
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.

                                                  

As mentioned in December’s Newsletter, this is the title of Canon Hilary
Davidson’s new book which is to be launched on April 18th at 7.00pm in
St. Mary’s, Knox Road, Wellingborough.
I do ask you to attend if at all possible as the book is an important
insight into the individual hymnody in the County by its very own
composers. Hymn tunes by the names of Abington, Brixworth, Creaton,
Rothwell, Wellingborough are a few, many of which would be well worth
resurrecting for today’s congregations.
If you simply cannot get to the event but would still like to have a
copy of the book, then please contact me.

                                                  

We extend a very warm welcome to:
Robert and Carole Page from Potterspury and Callum Alger, who is a young
chorister in the choir of St. Matthew’s, Northampton and eager to begin
organ lessons there under DofM Ben Horden. We are also pleased to
welcome Fr. E. R. Worthy, Parish Priest of the Roman Catholic church of
Our Lady of the Sacred Heart in Wellingborough. We do hope to meet you
all at some of our future events.
This brings membership to what must surely be an all-time high of
eighty-six and justly deserves our active support of President
Jonathan’s Recruitment Campaign more of which is covered later on page
5.

                                                   
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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
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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

                                                   

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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 |
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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. |

                                                  

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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.

                                                  

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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
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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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