Advent Service from St John's: 2 December, 4pm

[Contre Bombarde]

The order of service on the website shows that a second voluntary follows (like it does at Kings on Christmas Eve) - in this case JSB's 'Great' Prelude and Fugue in G (and from memory, I think it is normally a JSB P&F). However, I agree that after a service like this with a full chapel 'Wachet Auf' does feel a little disappointing. I used it for our Advent Carol service yesterday but the attendance was only about 60, so a rather different occasion! Maybe broadcast-wise the length of the piece is a consideration? The OS at SJC shouldn't be overly concerned about execution though, surely, given that they regularly webcast Evensong anyway?

The Dupré voluntary you played is marvellous (and I wish I could - maybe one day - but I daren't buy the score without feeling confident at those prices!); other (seasonal) options would be the third of the 'Nun komm' CPs by JSB (BWV 661) or Andrew Carter's 'Toccata on Veni Emmanuel'.

Alternatively, you could programme something non-seasonal as I have done previously - last year the 'Introduction & Passacaglia' from Rheinberger 8, and before that Vierne's 'Carillon de Westminster' or a Howells Rhapsody. On Saturday night I went to Lichfield for their 'Advent Procession' (darkness to light, antiphons and all) and Martyn Rawles played us out with the Final from Widor 8. I like to hear a big romantic French piece, but that says more about my taste I guess!

Incidentally, I've not listened back to the service (yet).

The problem with the second voluntary is that no-one ever listened to it, in my experience at least, judging by the volume of chatter and clatter audible from the loft even against a generous registration. It's not the fact that the the service is broadcast that caused my angst but more the simple fact that every note and phrasing nuance of the voluntaries are known to most listeners and that the expectation of perfection weighed heavily upon the brow of a fairly nervous 19 year old. Still, practice conquers all fears. After the event. Service music never bothered me as a rule, Stanford in G being the one exception that I dreaded being scheduled.

My post-university training was in Paris so I do veer strongly towards the French Romantics with Dupré being at the top of my personal tree. I was torn though between "Le Monde dans L'attende du Sauveur" and an improv. on Helmsley, the final hymn, but thought that some repertoire would better keep my hand in. I have pencilled in the 1st movement of Widor 6 for Christmas morning, non-seasonal but effective because of the minor key giving a change of mood until the joyful resolution in G Major. That may yet change to an improv. on Adeste Fideles.

[paul duggan2]

The problem with the second voluntary is that no-one ever listened to it, in my experience at least, judging by the volume of chatter and clatter audible from the loft even against a generous registration. It's not the fact that the the service is broadcast that caused my angst but more the simple fact that every note and phrasing nuance of the voluntaries are known to most listeners and that the expectation of perfection weighed heavily upon the brow of a fairly nervous 19 year old. Still, practice conquers all fears. After the event. Service music never bothered me as a rule, Stanford in G being the one exception that I dreaded being scheduled.

My post-university training was in Paris so I do veer strongly towards the French Romantics with Dupré being at the top of my personal tree. I was torn though between "Le Monde dans L'attende du Sauveur" and an improv. on Helmsley, the final hymn, but thought that some repertoire would better keep my hand in. I have pencilled in the 1st movement of Widor 6 for Christmas morning, non-seasonal but effective because of the minor key giving a change of mood until the joyful resolution in G Major. That may yet change to an improv. on Adeste Fideles.

You must be good!

[mopsus]

I did miss having something by a British composer that wasn't recent, such as a Tudor piece. I suppose the Palestrina filled that particular period slot. I wonder what was originally programmed instead of the Ledger tribute?

As for sub-standard Britten - I've sung my way through most of Britten's output for choir, most recently AMDG which I really didn't think repaid the effort of learning it. To be fair, I think Britten realised this himself as he didn't complete the work.

[Mary Chambers]

As for sub-standard Britten - I've sung my way through most of Britten's output for choir, most recently AMDG which I really didn't think repaid the effort of learning it. To be fair, I think Britten realised this himself as he didn't complete the work.

It was published posthumously, as were a few things he didn't sanction, which never seems quite right to me. I've sung most of his repertoire too, but not this one or Sacred and Profane, another one written for a group of singers organised by Pears.

[jean]

I did miss having something by a British composer that wasn't recent, such as a Tudor piece. I suppose the Palestrina filled that particular period slot...

I often wonder why the Byrd Rorate coeli isn't done more often - the perfect English Renaissance Advent piece!

[mopsus]

I often wonder why the Byrd Rorate coeli isn't done more often - the perfect English Renaissance Advent piece!

