A Selection of Books on Various Aspects of the Choral Tradition

Cathedral Music, The Pitkin Guide; Jarrold Publishing; ISBN 1-84165-113-3, 21 pp (includes CD); £4.99 ($7.97)

Dr John Colmer, a member of CTCC, writes: "This slim volume contains only twenty pages, and given the limitation on space placed upon the author and her supporting team, is a remarkable achievement. It is aimed at people who have either no knowledge, or only very limited knowledge of the daily sung services which may be head in our Cathedrals and Collegiate Chapels, and as an introduction to its subject it admirably fulfils its aim.

There is a photograph half-way through the book which says it all — it shows John Scott with the choristers of St Paul's Cathedral checking a recording which they have just made. It is impossible not to be impressed by the concentration on and dedication to music-making of the highest standard which shows on the faces of the choir."

The English Chorister: A History by Alan Mould; published by Hambledon Continuum; ISBN 1 85285 513 4 (Hardback), ISBN 1 8472 5058 0 (Paperback), 366 pp; £16.99 (Paperback)

If you are only able to afford one book on the choral tradition, it has to be this one. Up-to-date, meticulously researched, comprehensive and well written, it provides a magnificent account of the English chorister over the centuries and the choral tradition in which he was nurtured and within which he served. As The Singer said: "A superb and fascinating book. If you have any interest at all in church music, go out and buy it."

The author correctly traces the history of the singing boy in worship back to the Jewish Temple, where the unbroken voices of Levite boys were used "to add sweetness" to the deeper adult sound. Initially, Christian worship was in secret, but with the lifting of the Edict of Milan by Emperor Constantine, it came out of its bunker and quickly began to develop and flourish. Under Pope Sylvester the first Schola Cantorum was established at Rome, with a remit to train both adult and boy singers. Fast forward then to the reign of Pope Gregory the Great and his sending St Augustine to England in 596, and the story of the chorister and the choral tradition in England really takes off. Over the following centuries, a pattern of choral worship which required the singing boy for its proper fulfilment spread throughout the country.

For a time, at the Reformation, everything shuddered to a halt, as it did, and for a much longer time, during the Cromwellian revolution. However, fairly quickly, a new order of service emerged out of the old Hours of the Catholic liturgy, and music of the finest quality continued to be sung by these same ensembles of men and boys. In the following centuries, there were to be moments of great glory for the tradition, but at others it could hardly have sunk lower. By the start of the nineteenth century, when its future seemed in doubt, there was a concerted drive by members of the Oxford Movement and others to bring back seemliness into worship, of which the choral component was an integral and vital part.

On the whole, since then, the English chorister and the choral tradition have prospered. However, in modern times there have been other and worrying problems for the English choirboy and traditional cathedral choirs. The introduction of girls into the choirstalls, for which there was no historical precedent, the continuing demand in some quarters for more "accessible" music and the alarming state of cathedral finances now pose significant problems. The clock is ticking away, but many deans and chapters seem to be in denial.

The Better Land by Stephen Beet; published by Rectory Press in 2005; ISBN-1-903698-14-6, 197 pp; £10 ($20)

Stephen Beet, the author of this volume, has rescued from a most undeserved obscurity an immense galaxy of fascinating facts on the boy sopranos of yore. Unsurprisingly, given his dedication to the traditional cathedral choir, Stephen was one of the first members of the Campaign.

In a review of the book, Bruce Cameron wrote: "This excellent and very readable book is a must for those who have any of the six CDs called The Better Land – Great Boy Sopranos, and I would also recommend it to anyone interested in boys' voices. After reading it, you will want to order some if not all of the recordings. The book complements the information contained in the CD booklets and brings the biographical accounts up to date.

Boys' voices, in most people's mind, are associated with church music, but Mr Beet uncovers a wealth of information about their contribution in other spheres of music. For instance, I never knew that boys performed in music halls and in light entertainment. The boy's voice is indeed a versatile instrument."

