Making the Crotchets big enough
by
Simon Lindley FRCO (CHM)
Master of the Music, Leeds Parish Church
Ever since the appointment of Dr Watkins Shaw as Honorary General Editor forty years ago, the pivotal nature of this most important position has been integral to the year by year work of the Church Music Society. This position has been held by Harold Watkins Shaw, Sir David Lumsden, Dr Richard Marlow and Richard Lyne, who has served devotedly since 1986.
Gordon Reynolds used to hail each CMS publication by name at the meetings of the Executive Committee, usually full of praise for the issue in question and always especially positive when he felt that the note ends on the crotchets had been supplied with 'big enough blobs'. Responsibility for using different types of production systems for the layout of particular repertoire is but one small aspect of the work of our Honorary General Editor, Richard Lyne - someone with rare gifts and distinction as practical musician, scholar and vocational teacher.
Asked how he came to be sitting in the Society’s editorial chair, Richard outlined the early influences on his life.
It all began with membership of his local church choir in South London at the age of six. After school (King’s College School, Wimbledon) Richard was a student first at the Royal School of Church Music’s College of Saint Nicolas (at Addington Palace) and then at the Royal College of Music. Abiding memories of the RSCM students’ schedule include the eagerly anticipated weekly plainsong Evensong under the direction of our vice-chairman, then Addington Tutor, Michael Fleming; this service often concluded with a stunning organ improvisation by Michael - a master of the art. Richard regards the RCM of the late 60’s as enjoying something of a golden age. His fellow students at that time included the Society’s Chairman and Honorary Secretary. Influences recalled with affection include those of piano professor Harry Platts (who would refer to a sheet of music thus: 'this is only the recipe' - any edition was an updating of "the recipe"). Other important contacts were made with John Morehen, who deputised for the inspirational Sidney Campbell; some five years after leaving College, Richard undertook - with John Morehen’s help and encouragement -an MA course at the University of Nottingham in performance and editing of Baroque and Renaissance Music. Music prepared for his final exams there was the 1662 Cantica Sacra of Richard Dering - works for two and three voices with continuo. Some were later published by RSCM - the first works in Latin to be emanate from Addington.
One of the most significant dates in his professional life was 1978 - the year of his appointment to the professorial staff of the Royal College, his alma mater. This post heralded the start of a lasting friendship with and growing affection for Harold (Watkins) Shaw who later invited him to edit three of Dering’s larger motets for publication by the Society. In 1986, Richard became our Honorary General Editor in succession to Richard Marlow who had resigned owing to pressure of other commitments; he regards it as a great honour to serve in succession to such eminent predecessors as Dr Shaw himself, Sir David Lumsden and Dr Marlow and enjoys especially the thrill of enabling performers to bring to life music that may not have been heard for centuries - citing as examples the 2- and 3-part Dering pieces mentioned above which had been performed at Hampton Court Palace (only a mile from his present home) on the instructions of Oliver Cromwell.
Apart from occasional - and very enjoyable - deputising for Ian Curror at the Royal Hospital, Chelsea, Richard’s work with choirs has always involved amateur singers. He is, therefore, understandably very keen for the Society to provide good music for choirs who are less proficient than Cathedral or Collegiate foundations.
With the demands of two young daughters who require ferrying to music lessons, lacrosse matches, riding and sailing, Richard has but little spare time. Katharine plays flute, Antonia violin and bassoon. Katharine also follows in her mother’s (and grandmother’s) footsteps as a keen lacrosse player.
One suspects that Christine (without whom he asserts that little would be possible) provides much support for the burning of the editorial midnight oil as well as wife and mother, for the Lynes are an extremely happy family and warmly welcoming to visitors young and old.
Non musical activity include the garden - at present looking very bleak and sorry for itself. (That’ll be due to so many imminent CMS issues, no doubt!) - but the wonderful sight of strong new shoots piercing the soil will spur him into action. There’s also cookery (much of it extempore - he rarely follows a recipe unless one of Delia Smith’s). Another aim is getting to the Gym once each week.
Richard also tutors for the Open University on a fascinating new course in music ‘from composition to performance’ which includes some editing. He is Secretary of the Organists’ Benevolent League, a small charity founded by Sir Frederick Bridge in 1909 (only three years after the CMS) whose aim is to help organists or their dependants in times of need.
Particularly important in good editions are clear, unambiguous printing (the look of the music is vital). Beats should be as evenly spaced as possible to avoid confusion and what is original on the one hand and editorial on the other should be easily discernible. He aims at a sensible balance between practicality and authenticity.
His pet niggles include mistakes which, in spite of painstaking proof correction, leap from the page as soon as the final, printed copies arrive; meetings, for meeting’s sake; choirs performing music too difficult for them and the ‘them and us’ situation which can occur in churches. He stresses that the Choir is merely a part of the congregation which happens to worship in stall or gallery and helps to lead and enrich the worship of others. Richard emphasises how valuable is the simple performed superbly - such as Gibbons’ Drop, drop, slow tears or the Sanctus from Schubert’s German Mass. He is saddened by those clergy who seem to feel threatened by music offered by the choir, failing to realise how it can enrich the experience for many, but considers himself hugely fortunate to work in fruitful partnership with a super Priest in Charge at his home parish whose ‘day job’ is as Lecturer in Law and Ethics at the United Medical Schools in London. His priest supports and encourages all that is done and sings in the choir whenever possible. The church, just outside Kingston-upon-Thames, is really a tiny country church but offers a wide variety of music - all of which is appreciated.