Choral music

Thursday

Richard Bratby

Forget the Proms and Edinburgh – the Three Choirs Festival is where it’s at

The Proms have started but there is a world elsewhere, and in Worcester Cathedral the 296th Three Choirs Festival set sail with a concert that couldn’t have happened anywhere else. A few years back I caused grave offence when I described the Three Choirs as a ‘home of lost causes’; as if, coming from The Spectator, that could ever be anything but a compliment. In truth, there’s still no classical music festival that provides such a sense of being plugged into a vital and ancient tradition – of being so close, as Elgar put it to ‘the living centre of music in Great Britain’. So here we were with the

Thursday

Ysenda Maxtone Graham

Let hymn in: the silencing of indoor singing is senseless

‘And now we sing our final hymn, number 466.’ Remember that? The euphoria of congregational hymn-singing? The well-organised types always had the book open at the correct page, balanced precariously on the pew. The rest of us hurriedly flicked to 466 while singing the first verse, knowing it by heart from a thousand school assemblies. ‘Our shield and defender, the ancient of days…’ I can’t believe I’m writing this in the past tense, but it has been so long — almost 15 months — since anyone not in a choir sang a congregational hymn. How I miss that light-headedness, almost faintness, of standing up after a long service and singing

Thursday

Alexandra Coghlan

Josquin changed musical history – why don’t we hear more of him?

Stepping into the Sistine Chapel, the choir loft is probably the last thing you’d notice. ‘Loft’ is, frankly, a stretch for what amounts to a small alcove with a wooden bench, carved out of the chapel’s wall. But if you made your way up there and ran your hand over the stone you’d feel something unexpected. Etched into the wall in haphazard graffiti are hundreds of names. In most cases the carvings are all that remain of centuries of singers from the papal choir. But one is different: ‘JOSQUINJ’. Chances are it’s the only surviving signature of Josquin des Prez — a composer whose name and legacy are carved just

Thursday

Alexandra Coghlan

How we became a nation of choirs and carollers

Between the ages of 15 and 17 I had a secret. Every Monday night I’d gulp down dinner before rushing out to the scrubby patch of ground just past the playing fields, where a car would be waiting. Hours later — long after the ceremonial nightly locking of the boarding house — I’d sneak back, knocking softly on a window to be let in. I’d love to say that it was alcohol or drugs that lured me out. It wasn’t even boys — or, at least, not like that. My weekly assignation was with Joseph and Johann, Henry, Ben and Ralph. My addiction? Choral music. Better than some and worse