Cantors and animators

[musicus]

Back to the topic now, please, (and I include myself).

[Nick Baty]

It was interesting to read Fr David Julien's words on here last week:

When a sentence will do, don't make a speech.
When a word will do, don't use a sentence.
When a gesture will do, don't say a word.
When a look will do, don't make a gesture.

I agree 100% but, just to make sure, I watched myself very carefully yesterday while trying to behave as normal – if you see what I mean – and made a few mental notes. And I can honestly say that I hope I was able to direct all the music without causing any of the distractions which some of the above posters fear.

This was one of the few Sundays when I explained why we were singing certain items: John’s Eucharistic Gospel over several weeks and several musical items recurring to tie the season together etc. The smiles told me I hadn’t interrupted anyone’s prayers but, as MCB notes above, I did have have to “break up the hubbub of community chatter” first.

I stood in my usual spot from the gathering song onwards. I had eye contact with the celebrant throughout. My left hand was free to bring in the choir (seated to my left) without the assembly noticing and a simple nod in the opposite direction brought in the assembly right on cue.

I noticed, during the intro to the Holy, that everyone looked at me but the second the singing started everyone looked back to the altar – I’d never really noticed their subtle eyes-left glance before.

During the psalm all eyes were on the psalmist – as they should be – and I saw how she brought everyone in with the slightest tilt of her chin. She’s a rather humble woman and probably doesn’t realise that she does naturally what some of us have spent years trying to get right.

Following some of the comments on here I was particularly wary of behaving like a liturgical propeller but there were one or two moments where only an arm straight in the air would do – mainly because I’m a shortarse and wouldn’t be seen otherwise.

Generally, I found it useful to be analytical about what I do, although I’m rather more aware of what I need to do to make it better: mostly it’s about marking up music in more detail. An extra hour of prep can make a huge difference.

I’m going to print out Julien’s creed, stick it to the front of my folder and read it before each celebration.

[Hare]

This IS on topic, and I do not wish to labour the point here, but I have to say that accompanying the cantor and/or choir softly (but with appropriately colourful registration) and then leading the assembly more loudly (and I don't mean bombastically) is the experienced organist's way of indicating to the assembly when to come in, and thereby acting in a way as animateur. The assembly do get used to this.

[Southern Comfort]

This IS on topic, and I do not wish to labour the point here, but I have to say that accompanying the cantor and/or choir softly (but with appropriately colourful registration) and then leading the assembly more loudly (and I don't mean bombastically) is the experienced organist's way of indicating to the assembly when to come in, and thereby acting in a way as animateur. The assembly do get used to this.

Both right and on topic. There are of course other ways in which the organist can animate the assembly ─ for example, using the same mezzo piano stops as for the cantor, but adding 16ft pedals, can also act as an aural cue. This works well for reflective music such as responsorial psalms and chant.

Sometimes we can play too loudly for the assembly. The Anglicans have that habit ─ they often seem to think that full to mixtures, even including reeds, is the only way to support an assembly properly (think King's College's Nine Lessons and Carols, for example, but you find it everywhere). It ain't. In fact it becomes very wearing over time. The reverse of animation.

[Hare]

This IS on topic, and I do not wish to labour the point here, but I have to say that accompanying the cantor and/or choir softly (but with appropriately colourful registration) and then leading the assembly more loudly (and I don't mean bombastically) is the experienced organist's way of indicating to the assembly when to come in, and thereby acting in a way as animateur. The assembly do get used to this.

Both right and on topic. There are of course other ways in which the organist can animate the assembly ─ for example, using the same mezzo piano stops as for the cantor, but adding 16ft pedals, can also act as an aural cue. This works well for reflective music such as responsorial psalms and chant.

Sometimes we can play too loudly for the assembly. The Anglicans have that habit ─ they often seem to think that full to mixtures, even including reeds, is the only way to support an assembly properly (think King's College's Nine Lessons and Carols, for example, but you find it everywhere). It ain't. In fact it becomes very wearing over time. The reverse of animation.

Glad I am not the only one - thank you!

The size of the assembly and the acoustic does make a difference though. I am playing for funerals today in 2 Anglican churches; in one, the organ is far too small, so you have to play flat out most of the time. In the other, it is ok for the building in theory, but badly sited, so again you have to play flat-out to give any support.

In any case, I would always advise aginst "under-playing"