworth and Dreaper organ ensured that the poor thing was severely strained, and I hear is going to be rebuilt! DR-W paid a second visit during the year. This time nearly four hundred singers from the Diocese came too and, under the baton of the Director of the Royal School of Church Music, Dr Lionel Dakers, the Wilson Norwich Service was  performed. With two synthesizers at our disposal, the possibilities were enormous; it is understood that Dr Dakers was convinced that the Lichfield RSCM Festival was the Festival to end all festivals!

Some old transatlantic acquaintances were rekindled and new friendships made in the middle of the summer when the Orlando Deanery Boychoir visited Lichfield, their first stop on a fortnight's tour of England. Billeted in homes in the vicinity, they joined with the home team in four services, evidently gaining much from their experience of joining an English Cathedral Choir in an English Cathedral. Coming from such a comparatively young homeland, Americans are full of wonder at anything old; it was a treat to watch their faces at encountering so many new 'old' things! However, things were restored to a very healthy normality on Cannock Chase when nearly everyone was killed off in one of Mr. Rowsell's Them v. Us games.

Two Cathedral musicians left us this year for pastures new! In January, the Reverend Christopher Cornwell was installed Vicar of Ellesmere after some five years as Subchanter at the Cathedral. His experience as a Chorister of Kings College, Cambridge, gave him a great understanding of the commitments and achievements of present-day choristers and his support of them was as sincere as his leading of the daily services. In his quieter moments he enjoyed teaching our noisier brethren to bang loud percussion instruments!

That rousing performance of Walton's The Twelve signalled the end of an eleven-year reign at the mighty Hill organ for Peter King. Having been a chorister of Lichfield himself, he could always be relied upon for a good yarn "In my day...". We all enjoyed his ebullient playing and his lively sense of humour; we were well used to the commotion as his mud-bespattered car turned the corner by the Archdeacon's residence at 4.45, hot-foot from Birmingham! Now seated at an even bigger Hill organ console in Bath Abbey, I understand that he has been asked very politely if he would play a little more quietly!

To conclude, I would like to express my appreciation of the hard work that the Choristers faced, tackled and conquered during the course of the year. It wasn't an easy time, but the current strength is owed to their perseverance and determination to succeed. In his short story Gardeners, Geoffrey Norman wrote 

"they reached the Magnificat, and for better or for worse, young George, in only his third year, was to sing the solo. Hopefully, he would hit the top C. The Organist gave the beat and from aloft the magnificent organ played the introduction. Suddenly, surprisingly, from nowhere, with clarity and fullness, George sang the solo. As he was singing the sun entered the richer colours of the stained glass. A warmth of a very deep kind fill the Organist and as they continued, he knew that he would have another golden year given a little nurturing here and a little encouragement there."

We are indeed fortunate to be blessed with so many Georges. 

CATHEDRAL MUSIC 1987 magazine

The Choristers' year began with a bang! The end of September witnessed a concert with the London Festival Orchestra, a live broadcast of Evensong, and a wedding. However, the pressure was not as great as it might have been; only one chorister had left in July, 1986 - Michael Brown started a new career at Wrekin College. The concert with the LEO included music by Purcell and Mozart. It was all excitingly sung (the Creed from the Missa Brevis was taken at a breath-taking pace), and the orchestra wishes to come to play for the Choir again, which will happen when a suitable date can be found.

Another orchestral concert involving the Choir took place in Sutton in December. The hall of Bishop Vesey's School was a very warm venue for the Christmas programme with Orchestra da Camera. The effect of trumpets, timpani and trebles in the confined swelter of the Vesey Centre for the Arts was quite overwhelming; what a good thing that Zadok the Priest is short lived. A rather more spacious hall in West Bromwich was the scene of the Choristers' other 'outside' Christmas concert in 1986, where a performance of Britten's A Ceremony of Carols was given with piano accompaniment!

