Editorial
From the current issue of Choir & Organ
VOICES FOR TODAY
The British Composer Awards have been announced, and congratulations to Julian Anderson, who won two awards (including the Liturgical category with Bell Mass), and to Michael Zev Gordon, whose Allele (see Jul/Aug 2010 issue) won the Choral category. I know few composers with the supreme confidence (some would say breathtaking cheek) of Schubert, who apparently once declared, ‘I am composing like a god, as if it simply had to be done as it has been done’; but most would say they write because they have something meaningful to say, and seek a distinctive voice with which to say it.
But that distinctive voice doesn’t stay the same: over the years, each of us absorbs external influences – whether or not relating directly to our art – which we integrate into our musical persona: we are reminded of this in Paul Hillier’s feature, which touches on the impact of gagaku, gamelan and Aboriginal music on composers living on the Pacific Rim. We constantly, if imperceptibly, metamorphose if we are to retain integrity in the face of changing circumstances. It is this grey area that the arts inhabit: everything is provisional, and there is no room for fundamentalism.
Stepping into this quicksand is the question of how to perform music of earlier eras. Ongoing research continues to uncover pointers towards how music was likely to have been performed in its day; but is it the last word on the subject? Three internationally renowned organists – David Higgs, Jon Laukvik and Dame Gillian Weir – help us to arrive at a better understanding of how to approach historically informed performance; and perhaps Jon has the mot juste when he says, ‘There will never be a “right solution”, only convincing ones.’
‘Convincing solutions’ are sought by all organ builders, perhaps especially those who build on historic principles while accommodating the acoustics and ears of today. How do two such instruments – one at Cornell University, the other the first of its kind in Ireland (page 18) – measure up to their respective roles?
Finally, Choir & Organ is delighted to embark on a year’s partnership with Salisbury Cathedral, who will premiere the featured works of all our New Music composers, starting with Paul Burke. Composers, thank you for your contributions, and we look forward to hearing your voices.
In The Next Issue of Choir & Organ: March/April 2012 on sale from 28 February
In our new series on conducting choirs, international choral luminaries address key aspects of their art. David Hill kicks off by asking, 'How do you draw the best out of a choir during rehearsals?'
In 1862 'Father' Willis supplied a 2-manual instrument for St Matthew-in-the-City, Auckland. Now, the family firm has built a new IV/54 organ for the church. Philip Smith tells the story.
These are difficult, if not dangerous, times for the arts. Andrew Stewart examines the impact on radio choirs of the current financial constraints.
Digital organs have traditionally divided the organ community; but given recent technological improvements, can they provide a practical and cost-effective alternative to pipe organs? Graeme Kay puts the question to some well-known organists.
The choir of St Thomas's, Leipzig, is known the world over, not least because of its association with J.S. Bach. In its 800th year, the present Cantor talks about the role of the choir today.
Plus...
our regular columns, news, reviews, and international summer schools supplement.
