The Ferial Responses have the Plainsong in the Treble, the setting
we use normally being an example. It is published by the Church Music
Society, for which many scholars of the calibre of Dr. Fellowes of
Windsor have carried out years of patient and painstaking research.
There was a time when the basic idea of Plainsong was almost lost,
submerged in a tidying-up process. Instead of the natural flow of
the words imposed upon the melody of the Chant, every syllable or
word was given a definite note value. As a result, the flow was lost,
through false values being given. Today, we are getting back to something
nearer the originals, and for general use these are satisfying enough.
There are times, however, when Choirmasters and Choirs (and I dare
to believe — Congregations too) welcome a change from the dignified
austerity of the Ferial Setting. The two great Festival Seasons, Christmas
and Easter, provide us with the opportunity to launch forth.
We are blessed in this country with a wealth of fine material from
which to choose. The late 16th and early 17th Centuries gave us such
composers at Tallis, Byrd, Morley, Smith and Tomkins (and a host of
others). These men have left a mass of material which is being slowly
and carefully re-edited. One of the debts we owe to broadcasting is
the opportunity given to hear some of the finest of our Cathedral
and Collegiate Choirs sing some of this Music. When possible, for
instance, do you take part (not just listen to) the mid-week Evensong
on Wednesdays? The Tomkins Setting was, like most of its time, written
for five voices, and it has been necessary to reduce it to four. It
gave me ‘homework’ of an absorbing and humbling nature
for some weeks. I wish to acknowledge the help received from two very
good friends during the final stages of revision.
I hope the Congregation will take a liking to the Tomkins, and find
them an added inspiration to worship. With our extremely limited resources,
they are an adventurous attempt to add ‘something’ to
the services, and I hope it will succeed even perhaps to the extent
of inducing more men and boys to join us. How desperately we need
them, to back up the great work done Sunday by Sunday by the faithful,
hard-working and most patient few.
The Vicar asked me to provide a note about Thomas Tomkins. He is a
most interesting character, and will be dealt with in the next issue.
I trust that you have not been too bored by this miniature lecture
to read the next instalment, which will deal with T.T.!
Source: R. E. Bougourd, The Spire Magazine - 1957 May
We are finding difficulty, just now, in replacing the natural wastage
of boys, and in finding any men at all. The boys (bless them) WILL
grow up, their voices change earlier nowadays, and so many demands,
formerly non-existent, encroach on their spare time. I know this is
a pretty common problem these days, but I have hoped that in such
a parish as ours, there could be found enough people willing to give
time to practise on Fridays and attend on Sundays. The boys we have
are quite keen, and would relish the opportunity to explore more music
than we are able to do now, for sheer lack of a reasonable complement
of other ‘parts.’ As stated in an earlier appeal, you
do not have to be a trained singer. If you have a limited knowledge
only of music, it does not matter. Experience will eliminate in-experience.
Once again, may I beg of you to consider this appeal, and see if you
can come and help. ladies or gentlemen, the Church will be grateful
to you, and so will I. In anticipation, thank you!
Source: R.E.B., The Spire Magazine -
1957 July
