Churchgoing, anyone?

I came across this post in my 'drafts' folder, and had a sudden memory of a Blogger failure which prevented me from posting it. Never one to let a bit of writing slide into oblivion ...

I had cause a few days ago to think, not for the first time, about what it is that makes people go to church. I mentioned the question in a recent issue of the SEC magazine Inspires, when I wrote about a young child's reaction to services full of colour, music and exotic scents, but I'm not going to think about young children today. Indeed, when people talk about the need to have children in church, I often think rather of the need to have their parents there, especially in a town that young people tend to leave for further education and not return to until they are parents themselves. So what is it that a forty-something finds to draw them to a church? Or someone in their 50s, or a pensioner who suddenly discovers in himself a hunger to be more serious?* And what keeps them there? And why should they bother at all?

People who know me - or indeed who have read this blog over the years - know that I came to church through music. That sounds simple, but it's misleading. Music was the vehicle, yes - but I was singing the music, not listening to it. So am I still in church forty years on because of music? Not really. I am fortunate in that when I go to my own church I know that I can rely on the organist to meet my standards and supply the conditions under which worship is possible - but I'm married to him, and this isn't possible for the rest of the congregation. Not all at once anyway. I still like to sing - preferably plainsong or music of the Renaissance - but I'm not in a church choir on a regular basis. And I do not care to have to listen to a choir as part of my participation in the Eucharist - I long ago decided that the fun there is in the doing rather than the passive listening. It becomes positively painful when the choir isn't up to the music they sing, just as it is trying to have to listen to a poor organist.

So music can't be the whole story, can it? Time to stop thinking about myself, to consider the people among whom I worship and the church where I have been a member for the whole 40 years since I fell off my donkey. The institution, the people and the atmosphere have changed enormously in that time, and give me hope for the future. So what is it that trails us up that trying hill, to the not-very-easy carpark, to the church-that-could-be-warmer, at the very back of the town where it peters out into the hills?

Here's a list of attributes that I perceive as being the reason for people to come to a church - and to come back again. For a start, the atmosphere should be welcoming. Not just on the part of the official person at the door giving out the books, but of everyone else too - not intrusively, not oppressively, but welcoming so that the visitor can decide how much of herself to commit in conversation afterwards, feels able to ask questions. And it should be a safe place - safe to be sad, joyful, mad; safe to weep or to laugh; safe to ask for help. Ideally, the human nastiness that lurks in us all should be kept well out of the public arena: no bitching in the pews, no glares or sniffs because someone forgot their place in the rota or sat in the wrong seat. And there needs to be no self-importance on view - an inflated ego in the wrong place in a church setting can put the fragile enquirer right off their scone.

Do we come to church because we are always sure we shall be entertained or swayed emotionally? It might be pleasant to say 'yes' to that, but it wouldn't be true. What would be true, however, is that people come to church to be loved, loved for themselves and as themselves; that the people of God will reflect the love of the God they are there to worship; that in that setting, be it never so chilly or lacking in adornment, the combination of liturgy, music, prayerfulness and mystery will open a door to the bright places beyond. When that happens, it is no longer a question of why people come to church.

No. When that has happened, the question - one that is asked if for any reason someone is missing on a Sunday - that question will be a different one: why are they not there? Is something wrong?

And I believe I am fortunate, for after all these years in one church, I believe we are becoming that place.

*Philip Larkin: Churchgoing

A very Pisky hoolie

Choir at work
Originally uploaded by goforchris.

Other people have posted about last Saturday's lovely service in the Cathedral of The Isles on Cumbrae - not least Dean Swift (I love writing that!) whose day it was - or, more accurately, whose half-day it was: the Provost of the Other Cathedral was also being installed as a Canon, and all stops were duly pulled out for the occasion. So let's start with the image that cliché evokes: the organist for the day was Jonathan Cohen, remembered fondly by a certain age-range as the pianist in Playaway. He came from London specially to play for the Cathedral Choir, all of whom had also made a special effort to be there - from Edinburgh and Glasgow as well as  from Dunoon. We took with us another Dunoon alto who had never been in the cathedral before - she was well bowled over. As usual, we had to rehearse first - a scratch choir is an interesting beast, especially when there are no more than 3 voices to a part. The excitement of what is going on is amplified, if you like, by the frisson of wondering if we all know the notes well enough to come in as and when required, and if that person who claims not to have received the music in advance will lose his/her nerve at the crucial moment. So that, chums, is where my main photo comes from - that intense rehearsal when we not only deal with the music, but whether the new singer will find a red robe to fit without tripping her up - and would it be advisable to process in single file because of all the extra bodies in the nave?

Readers of this blog will know that my association with the cathedral goes back over 40 years, and that I have always sung there, and always in small groups. But there were people there to whom it was all new, and I found myself almost envying them the thrill of the experience, the whiff of incense, the sight of the candles and the gleaming brass, the pattern on the organ pipes from the sun through the windows. On the other hand, I had the thrill of singing Mr B's new anthem - a short setting of the Celtic Blessing "May the road rise to meet you" that had the hairs rising on the back of several necks.