I think it does come round at the St. John's Advent service quite often, just not this year. Another great Byrd anthem for this season is Laetentur coeli. I think they've done Purcell's Rejoice in the Lord alway before now, too.

I've sung Sacred and Profane and didn't really like that either, but it does have its admirers. It was one of the last pieces Britten composed.

[Finzi4ever]

I'm not sure what is meant by "some not so" in connection with Britten's music. I can't think of any Britten which is substandard. I recently read a review of the new Hyperion recording of St Nicolas which was very dismissive of it. That shocked me; I got to know it as a teenager and thought it was wonderful. Since then I've conducted it twice and love every moment.

So what is this "lesser Britten"?

'Prelude & Fugue on a Theme of Vittoria' for one

[Finzi4ever]

I often wonder why the Byrd Rorate coeli isn't done more often - the perfect English Renaissance Advent piece!

I'd love to hear the Richard Lloyd Advent Prose, but it wouldn't work in a packed St John's, as it requires a huge space; so it looks like I'd have to make the long journey North again to hear it

[Chris Watson]

You could come and hear my choir sing Richard's Advent Prose in Merton College chapel on Sat 22nd if you like!

[Philip]

My post-university training was in Paris so I do veer strongly towards the French Romantics with Dupré being at the top of my personal tree. I was torn though between "Le Monde dans L'attende du Sauveur" and an improv. on Helmsley, the final hymn, but thought that some repertoire would better keep my hand in. I have pencilled in the 1st movement of Widor 6 for Christmas morning, non-seasonal but effective because of the minor key giving a change of mood until the joyful resolution in G Major. That may yet change to an improv. on Adeste Fideles.

I'm with you on the French romantics. The first movement of Widor 6 is great, although personally I opt for something a bit more light-hearted for Christmas morning - so I'm afraid its probably going to be 'that' Sortie in E flat. The serious bit will come after the Carol Service where I'm hope to give the Guilmant 1 Final a whirl, hopefully mostly accurately!

Apologies for the organ chat here, so back on topic (sort of)...for my money the Widor 6 Allegro would be a great finisher to an Advent service - grand in style, solemn in mood but with the major conclusion symbolising the triumph and hope of the season.

[ardcarp]

Service music never bothered me as a rule, Stanford in G being the one exception that I dreaded being scheduled.

Not that difficult, surely? I find Stanford in A more challenging. Anyway, whatever, if you want a laugh, see Simon's 'Stanford in G - ish' thread.

[Philip]

Not that difficult, surely? I find Stanford in A more challenging. Anyway, whatever, if you want a laugh, see Simon's 'Stanford in G - ish' thread.

On paper, perhaps not (thought I've tried to sight-read it in private, without much success!). I guess the pressure comes from keeping the 'spinning wheel' rotating in time with the soloist, and there isn't much room for error, especially given how famous the accompaniment is. I'm certainly glad that I've never had to play it yet, and hope it stays that way.

I have played Stanford in A, challenging not so much for the notes (with a couple of notable exceptions) but because of its range and variety. Much depends on the organ you're using I guess.

[Contre Bombarde]

Not that difficult, surely? I find Stanford in A more challenging. Anyway, whatever, if you want a laugh, see Simon's 'Stanford in G - ish' thread.

You're right. The notes aren't that difficult but as Philip said it is, depending on the location of the loft in relation to the soloist, sometimes difficult to keep the wheel properly rotating. My particular fear of the piece stemmed from an occasion before I went to university when I was, through the injury of an organist who slipped on ice after the rehearsal, roped in to play for the service instead of turning pages. Enough to say that I'm glad YouTube wasn't around then. For years after that it was my black beast.

I love playing Stanford in A; it needs a bit of concentration and very precise piston pushing.

[ardcarp]

Returning to Rutter from upthread the man himself was by chance interviewed on Front Row on R4 this evening. I think he was plugging his new 'album' of harp music, Blessings, which is clearly a new genre of Christmas Rutting.

http://www.classicfm.com/composers/rutter/album-reviews/john-rutter-and-catrin-finch-blessing/

But the discussion went on to Rutter's unashamed populism; and he is just that. Unashamed. So good for him. Get your hanky out for the harp album though.

http://www.bbc.co.uk/programmes/b01p424p

(The Rutter item starts about 20 mins into the programme.)

[Simon]

He came over, as he always does, as totally sincere - and quite happy to let people think what they want to about his music. His main concern seems to be that it is approachable and enjoyed by lots of people. I suspect that the few who disdain it wouldn't concern him one iota!