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Alan Wheeler, the Editor of Once A Chorister (2000) recalls his very special visit. It is Saturday 9th December, two weeks before Christmas 2000, and I am in Cambridge for the weekend to take a look behind the scenes, and then to experience Carols from King's. Over the years, I have enjoyed the Christmas Eve television presentation but am curious to learn how such a wonderful service is brought to the public year after year.
My first port of call had been to visit Stephen Cleobury whom I met in his office in Gibbs' Building adjacent to the Chapel. As Director of Music at King's College, Cambridge, and Chief Conductor of the BBC Singers, Stephen is associated with two of Britain's outstanding choirs. King's College Choir was founded in the 1440's by Henry V1 and its worldwide reputation owes much to the annual service on Christmas Eve of A Festival of Nine Lessons and Carols which is broadcast to a radio audience of millions, and to the televised service Carols from King's recorded for BBC Television. It is this televised service which I am here to take a look at. Seated in his office, I asked Stephen Cleobury at what stage did he consciously begin to plan for the services. He replied that it was about a year beforehand, but that the services were always in his 'sub-conscious' and he is always alert to new carols particularly since he has commissioned the composition of a new carol every Christmas since his appointment in 1983. The services are planned with the BBC in August and September and finalised in October in good time for the printing of Radio Times. It is important that the music should reflect the lessons; for example, the reading of the journey of the Wise Men might be linked to Three Kings from Persian Lands by Cornelius. Carols from King's is pre-recorded for television by the BBC some two weeks before Christmas, and the BBC has editorial control, whereas A Festival of Nine Lessons and Carols is broadcast live at 3.00 pm. on Christmas Eve and the BBC "eavesdrops". For the television production there is a full rehearsal on theSaturday, with the recording being made with a congregation present on the Sunday. "Are there reserved seats for Choristers parents?" I ask, remembering all too clearly my hours of standing in the cold and rain outside Canterbury Cathedral in order to secure a seat in the Quire to listen to my own son. He hesitates and then tells me that Chorister parents at King's do not have reserved seats for the service, though they do have tickets allocated to them. He does go on to say, however, that after the Christmas Eve radio broadcast the parents join their sons for a Christmas party at school, and that the men have a special dinner in Hall. "What about choosing the boy to sing Once in royal David's city?" I ask. " Well," he replies, " there are usually some four to six boys from whom I can choose, and I make the decision for the live broadcast when the red light goes on ". "Are you nervous, and how do you prepare for the services?" I ask."I must be fully prepared musically and mentally, then I can avoid the jitters," he replies. "I see my job not only relating to the music but in motivating, not frightening, the choir to give of their best. I have to have a good plan for rehearsal." Stephen mentions his viola teacher who told him that the great thing is to concentrate 100 % on the music and not worry about what people may be thinking. He goes on to say that the choir sings on a daily basis and they aim to sing of their best and take just as much care daily as they would for an important occasion: "we can't have a lazy eleven months and expect to perform well just at Christmas time ". "What have you brought to the Christmas services?" I ask. "I consider my position as being a privilege and a responsibility and have tried to do my best to maintain the tradition and standards of King's. To be more specific, to commission a new carol every Christmas and to broaden the repertoire. Any great tradition," continues Stephen, " needs to be nourished and refreshed, or else it withers on the vine. For the millennium Christmas services I have commissioned two new carols, The Shepherd's Carol from Bob Chilcott for the television broadcast and The Three King's by Jonathan Dove for the live radio broadcast.
Before we enter the Chapel we had, at 2.00 p.m. met up with James Whitbourne, BBC producer. He kindly shows us around the inside of the BBC vans linked together to form the mobile T.V. control room parked on 'the cobbles' outside the Porter's Lodge and along King's Parade.
What an experience ! I had been impressed when in 1998 I had been inside the single BBC van that was at the heart of the live Radio 3 Choral Evensong broadcast from Canterbury. The set-up at Cambridge was, however, much more impressive, looking almost like a mini NASA control centre. There were rows upon rows of television monitors and sound control systems that left me totally amazed. From the outside you would never imagine that so much equipment could be installed inside these mobile units. There was barely enough room for the engineers!
