It is said that, when a listener marvelled at his virtuosic organ playing, Johan Sebastian Bach responded that ‘There is nothing remarkable about it, all one has to do is hit the right keys at the right time and the instrument plays itself.’ Since the 2024-25 session began with the installation of our new organ, there are a great many more keys for one to ‘hit’ in the organ loft of St Brigid’s. Whether or not they are hit at the right time is another question entirely!
The acquisition of the new instrument had an immediate impact on the musical life of the parish. With its variety of sounds and the presence of the pedal division, the organ is very well suited to congregational accompaniment and is capable of a wider variety of organ music than was previously possible. From the Masses of Frescobaldi and Couperin to the chant-based music of Jean Langlais, there is something to suit everyone’s taste in sacred music, if not all at once. The small positive organ is still used and is well suited to chant accompaniment and early organ music.
Before the new organ could be used for the sacred liturgy, it was solemnly blessed during Mass. This dramatic rite involves invocations from the priest that call the sacred instrument to awaken and sing the praises of God. The organ replies with improvised responses. Over the following weeks, demonstrations of the organ were offered and those who took advantage of this opportunity were fascinated by what goes on at the console as well as inside the machine. A special demonstration for children drew a lively bunch who were able to ‘get a shot’ of tickling the ivories. The inaugural concert was given by Andrew Forbes, Director of Music of Glasgow Cathedral.
In addition to developments on the instrumental front, we have continued to enhance the musical offering at the Sunday Masses. The 9.30 Traditional Latin Mass, which was previously a low Mass with music, has flourished into a full Missa Cantata. The music at this Mass has been greatly enhanced by singers from the Cantores Matris Dei Chant Class. Having only begun to learn the chant a year ago, this group can now sing a cycle of the Gregorian Mass ordinaries and frequently contributes other chants at the offertory and after communion.
At the 11am Mass we have continued to develop our cycle of Mass ordinaries by adding two settings of the Mass; James Macmillan’s Mass of Blessed John Henry Newman for ordinary time after Pentecost and Daniel Justin’s Mass of St Joseph for Lent. We continue to use the Graduale Parvum for the simple English introit chants with the offertory and communion sung from the Graduale Romanum. The Graduale Parvum graduals were replaced with the authentic melodies set to English text found in the English Gradual until the publication of the new lectionary and the Catholic Truth Society’s ‘Psalms for All Seasons.’ A collection of hymns curated for their musical and theological merit continues to serve us well with the addition of seasonal hymns according to the traditional monthly dedications. Music selections continue to be published in advance on our website and posted on social media most weekends. The 11am continues to be greatly enhanced by Anne Marie, our cantor.
The Paschal Triduum was another highlight and featured the chanting of the Passion, the great intercessions, all of the Gregorian canticles of the Easter Vigil and, a very rare thing indeed, the Exulet sung entirely by the priest!
We have been pleased to continue our tradition of inviting guests to provide sacred music at St Brigid’s. Each evening of our Forty Hours was enhanced by a variety of musical offerings; organ improvisations, chant reflections from Cantores Matris Dei and sacred polyphony from a trio of guests. We were delighted to invite the Academy of Sacred Music to return to St Brigid’s who sang the 11am Mass on Gaudete Sunday and Choral Stations of the Cross during Lent.
In May Fr Byrne and I were invited to lead a day of talks and workshops on chant at Nottingham Cathedral. The day drew fifty beginners who, by evening, were able to sing Vespers. This illustrates that the liturgical and musical life of St Brigid’s serves as an example of what can be achieved when parishes commit to the pursuit of the two main purposes of sacred music as described by the Second Vatican Council; the glory of God and the sanctification of the faithful.
Fraser, Organist
