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Una Russell, 1950–2015

The premature death on 9th May of Una Russell, organ recitalist and teacher, shocked her many friends and colleagues. Brought up in Dundalk, Una’s early experience of the organ was in St Patrick’s, Dundalk, where William van Dessel was organist. She studied music at UCD, and organ with Sydney Grieg, and later with organ professor Stanislas Deriemaeker at Antwerp’s Royal Flemish Conservatoire, where she was awarded a Premier Prix avec grande distinction. She gained a master’s degree in musicology from Queen’s University Belfast, and from 1983 to 2014 held the post of lecturer in organ and academic studies at the DIT. Una was a loyal friend, a dedicated teacher, and she is much missed by her many friends and colleagues.

SOUNDBOARD THE MAGAZINE OF CHURCH MUSIC DUBLIN ▪ Giving worship a vibrant voice through music ISSUE 33 SEPTEMBER 2015

CHURCH MUSIC AND MUSICIANS

Glenageary choir on the move

It is encouraging to know that Christ Church and St Patrick’s cathedrals invite parish choirs to sing at services during the summer. It is always stimulating for a parish choir to have the opportunity to sing elsewhere and if this can be in a major cathedral, all the better. In 2014, the choir of St Paul’s Church, Glenageary sang in Christ Church, and on 26th July this year they sang at Eucharist and Evensong in St Patrick’s. The music included Schubert’s Deutsche Messe, Stanford’s Evening Service in B-flat and anthems by Fauré and Stainer. Glenageary parish is fortunate to have a thriving choral tradition. The choir has had a busy year so far, singing music by John Tavener and extracts from Stainer’s The Crucifixion during Holy Week, followed by a Festival Eucharist on Easter Day. The choir is led by two young musicians: the acting music director is Nathan Barrett, a graduate of Ulster University and London College Music, currently pursuing a master’s degree in education at Trinity College, Dublin. He is assisted by organ scholar, Matthew Breen, who is in his final year at Newpark Comprehensive. In May the choir gave what was probably its first ‘solo’ recital in St Paul’s. More recently, they were delighted to accept an invitation to give a concert in St Eunan’s Cathedral, Raphoe and to lead the Sung Eucharist the following morning. After many rehearsals and late nights, the choir set off on the long trek to Donegal. The hospitality received locally was second to none and the choir went home a few kilos heavier! St Paul’s Select Vestry was pleased to sponsor this overnight trip.

Pay your Soundboard subscription online Use your debit or credit card and avoid cheque and postage charges. Go to www.churchmusicdublin.org/payment

Above: The choir of St Paul’s Church, Glenageary with Matthew Breen (left) and Nathan Barrett (right) in St Patrick’s Cathedral. Photo: John Lambert

Above: Una Russell at the organ of the DIT Conservatory of Music.

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Living Worship Jacqueline Mullen reflects on this popular course

Living Worship is an annual series of seminars held in late January/early February. The first seminar of 2015 was led by the Rev’d Adrienne

Galligan, Rector of Rathfarnham, who explored various themes for a Service of the Word, including a Good Friday walk using places to emphasize themes. The music was chosen by Jacqueline Mullen to complement the different services, one being science-themed, using hymns that dealt with creation. The second seminar was led by the Very Rev’d Gerald Field, Dean of Cashel, with music chosen and led by David O’Shea. The topic was Morning (and Evening) Prayer and Gerald teased out the background to the service as we know it today. David led us through various ways of singing canticles. The third session was less of a seminar and more geared towards worship with the Very Rev’d Sandra Pragnell, Dean of Limerick, taking us through preparation for a Eucharist, while Derek Verso introduced and led a practice of suitable material. After coffee we adjourned to the Mageough chapel where the Eucharist was celebrated, by kind permission of the Mageough Chaplain, the Rev’d Robert Kingston. We are already planning Living Worship 2016. Bishop Harold Miller

will present the session on Saturday 16th January; Archdeacon Ricky

Rountree will discuss Baptism in the context of the Eucharist (using new hymns on that theme in Thanks & Praise) on 23rd January; and Gerard

Brooks, Director of Music at Methodist Central Hall, Westminster, will lead a practical session on playing worship songs on the organ on 30th January. This last session should be of considerable interest to musicians as they consider introducing hymns and songs of various genres from Thanks &

Praise to their congregations. Further information will be provided later in 2015. Jacqueline Mullen is Honorary Secretary of Church Music Dublin.

honsec@churchmusicdublin.org

Feedback We always appreciate constructive feedback on the content of Soundboard. We hope that the magazine is an informative and interesting chronicle of events around the country, as well as a useful educational resource. Any suggestions for material that could be included in future issues will be gratefully received.