After leaving the vans the three of us, Edward Stevenson-Rouse (Canterbury chorister parent), James Whitbourne (BBC Producer) and myself, enter the Chapel through the South Door. We have walked but a few steps into the Chapel when James stops and wonders aloud at the sheer beauty of the scene as the low winter afternoon sunshine streamed through the south windows and took on the colours from the stained glass, painting them onto the fantastic fan vaulting which decorates the stone ceiling. The Chapel is one of the most magnificent examples of Perpendicular architechure in England. Started by Henry V1 in 1446, its construction interrupted by the Wars of the Roses, it was not completed until 1515. Flemish craftsman then took the next 26 years putting in the glass of vivid reds and blues and subtle yellows and greys. We had witnessed a stunning introduction to this magnificent building. Then on towards the Choir, where James spent as much time as we needed explaining the technicalities involved in the recording. Along with all the lighting and the microphones, there are nine television cameras employed. They include one in the organ loft, three under the organ loft, one running the length of the Cantoris back stalls behind the choir and one situated at the east end of the boys stalls on Cantoris. Two cameras are positioned just below the East window high up above the Rubens painting (' The Adoration of the Magi' painted in 1634 and recently bequeathed to the College), which are operated remotely and although only one is used, the second is there as a back up, explains James. He also goes on to mention the purpose of the black dust sheets which are used to cover cameras when they are not in use: this renders them invisible to the cameras which are being used. " You won't be able to see them on television,"says James. The first television service was in 1954. In more recent years it has become an annual occasion and is now part of the tradition of the place. The entire service is scripted in very great detail and an enormous amount of concentration is needed to ensure that all goes to plan. " Essentially it's the same production team as last year (1999),and like a football team they all know what their jobs are, " says James.
Stephen Cleobury then arrives and we go over to say "hello" to him . Edward and I then settle into the stalls on Decani and await the rehearsal. The Choristers and Choral Scholars fully robed - starched collars, surplices - take their places at 2.30 p.m. and are briefed by Stephen Cleobury. "Don't come jumping in early on page 22..." Tenors take care..." "Give prominence..." " Boys, stand back from the front of the stalls: if you want to be on telly don't sway about..." " Watch your pronunciation, no 's' on ..." "Try not to snatch that first note..." " Care with breathing particularly on page 5..." "Watch there for changes of speed, go very, very carefully..." Ten minutes later at 2.40 p.m. guidance is still being given: Needs to be more second tenor..." "Boys, hands down your sides except when turning a page and no swaying about..." "Altos - last bar - much more F sharp..." At 2.50 p.m. Stephen says, " Now let's have the Sussex Carol " and at the end he enquires of the producer " How was that for you, James?" to which the reply over the intercom is, " Yes, that works very well for us". At 2.55 p.m. Stephen invites the choir to be seated. " In a moment we will have the full run through and during the procession leave the music in the stalls: it reduces the risk of dropping it, " he tells them. A production assistant and a cameraman chat with choristers who are clearly thrilled to be working with the BBC, and then the choir moves out of the stalls and essemble at the East end, under the Rubens; from there they process back singing Once in Royal David's city and resume their seats in the stalls. A lady candlebearer sits down next to me and asks to borrow a pen, final adjustments are made to microphones high above the choir using a long pole, and the full rehearsal begins. As the rehearsal proceeds Stephen Cleobury appears more relaxed. The organ accompaniment of Benjamin Bayl and Daniel Hyde is excellent, complementing and not drowning out the choir.It is particularly skilful during In the Bleak Midwinter. 3.50 p.m., and just into Riu riu, chiu, Mira the Floor Manager has a discussion with Stephen Cleobury, the result of which is that choristers are asked to look at the soloist as he moves out of the stalls to take up his position on the floor of the Choir. The readings by people drawn from various walks of college life are rehearsed often with lighting engineers simultaneously varying the brightness of the uplighting.
It's 4.30 p.m.: Mira is giving encouragement to those of the readers who are not unexpectedly a little nervous, and a Choral Scholar with a cough is handed a glass of water. The rehearsal of the singing ends with Hark, the herald angels sing and with an at-ease Stephen Cleobury still encouraging the boys.
Stephen has a little more feedback, saying "there may be more tomorrow but I'll give you these points whilst they are in my mind". It's almost 5.00 p.m. Lighting engineers are fine-tuning the uplighting of the roof columns and the choir leave for one more task to record Once in royal David's city : it is this recording which will be used during tomorrow's service. The readers also pre-record their readings so as to reduce the amount of camera movement during the Sunday service. Edward and I leave the Chapel. We were the only outsiders to be allowed to sit in during the rehearsal and for this we are most grateful, as we are for the warmth and assistance shown to us. We feel privileged to have witnessed the afternoon's work.
