January’s appalling weather, illness and holidays took their toll on numbers attending Michael Woodward’s absorbing talk, An Introduction to the Church Cantatas of J.S.Bach. Those who did attend listened to an informative progression of facts and explanations interspersed with examples from numerous CDs accompanied by detailed programme notes to enable us to understand the significance of each extract. Rather than compromise Michael’s research with paraphrase, I’m giving below his own summarised notes.

‘A consequence of the Protestant Reformation of the 16th C. was that the authority of the Bible replaced that of the Pope and the Church. However, Martin Luther realised the Bible needed to be expounded and made relevant to contemporary life. So, long Sermons, perhaps lasting an hour, assumed a key role in Lutheran Worship. Bach’s church cantatas were intended to supplement the sermon. Sometimes they were in two parts, in which case Part I was performed before the sermon and Part II afterwards. Sometimes there were two cantatas, one sung before and the other after the sermon. Lutheran services in the early 18th C. were protracted affairs!

We have some 190 church cantatas by J.S.Bach, numbered according to their order of publication and not of composition. But the composer probably wrote c300, so many have been lost. The earliest date from the time Bach was organist at Muhlhausen in 1707-08. But at least 70% of the surviving cantatas date from Bach’s first six years in Leipzig 1723-9. The largest number are from the second cycle of 1724-25 whose words are based on Lutheran chorales and of these Chorale Cantatas 48 survive. Bach composed few cantatas after 1730, or, if he did, few have survived.

The typical Bach church cantata lasts about twenty minutes and has 5-7 movements. It opens with an extended choral movement and ends with a chorale, often in a plain four-part setting - if any harmonisation by Bach can be called ‘plain’. The instrumental ensemble is always important - instrumentalists almost certainly outnumbered vocalists.

To ease the burden on the Thomas School pupils at busy times such as Christmas and Easter, Bach composed six cantatas for solo singer only. While another 37 cantatas are for solo singer with a ‘plain’ four-part closing chorale (surely a ‘piece of cake’ for boys used to the demands of Bach’s extended opening movements).

Bach sometimes made things easier for himself by reusing existing music. Thus the Cantata for Whit Sunday BWV 34, an exceptionally late work from the 1740s, is based on a Wedding Cantata of 1726. With 3 trumpets and drums it has a suitably festive air. The composer also recycled several cantata movements as Schubler Chorales for organ. How Bach managed to compose, rehearse and perform all these cantatas in addition to his other works is a mystery. But with limited rehearsal time there was probably a decidedly improvisatory character to the performances. However, some of the instrumentalists were clearly highly competent performers’.

Of course, these notes were brought to life by Michael’s confident presentation and humour, the many pieces we heard being ably provided by Michael’s ‘Sound Engineer’, our host, Frank Field. All in all, a notable topic on which to launch this year’s round of activities and so, many thanks to Michael for such an interesting talk and not least, to Frank and Marie for their hospitality.
 
 

 

Commissioned by the NDOA in memory of one-time President Stan Tarry who died in 2002, it comprises a set of nine pieces for manuals only by Bedfordshire composer Paul Edwards, none of which are more challenging than Grade 3/4. Primarily conceived with the County’s small village organs in mind, the pieces are delightfully refreshing in style and also sound good on more substantial instruments. It is available from Fagus Music at £10. Contact details: Beech Cottage, Drumoak, Banchory, Scotland, AB31 5AL Phone: 01330 811363 Email; sales@fagus-music.com

  




Paul’s recital at St. Mary’s, Wellingborough on 22nd May will mark a significant event in the work of the NDOA. Paul is one of a very few recitalists to habitually record the choicest organs in a given district - in this instance, within a radius of just a few miles around Wellingborough. Of particular interest surely, is what must amount to the last recording on the Hill, Norman & Beard organ in St. Mary’s, Higham Ferrers, before it was taken out and replaced last year. The whole CD - Benchmarks Volume 11: East Northamptonshire is a valuable statement to some more of the County’s instruments.

However, Paul is not merely repeating the items on his CD. Some will be included I’m sure, but his recital will undoubtedly include a number of new and refreshing pieces together with his usual free and easy chat describing them and often, the lengths to which he had to go to find the more obscure pieces. His recitals are frequently different and stimulating so, do try to get to this one and hear a popular national and international organist. Admission is free - with a retiring collection.