Let’s see you! For future issues, we need good images of people singing, chatting, enjoying themselves—images that reflect the singing church in action. More formal choir photos are welcome too, though we use them only sparingly. We’d like to hear the stories behind them too, so please write to us with short snippets whenever you do something interesting. We are particularly interested to hear about new projects and events, and we are happy to offer publicity for any new endeavours in church music. We are always very happy to receive contributions to Soundboard. Email soundboard@churchmusicdublin.org

Deputy organists If you are on the deputy organist list, be sure to let us know when your contact details change. We receive occasional advice that the contact numbers are incorrect or that organists are no longer available. The list can be found online at www.churchmusicdublin.org/deputy

Remuneration guidelines The guidelines and recommendations are on the website. The suggested rates continue at the 2009 level. The guidelines are published jointly by Church Music Dublin and the Advisory Committee on Church Music of the Roman Catholic bishops. Above: Paul Bogle (Trim), William Deverell (Tallaght), Emma Galloway (Waterford), David

O’Shea (Sandford & Milltown) and Alan Rufli (Clondalkin & Rathcoole) at Living Worship.

The organ of St Joseph’s Church, Glasthule Rónán Murray, organist of St Joseph’s Church, Glasthule, has compiled an

interesting history of the church’s Benson organ (right), which has recently

undergone tonal revisions and additions by Trevor Crowe. A successful concert

took place in the church on 3rd July, with organist Andrew Dewar and soprano

Rachel Redmond, demonstrating the myriad colours and astonishing versatility

of the instrument. Rónán’s article is available at tinyurl.com/nbdxmby

Photo: Nigel Waugh

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ICMA Summer School 2015 This year’s annual Irish Church Music Association Summer School took place from 2nd to 5th July, as usual at St Patrick’s College, Maynooth. The team of music directors consisted of Ian Callinan, Ciarán Coll, Marian Gaynor, Paul Kenny and Andrew Reid (Director of the RSCM). For the first time, the summer school was organised in association with Church Music Dublin, and sections of the four-day programme reflected the needs of musicians working in Church of Ireland parishes. Helen Beardsley O’Toole, organist and director of music at St Patrick’s Church, Enniskerry, attended each day and speaks enthusiastically about her experiences. ‘It was stimulating to be in the company of so many other parish musicians and to participate in the various workshops, which were a very good learning experience,’ she said. Each day began with Morning Prayer, followed by a rehearsal of the music to be used during worship later on. A highlight for Helen was Choral Evensong in Maynooth College Chapel, led by Archdeacon Ricky Rountree. The psalm was sung to Anglican chant and the Magnificat and Nunc Dimittis were sung to a setting by Herbert Brewer. Helen came away from the course with a number of ideas that she hopes will be useful to her work in Enniskerry, and is very keen to attend a similar event in the future. Attendance by Church of Ireland musicians at the course was low and it is clear that, should this cooperation continue, we will need to give much more thought to promoting the benefits of such an event.

Archbishop of Dublin’s Certificate in Church Music Since it was established in 1991, this three-year course has covered the skills needed by the church musician: organ tuition, group sessions on the interface between music and liturgy, and occasional modules on choir-training and getting people to sing. Students commit to one year at a time and the cost is shared by the student, the sponsoring parish and the diocese. The parish commits to involving the student actively in worship. In Year 3, students are expected to spend six weeks as interns in a selected church. Since 1991, 89 people have started the course and 51 have completed the full three years. There also is a one-year Foundation Course, focusing on basic organ playing. Students may progress to the ACCM if they wish.

This year’s exam results are as follows: Year 3: Emma Galloway, Waterford parishes (Pass). Year 1: Janet Armstrong, Newcastle (Distinction); Arthur Greene, Christ Church Cathedral (Honours); Jonathan Stanley, Bray (Honours); Thomas Maxwell, Taney (Honours). Denise Guidera completed the new Foundation Course.

