Originally posted by DracoM
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St Thomas Fifth Avenue NYC
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Originally posted by DracoM View PostAccompanying is NOT the same as daily, gritty end, choir training.
Why you think he’s any less qualified than someone like John Scott or Daniel Hyde is totally baffling to me.
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Originally posted by DracoM View PostNo such implication intended. No remark about quality was suggested.
BUT the assumption by those on audition cttees that a fine organist is obviously going to be a good choir trainer - and a choir made up of very young choristers at that - needs challenging.
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According to the job description, which has only just been taken off their web site, ‘A proven track record of work in a church or cathedral setting with an established choral tradition,’ ‘Experience in working with children,’ and ‘Experience in training boys’ voices’ were all ‘essential’ characteristics in prospective applicants.My boxes are positively disintegrating under the sheer weight of ticks. Ed Reardon
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Originally posted by Miles Coverdale View PostAccording to the job description, which has only just been taken off their web site, ‘A proven track record of work in a church or cathedral setting with an established choral tradition,’ ‘Experience in working with children,’ and ‘Experience in training boys’ voices’ were all ‘essential’ characteristics in prospective applicants.
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I attended Evensong at St Thomas, 5th Ave on Thursday 21st Feb, their last full choir service before the half-term break.
Officiant:Fr Spencer
Sung by:The Saint Thomas Choir of Men and Boys.
Prelude:Voluntary in G, Henry Purcell (1659-1695)
Introit:O come ye servants, Christopher Tye (c. 1505-1572)
Responses:Philip Moore (b. 1943)
Psalm:106:1-12 Anglican Chant (Alcock)
Service:Magbificat and Nunc dimittis in F, John Ireland (1879-1962)
Lesson:Genesis 32:3-21
Lesson 2:Mark 12:13-27
Anthem:Justorum animae, Charles Villiers Stanford (1852-1924)
Hymn:36
Voluntary:Fantasia Orlando Gibbons (1583-1625)
You can listen to the service here: https://www.saintthomaschurch.org/ca...horal-evensong
Experienced from the third row of the stalls, I felt it was a superbly sung act of worship; dignified, unfussy, prayerful and highly professional. Dan Hyde has done such a fine job here, following on from the great, late John Scott, that the future for KCCC is looking bright. Of course, the American vowels sound different to how they’re pronounced over here, and there was a slight, I emphasise slight, overenthusiasm from one tenor on decani, but he could have been depping from the Met opera chorus (where I thoroughly enjoyed Falstaff and Rigoletto during my week in NYC)!
There were appproximately eight microphones hanging above the quire, including a pair a little further west to add ambience. As one can hear on the webcast, the engineering is excellent. The new great organ seems to be an excellent accompanying instrument (presumably played by Ben Sheen - there is a vacancy for a No.3 if anyone’s interested) while the opening Purcell voluntary was played on the Taylor and Boody in the west gallery, I think, though I can’t certain, by the DoM; I was only judging by height! This created a wonderful atmosphere of expectation of beautiful things to come for the congregation of around eighty.
I really was bowled over by the singing of this choir of 18 trebles and 14 men, even when doing Ireland in F, a somewhat workaday setting IMO. Justorum animae, on the other hand, was sublime. I’m also a fan of Philip Moore’s responses, and the choir obviously enjoyed singing them.
The only strange occurrence was that immediately after Evensong a Communion Service began, while almost the entire congregation filed out in silence, save for the mumbling of the priest at the high alter, leaving half a dozen communicants looking somewhat lonely in an almost empty church.
I look forward to hearing them again during the Ring cycle at the Met in May... after the Covent Garden Ring, I’ve caught the Wagner bug.
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