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.
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
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
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.
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.
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.