Certificates will be presented as usual during Evensong in Christ Church Cathedral, this year on Sunday 22nd

November at 3.30pm.

Above: A performance of Benjamin Britten’s children’s opera Noye’s Fludde at St Mary’s Cathedral, Limerick.

News from Limerick Peter Barley writes about his work in St Mary’s Cathedral

St Mary’s Cathedral, Limerick is situated in a majestic position overlooking the Shannon estuary. It has been a place of worship since 1168, and music has been and remains central to the weekly liturgy. There are several other strands at the heart of music making in the cathedral. The late Stuart Gray, who was organist at St Mary’s for twenty-five years, founded the Companions of St Mary’s Cathedral Music in 2000. This has proven to be a crucial and far-sighted move, as monies raised have underpinned much of the musical enterprise at St Mary’s since then. Stuart’s successor as Organist, Trevor Selby founded a lunchtime concert series in autumn 2008. This provides a welcome platform in the heart of the city for both established and emerging local performers. Education and outreach is an area that I have been particularly keen to develop. Last year we ran a major children’s opera project as part of Limerick City of Culture, culminating in six performances of Britten’s Noye’s Fludde. We have inaugurated choral scholarships for third level students with a view to boosting the tenor and bass sections of the choir. We have also given an annual performance of one of the set works from the Leaving Certificate syllabus with local musicians, and this has become popular with schools in the area. We are fortunate to have very supportive clergy: Dean Sandra Pragnell, Curate Edna Wakely and Bishop Kenneth Kearon. Keeping music as an integral part of the worship at St Mary’s will help to foster future success as we seek to serve the congregation and the wider community. peterandrewbarley@gmail.com

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Tips for reluctant conductors David O’Shea offers advice to organists who wish to improve their confidence in

conducting

Many organists who direct choirs shy away from waving their arms in rehearsals, but good conducting can be a very effective way to improve the quality of choral singing. I have been asked to write a few words of advice for church musicians who find themselves intimidated by having to stand in front of a choir. I hope these tips might be useful starting points for less experienced choir-trainers, and thought-provoking suggestions for more experienced ones. Earlier this year I facilitated sessions on the basics of choral conducting for ACCM students. I emphasized that a good conductor should offer three things to singers: a clear beat, musical details (breaths, dynamics, articulation, etc.), and, most importantly, encouragement. All these can be shown through gestures. A conductor’s primary role is to coordinate the singers so that they sing together and breathe together. A simple, relaxed, clear beat is very important to achieving this, especially when working with less experienced singers. As a conductor, your posture and demeanour will influence how the singers respond to you, and so you must always be relaxed in yourself. Tension in your body, your gestures or your face will create similar tension in your singers, and this will adversely affect the quality of the singing. Smooth, flowing gestures can help to instil confidence in singers, but sharp jagged beats will not encourage relaxed and confident singing. Aside from gestures, eye contact is a very useful way of communicating with your singers. Use your eyes to engage with the singers and encourage them. Breathing along with the singers will help them to take breaths together, but be careful not to breathe too sharply or loudly lest you encourage them to take tense breaths. Relaxation is paramount in all singing in order to produce a good sound, whether you are singing a strong hymn or a soft anthem. There is a clear need to provide opportunities for church music students to learn through experience. This is something that Church Music Dublin plans to address. David O’Shea is Director of Music at Sandford Parish Church and St Philip’s Milltown.

doshea3@gmail.com

Simplified hymn accompaniments This issue’s hymn accompaniment is Cwm Rhondda, which is associated with ‘Guide me, O thou great Jehovah’. Seventeen accompaniments are already available on our website at www.churchmusicdublin.org/Education. These are a useful resource for organists who find the harmonisations in Church Hymnal challenging to play fluently. If you require a specific tune not yet available, please get in touch.