The Choral Revival in the Anglican Church by Bernarr Rainbow; first published by OUP in 1970 and republished by Boydell Press in 2001; ISBN-10: 0851158188 and ISBN-13: 978-0851158181, 392 pp; £30

Bernarr Rainbow had long made a name for himself by his writings before becoming the Campaign's first president, and of all his books, it is almost certainly for The Choral Revival in the Anglican Church that he is best remembered. Dr Rainbow relates in his preface how, a year after his appointment as Director of Music at the College of S. Mark and S. John in Chelsea in 1952, he discovered in a lumber room the diary of the music sung daily in the College Chapel in the year 1849. "Written," he says, "in Thomas Helmore's hand, the book revealed a breadth of repertoire no less than astonishing for that time. At those daily services, it appeared, works by Tallis, Byrd, Gibbons, Palestrina, Victoria, Marenzio, and the like, were sung unaccompanied as a matter of routine — works seldom or never heard even in our cathedrals during the musical doldrums then still prevailing in England...The discovery of Helmore's diary of service music opened my eyes to the truth of the position. Musicians to whom I showed the book urged me to make its contents public. To undertake an investigation of the circumstances which led to so improbable a musical situation in 1849 became my inescapable task during the years that followed. My findings are recorded in this book which seeks to set Thomas Helmore's contribution in perspective against the background of the Choral Revival as a whole, and which I dedicate to his memory."

The background of the Choral Revival is and its development is gone into in detail. The role of the Oxford Movement is given particular prominence as is the much less well known role and work of Thomas Helmore's brother, Frederick, who spent most of his life setting up choirs of men and boys throughout the country.

A Century of Cathedral Music 1898 – 1998 by John Patton and Steve Taylor, published by Dr John Patton in 2000; ISBN 0-9524-283-1-8, 200 pp; £9.95 ($15.95)

Dr John Patton has gathered together in one book the result of five surveys of cathedral music carried out in the United Kingdom in the period 1898 — 1998. If you want to know what Anthems, Canticles or Eucharist settings have been sung during this period and how often, this is the obvious source of reference. However, as co-author, Steve Taylor, points out, the surveys of 1898, 1938 and 1958, although "fascinating in their own right (are) somewhat sketchy and incomplete."

"The repertoire," as the late Dr George Guest says in an Introduction he contributed, "is extensive and though, as tastes have changed and many pieces have died, there exists a vast and still growing body of music of the highest standard. Most is Anglican in origin, but Catholic music is increasingly popular and indeed, just as an unwanted child is taken into care, so it behoves the Anglican Church to nurture and keep alive that wonderful legacy of choral music, now largely alas abandoned by the very church that inspired its composition."

Dr Guest goes on to quote with approval from the 1957 Report of the Archbishops of Canterbury and York: "One test must be applied to the use of the arts in worship. Is the motive that inspires their use the glory of God? Or are they designed rather to attract a congregation?" This is a test a number of deans and precentors have increasingly failed to apply in more recent years.

The History and Technique of the Counter Tenor by Peter Giles; published by Scolar Press in 1994; ISBN 0 85967 931 4, 459 pp; £

Dr Giles, who co-founded the Campaign, is the distinguished author of this authoritative and definitive book on the counter-tenor. It is an academic tour de force and work of scholarship backed up by years of practical musicianship. After amateur and semi-professional singing experience in London, Dr Giles became an alto lay clerk first at Ely Cathedral and then at Lichfield Cathedrals. Later, he moved on to Canterbury Cathedral where he eventually became Senior Lay Clerk. Apart from these and many other commitments, he has appeared on television and radio, made several commercial recordings and toured the USA giving master classes.

In a foreword to the book, the famous counter-tenor, James Bowman, says: "I really feel that this book should be sub-titled 'Everything you ever wanted to know about the counter-tenors, but were afraid to ask'." That sums up the book both neatly and amusingly. It begins by reviewing the status quo and then goes back into the history of the voice and its 'reappearance' with Alfred Deller in the last century. The confusing plethora of terminology surrounding the 'falsetto family' is also examined and much space given to the techniques of the counter-tenor.

Thine Adversaries Roar by Michael Howard; published by Gracewing; ISBN 085244 530 X, 138 pp; £ 12.90

This is a compelling account of the life of one of the most distinguished cathedral organists of the twentieth century. From a very early age, the author had "an unshakeable conviction" that he would become a cathedral organist. This belief in his destiny was nourished in school holidays by frequent attendance at Evensong, especially, at Westminster Abbey. As the years went by, however, the apparent path of gold — roses, roses all the way — slowly transformed itself into a via dolorosa. At the height of his career as Organist and Master of the Choristers at Ely Cathedral, knowing that "the Church of England had no machinery for the annulment of my marriage", and under the stress and strain of a secret liaison, he handed in his resignation. An Apologia Pro Vita Sua, this book is a powerful description of the relationship between art and life, and of the triumph of art. Self-pity is purged, and what remains is a compelling tale of courageous involvement with life and a passionate belief in eternal values.

