Church Music

Sun (Auckland), Volume 1, Issue 60, 2 June 1927, Page 14

Church Music

Question of Voices BOYS OR WOMEN

The annual presentation of Bach’s “St. Matthew Passion” at St. Paul’s Cathedral during Holy Week has again given rise to the customary controversy in English musical circles as to whether or not women soloists should not he obtained for this music. The recent performance of the same

work at Westminster Abbey also raised the question of the soprano and alto arias. At the Abbey and at St. Paul’s, as also at Southwark Cathedral, they are sung by boys, which, it is contended, could never have been Bach’s intention. In the opinion of one English critic the arias in the Passion represent the reflections of the Christian onlooker, and Bach has filled this music with the deepest and most passionate feeling, such as cannot come naturally from children. Technically, too, the great melodies want the body of tone of a trained adult voice.

In conclusion he states that “Since the ‘St. Matthew Passion’ is more and more sung in English cathedrals the propriety of introducing women soloists, who are necessary for the sake both of the music and the literary sense, ought to be admitted.” MALE CHOIRS ESSENTIAL On the other hand it is admitted by all authorities that for such music as Palestrina’s “Stabat Mater” and Passiontide and Easter motets, an exclusive male choir is essential, for that, of course, is what Palestrina had in mind, while in A Cappella singing the mala choir seems particularly desirable. A LA CAPPELLA A cappella—a la cappella, to be more exact —signifies literally “at the chapel”; that is, “as at the chapel.” The phrase gets its significance from the fact that in Europe nearly all the choirs of the chapels (or churches), and especially of the more important ones, do at least a great deal of their singing without instrumental accompaniment. And thus “a cappella” has come, by association of ideas, to signify unaccompanied choral singing.

This type of song has a long and honourable history in Europe. The singing in the great chapels of the early centuries was unaccompanied, organs not becoming at all common, even in the most important churches, till in the sixteenth and seventeenth centuries.

In the Russian or Greek churches hey never have been introduced; and t is here that unaccompanied singing las reached its greatest perfection. The

famous “octavists” of the Russian choirs, who sing almost an octave lower than the usual bass, give a wonderful solidity to their music.

In European choirs the upper parts aro sung by boys, the mixed choir being mostly an American institution, if not invention. In the Sistine Chapel Choir of Rome, the Dom Choir of Berlin, the Madeleine Choir of Paris, and in the great cathedrals of Cologne, Vienna and of all England, only male voices are used.

In New Zealand it is to be regretted that owing to the difficulty in obtaining and training boys’ voices, this form of singing is so rarely heard.

Sir T. Beecham

His New Role Against the Reds After a lifetime devoted to music. Sir Thomas Beecham has suddenly become a politician and announced his intention of carrying on a campaign against the Reds, whom he describes as a crazy gang of mongrel Asiatics.

“I have something to say about politics,” he declares, “because I believe it is time Englishmen governed their own country. Agitators arrive in England carrying a hat in one hand and a red flag in the other. It is no wonder sensible Americans and people on the Continent are astounded at our softheadedness in enduring such twaddle. The Reds should be cleared out bag and baggage.” Sir Thomas Beecham, who is 48 years of age, and who was created a baronet in 1914, is widely known as a musical composer and conductor, and operatic impressario. He was responsible for the visit of the Sheffield Choir to New Zealand some years ago.

Sir Thomas recently created considerable interest in England by his announcement that musically, England as a nation no longer exists. During the past month this noted conductor gained warm approval from English critics by his masterly handling of Delius’s “Sea Drift” and the Mozart “Symphony in C, No. 34.” given by the London Symphony Orchestra.