All Saints’ Day All Saints’ Day, 1st November, this year falls on a Sunday. There will be the usual Solemn Sung Eucharist at All Saints’, Grangegorman at 8 pm. All Saints’, Raheny, will celebrate the festival with a Patronal Evensong. On the city’s south side, Zion Church, Rathgar, which opened for worship on 1st November 1861, will mark the anniversary with a Festival Eucharist and Te Deum at 10.30am, at which the Archbishop will preside and preach. At All Saints’ Church, Blackrock, there will be a Patronal Festival service at 10am.

Compline in Sandford Since July, the office of Compline has been sung in Sandford Parish Church, Ranelagh every Friday evening at 6pm by a small group of singers and has proved popular with parishioners and locals alike. David O’Shea has prepared a plainsong setting of Compline, as per the Book of Common Prayer. Copies of this are available from doshea3@gmail.com.

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Talking to Martina Smyth David O’Shea spoke with Martina Smyth about her experiences as organ scholar of Christ Church Cathedral. Martina has just completed the second year of her degree at the Royal Irish Academy of Music, where she studies with David Adams. She takes up the post of organ scholar at St Patrick’s Cathedral in September. Martina, what have been the main highlights of your two years as organ scholar in Christ Church Cathedral? Just two weeks after I started at Christ Church in September 2013 I had to perform my first ever solo organ recital on Culture Night in the cathedral—it was very scary, but fun! I enjoyed the social aspect of working in the cathedral—Ian Keatley and David Bremner were more like my friends than my bosses. What did you feel was the most challenging aspect of the job when you started first? Trying to balance learning music for both college and the cathedral was a big undertaking. Working in the cathedral taught me the skill of learning music quickly. Performing in public was a challenge to me, and I used to suffer from terrible nerves, but playing regularly in Christ Church taught me to deal with that. What sort of musical skills do you feel that the job taught you? During the organ scholarship I had weekly lessons with David Bremner and I learned a lot about improvisation—I’ve learned how to fill in gaps in a service, and have gained confidence in my abilities to improvise. Working in Christ Church taught me plenty of skills as an accompanist. Ian taught me to breathe as a singer, and both he and David helped me to learn to manage the Christ Church organ. You’re going to St Patrick’s in September. How will this be different from Christ Church, and what new challenges do you expect? Very early mornings, though I’m a morning person and I like practising early. The main difference is that I’ll be playing much more because there are many more services. I’ll be working frequently with the choristers, because the boys are in almost every morning. A big challenge will be getting used to a new instrument—the organ is much further away from the choir than in Christ Church and getting used to the delay will take time. What are you looking forward to most over the next year? I’m looking forward to a change—I loved Christ Church and had a great time but it’s always nice to have a new challenge. I’m looking forward to new people and a new cathedral! Combining my new job in St Patrick’s with starting third year in college, it should be a good year.

Musicians on the Move Martina Smyth leaves her position as organ scholar at Christ Church Cathedral to become organ scholar at St Patrick’s Cathedral. Joseph Bradley leaves Terenure College Chapel to be organ scholar at Christ Church Cathedral from September. Stephen Timpany is the new Director of Music at St Patrick’s Cathedral, Armagh. Peter Stobart has succeeded Malcolm Wisener as Director of Music at St Fin Barre’s Cathedral, Cork. At Trinity College Chapel, Cillian Long is the new organ scholar, and Andrew Burrows the new conductor of Chapel Choir. Andrew Johnstone has been appointed Assistant Director of Music at St Bartholomew’s, Ballsbridge, in succession to David Grealy who has left to study in Germany. Caroline Richards has succeeded Maedhbh Abayawickrema as Organist and Choir Director at Castleknock and Clonsilla parishes. Simon Harden, a former organ scholar of Trinity College Dublin, is the new DIT Conservatory lecturer in organ.

Above: Martina Smyth in action at the organ of Christ Church Cathedral.

Choral Evensong in Collon Church On Sunday 28th June, a choir of twenty singers from Dublin travelled to Co. Louth to sing Choral Evensong in Collon Parish Church, which this year celebrates its 200th anniversary. The church was designed by Daniel Augustus Beaufort, and is modelled on the chapel of King’s College, Cambridge. The service included two anthems by the Armagh diocese’s most famous musical son, Charles Wood, ‘Hail, gladdening light’ and ‘Expectans expectavi’. The service was led by the rector, the Rev’d Michael Graham. The choir was directed by David O’Shea and accompanied on the Telford organ by Siobhán Kilkelly. A large congregation of around 150 attended. John Rountree of the Friends of Collon Church remarked: ‘It is more usual to hear evensong in cathedrals and college chapels, so it was a special treat to hear it sung in our village church. People could be heard humming tunes for days!’