  




Member David Flint has kindly made available a selection of his CDs of various French instruments many of which are not available in the UK. He is inviting anyone studying French Organs or in any other way interested to get in touch with him. His address is: 30, Blackmile Lane, Grendon, Northamptonshire, NN7 1RJ

  

		At the beginning of the 19th Century the town population was 7,000 and by 1870 40,000, hence the eruption of new parishes one of which was St. Katherine’s. Carved out of the parish of All Saints’ in the centre of town the church was erected in 1839 to seat 1,000 and restored in 1866. It stood on a site not far from All Saints’ (its distant tower being visible in the picture below) but was demolished in 1950. All that now remains is a grassed area bordered by St. Katherine’s Street on its south side and the Park Inn (formerly The Saxon Hotel) on its north side, with a commemorative stone identifying the position of the High Altar. Information about its organs is sketchy but the N.P.O.R. lists a Wm. Hill of 1866 (presumably part of the renovation of the church) and reference to one of unknown date with two manuals and pedals by Alfred E. Davies & Son of Northampton. However, this firm only came into significance between the Wars so one can only assume a date for it as being after 1918 but well before 1950. The stop-list appears out of balance with a single Pedal stop (a 16' flue) and a Tromba on the Swell although it did boast a Clarinet and 4' Gambette. It ended its
days in St. Denys, Ravensthorpe, but a note explains that it was ‘superseded by an electronic which broke down after 8 years and that the organ from Buckby Wharf replaced it in 1974’.There’s no further reference to St. Katherine’s organ.

We send our heartiest congratulation to Dr. Vann whose birthday was on 15th February. This delightful photo was taken by his son Martyn, on his father’s ninety-sixth birthday and will stir vivid memories of those who knew him when he was Master of the Choristers at Peterborough Cathedral well over thirty years ago. A birthday card was sent on behalf of the N&DOA and, on the eve of his birthday, Choral Evensong at All Saints’, Northampton was sung to his music. The Order of Service stated that, ‘All the choral and organ music... has been written by Stanley Vann DMus (Cantuar), BMus (Lond.), Hon. FTLC, FRCO, ARCM...’ which included The Peterborough Service in A, the anthem being Soul of Christ Sanctify me and final organ voluntary, Jubilate Deo. The sermon, given by Canon Paul Rose, Precentor at the Cathedral during Dr. Stanley’s incumbency at Peterborough, began with the quotation, ‘Let us now praise famous men’ before drawing on his own memories of Dr. Vann - a legend and, matchless choir being just a few of the accolades describing him and his musical contribution to the Diocese.

  



 
This year’s event in February contained another wide diversity of music. Sadly, lack of space here precludes the detail it deserves but nevertheless, about a dozen pieces were enjoyed by those present.

Beginning with a little known composer, Giovanni Morandi and then Sweelink’s variations on Under the green Linden played on Fotheringhay’s Vincent Woodstock organ, the choices soon encompassed Gerald Gifford playing a John James Cornet Voluntary and a Double Voluntary by John Blow played on the organ at St. Botolph’s, Aldgate (one of our London venues) before venturing into Psalm 49 sung by St. John’s College, Cambridge under George Guest. Most memorable on this occasion, were two carols by Stanley Vann from a newly released CD of his music before hearing a fascinating orchestral arrangement of Cesar Franck’s Choral Prelude No.2 in B minor. The musical contribution ended with Gillian Weir playing Healey Willan’s Introduction, Passacaglia and Fugue in E flat minor. As usual at this venue, we have to thank our hosts, Frank and Marie and their daughter Holly, for their hospitality and abundant refreshments.
 
  



 
It is with sadness we announce the death of Malcolm Tyler who died on 1st February. Malcolm was not a member of the NDOA but in the 1950s was Assistant Organist at Peterborough Cathedral and later at Canterbury Cathedral after which he took a teaching post in Devon. On his return to the County, he became County Music Organiser and eventually Head of the newly emerging Northampton Music School in Kettering Road. For a number of years he combined his work there with conducting the Northampton Bach Choir and the post of Organist at St. John’s, Peterborough before being appointed DoM at St. Matthew’s, Northampton. He was also a Lay Reader in the Anglican Church. A great compliment was paid him by Maurice Dunmore when he said in 2003, that in his 34 years as a music reviewer he had heard only two outstanding performances one of which was Malcolm Tyler conducting the Northamptonshire Youth Orchestra in a performance of Beethoven's Eroica Symphony. My thanks to Ron Gates and Hilary Davidson for their contributions.
 