Thine Adversaries Roar is as moving a plea as may be found anywhere for keeping to tradition and the highest possible standards. Michael Howard's conviction and concern are all the more powerful seen against the backdrop of his own life. The book will, doubtless, infuriate some. Others, however, will be touched by the broad brush of its humanity and by what was achieved in such difficult circumstances.

In his latter years, CTCC was privileged to have Michael Howard as one of its Vice-Presidents.

In Tune with Heaven: The Report of the Archbishops' Commission on Church Music; published by Hodder and Stoughton; ISBN 0-340-57046-6, 320 pp;

Although a substantial document covering many aspects of church music, only one of its 29 chapters focuses on the cathedral. Although there is clear evidence the authors of the report value the traditional cathedral choir, its repertoire and ethos, there are things in the report which give cause for concern.

Particularly worrying is the kind of meta-language to be met with so frequently in church circles — a vague vocabulary of temperate and high-sounding sentiment, behind which lurks a plethora of hidden meanings. The aficionado of such language knows well what is meant, but for those less sure, a quotation from the Report will make it clear: "Musically...the remoteness of the past is being dispelled." Good news, surely. Then, a little further on, we read that some cathedrals have "a limited repertoire". We may nod sagely and agree that this is indeed a fact. If so, we have been softened up for the next paragraph, where it says: "Our culture is fragmented and secular, and for most people Choral Evensong, for example, has little to offer except beautiful music. This is true even for many younger Christians." Immediately comes a sentence to soothe any reader beginning to get fidgety: "The cathedral tradition is an undoubted musical gem." Alas, you can predict the next word will be "but" — and so it is: "But a more truly popular liturgy is always required..."

Popular? The Report reminds us that cathedrals have "open spaces which allow flexibility... (and this) asset ... invites exploration both of movement and of sound." We may agree that cathedrals and cathedral music must not forever look back. However, the sub-text suddenly gives way and we are told directly what this sentence means: "The organ and its players, the choir and its director, and a long tradition, all have a unique contribution to make to the exploration of new possibilities for worship." Expecting another "but"? Then you are wrong. The Report does have some sense of style, for it goes on: "It is, however, the tradition which is often the inhibiting factor... the music is nearly always in the idiom which is identified with cathedral music."

Once again, there is an attempt to soothe our worries away. "It would constitute a return to the worst of the Dark Ages if the cathedral musical tradition were lost." Unfortunately, these comforting words are at once followed by another "however": "However... there should be a willingness to use and experiment with different styles of music." And then, a sentence or two on, we are told cathedral musicians should "explore" (How they love that word!) "worship songs in contemporary style" and that there should even be room for experimentation (another much loved word) "with modern religious music with a jazz-rock feel to it." This is followed by a sentence which must derive straight from the textbook of a very modern, musical sociologist: "Coming from the Negro-spiritual tradition, it represents the spiritual music of anger and liberation."

After a paean in praise of electronic organs and a few paragraphs on other matters, the Report eventually comes to the question of girls' cathedral choirs. By this stage, no guessing is necessary as to what the Report might say: it approves, of course: "Singing as a cathedral chorister is a valuable educational experience" which it is "unjust to deny... to girls." One is minded to ask why proponents of such choirs seem to think cathedral choirs are an offshoot of the educational world.

Nowhere in the Report is there any sense that its authors have seen further than the ends of their noses. Nowhere is there any indication that they have understood the implications of their enthusiastic support for "experimentation" and for their espousal of girls' cathedral choirs. That is what is so depressing. Their views contrast and clash with those of a similar document emanating from the Archbishops in 1948. This earlier Report noted: "There is a growing tendency to employ women in choirs and to banish boys altogether, not because boys are unavailable, but for the less worthy reason that women do not demand so much practice, and give less trouble. If this tendency is allowed to grow, the results will become serious. The unique contribution of the boy's voice will be lost. Moreover, the source from which choir men are most likely to be drawn will disappear; boys will be deprived if a valuable spiritual and educative influence, and many who might have been attracted to the life of the church by membership of a choir, will remain permanently outside it. The Committee, therefore, makes a strong and urgent plea for the retention of boys in church choirs wherever possible."

