I knew a vicar who was an organist. This is unusual. Quite often a vicar and his organist are at odds. At stake may be differing styles of performance. It is hardly ever a case of knees-up versus solemn chant. More likely it is a matter of knowing the difference between Radio Three and Radio Two. A vicar with an understanding of musical form and history will comprehend what makes his organist impatient with what he sees as rudimentary musical pleasures and will be able to deal with a rift in a discreet manner.
Underlying what may seem to be an educated or blundering congregational response to what is on offer in the way of the Sunday a.m. musical package are factors that are never specified or taken into account. One such factor is the absence of explicit discussion about a musical framework that may suitably enshrine the script or subtly transform it. Arthur Sullivan is an interesting person in this context. He joined forces with Gilbert in producing saucy operettas and on his own account gave us a rousing tune for ‘Onward, Christian soldiers’ and a sentimental one for ‘The Lost Chord’. Like my friend the organist he could move from one world to another with ease.
As Lionel Dakers observed 30 years ago, ‘the average churchgoer is as basically conservative over his music as he is over most other aspects of church life.’ This, I take it, is just as true today. Recognising the merits of Graham Kendrick and others, he noticed too the waves of sentimental sweetness, fierce aggression and grim awareness of the powers of evil making an appearance. James Whitbourn has made the point that it is easier to articulate words about music than it is to achieve results through music.
My friend the vicar found it difficult, I guess, to discover music of integrity that is acceptable to a discriminating ear and within the reach of the musical novice. When the shape of worship is at stake, this becomes burdensome. We can hardly fail to notice that there seems to be an irremediable dichotomy between the music of worship in a cathedral and the music in a well-attended parish church with instrumentalists eager to do their bit. It is of course possible to aim at music of integrity that does justice to both ends of the scale but there are bound to be hitches and disappointments as well as high-spots and exultation.
One unwritten rule in the specification for an incumbent’s task is the musical (and poetic) education of parishioners. The infrequent attention to this (when did you last have an invitation to discuss the excellence or otherwise of hymns for Sunday morning?) is regrettable and easily remedied. But I recognise my own shortcomings and the point made by Whitbourn. I say no more.
ON THE EDGE
St Martin-in-the-Fields has a special place in the hearts of Londoners and much further afield. One of its strengths is its impressive musical tradition. Sam Wells, the Vicar, has something to say about the mission of St Martin’s in a video on the church website. He talks of ‘Being with God on the edge’, saying that this was where Jesus spent most of his time, on the edge being the place to find poor and disadvantaged people. Also, he says, on the edge is the place of imagination, innovation and risk-taking. Sam Wells has been at St Martin’s since 2012. He is married to Jo, a bishop.
HILLSONG
Hillsong is a big name in contemporary Christian music. Originating as a Pentecostal church in Sydney, Australia, Hillsong grew from 45 members to be a mega-church with approaching 20,000 in its congregation. It is now represented in 43 countries and has published 40 albums, selling 11m copies. Its music is popular in many UK churches.
If you have a comment on this post please send an email to Revd John King at johnc.king@talktalk.net Edited extracts may be published. To forward this to a friend click on the chain icon below.
Comments