CE St Thomas Church, Fifth Avenue, NYC Wed, 26.vi.2019 [A]

[DracoM]

Was it that? Or was it broadcasting in general, resulting in greater exposure to, and thus keener awareness of, the standards of other choirs?

Astute pont.

[jonfan]

Was it that? Or was it broadcasting in general, resulting in greater exposure to, and thus keener awareness of, the standards of other choirs?

agree. John Rutter continued his survey by asserting the creation of mixed voice Oxbridge choirs, as well as recordings from around the UK, helped best practice to be disseminated.

[Triforium]

This is good. Who were the 'reformers' from the late 50's through the 60's and 70's? A few come to mind. Was it merely broadcasts and LPs leading to improved standards by example?

[Vox Humana]

The capabilities of the O&Cs must also be a factor since there obviously must have been the means as well as the awareness. How many of the old O&Cs had singing lessons and how does that compare to today?

[Braunschlag]

I might suggest a read of Timothy Day’s ‘I saw Eternity the other night’, a very splendid book outlining the English singing style (with ref toKCC). He’s pretty comprehensive and it’s based very much on the authors own listening survey from a vast range of early recordings. There’s some pretty hair-raising stuff about the dismal style and competence of many choirs and their leaders, and their ‘eccentricties’ (You can read into that whatever you wish). It’s a very well - researched book indeed.

[Vox Humana]

I might suggest a read of Timothy Day’s ‘I saw Eternity the other night’

Thank you. Copy ordered.

[ferneyhoughgeliebte]

I might suggest a read of Timothy Day’s ‘I saw Eternity the other night’, a very splendid book outlining the English singing style (with ref toKCC). He’s pretty comprehensive and it’s based very much on the authors own listening survey from a vast range of early recordings. There’s some pretty hair-raising stuff about the dismal style and competence of many choirs and their leaders, and their ‘eccentricties’ (You can read into that whatever you wish). It’s a very well - researched book indeed.

- eminently readable, too. The last chapter sort-of fizzles out into a generalised survey of current English professional choirs whose leaders/members started out at KCC, but the preceeding c400 pages give fascinating insights into many aspects of cultural history.

[jonfan]

Thank you. Copy ordered.

The same. Sales will have rocketed today.

[Braunschlag]

As an inhabitant of various organ lofts you’ll love some of the shenanigans! It’s a very interesting read Vox, I must mention it on ‘the other forum’. I stumbled across it via a Saturday paper arts section and haven’t been disappointed.

[Braunschlag]

Shucks, I should have gone for commision:)

[Triforium]

Yes, thanks, I've ordered one as well. The synopsis on Amazon begins - 'The sound of the choir of King's College, Cambridge - its voices perfectly blended, its emotions restrained, its impact sublime - has become famous all over the world'. I think many are familiar with the style at KCC - perhaps less familiar with how it evolved. What also interests me is the improvement of standards elsewhere, in less 'emotionally restrained' places, not just St. John's down the road with George Guest, but also cathedrals, and with organists who may or may not have studied voice. What drove the collective improvement? Might be down to changing musical tastes, or simply past years of neglect. Stanley Vann at Peterborough, then later Barry Rose at Guildford and St. Paul's are examples where very high standards were set - yet I am not entirely sure these places were following the King's model.

[DracoM]

And GG at St John's certainly wasn't, nor successie DoMs at the Drome!!

[Braunschlag]

And GG at St John's certainly wasn't, nor successie DoMs at the Drome!!

Where’s the Drome?

[Philip]

Back to the service, I wasn't greatly offended by the singing although I guess you could say it was of it's time. But I found the organ playing a bit bizarre, it seemed to be that everything went from forte (with mixtures and/or reeds) to piano with just foundations or flutes, but there was no gradation between them. I guess you can't use too much of the organ when accompanying the choir here though.

On the hymn, having read the comments I was expecting something laborious in terms of tempo, but actually I thought it was not unusual at all. When a hymn is in triple time, I think it often benefits from being played broadly (although it depends on context - size of building, congregation etc). I once went to KCC and Blaenwern was taken unbelievably slowly, yet by the final verse I felt it really worked and sounded absolutely majestic.

[Vox Humana]

I once went to KCC and Blaenwern was taken unbelievably slowly, yet by the final verse I felt it really worked and sounded absolutely majestic.

Yes. I have had similar experiences, as I have related before. These majestic speeds are rather out of fashion today, but they can work superbly. They do need a body of singers that can fill the building with the required majesty though. There's little point if the only people singing are a dozen or so feeble-voiced congregants. Not that that's any excuse for the waltzes we sometimes hear.