Society of Saint Gregory

You inadvertently raise an important issue about parish cantors (one verse setting suits all). The tendency, especially with published music, is to write for the lowest common denominator; as by definition one is aiming at as large a market as possible. There is also the fact that rehearsal time ...

Yes, this was the approach I used - no stress on 2nd syllable of 'pre-serves'. Certainly I found I could make things work musically without too many problems when I did this. More broadly, I think we are quibbling. There will always be issues with any text or translation; and you can bet that ...

I suppose that ultimately we will have to differ about how frequently infelicities occur; and partly these are a matter of individual taste and individual modes of expression. Yes, there are difficulties with the new version, but the Grail one was not without its issues too. My attitude is that ...

Yes, it is true I was making a generalisation; to which of course there might well be exceptions. However I am afraid the examples you give do not qualify. First, with Gelineau-style psalm texts what matters is not the number of syllables (which is variable) but the fixed number of stresses. Second ...

Yes, I have been adapting some settings too. This is not always damaging. Rather to my surprise I found that at times I could actually improve on the original setting. There are certainly aspects of the new texts that are irritating; but in my case I wonder whether this might simply be because I ...

Two points strike me: [1] Some 50 years worth of Psalm settings are being jettisoned as a result of the introduction of new mandatory texts. Some, however, may survive in adapted form: mainly those using Gelineau or Bevenot methods of composition. 'Through-composed' works are more resistant to this ...

I expect most people know that the Londonderry Air has been applied to two hymn texts: 'I Cannot Tell' and 'Lord of the Church'. Offhand I think they can be found in Mission Praise. The former would certainly justify its performance at a funeral. In any case I think the tune is pretty good, not ...

Several 'off the cuff' reactions. [1] Organists are more likely to be paid at funerals than in regular services - and usually they are paid more. The going rate was about £70 a few years ago. In such circumstances 'he who pays the piper should call the tune'. In such circumstances I also think it ...

I think there was an article about its replacement by the digital organ by Martin Barry in Music and Liturgy some 10-15 years ago

Sorry to be slow responding: Just some quick reactions: I take it you are working in an Anglican church, if your congregation is used to Anglican chant, so here are some of my 'Anglican' experiences: [1] The church where I currently work uses Anglican Redemptorist service sheets with modern Anglican ...

Sorry, perhaps I should clarify what I meant about the use of a Bourdon 16 on the keyboard of an organ: [1] I did not mean its use in a four-part hymn. As you say, it muddies the sound. [2] What I envisaged was its use for a rapidly moving bass line accompaniment (for example for a baroque figured ...

Concerning the survival - let alone revival - of Pipe Organs, the key point is that organists have to show creative imagination in their use during modern services today. Only then can the horrendous expense of restoring such instruments be justified. In particular they should: [1] Explore the ...

Yes, lots of churches do this sort of thing up here in Lancashire. I set up a sequence of concerts myself last year - jolly hard work. There are significant financial risks; and my biggest problem was getting my proposals past the PCC. Advertising is a major operation; and really you cannot expect ...

Yes, lots of churches do this sort of thing up here in Lancashire. I set up a sequence of concerts myself last year - jolly hard work. There are significant financial risks; and my biggest problem was getting my proposals past the PCC. Advertising is a major operation; and really you cannot expect ...

At the Anglican Church in Gisburn they do a metrical setting of the Gloria with paraphrase words by myself (follows the main text quite closely). It is sung to Tallis' Canon; so it is very practical as nothing new in the way of music needs to be learnt and it can be sung unison, or with 4 part ...