CE Merton College, Oxford Wed, 20th Nov 2013

[DracoM]

CE Merton College, Oxford



Order of Service:



Introit: Cantantibus organis (Philips)
Responses: Matthew Martin
Psalm: 104 (Morris; Bairstow)
First Lesson: Daniel 9:1-19
Office Hymn: Let us raise high our songs of joy (Gonfalon Royal)
Canticles: Jackson in G
Second Lesson: Revelation 11: 15-end
Anthem: Hymn to St Cecilia (Britten)
Final Hymn: Ye that know the Lord is gracious (Rustington)



Organ Voluntary: Prelude and Fugue on a Theme of Vittoria (Britten)



Charles Warren and Peter Shepherd (Organ Scholars)
Benjamin Nicholas and Peter Phillips (Directors of Music)

[ardcarp]

I wonder if anyone can list the Oxford and Cambridge colleges which, in (say) the last ten years, have changed over from having the senior organ scholar directing the chapel music to appointing 'professionals'? Merton clearly went for the big guns.

[DracoM]

Reminder today @ 3.30 p.m.

[Roger Judd]

I'm sure that I couldn't come close to an accurate list of Cambridge Colleges whose chapel music is now run by a 'professional'. What I would say is that I'm profoundly grateful for the fact that I had to recruit, create and keep a choir together during my three years at Pembroke College Cambridge. It was an absolutely invaluable experience. We had no choral scholars to rely on, and I had no junior organ scholar - it was just me. I had a wonderfully supportive Dean, and learnt a great deal about the liturgy and finding suitable music to go with it. It is all quite different now, I suspect.

Possibly a simpler, and shorter, list for Ardcarp would be to list the Colleges which don't have a 'professional' in charge!
RJ

[ardcarp]

Thanks Roger. There was a slant to my post, because I am slightly sad that the 'organ scholar led' chapel choirs have dwindled somewhat. About 20 years ago one of my organ pupils won an organ scholarship to a certain Cambridge College, and she (yes, she...then one of the very few) had invaluable experience running the music. Which is your point too, I think.

[ardcarp]

For organ buffs, there's a few pics of the American Dobson organ; scroll to the bottom for not quite the finished product.

http://www.theladyorganist.com/a-dobson-organ-from-iowa-comes-to-merton-college-oxford/

[DracoM]

Routinely competent, polished and professional singing, but for me just pro rent-a-choir efficiency and anonymity.

Britten sounded much more detailedly rehearsed than the Jackson canticles, such that there was some very nice shaping of phrases, and even a sense of fun. Sop soloist was just trying too hard, forced things a little which contrasted with the ease elsewhere.

[ardcarp]

Sop soloist was just trying too hard, forced things a little which contrasted with the ease elsewhere.

I detected just a little nervousness in the voice...not surprising, I suppose. That particular solo does need to capture a Brittenesque childlike innocence; it's so difficult to do....it has to just happen and float with apparent ease. A magical moment in the piece. I did think Merton managed the final page well. The ending is difficult to pull off and sometimes spoils an otherwise pleasing performance; but the ATBs carried it off with conviction today.

The Dobson organ sounded at home with the Anglican repertory, unlike some Oxbridge organs. I gather that firm will also be providing the hew instrument for St Thomas, Fifth Avenue, NY.

[Gabriel Jackson]

That particular solo does need to capture a Brittenesque childlike innocence;

Why? St Cecilia is addressing us at that point. We are the "dear white children".

[Chris Watson]

Routinely competent, polished and professional singing, but for me just pro rent-a-choir efficiency and anonymity.

Draco - I've questioned this type of comment here before (and not only from you). I bet you a million quid (well, if I were a banker rather than a singer I might) that if it had been boys singing with exactly the same level of accuracy and commitment you wouldn't have dreamt of saying this. The Merton choir were simply doing what they do three times a week (and do bloody well) and they couldn't be further from a pro rent-a-choir if they tried. The same nonsense has been directed at some of the pro groups in London, with the idea that when singing with (for instance) Tenebrae we are just bored robots but we transform into musically committed evangelists when singing at the Drome or Wabbey - which is total nonsense. We sing with the same level of excellence and enjoyment/commitment wherever we happen to be, the only difference being the costumes we wear and the gender of the people singing the top lines.

[Simon Biazeck]

Draco - I've questioned this type of comment here before (and not only from you). I bet you a million quid (well, if I were a banker rather than a singer I might) that if it had been boys singing with exactly the same level of accuracy and commitment you wouldn't have dreamt of saying this. The Merton choir were simply doing what they do three times a week (and do bloody well) and they couldn't be further from a pro rent-a-choir if they tried. The same nonsense has been directed at some of the pro groups in London, with the idea that when singing with (for instance) Tenebrae we are just bored robots but we transform into musically committed evangelists when singing at the Drome or Wabbey - which is total nonsense. We sing with the same level of excellence and enjoyment/commitment wherever we happen to be, the only difference being the costumes we wear and the gender of the people singing the top lines.

