• Par 4: The reviewers say the Holy of Warrington Acclamations has a tempo marking of dotted crotchet = 60 – correct. But they then say there is “no performance direction as whether this is intended as reflective music in a pastoral 6/8 or a jollier jig-like number”.
• Par 4: They say the Per Ipsum marking of “slightly slower than Holy” is followed “immediately” by poco accel – no it isn’t. There are eight bars between the two. If they are complaining that one direction is in English and the next in Italian, I would ask who would understand leggermente più lento di Santo.
Some comments are bizarre
• Par 3. The reviewers grumble that the memorial acclamations are attached to the tune of Holy. I would refer them to the Guide for Composers, 6C, par 30.
• Par 6. They comment on the "oddity" of the Amen ending on the same minor chord as the Holy – not quite sure why that’s odd (unless they would prefer something like the final bars of Mozart’s A Musical Joke K522). And they say that "the three preceding acclamations have ended on major chords". Of course, only one acclamation does as only one is used in any celebration.
• Par 4. They ask why the “Holy, Holy” (sic) is called “Holy”. OCP uses “Holy”, GIA uses “Holy, Holy, Holy”. There is no precedent, apart from the review for “Holy, Holy”.
• Par 7. They note that the Amen of Bakhita Acclamations ends on "a positive D major chord” and ask why this wasn't the case in the Warrington and St Clare Acclamations. One is tempted to be facetious and point out that the latter two are in E minor so a chord of D would sound a tad odd. However, the serious answer is that Bakhita is a completely different set of acclamations and one in which a chord of D features regularly. (Except when performed by a well-known musician in the south of England who has changed chunks of the accompaniment – but he's a kind chap so I have forgiven.)
• Par 7. They ask what is meant by Maestoso ma rimbalzante, translate it as "stately but bouncy" (I would say "majestic but bouncy") and then ask what it means.
One cannot argue with the points they raise about word setting etc – a worthwhile debate. And noone could not argue with their opinions on a piece’s usefulness (or otherwise) in parish liturgy. Tell me its crap, tell me noone should ever sing it, tell me it should be shredded. But if music is to be criticised for following the instructions of the Liturgy Office, for using standard terminology and on the basis of untruths, is there any point in others submitting future items?
So I won’t have the threatened queenie fit. I shall reposition my Norma Desmond shades and satisfy myself that the two people who asked for “tightened, sharper editing” misspelled "Bakhita" as "Bhakita" and turned the good sisters of Ty Mam Duw (Welsh for "House of the Mother of God") into Mam Duw ("Mother of God"), as well as moving them to the unknown town of Hawardens.
Another gin, please, Barbra. And pass me a Sobranie.