Above: Collon Parish Church, Co. Louth packed to capacity for a special service of Choral Evensong on Sunday 28th June. Photo: David Wynne

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Looking Ahead David McConnell points to the benefits of planning

The beginning of a new parish season is an appropriate time for musicians to do some planning and thinking ahead. This need not be a daunting prospect. It is little more than identifying significant dates and compiling a short list of music that needs to be rehearsed. The period under review should be early September to early December. This will ensure that the important season of Advent is observed to some degree, both musically and liturgically, and is not totally sidelined by the secular Christmas. Ideally, planning should be done in consultation with clergy and parish readers. Where there is a choir, no matter how small, they also should be told what is in your mind and their suggestions noted. Many people will be pleased to pencil dates into diaries. Avoid being too ambitious. Keep the number of items on your music ‘wish list’ fairly small. You might identify three or four hymns that did not go too well earlier in the year and which need particular attention. Perhaps add a couple of new hymns that need to be learned thoroughly. Consult the lectionary and determine whether some psalms might appropriately be repeated. While it is important to follow the lectionary most of the time, there are occasions when pastoral and musical considerations may be permitted to override what is appointed. If your church is a member of the RSCM, you will find Issue 73 of Sunday by Sunday invaluable in selecting hymns and understanding the thrust of the scripture readings. Harvest Thanksgiving services benefit from advance planning. November coincides with the ‘Kingdom’ liturgical season, with its unsettling and apocalyptic undertones—commemoration, fellowship with the departed, last things, and change. All Saints’-tide and Remembrance-tide convey powerful messages. Thoughtfully chosen music can intensify and bring emphasis to the liturgy and preaching on these occasions. This is a year when All Saints’ Day falls on a Sunday. Musicians should seize the opportunity to use some of the material in Church Hymnal. Three weeks later, on 22nd November, we celebrate the Feast of St Cecilia (the patron saint of musicians) and also the feast of Christ the King. Discuss with your clergy how to mark this interesting concurrence. Finally, make Advent Sunday special. There are many possibilities. A simple service of hymns and readings in place of the usual Sunday liturgy can be very effective. Perhaps include some non-scriptural religious poetry. If an evening service is required, the ‘legacy’ RSCM service O

Come Emmanuel is an option. Designed for situations where music resources are limited, it is an extended form of Evensong, without a sermon. Parish musicians will discover that planning ahead adds significantly to their satisfaction and sense of achievement. David McConnell is Organist at Zion Church, Rathgar.

davidmcconnell@eircom.net

Above: The chapel choir of Trinity College, Dublin and the parish choir of St Alban’s, Copenhagen, following evensong sung in St Alban’s Church on 31st May.

Tullamore Organ Summer School Eva Draper writes about her experience at the recent Tullamore Organ Summer School The first ever Tullamore Organ Summer School was held from 5th to 7th August. The Frobenius organ of the Church of the Assumption and the William Telford organ in St Catherine’s Church were played with gusto over the three days. Every student had a chance to play both organs numerous times. Douglas Hollick, the tutor, analysed and gave very knowledgeable advice on all pieces presented. On Wednesday and Friday evening Douglas put on a fantastic performance in each of the churches for all to enjoy. I was a student on the course and found that even though I was at a completely different level than everyone else, I thoroughly enjoyed the experience. I was given some very helpful hints to move my playing forward and through watching such skilful musicians I have been inspired. Thank you to all participants and everyone involved in the organisation. Eva Draper is Organist at St Catherine’s Church, Tullamore. drapereva@gmail.com

Above: Eva Draper (seated) with Douglas Hollick (fourth from left) and participants in the Organ Summer School. Photo: Seamus McCague

Appointment at St Fin Barre’s Cathedral St Fin Barre’s Cathedral, Cork, has announced the appointment of Peter Stobart as the cathedral’s new Director of Music. He takes over from Malcolm Wisener who retires in September after seven years at the cathedral. Mr Stobart was organ scholar at Liverpool Metropolitan Cathedral and read music at Durham University where he also directed the university chamber choir. He studied choral conducting at the Royal Academy of Music and has recently been Director of Music at Christ Church, East Sheen, London, as well as working as a freelance singer, both as a soloist in oratorio and as a deputy singer at Westminster Abbey.

