CE King's College, Cambridge [L] Wed, 14th June 2023

[Vox Humana]

Thank you, Daniel. I don't think you are being offensive at all and it's always great to have factual information from the boss's mouth. I'm very much in favour of any information that aids understanding and I would imagine that goes for everyone here. For what it's worth I absolutely agree that psalm accompaniments should be subtle. All I said on that score was that I wouldn't have minded 'just a tad' more volume, but only because I found it hard actually to hear that the organ at all. But it's your show, not mine, and there are different styles of psalmody. My tastes were influenced by an organist who believed in discreet, yet colourful psalm accompaniments—'hiding behind the choir' was how someone put it—so that's how I like them. I do think it's possible for the organ to colour the words without actually drawing attention to itself, but it's certainly not the only way of doing things and my tastes are just that, nothing more. I actually thought the psalms in your service were a delight.

[Pulcinella]

I am always bemused by some of the reactions and responses on this forum. So (—)informed. Of course, anyone and everyone is always happy to receive praise for their work when praise is due, but I just wish you lot would post as real people. You’re mostly just giving your opinion under the shroud of intertrol anonymity.

You’re probably all choral scholars at St John’s for all I care!

It doesn’t matter if you have positive or negative things to say - just own them and engage in a real discussion.

And yes, this is the real Daniel Hyde.

Hello Daniel

I'm a little intrigued by your implication that a real discussion can take place only between John Smith and Fred Brown, and not between Username1 and Username2.
Most of us on this forum (and those that contribute to Choral Evensong threads in particular) care passionately about the state of music in the country as a whole and have the greatest respect for those that are involved in it. Many of us are involved in church and other choral music too.
Of course as armchair critics we are ideally placed to fantasise and think we could do things better, but you'll find that most of any adverse comments here are on the way the broadcasts come across, with questions of balance often being made and the engineers being held responsible.
We are not engaging in King's v John's rivalry.

With best wishes
Pulcinella: yes, it's internet anonymity, but if you send me a private message I'd be happy to give you my 'real' name; whether or not that should make any difference to what I have written is up to you to decide.

[DracoM]

Would like to welcome Mr Hyde to For3.

He might choose later to be a little more circumspect in expressing his dismissal of / frustration to For3 respondents if he knew more about the real identity / musical background / expertise of a number of them.

[mw963]

Would like to welcome Mr Hyde to For3.

He might choose later to be a little more circumspect in expressing his dismissal of / frustration to For3 respondents if he knew more about the real identity / musical background / expertise of a number of them.

Isn't that rather DH's point? Are the virtual username experts on here really experts, or just opinionated arm-chairers who know all the jargon; (I put myself in the latter camp which is partly why I rarely post now). I don't think DH has any reason to be circumspect given his entirely deserved rise to to the top.

Mr Hyde - for what it's worth I think you of all people in fact have one of the most favourable stocks of respect in this parish. More power to your conducting arms.

[french frank]

I just wish you lot would post as real people. You’re mostly just giving your opinion under the shroud of intertrol anonymity.

You’re probably all choral scholars at St John’s for all I care!

On the point of anonymity, this particular board has long welcomed participants, DOMs, organ scholars, lay clerks/choral scholars (though none, as far as I'm aware, from John's on this thread), the majority of whom use what are obvious pseudonyms. A 'plausible' name like 'Henry Smith' tells you nothing about the poster or his credentials, and for all one knows may be the pseudonym of John Brown or Andrew Robinson. This is just a characteristic of online forums.

[ardcarp]

Well said ff. It's the way this Forum (and many others) works, and if I may say so very successfully. There was a time when there was quite a bit of unnecessary aggro on the Choir Forum (of all places) but latterly there has been civility and mutual respect. The choice to be anonymous or not rests with user, and I see no problem with that.

[Vox Humana]

Well said ff. It's the way this Forum (and many others) works, and if I may say so very successfully.

Agreed. It's very mild mannered, compared to some Facebook choir/organist groups.

[DracoM]

Well said ff. It's the way this Forum (and many others) works, and if I may say so very successfully. There was a time when there was quite a bit of unnecessary aggro on the Choir Forum (of all places) but latterly there has been civility and mutual respect. The choice to be anonymous or not rests with user, and I see no problem with that.

[Choral Enthusiast]

I got a chance to listen to this Evensong on Sunday. It is a superb broadcast!

The choir is making such an assured and beautiful sound: full and rich and rounded, but clear at the same time. They are also giving it some real umpth.

It was really musical and expressive and a joy to listen to. Plus, I will never tire of listening to Shephard's setting of The Lord's Prayer.

Thank you to the whole King's team and the broadcasters/production team.

[Vox Humana]

I will never tire of listening to Shephard's setting of The Lord's Prayer.

Welcome to the forum, Choral Enthusia.

A small clarification, if I may. I am sure you didn't really intend to imply that the Lord's Prayer was by [Richard] Shephard. It is, of course, by the Tudor composer John Sheppard.

[Choral Enthusiast]

Welcome to the forum, Choral Enthusia.

A small clarification, if I may. I am sure you didn't really intend to imply that the Lord's Prayer was by [Richard] Shephard. It is, of course, by the Tudor composer John Sheppard.

Thank you, Vox Humana.

Yes, definitely meant John Sheppard, although the late, much missed, Richard Shephard, wrote some wonderful music, too.

Incidentally, I had meant to put myself down as ' Choral Enthusiast', but that must have exceeded the letter count.

[Vox Humana]

Incidentally, I had meant to put myself down as ' Choral Enthusiast', but that must have exceeded the letter count.

There's one member with a 20-letter username, so I doubt it's that. Perhaps an admin would help you out if you asked them.

[french frank]

There's one member with a 20-letter username, so I doubt it's that. Perhaps an admin would help you out if you asked them.

Seems to have worked (I think). I thought it would be more complicated. But it doesn't change the name in the quote box.

[Magister Chori]

I got a chance to listen to this Evensong on Sunday. It is a superb broadcast!
Plus, I will never tire of listening to Shephard's setting of The Lord's Prayer.

A great setting indeed, but - in my opinion - it has its best homing as an anthem and not within the Responses: such an elongated piece interrupts the natural flow of the versicles (which - like the psalms - call for a quite straightforward music), so the more modest settings by Farmer or Stone (or even the recto tono with a plagal Amen) can surely works better in that context.

[Keraulophone]

the versicles (which - like the psalms - call for a quite straightforward music)

At what point along the continuum from straightforward to complex should the Versicles and Responses lie? This question was raised recently by ardcarp and myself when discussing the Howells V & R - thrilling but out of place? Having been exposed recently to Jaakko Mäntyjärvi's Lord's Prayer and V & R sung in Trinity College Chapel, one marvels at the performance, but an understanding of the text can be lost in wonder at the overwhelming aural effects conjured up by Stephen Layton and the choir.
.