All this while, however, Annet Concerts Enterprises Inc. was busily engaged in conscription and training of troops for the Three Spires Orchestra, which made its debut in Sutton in February. A noisily percussive rendering of Dallas concluded a programme which had veered from Mozart through Strauss to Rutter with varying degrees of certainty, but with great verve. A capacity gathering contributed to the 'cause', which was the impending transferal of the Choir to Rome. Five busy days there formed a highlight of the academic year. Four sun-scorched hours in St Peter's Square singing to His Holiness the Pope began a run of seven services and concerts in the Eternal City. The visit was centred around the centenary of the Anglican church of All Saints, which owed its completion to funds from the Lichfield Diocese. A stained glass window in the porch depicts St Chad holding Lichfield Cathedral; underneath stands the present day incumbent, a former sub-chanter of Lichfield, the Reverend Bevan Wardrobe.

A special service was held to commemorate the dedication of the church. Later in the week the Choir sang a concert there, as well as appearances at Santa Maria Maggiore, the American Episcopal Church, and at the residence of the Ambassador to the Holy See. Believe it or not, there was still time for a tour of the city encompassing the Forum, the Colosseum, San Sebastian's Catacombs and St. Peter's Basilica. The final excitement was leaving six adult members of the party behind at Rome airport. It is understood they were well catered for!

At the end of the year the Choir said its goodbyes to the 'Boy Pope' Jeremy and six others. The highest top C in the business, our William, took the top of the range to Oundle, whilst Andrew went to Eton. Duncan, Damian and Joshua all left for pastures new leaving behind a very young team. The young team is undaunted, however, and at the time of writing is performing as beautifully as ever, continuing the daily tradition of which we are all rightly proud. This year will have its highlights, backed by the constant quality of the daily round, our Opus Dei. 

CATHEDRAL MUSIC 1989 magazine

Early Morning Practice with Assistant Organist, Mark Shepherd,
in the Song School in the North West Tower of the Cathedral

Much travelling was undertaken by the Cathedral Choir during the year. Christmas was as busy as ever, ranging from the now-traditional appearance amongst the surveillance monitors at the Wolverhampton Mander Centre to a long programme of seasonal music in the chapel of Keele University. Keele produced a capacity audience (they were most appreciative of A Ceremony of Carols with Susan Drake playing the harp) which stood the choir in good stead for the excitements of 1988.

The second Lichfield tour of the USA. followed the distribution of the Royal Maundy money. Traditional anthems were sung, including a vigorous Zadok the Priest, by the combined choirs of Lichfield and Her Majesty's Chapel Royal. A proud musical moment was Lichfield's as Ben Blant opened the anthem Wash me thoroughly with his customary exquisite control, a highlight of a chorister career of determination, expertise and devotion. In every sense, the occasion was a brilliant one, the memory of the colour and pageantry of which will doubtless remain with the choristers always. However, Easter itself was not the time for dwelling on events past, as the choir soared heavenwards, in a rather more literal sense than is sometimes described, in a jumbo jet on Easter Monday.

This time the itinerary headed towards the sun, and, a minor skirmish with somebody's passport concluded, without hitch. The choir's programmes were well received from Bangor in Maine to Tampa in Florida, many hamburgers and much coke were consumed and new friends made. The welcome in places the choir was visiting for the second time was always warm and excited, particularly in Washington and Tampa; the strength of feeling in Tampa was so clear as the choir of St John's combined in a concert with our choir. The blend of the two was as though they had sung together for years. The "cook-out" afterwards provided a gastronomic climax to a wonderful tour. By now seasoned travellers, the choristers appeared in various far-flung locations in England during the summer term. Ellesmere, Penrith and Tring were the towns, overnight stays in two of them adding to the attraction. With so many outside engagements it is worth remembering that all these are achieved in addition to the heavy programme of services sung by the choir every day in the Cathedral. The maintenance of the services is the reason for the choir's existence, and the extra events serve to cement the choir's work at home.

 

During the year, Richard Simpkin and Thomas Barnard, both former choristers, returned as Organ and Choral Scholars respectively. We all enjoyed their company, and it was a delight to witness choristers of past years furthering their abilities in the world of Cathedral music. They are not alone: Cambridge is enjoying Mark Hindley and Patrick Craig as Organ Scholars currently, David Craig was a Choral Scholar, and Sebastian Prentis is also in residence. Alastair Hodgson is reading Music at Reading University and Daniel Norman is a Choral Scholar at Wells Cathedral prior to taking up his Choral Scholarship at New College, Oxford. Christopher Betts gained the coveted diploma of Associate of the Royal College of Organists in January. How wonderful therefore, to sit in our own Cathedral at the end of the Summer term to listen to an accomplished solo Organ Recital by a thirteen year-old chorister, Damian Howard. What an end to a career, and what a beginning! 