I mentioned, jokingly, the Other Cathedral - the Cathedral of St John the Divine in Oban. Time was when I regarded Oban as a distant place where all the big diocesan happenings took place, but in recent years we have seen a distinct growth in the recognition of the special nature of the Cathedral of The Isles - not least because of the obvious delight felt by successive bishops in being there. A diocese operates most successfully when everyone in it feels tied in some way to everyone else, whether through personal ties made at Synod and meetings, or through the common links to the Bishop and his clergy. (I say "his" not out of sloppy traditionalism but simply because we have not yet appointed a woman to the post). And it will flourish the more when everyone feels welcome at both of the  cathedrals and in every church in Argyll and The Isles.

Our visiting alto's enthusiasm for what she had been a part of bubbled out all the way home through the rain and the rising gales. And what had made the biggest impression? Not +Idris' sermon, not +Kevin, not even the music she had so enjoyed singing - wonderful though each of these had been in their own distinctive ways. No. "Everyone was so friendly - and seemed so happy," she said.

And this is a mission tool that every charge can operate. Smile, children, smile ...

A fold in time

Really far too tired to blog this, but the moment will pass otherwise... Today's concert, Words & Music for Christmas, was an old formula that we devised some 25 years ago for the choir we had started when we came to Dunoon. The Hesperians was a mixed voice choir, about 15 voices strong, and when we began our Christmas events, always on the third Sunday in Advent, we packed the venue, with people up in the balcony that even then we suspected as being precarious. In 1996 we gave our final such concert and the choir ceased to exist, having run out of tenors.

This year the choir that is really the child of the Hesperians revived the format, and, in a folding of time, that was what we were involved in this afternoon. 8+1 is a female voice group - 8 women, 1 man (Mr B, the MD) - and for today we were augmented by a second bass to sing SATB pieces. The second altos have developed into convincing tenors, and the sound was magical in places; we also sang several pieces arranged for female voices. We actually achieved a sufficiently high standard to put a smile on Mr B's face - not a rueful grimace in sight today!

But the audience reflected the fact that there are so many more carol events in Dunoon these days. Gone the time when we were the only show of this type in town - and gone the children, our children, sitting solemnly in the front row with their grandparents, also long gone. We are the grandparents now - and our grandchildren are far away and probably don't realise that their grandparents don't know their place and are still up there performing. I kept looking up expecting to see feet swinging at the ends of legs too short to reach the floor, and seeing only a sea of grey heads.

But the adrenaline of performance still works its rejuvenating magic, even if we collapse in exhaustion afterwards, and the particular thrill of hearing our own work - Mr B's arrangements; a couple of my poems - performed in public is not easily beaten. The hall may be on the verge of demolition, the balcony long out of bounds because of rot; the choristers may suddenly have become 13 years older without really noticing - but today we performed our socks off, and showed how it can be done.

And if you've never heard The Christ Child's Lullaby arranged for solo voices (Gaelic and English), four part choir, piano and solo cello - you've missed yourself. 'Nuff said.

Bleak indeed - Darke too.

I was aware of the BBC Music Magazine's poll of the nation's favourite carols - I've just found the online equivalent here - and was happy to learn that the top choice was Harold Darke's setting of Christina Rosetti's "In the Bleak Midwinter". You can hear this version here.

However, when Radio Scotland got their mitts on the story this morning, they got it all wrong. For start, they did their usual hamfisted music clips thing before the report, so that the first thing we heard was the other well-known setting by Holst, which (a) is not the nation's favourite and (b) which I associate with the mournful droning of a sleepy congregation at midnight. Their guest musician pointed out feebly that there were two settings of the words, but either hadn't clocked the poll result or was too chicken to rage at his hosts. I'd have appreciated a John Cleese-type rant: Wrong! wrong! hopelessly wrong! - that kind of thing.

I want to think that we have decent media in Scotland and that even though the barren wastes of non-Anglican sensibilities are bound to have their effect there will be bastions of taste and decent research, but I keep being reminded of how difficult it is. And it was an interesting experience to go trawling for audio links this morning - there are some terrible performances out there. I have, however, found a decent one (in tune, couple of pleasing soloists) - so if you don't know what I'm talking about, have a listen. Then you can go and vote - use this site and have your say.

Still dwindling after all those years

Today in the Church Music Quarterly I read this:

During this period there have been vast changes both in the social and religious life of the country. Church-going has shown a serious decline and with it has come a big fall in the membership of church choirs ... People will not join the choir because it makes too much demand on their time.
It is useless to pretend that all is well, with dwindling congregations, choirs in danger of collapse, and many potentially keen young [people] being lost to the Church. And it is untrue to say that nothing can be done, for it has been proved again and again in hundreds of parishes that public worship can be vital and can still meet the needs of the day: and further, that good music, though not an end in itself, is a powerful means to that end for which all should be striving - the greater glory of God.

This was written by Sydney Nicholson, founder of the Royal School of Church Music - in 1943. Two things strike me - the obvious fact that it could perfectly well have been written last week, and the slightly less obvious one that life, apparently, went on while the whole world was engaged in a war which must have been removing choir men with depressing efficiency.

When I was a child growing up in a city (Glasgow) where bomb shelters and land-mine-destroyed tenements were my adventure playgrounds, I couldn't imagine how during the war anyone ever did anything except worry, mourn and cower in windowless cupboards (apparently my parents' favourite refuge during an air-raid, though as said cupboard, or lobby press, was in a top flat, I shudder to think what might have happened to them) Obviously they thought there was hope, or I wouldn't have existed at all. Is there, then, the same hope for the church?