  



 
There has been much head-scratching among organists’ associations as to the best way to reach those interested in the world of the organ and its music, but do not wish to undergo the academic demands of the Associated Boards or R.C.O. examinations and yet don’t know how to get started. That’s where Associations such as ours can fill the gap. In support of this, we have been given a Grant from the I.A.O. towards the cost of the recruitment.

The timing is crucial too, as it is a valuable prelude to the second NDOA event, Beginners’ Guide to the Organ which is to be held on 17th April at Olney Parish Church.
 
  

		You might think it unwarranted to commemorate musicians and composers who passed a mere fleeting glance at the idea of composing religious works least of all for the organ. However, I make an exception here. Thomas Augustine Arne was born in Covent Garden around 12th of March. There is nothing to suggest he came from musical stock, his father and grandfather being upholsterers but sufficiently endowed financially to send young Thomas to Eton College. Thomas was so captivated by music that he smuggled a spinet into his room, muffled it with a cloth or handkerchief and secretly practised while his family slept. According to Charles Burney, he also dressed in disguise to gain entry to the Opera House where he met Michael Festing who became a prominent influence. He initially suffered from the disadvantage at those times of being a Roman Catholic and thereby prevented from taking a range of professional appointments at Cathedrals or within the Royal Courts. He nevertheless, carved a career of his own. Marrying in 1736, he soon found himself very much on the musical map, composing popular masques, one of which was The Masque of Alfred which included his masterpiece arrangement, Rule Britannia. Other compositions followed especially music for Shakespeare's plays, Oratorios, performances of Handel’s works and Arne’s own arrangement of God Save the King, (see March 2009 Newsletter for a fuller background). Add other operas and Eight sets of Lessons for Harpsichord, Seven Sonatas for two Violins, a revival of The Beggars Opera as well as his Oratorio Judith and he was rapidly becoming accepted as the leading composer of his day. In 1759 he was awarded the Degree of Doctor of Music from Oxford University and
soon reached the pinnacle of his career. More masques and comic operas followed together with Four Seasons and, toward the end of his life, performances of some of his own most successful compositions meant his works were more popular than any previous English composer – including Purcell. Thomas Arne died on 5th March and was buried in St. Paul’s, Covent Garden where he had been baptised sixty-eight years before.

  



 
Back to Bach is the title of the extended ‘Lunchtime Live’ series of recitals at All Saints’, Northampton which runs until May this year. Its launch last December was a huge success with an audience of one hundred listening to Lee Dunleavy’s captivating explanations of the construction of the passacaglia form and, in particular, J.S.Bach’s Passacaglia and Fugue in C minor, BWV 582.

Lee began by saying that composers didn’t write down ‘nice tunes’ indiscriminately but used a variety of motives to create purpose and symbolism for them. Lee added that music is all about counting and so it is inevitable that the science of numbers should be a basis for some compositions and in this case, when numerology was coupled with Christianity, numbers took on mystic meanings.

A beat of three represented the Trinity; phrases of 21 bars were simply 3 x 7, seven being the biblical mystical number and, part of Fibonacci’s Golden Sequence. Rising or falling intervals and phrases, whether florid or sober, all implied images such as the rising sun, angels, man, animals or heaven even [similar to the alleged esoteric works of the 17th century artist Nicolas Poussin perhaps?], were all a vital part of the musical figurature of baroque composers.

These explanations were interspersed with demonstrations particularly that of the ‘ground bass’ which of course, is the bed-rock of the passacaglia and chaconne. Lee also illustrated the foot-print of this particular passacaglia with its melodic links to earlier works such as the Kyries from André Raison’s Masses as well as the numeric structure of passacaglia which he displayed in excerpts from Purcell’s Lament from Dido and Aeneas and, Oskar Merikanto’s Passacaglia in F sharp minor.

Finally, Lee used the Walker Gallery Organ to play the complete work which for many, is the ultimate in musical configuration and development seemingly exhausting every possible treatment of this hypnotic, repetitive, melody. Lee is somewhat circumspect about the title, ‘Lecture Recital’ but that’s what it was and, I believe, he is on to a winner.

  



 
The NDOA is pleased to announce that it has awarded our young member Callum Alger £100 from the Stan Tarry Fund towards the cost of organ lessons with Ben Horden, DofM at St. Matthew’s, Northampton. We wish him well in his studies.
 
 

 

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