Lichfield Cathedral Choir's Papal Audience (1987)

reproduced from 'Choir Schools Today', the magazine of the Choir Schools' Association, Issue 2 1998, following the Cathedral Choir's tour to Rome during Easter Week in April 1987:

Lichfield's Papal Audience

On a blistering hot April morning we set off in our cassocks for the Vatican, clutching folders in sweaty palms. Arriving at St Peter's Square via a maze of dusty Roman streets we pushed through a crowd of waiting people to our places by the Basilica steps, where a temporary stage had been erected.

After a long, hot, ninety minutes' wait, in which time the number of spectators increased considerably, a loud cheer went up as the 'Pope-mobile' approached. We stood on our chairs hoping to catch a glimpse of the Pope as the car twisted its way through the crowd of onlookers.

Taking the stage, the Pope greeted the visitors in Italian, German, English, French and Spanish A short lesson followed before each individual group was welcomed in its respective tongue. 

Soon it was our turn to sing and we performed Stanford's Coelos ascendit hodie to which the Pope signalled his gratitude. Shortly afterwards he came over to nmeet us. As the uniformed guards directed him towards our party the press photographers closed in. His Holiness greeted us warmly and chatted freely to several choristers. One of our number, namely Jeremy Parker, the Head Chorister, received more than his fair share of attention. That evening, when he was spotted at our convent lodgings wearing a white night-shirt, he earned the nickname 'Boy Pope'!

The following morning, St George's Day, the choir was invited to sing at the Pilgrim's Mass in St Peter's. We performed Byrd's Mass for Four Voices before 800 people. In th evening, we took part in a Festal Evensong to celebrate the centenary of All Saints', the Anglican Church in Rome. This church is linked with Lichfield Cathedral

The remainder of the tour was spent giving concerts, attending a reception at the home of the British Ambassador, eating pizza and sight-seeing. We just about managed to dash to the Trevi Fountain to make a wish. 

Six exhausting days later we returned home, sunburnt and tired. It will be a long time before we forget the shake of that Papal hand. 

This report was written by three 13 year-old choristers:

Andrew Gardner, Joshua Hunt and William Towers. 

The Pope meets choristers from Lichfield Cathedral

Lichfield's link with Rome 

All Saints' Church, Rome, was rebuilt in the nineteenth century and completed in 1887, but not without considerable difficulty in finding sufficient funds. The Lichfield diocese gave substantial sums towards its completion and a window in the porch shows St Chad holding the three-spired Lichfield Cathedral in his arms. 

While on holiday in Rome, a Lichfield choirman's wife spotted the window and plans were made to help them celebrate their centenary. Another coincidence is that the Chaplain of All Saints' is the Reverend Bevan Wardrobe, until two years ago Headmaster of the York Minster School, and before that the Priest Vicar at Lichfield. 

Plans are now underway for next year's tour to America. In 1985 the choir went up the eastern seaboard, while this time they will be travelling down it. They hope to be performing in Litchfield, Connecticut this time.

The Angel Choir Screen at Lichfield Cathedral - 'The Art Journal' March 1862

'The Art Journal' was an important nineteenth-century British magazine founded in 1839. It was published in London but its readership was global. The March 1862 edition includes a page on the new Skidmore screen installed in Lichfield Cathedral, and the text and illustration are reproduced in full below. The original document can be found online at the HathiTrust.

 The Angel Choir Screen at Lichfield Cathedral

The Angel Choir at Lincoln, so well known as one of the crowning achievements of the early Gothic of England, derives its title from the group of angelic figures represented as variously engaged in befitting occupations, and placed in the spandrels of the triforium. Boldly sculptured, and remarkable for their freedom of movement and versatility of expression, these angels of the era of Eleanor of Castile are elevated about sixty feet from the spectators who stand in the presbytery below. And they have been designed expressly for their lofty positions: and their proper effect is then only duly estimated, when some sixty feet of space intervene between the eyes that gaze upon them and themselves.

