September 2009

The Children's Choir

Revd Patrick Lawrence

“Let the peoples praise you, O God; Let all the peoples praise you”

The praise-singers of Israel were originally those associated with the tribal shrines, Bethel, Shiloh, Gibeon, etc.. In due course, Jerusalem became the centre of excellence for the praise of Almighty God.

The Psalmist, having in mind that God's praise should be sounded by Jews at a Jewish shrine, also acknowledged the desirability that such praise should be given by 'all nations' and 'all peoples', which presumably included the heathen and those who did not yet know God. The nature of such praise can be extended to Christian worship, where there ought to be no such thing as the 'right way' or the 'wrong way' to worship God musically, but with music which shows the worshipping community 'lost in wonder, love and praise'.

Rubrics 6 and 7 under the heading General Directions for Public Worship (Book of Common Prayer) prescribe something of the musical elements in public worship. Each rubric is controlled by the word 'may'. Canon 6 of The Constitution of The Church of Ireland provides more than enough latitude to those planning and ordering public worship so that notions of restriction or constriction can be dismissed.

Many parish churches in recent years appear to adhere to a self-imposed monochrome pattern when it comes to the musical expression of the worship in church. Hymns and canticles are sung with less enthusiasm and joy than the words might suggest. Sadly and less frequently, the psalms — sung with

more than a little struggle according to Anglican four-part chant, which in a reminiscing sort of way looks back to a time when many parishes could, with a sufficient number of capable and enthusiastic musicians, perform such a 'mystery' with competence!

Routine musical patterns kill the expectant musical spirit, unless such patterns are performed with a degree of perfection and are capable of satisfying a recurring need to hear and participate in a ritual which initially pleases the worshipper.

Why should this be the case? Perhaps there is a lethargy among those charged with the musical ordering of worship? An accidie of attitude which seeks, at all costs, to avoid criticism of new approaches? Perhaps even worse, a fear that the traditional expectations of worshippers will be undermined and that the worshipping 'core' of the parish will simply stay away in protest?

When the Psalmist urges that 'all the peoples praise you' such a sentiment was expressed that encouraged the outsider to come in, and on entering the presence of God would praise along with those already caught up in this mystery. This was not so much a proselytising desire than a desire that the whole people of God should sound His praise.

Let's extend the metaphor to parish life today. This rector enjoys the steady reliable singing of Sunday worship according to traditional Anglican expectations by a choir which obviously loves what it does, under the direction of a competent and imaginative organist and choirmaster. In an urban setting this is

facilitated by resources both financial and people. In small parishes (and in larger parishes too) there is no reason at all why this model should be seen as the only desirable one. After all a parish church should not strive to be a mini-cathedral which usually enjoys resources way beyond those of a parish to carry out its musical programme.

This rector, formerly at Julianstown, County Meath, enjoyed the privilege and challenge of forming, training, and worshipping with a wonderful children's choir. All were from the parish, some from more frequent worshipping families than others, all with mixed musical ability, but all with a common cause. The excitement and challenge of being in in something new, provided a challenge in terms of tenacity and performance. Some of the children came from families which had a good understanding of music. A small number of the children already held, thumbed, felt, and used Church Hymnal Sunday by Sunday.

The key to success was in those found to train and coach the singers. In the first instance, the Rector, of limited musical expertise, identified the likely candidates. On our first meeting, the children were 'tested'. This simply meant singing ‘Three Blind Mice’ as a group and in unison. Each potential choir member was then asked to sing a note from memory five seconds after hearing it, and then tested in his or her ability to sing and hold the selected notes of a given chord in harmony.

At the end of the first 45 minute session a show of hands was called for as to who wanted to be in the new choir. All hands shot up! From that first initial commitment, the Choir's ability and capability increased, to the point a year later of being able to sing at a wedding.

On the second week of practice the Rector's youngest daughter, Jane, herself an accomplished musician and singer, came to assist. Her magnetic and somewhat captivating nature provided an extra stimulus for the young performers. Each choir practice began with prayer. The Lord's Prayer was said 'as Gaeilge' and this tradition was extended to one Sunday a month during Sunday worship, text with simultaneous translation provided for the other worshippers.

Breathing and singing exercises often using non-religious tunes were used as a stimulus during what would otherwise have been lengthy learning of a hymn tune with words. Tidying up and putting away of hymn and prayer books ended each practice session, before soft drinks and biscuits were provided as reward.

Once a month we practised processional walks — in and out of the church, and in and out of pews. Finding our way around the Prayer Book, and learning and understanding the importance of being ready for what should come next in worship was also an important ingredient of our learning.

During the first six months of the formation of the choir a fully qualified musician and choir trainer was employed. The Select Vestry in its wisdom promptly agreed to finance this. Paola Cullen, an experienced choir trainer was identified and accepted the task of being the Choir Leader. A digital piano/organ — along with percussion instruments — were bought to encourage contemporary musical forms. For the Rector in the initial stages of selection and training, there were certainly some surprises in his discovery of musical talent among the children.

Much joy was experienced by all involved in the project which has continued through a time of a rector’s vacancy in the Parish.

Parishes should consider a project such as this, for many reasons. A children's choir brings much blessing in the richness of musical worship of Almighty God. It strengthens the musical content of worship. It creates a musical bond among participants, including the rector and those charged with training, and above all it proves that the praise of Almighty God can be offered by 'all the people' in a congregation.

Patrick Lawrence is rector of Monkstown parish and was formerly in Julianstown, Co. Meath.

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