Catholic liturgical music is serious, solemn, transcendent, but Catholic musicians are never more fun and inspiring than when they are talking about what they love most. This is what happens at sacred music events around the world: the social and intellectual are critically important elements. The musicians (and music enthusiasts) at the Chant Café, a project of the
Church Music Association of America, bring that sense of life and love to the digital world. As St. Augustine said, "Cantare amantis est."
Among the contributors:
Also past contributors:
Jeffrey Tucker, writer, editor, entrepreneur, musician |
archiveNick Gale (1975-2015), organist, choral director, for 13 years Master of the Music at the Cathedral of St. George in Southwark |
archiveBen, schola director and organ student |
archive
e-mail:
contact@chantcafe.com
Wow! Not very articulate, I know, but … wow!
And it would appear that there is no director – consistently with a praiseworthy current fashion.
Director-less ensembles are GREAT!
This one does so by following the age-old British tradition of the first violinist leading the entire ensemble…which is also the tradition of all great orchestras that do the same when they have an inferior conductor on the podium, and this keeps their playing from falling below a certain level. There is an element of pride in being able to to this.
Roy Goodman of the Brandenburg Consort is an example of a Leader.
It is interesting to see that this leader is able to not only communicate with the instrumentalists but also with the singers and get his/their interpretation across.
In these situations there tends to be more "let's get it together and do it" attitude than when a tux-wearing conductor stands and waves a baton.
In a choral world where baroque works are often nothing but loud and soft hearing this work done so musically is astounding, and will be a good influence on many people. I've never liked this piece, now I know why – the problem wasn't the piece.
Noel, I feel the same way. I never liked it before. Now I see that it is wonderful!
Ah – little Roy Goodman – what a voice.
Back to the topic: yes, the attention to detail and sheer verve are remarkable.
Ensembles led from the chamber organ or harpsichord can work well, too. Peter Lea-Cox did this for a number of years in London, both in his Bach Cantata Series and at St. Anne & St. Agnes (a Lutheran Church in the City of London), where he was Cantor.
Ian, a direct transcription of the "what a voice" score is in The Catholic Choirbook 2.
I've been in touch with Goodman…it's said that they sang from the Ivor Jones Novello edition, but there were some major changes that vary from the score on the CD. Seemed like time to put it on paper.
Naturally there are those who are going to scream DO IT IN LATIN, but this English version has taken on a life of it's own.
The first time Goodman got in touch with me by way of an email about finding a harpsichord, it wasn't till 2 AM that I woke up and went to the computer to see if it was THE Roy Goodman and it was! What a thrill. I'd given out the Bach St. John Passion DVD he's on with the Brandenburg to employees that year as a Christmas gift.