Margaret Thatcher's Funeral

[ardcarp]

The choir sang loudly (some tenors louder than the rest) and with, I thought, little finesse;

Having now heard all the music, courtesy of i-player, I think I can agree to some extent with you, fsh. The men were definitely going full tilt at times and the trebles were sometimes overpowered. The Croft funeral sentences need, IMHO, a blended sound, and they were sung full tilt. OK, I realise they were done on the hoof in a packed building on a high profile occasion, but they didn't sound as penitential as perhaps they might. There were times in the Faure when some sensitivity was applied...so it is possible to tame these big London-circuit chaps (and chapesses!)

[secret squirrel]

I think some sense of proportion (in every sense!) is required here.... Don't forget that there were 18 adults (formerly referred to as men ) and approx 26 boys (from doubling the 13 that I think I saw on Can when the entire side was in shot).

That's 44-odd singers all trained to fill that huge building from one end to the other and as near as possible to Stainer's desired and one-time required 40/18 ratio ( http://www.stpauls.co.uk/Worship-Music/Choir-Musicians )!

Now as some may know, about 2-3 years ago the choir went formally from 18 men [on Sundays as was] to 12 'with extra singers as the music / occasion demands' [my phrase] (which, if there were 26 boys is very nearly the same ratio as Stainer's ideal).

Clearly yesterday's service demanded this larger number in the back row and, as discussed above, there were therefore a number of deps (well, 6 !) including some from the Abbey and some former Vicars Choral etc.

I say 'demanded' as I cannot imagine that the cathedral would want the world to see the gents' stalls bereft of bodies; they can even hold 10, I think, so 6/10 would look quite odd!

Equally important is that St. Paul's is obviously not a small cathedral with 6 men singing across a small, screened quire to each other.

Ok, perhaps some tenors were occasionally 'strident' but hey - that's tenors for you, no?

So when going 'full tilt' yes, you will get a MASSIVE sound from all (I think that's great, btw!) but as so many say: it's not the ff stuff that counts but the pp, and the Faure was exquisitely sensitive and the 'line' throughout the Brahms was to me seamless.

I actually like the Croft done 'big'. I like the 'declaration of intent' that is "I am the resurrection..." and actually the one item that perhaps was not top-drawer (but a very close second!) was the Purcell, but that's nit-picking.

It was St. Paul's choir in St. Paul's doing what St. Paul's does best and it was all a jolly good advert for them and the English choral tradition across the world, to boot.

Well done, chaps(ess), I say!

[ardcarp]

You make an attractive case, SS! Indeed Hear my Prayer could have started more penitentially (i.e. quietly), which would have made the big climax more telling.

perhaps some tenors were occasionally 'strident' but hey - that's tenors for you, no?

Speaking as one...er, no.

There are times to 'do a Pavarotti'...but maybe the end of Brahms' Wie Lieblich isn't one of them.

[secret squirrel]

aww.... I don't know: top Abs with the Boys an octave above? Go for it, I say, even if you're one of six!

I personally think the phrase (and the Altos' / Basses' top Eb moments earlier) sings itself and there is a natural diminuendo as the singing draws to a close.

Anyway, if you thought that was 'Pavarottic' (?!) then I refer you to the '85 (?) recording (again 18 men - and 38 boys - as was then ) with the like of Alan Green accompanying one...

It was taken a fair bit slower and was a stunning recording in all areas, but hey that may just be rose-[sic] tinted memories...

And why did you omit my 'wink-eye' when I was jestingly mocking tenors?

[ardcarp]

...sorry; my irony sensors were switched off.