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Pipeworks News In addition to fundraising events, 2015 has seen a developing partnership with the National Concert Hall and the RTÉ National Symphony Orchestra. Pipeworks has curated a series of free organ recitals that precede the NSO Friday concerts. Each recital relates to the following orchestral programme. The 2015–16 series begins on 23rd October at 6.30pm, with a recital by David Leigh, and continues in 2016 with recitals by Mark Duley, David

Adams, Fergal Caulfield and David Leigh.

Thanks & Praise Peter Thompson, music editor of Thanks & Praise, gives

a few details about the project

Twenty years has elapsed since work began on producing a new edition of Church Hymnal. Since then many new hymns have become popular, and others have returned to regular use. Thanks &

Praise has been compiled as a supplement to Church Hymnal so as to respond to these changes, and to enable the people of God to offer the best they can in worship through song. Thanks & Praise is a collection of 227 hymns, songs and liturgical settings. Many of these are already familiar, and include texts that can be sung to well-known tunes. Some are new compositions, some of which have been written by members of the Church of Ireland, continuing a tradition of hymn-writing that began in the days of St Patrick. A particular emphasis is placed on music for children and young people. Both full music and large-print words-only editions will be available, as well as Kindle, electronic and Braille editions. A companion volume will be published, providing background information on the hymns. There also will be a new edition of Sing to the Word, which will be a guide to selecting hymns contained in both Church

Hymnal and Thanks & Praise. Many of the items in Thanks & Praise will be added to the existing recorded church music resource. Thanks & Praise will be launched in St Patrick’s Cathedral, Dublin on Friday 11th September. Details of prices and discounts available can be found on the website www.ireland.anglican.org/hymnalsupplement. A sampler containing a selection of items from the book and a complete list of contents has been sent to parish clergy. A series of roadshows has been held throughout Ireland to introduce the book to parishes. Peter Thompson is rector of Castlecaulfield and

Donaghmore. revpeter@gmail.com

Above: Peter Thompson and participants in a recent Thanks & Praise roadshow in Enniskillen.

I was glad! David Forde writes about a recent performance in St

Canice’s Cathedral, Kilkenny

Whilst the endeavours of the cathedral choirs of the capital are probably quite familiar to readers, less perhaps is known about the music in some of the cathedrals across the country. On 7th June, the choirs of Kilkenny, Limerick and Waterford cathedrals combined to present a celebration of the Anglican choral tradition in a concert entitled ‘I was glad’. This concert sought to showcase the musical talent and choral tradition within the Church of Ireland. Peter Barley (Limerick) directed a stirring rendition of Parry’s most famous anthem from the combined choirs, accompanied by Eric Sweeney

(Waterford), setting a firmly celebratory mood for the concert. Each of the choirs performed separately, including a wide variety of music by Byrd, Gesualdo, Reger and Charles Wood, amongst many others. The choirs combined once more to perform Schubert’s Mass in G, directed by David Forde and accompanied by Malcolm

Proud. In addition to enthusiastic choral singing, the work featured some impressive emerging talent from the soloists, who are all choral scholars at St Canice’s, where the voluntary adult membership is supplemented by scholarships for second- and third-level students, introduced in recent years by director David Forde. This concert, enjoyed by a capacity audience, was a wonderful celebration of the continuing tradition of fine cathedral choral-singing, and was testimony to the dedication of the leadership of the cathedrals who have the vision to support and champion their choirs. David Forde is Assistant Organist and Choral Director at St

Canice’s Cathedral, Kilkenny.

davidjforde1@btinternet.com

Above: Peter Barley conducts the choirs of Waterford, Kilkenny and Limerick cathedrals in a performance of Parry’s ‘I was glad’.