Lichfield Cathedral may now claim to possess, not indeed a second Angel Choir, but a choir screen that most justly may derive its distinctive title from the celestial hierarchy. The new Angel Choir Screen at Lichfield is one of the most remarkable, the most beautiful, and the most gratifying productions of the era of Queen Victoria. It is as original in its conception as in its execution it is absolutely unsurpassed. What renders it so eminently valuable is its high character, as the exponent of the capabilities of living English workers in the hard metals. This screen, unlike every other cathedral choir screen, is entirely composed of iron, brass, and copper — the constructive details of the composition being produced in the iron and brass, and the angel figures that give a distinctive character to the whole being executed in copper. It is with these copper statuettes (for they are considerably less than full life-size) that we are at present particularly concerned, and therefore we now must be content to leave the screen itself with no more than a general expression of our warmest admiration.

On either side of the central entrance are four enriched circles of open work, resting upon the arches of the lateral arcades, and rising above their intervening spandrels. Standing upon a corbel of exquisite foliage — the abacus which forms the actual pedestal being encircled with a coronet-like border of burnished brass — in front of each circle, is one of the group of angel figures. These figures are set in pairs, back to back; and thus they are, in all, sixteen in number, — eight of them facing eastwards towards the interior of the choir; and the second group, of the same number of figures, looking to the west, and consequently having their faces towards the nave. The figures are all winged: some are playing upon instruments of music, and others, with uplifted hands, appear as in the act of taking such a part as angels might take in a hymn of the loftiest adoration. And, so far as human thought may conceive, and human hands may execute, what may be accepted as the personal forms of the ministrants of heaven, these figures are veritable figures of angels. They also most truly constitute an angelic choir; the feeling of harmonious praise pervades the entire group. Each individual sympathises with every other; and all are engaged with kindred devotion in a common act, which all feel alike, and all express with perfect unanimity. The variety of these figures is no less remarkable than the distinct and emphatic individuality of each figure. They are at once earnest and graceful, animated and dignified. The wings, which are all gemmed with eyes, are adjusted to various attitudes in the different. figures. Some are raised aloft, as in our example, while others droop, and convey the sentiment of calm repose. These wings are distinguished by the peculiar originality of the thought, which has expressed itself in their majestic plumage. In them the ideal of such wings as might be imagined to convey hither and thither the messengers of light, is realised with a truly wonderful truthfulness; so that if man’s conception of an angel requires the existence of actual wings as appendages of his person, these indeed are angels’ wings. The figure from which our engraving has been drawn, stands second from the centre in the north-eastern group. To do full justice to the original, except by photography, has been found to be impossible. Our woodcut, however, has been thoughtfully and carefully executed, so that it may be accepted as giving a thoroughly correct conception of this eminently beautiful figure. It is to be borne in mind that this particular figure has not been selected for engraving, in consequence of possessing any pre-eminent excellence; on the contrary, all are absolutely equal in merit as works of Art, while in their treatment all have their several distinct characteristics.

This fine screen, with its admirable statuettes, is the production of Mr Skidmore, the artist who presides over and directs so ably the important establishment for producing architectural and other artistic metal-work, at Coventry. Mr Skidmore’s Lichfield Screen is a work that may be regarded with unqualified and most just pride, seeing that it is equally honourable to his own rare ability, to the Coventry establishment for metal-working, to the authorities of Lichfield, and to the distinguished architect who directed the recent restoration of their cathedral. We congratulate all parties on the success of the Lichfield Screen, and rejoice to record our own high appreciation of so beautiful and so felicitous a work. Our correspondent, ‘An Architect,’ glances at this screen as affording a striking contrast to the metal-work in the Great Exhibition Building. We ourselves are able to corroborate his views, from our own personal study of both the South Kensington castings and Mr Skidmore’s bandwrought works; with him, therefore, we inquire, with commingled surprise and regret, why was not the South Kensington metal-work produced under the direction of Mr Skidmore, at Coventry?