I missed the first programme, the juniors, which by all accounts was very charming. I did see the second, the senior schools choirs. Leaving aside the BBC production manual rituals (which were mercifully brief) it was good to see youngsters singing well. I was left bemused by the whole thing, though. Was the original S of P brief to sing a hymn? If so, was it a bit unfair for those who did to be upstaged by Ireland's 'It is a thing most wonderful', not a hymn as we know it. And what about the usual competition thing of judging a Gospel choir against a trad SATB choir singing 'When I survey the wondrous cross'? Whilst I have nothing but admiration for the wonderful music departments in independent schools, it has to be noted, with real sadness, that the state sector was not represented.
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The gospel choir came from a state school, ardcarp. I always watch this if I remember, because I'm very interested in the state of music education. I agree about the difficulty of judging different styles, and I'm not at all happy about the panel of judges, either. Nor am I happy about the fact that it's a Songs of Praise competition. It should be for all schools.
I think it just had to be a religious piece. One of the junior schools sang Mozart's Ave Verum! It wasn't half bad, either. I found the juniors much more interesting than the seniors - more state schools, too.
I could see that Cantabile from Hereford Cathedral School was an efficient choir and would probably get through, but oh, that wobbly vibrato! They sounded, as someone said, like a 19th century choral society, or perhaps an opera chorus. I really did not like their sound. -
Well, I'm glad one state school made it. That a pupil (sorry, student) had taken it upon herself to organise it was brilliant, but rather typical of what goes on (or doesn't go on) in the maintained sector. I regret I have first-hand experience in that one of my g-daughter's comp has non-existent music...apart from what the kids put together themselves.
Cantabile might be a recruiting ground for a certain broadcasting choir?Comment
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That thought certainly crossed my mind!Originally posted by ardcarp View Post
I've just come back to this thread to add that I thought it strange and amateurish that composers/arrangers were barely mentioned, if at all, and weren't on screen. John Ireland wasn't named, and I still don't know who did the setting of the Lord's Prayer sung by Rochester Grammar.Comment
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Maybe best if he/she remains anonymous? There's something about The Lord's Prayer (apart from in proper sets of Responses) that attracts naff music, e.g. that awful dirge they insist on using at Westminster Cathedral on a regular basis....and I still don't know who did the setting of the Lord's Prayer sung by Rochester Grammar.Comment
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Sir Keith Joseph, Kenneth Baker and Paul Farmer (I think that was his name) were the three individuals who destroyed school choirs.
Sir Keith used blackleg labour during a teachers' pay dispute - lunchtime supervisors, as teachers left the premises at lunchtime during the dispute - in the full knowledge that when the dispute was over, there could be no going back. As these supervisors did not command the same respect as the teachers, behaviour deteriorated at lunchtimes, so headteachers were forced to reduce the length of the midday break. Schools that once had breaks of 75 minutes, long enough for a good meal and a rehearsal, now have as little as 35 minutes.
Kenneth Baker introduced the National Curriculum, straightjacketing music teachers to the extent of putting all extra-curricular activities on to the back burner. The NC also officially made music less important than the "core" subjects.
Paul Farmer wrote articles in musical education journals to tell us why children should be singing pop music in the classroom. I never took any notice of him, but others did, including the headmaster I worked under. I resigned, and worked for a music service instead, where things have gone much the same way.Comment
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I think Ardcarp is referring to the Rimsky-Korsakov setting, which I rather like!Comment
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I think the reference is to an adaptation of the setting by Rimsky-Korsakov, an adaptation which I find unsatisfactory, and which has been discussed at length some time ago.Originally posted by jean View PostComment
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Ah, I see. They've never done anything but the plainsong in my hearing.Comment
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Indeed Jean, it's that awful Rimsky K adaptation which always seems to be trotted out eg at Choral Vespers. It sounds like a bad O-level harmony exercise IMHO. (Not that anyone even learns basic 4-part harmony any more at a sub-A-level stage. Hrmmph, hrrmph.)Comment
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Most of the English versions that I have encountered do not actually start from Rimsky-Korsakov's original version, but rather from a slightly simplified arrangement by Kastorsky. You can find the original here: https://user.in-berlin.de/~viola/Lon...t_otce_nas.pdf (scroll down to No. 186).Originally posted by ardcarp View PostComment
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Thank you. Never heard of him. I have to say I thought it was awful.Originally posted by subcontrabass View PostComment
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I wondered whether the rules insisted on a "hymn" (by which I understand a work that a congregation of any denomination would sing together) or could it be a religious work in general (anthem etc.) The rules of the competition (much abbreviated) are:
Initially, the choir submits a cd with:
one hymn or worship song selected from any published hymn book
and
one other choice that is inspired by or based on the Christian faith
A small panel of BBC appointed judges will listen carefully to the quality and style of the singing as demonstrated by the performances on CD. They will select 6 choirs for the junior semi-final and 6 choirs for the senior semi-final.
The hymns and songs chosen for performance in the semi-final and final of the competition must be agreed with the competition organisers. Schools are advised to consider how their chosen hymn or song will come across on national television.
The judges will be selecting schools throughout the competition using the following criteria:
1. Technical Ability e.g. tuning, diction, voice quality, balance, ensemble, dynamics, overall sound
2. Musical Expression e.g. musicality, communication, phrasing, passion, energy, commitment and interpretation of the text.
So the answer seems to be that the choir submits two and selects one of those if they get through to the semi-final.Comment
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