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Soundboard is published by Church Music Dublin, an agency of the united dioceses of Dublin and Glendalough, set up to support and resource music and musicians in local churches. ISSUE 33: SEPTEMBER 2015 Editors: David O’Shea and David McConnell Correspondence and material for future issues should be sent to soundboard@churchmusicdublin.org Views expressed in signed articles and letters are not necessarily those of the editors or the Executive Committee. Chair: Archdeacon Ricky Rountree Secretary: Jacqueline Mullen, 23 Ludford Park, Ballinteer, Dublin 16 Telephone +353 (0)1 298 8923 Email: info@churchmusicdublin.org Website: www.churchmusicdublin.org

Please send any information for inclusion in the next issue (December 2015) before 15th November.

Vacancies ♦ St Bartholomew’s Church, Clyde Road, Dublin 4 is recruiting boy choristers aged

7–10. Contact Tristan Russcher, Director of Music, music@stbartholomews.ie. ♦ Killaloe Cathedral seeks to appoint an organist. More details from Diana

Whitehead, dwjyc@eircom.net. ♦ St Canice’s Cathedral, Kilkenny has vacancies for an organ scholar and tenor and

bass choral scholars. For more information, contact Choral Director David Forde, davidjforde1@btinternet.com.

Pro-Cathedral Organ Recitals

Wednesdays at 1.15pm

9th Sep.: Gerard Gillen 16th Sep.: Harry Meehan 23rd Sep.: Darren Magee 30th Sep.: Robbie Carroll

In memoriam John Lindsay, recently organist of Killiskey Church, 12th January 2015. Peter Paxton, former organist of St Werburgh’s, 13th February 2015. Margaret Scarlett, Greystones, 8th June 2015. Robert Crowther, former organist of Christ Church, Bray and Kilbride Church, 13th August 2015.

St Polycarp’s Choir in Cambridge The choir of St Polycarp’s Parish Church, Finaghy, Belfast, spent its summer tour this year in Cambridge, where it sang Choral Evensong in the chapels of Trinity, Emmanuel and Queens’ Colleges. Queens’ College Chaplain, the Rev’d Tim Harling, said that the choir had ‘excelled in support of the liturgy in their sacred, prayerful and yet dynamic delivery’. While in Cambridge, the choir and their relatives and friends were entertained by choir honorary patron, Suzi Digby, at a garden party in Queens’ College President’s Lodge. St Polycarp’s Director of Music Simon Neill said that choir members had a wonderful experience, ranging from singing in the college chapels to sightseeing around Cambridge and punting on the River Cam. Left: Members of St Polycarp’s choir and relatives with Director of Music, Simon Neill (second from left) at the President’s Lodge, Queens’ College, Cambridge.

Sing and Pray

Michael Commane OP reflects on the value of liturgical music

I’m a Dominican priest, who works in the press office of Concern Worldwide. A year ago the parish priest at Three Patrons’ Church in Rathgar invited me to help out in the parish. I also celebrate Mass in St Dominic’s parish in Tallaght. Through my celebration of Mass on Sundays in Rathgar I have got to know David McConnell, who has asked me to write a few words on music at Mass. My first reaction was to laugh, indeed, I did. I don’t have a note in my head so what in heaven’s name could I contribute to Soundboard. But, I agreed and in those now famous words, ‘on reflection’, it might be no bad idea for the likes of someone such as I to say something on the topic. In Rathgar on Sundays there is music at all five Masses. In Tallaght there is music at three of the four weekend Masses. Straight away I can say loudly and clearly that music at Mass makes such a difference. Music at all liturgical celebrations is an enhancing feature. Liturgical music is a form of prayer. There are those who will say that it is the highest form of prayer. Music at a liturgy adds to the service. Of course it has to be tastefully and properly done, as is the case with everything in life. But, and there is always a ‘but’, I much prefer when the music involves the congregation partaking in the singing. Music at a liturgical celebration is not a ‘performance’. It is the people of God in prayer. In the Irish Catholic tradition there is great need for more participation by the congregation. We could certainly learn a lot from our sisters and brothers in other traditions. michael.commane@concern.net

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Simple anthems for choirs Directors of church choirs with limited numbers (especially those with only a few men!) often have trouble finding suitable music which still stimulates the singers. We’d be very grateful to hear any suggestions for such music for an article in our next issue, especially pieces composed or arranged by Irish church musicians.