Choirs and Cloisters — sixty years of music in church, college, cathedral and Chapels Royal by Frederic Hodgson; published by Thames Publishing in 1988; ISBN: 0905210514, 120 pp; £9.95

Frederick Hodgson was one of the Campaign's first members, and as one who had long been immersed in the English choral tradition, his views were always pertinent and worth listening to.

What, readers might ask, is it like to have spent a lifetime in Church music? Perhaps, one can only say that it is an experience quite outside the daily lives most of us live. From time to time, Freddy, as he was affectionately known, was asked, "Don't you get bored with singing so many services, day after day?" His answer was a simple and emphatic 'no', for "In what better aesthetic environment," he asks, "could one wish to work than in our incomparable cathedrals and collegiate churches? One would have to be insensitive indeed not to be influenced by the architecture, or fail to gain inspiration from being part of the glorious heritage of church music which dedicated musicians in all ages have striven to preserve, and which has enhanced worship through the centuries."

Frederick Hodgson began his singing career before his sixth birthday at St Simon's, Sheffield. On his first day in that choir, someone said, "He's nobbut a babby!" Later on, this 'babby' would become a member of several city choirs, including that of the Cathedral. He also became well known as a soloist in churches, chapels, concert halls and cathedrals.

His first professional appointment as a lay clerk was at St Michael's College, Tenbury, now, alas, closed down, and in later years, he would sing in Lincoln Cathedral, Lichfield Cathedral, St George's Chapel, Windsor and the Chapel Royal at St James' Palace.

The book contains a wealth of detail on a choral scene which has already passed into history, and, for that reason alone, makes a fascinating read. However, Frederick Hodgson's story is punctuated throughout with a great sense of humour, bounteous anecdote and wise insights.

A Jewel or Ornament by Maxwell Betts; originally printed in 1974, it was published by Taverner Publications in 1997; ISBN-1 901470 01 6, 63 pp (plus CD); Price and availability on application to CTCC

Wymondham Abbey in Norfolk is a parish church, though with its architectural magnificence, it might well be taken for a cathedral. Founded as a Benedictine off-shoot of St Alban's in 1107, monastic life continued there until the Dissolution, after which it became a parish church.

The 'jewel or ornament' in the title refers to the church's organs, money for which was given as far back as 1523. The book is, in large measure, devoted to the organs — their history and technical specifications. However, it also focuses on a choral tradition which was built up and then cruelly and insanely cut down. The photos in the book of large choirs of boys in their chorister robes is moving enough in an age when such choirs are so few in number. Contrast it with the picture of the present choir which appears on the abbey's website, and the loss sustained could hardly be clearer. The story of how all this came about and of how Mr Betts was dismissed in a most un-Christian way from his post as organist is also told. Alas, such stories, while perhaps not typical are by no means unusual. The accompanying CD, compliled from locally-made tape recordings taken during actual services, demonstrates the choir's repertoire and the standards it achieved.

The Chapel Royal — Ancient and Modern by David Baldwin; published by Duckworth in 1990; ISBN 0 7156 2349 4, 469 pp; £25

This is the amazing and captivating story of the Chapel Royal, which is, as the author reminds us, not a building, but "the body of priests and singers appointed to minister to the spiritual and temporal needs of the soveriegn and the Royal household".

The reader is taken from the origins of the Chapel Royal via the highways and byways of all its history. There are chapters on The Chapel Royal Overseas, Favourite Palaces, The English Chapel Royal in Scotland, Handel, Clerks of the Cheque, Grooms of the Vestry and Keepers of the Closet and much much more. However, lovers of choral music will be particularly interested in those chapters which deal specifically with the choir. The history of the choir is long and glorious, of course, but it includes times of great cruelty and neglect. Happily, today, the Children of the Chapel Royal, as the choristers are correctly called, are well looked after and receive a wonderful musical training to help them fulfill their duties. However, this most famous of choirs remains one of the least well known. Perhaps, the only time the choir of the Chapel Royal is seen by the general public is at the annual Armistice ceremony at the Cenotaph in Whitehall. This is a pity, for it is quite possible to attend their regular Sunday services at St James' Palace or Hampton Court on most Sundays of the year.