Thank you Chris - my thoughts exactly. We get pretty much the same patronizing 'review' when the London Oratory has a live broadcast.

[Gabriel Jackson]

Draco - I've questioned this type of comment here before (and not only from you). I bet you a million quid (well, if I were a banker rather than a singer I might) that if it had been boys singing with exactly the same level of accuracy and commitment you wouldn't have dreamt of saying this. The Merton choir were simply doing what they do three times a week (and do bloody well) and they couldn't be further from a pro rent-a-choir if they tried. The same nonsense has been directed at some of the pro groups in London, with the idea that when singing with (for instance) Tenebrae we are just bored robots but we transform into musically committed evangelists when singing at the Drome or Wabbey - which is total nonsense. We sing with the same level of excellence and enjoyment/commitment wherever we happen to be, the only difference being the costumes we wear and the gender of the people singing the top lines.

Absolutely!

[DracoM]

Draco - I've questioned this type of comment here before (and not only from you). I bet you a million quid (well, if I were a banker rather than a singer I might) that if it had been boys singing with exactly the same level of accuracy and commitment you wouldn't have dreamt of saying this. The Merton choir were simply doing what they do three times a week (and do bloody well) and they couldn't be further from a pro rent-a-choir if they tried. The same nonsense has been directed at some of the pro groups in London, with the idea that when singing with (for instance) Tenebrae we are just bored robots but we transform into musically committed evangelists when singing at the Drome or Wabbey - which is total nonsense. We sing with the same level of excellence and enjoyment/commitment wherever we happen to be, the only difference being the costumes we wear and the gender of the people singing the top lines.

If I said Merton WERE a rent-a-choir, I withdraw it. Of course they aren't. What I meant was that they sounded polished, professional but very like a large number of other such young pro/ music student et al choirs. They were disciplined, effective, efficient, balanced, and did the job admirably. BUT for me they were just well, rather anonymous. I didn't think the Jackson was outstandingly well done, far better than OK, but.....OTOH the Britten was far better done - it is far and away a bigger musical challenge of course, and like a good ensemble they stepped up to the plate on that [mostly].

And actually, if you read these threads weekly you will probably find that many of us commenting on child-led choirs have oblique ways of indicating reservations. With adult choirs, one feels less need to hedge.

The CE was not bad in any shape or form whatsoever, it was highly competent and efficient, well-rehearsed, well-disciplined, well-balanced. But, as said, for me a trifle anonymous. Tenebrae are top of my list - and that is not mere casuistry- I have many recordings of same, I tied to get them to come to my local music festival, but surely I hope you are NOT seriously telling me that Merton were in the same class as Tenebrae? Many of the Merton singers may well go on to be as good, maybe some already are.

And on the subject of the Drome / St Paul's / Wabbey, if you look back you will find that these ensembles do not come out entirely without criticism on these threads.

Singers are not robots, of course, but their blend can make SOME ensembles sound indistinguishable from a dozen other distinguished ensembles - particularly the way top choral pros shift from ensemble to ensemble in London and elsewhere. In different company, singers subtly and even possibly unconsciously take up, chameleon like, the vocal coloration / provenance and purpose of the ensemble they are singing in at this moment. The same singers may not sound precisely how they seem in another ensemble. Kids do the same - they are notorious imitators, obviously much more deliberately than adults for all manner of reasins, but kids can sound astonishingly different when NOT singing with their 'home' ensemble. Hardly a revelation

I was not rubbishing Merton at all, merely admiring without loving.

[Vox Humana]

That particular solo does need to capture a Brittenesque childlike innocence;

Why? St Cecilia is addressing us at that point. We are the "dear white children".

One man's meat is another man's poison and there is no compunction about it, but I have to agree with ardcarp. The tessitura in which that solo is pitched and the texture and pitch of the accompaniment beneath it is such that the solo makes its best effect on me when sung by a pure, boyish voice (of either sex), preferably without vibrato - in much the same way that, if I had to register a very similar passage on the organ I would likely choose to play the solo on a clear flute rather than a Cornopean.

[Mary Chambers]

I detected just a little nervousness in the voice...not surprising, I suppose. That particular solo does need to capture a Brittenesque childlike innocence; it's so difficult to do....it has to just happen and float with apparent ease. A magical moment in the piece. .

I agree - it was nerves. It's what happens in auditions if you're too nervous. I felt she was perfectly capable of singing that magical solo, and I'd be surprised if she isn't a bit disappointed with how it went on the day - not that there were any actual mistakes, just a more or less continuous shake in the voice.