Although the service, admission to which is by ticket, starts at 3.00 p.m., a queue is already forming at 1.30 p.m. and our umbrellas are all the protection we have against the driving December squalls. Inside, the BBC are making final adjustments. The time goes quickly as I chat to Tim and Suzanne Stobbs who, having had one of their boys in Canterbury Cathedral Choir, now have two sons here at King's !
We are allowed in just before 2.00 p.m. and walk in an orderly manner to the Choir where we choose our seats. Its a friendly relaxed atmosphere and proves to be a small world , with the gentlemen sitting next to me telling me that he attended the Chelmsford AGM and that his son is a Choral Scholar. Last minute preparations are made, and the shorter choristers have been loaned aluminium BBC lens cases to stand on to even out their height ! Stephen Cleobury addresses the congregation and tells us what carols and verses we may sing and advises that there will be a break of a few minutes during the service to facilitate the moving of television cameras. Mira, the Floor Mananger, asks those on the front row to hide their umbrellas, although black ones are no problem as they don't show up on camera. At 2.50 p.m. the Dean, The Revd George Pattison welcomes us : " This will be an hour's break from the Christmas shopping," he jokes. He asks us to remain in place at the end of the service, " even if it means over-running the parking meter or missing the train home". He explains the BBC may need five or ten minutes at the end for a couple of retakes. He then turns our attention to mobile phones and to wristwatches, asking us to ensure that they are switched off and any alarms cancelled. " Even if you know you have switched then off, please check again," pleads the Dean. " If something does go off, it's usually the most idiotic jingle, and you wouldn't want it to be you," he quips. He also explains that there will be a pause between the fourth and fifth Readings to enable a camera to be moved. He asks us to remain standing at the end for the organ voluntary and to note that the retiring collection is for Macmillan Cancer Relief.
The service continues with a lovely tenor solo sung by Andrew Staples in verse three of In the Bleak Midwinter and he is sympathetically accompanied by the organ. Silent Night, a firm favourite of mine, is beautifully and movingly sung. The Shepherd's Carol (music by Bob Chilcott ) then follows. Composed for the service, it is a hauntingly wonderful piece. It fits into the service very naturally and will surely become a firm favourite at Christmas time, indeed I felt is was as if it were already a familiar carol. There is a pause of a few minutes after a reading by Honorary Fellow Robert Tear whilst a camera is moved from behind the choir to a position at the end of the row of boys on Cantoris. The service continues with Shepherds O Hark Ye, Glad Tidings and then a Choral Scholar, Alexander Milner, steps down from his stall on Cantoris and stands facing Stephen Cleobury. He sings the solo verses of Riu, riu, chiu wonderfully, but quite how he manages to do so with a television camera no more than a metre away from the right hand side of his face is quite remarkable. At about 3.50 p.m., and as the Chaplain, The Revd Dr Emma Hebblethwaite,was in the middle of her reading, there are two loud noises which sound like a heavy door thudding closed. No problem here, as this and other readings were pre-recorded yesterday. The service ends at 4.25 p.m. with us all having sung a most splendid Hark, the Herald. Mira the Floor Manager, then re-appears, script in hand, and has a few minutes discussion with the Dean and Stephen Cleobury. The result is that the BBC request three retakes. The first is the carol The Shepherd's Farewell and involves the choir, who are asked to startfrom verse two. As for the congregation, we are told that we will " love another chance to sing Hark, the Herald followed by God rest you merry, gentlemen"! I am not sure why we had to sing these again, but it was all very enjoyable. The BBC declare themselves happy and we, the congregation, are 'allowed' to depart at 4.55 p.m. What did I think of my two days of carol's from King's ? Firstly the choir was excellent. The choristers were as good as you would expect and I daresay would rank amongst the top half dozen cathedral choirs. However,it 'dawned' on me that the ingredient which made this choir especially good compared with an average cathedral choir is th Choral Scholars. Here at King's each and every one of the men are clearly very gifted young musicians; there are no passengers. I believe that amongst typical cathedral lay clerks there are some equally talented singers but there also dwell those who are but enthusiastic amateurs. Secondly, I noted how Stephen Cleobury never seemed so much at ease as when he was conducting : anxieties vanished - he really enjoys this part of his role. Thirdly, I marvelled as I viewed the recording, shown on television on Christmas Eve, at the seamless way in which the BBC team had edited the programme. Next, I enjoyed being part of the congregation; there was a good spirit and none of the stuffiness one sometimes finds. But finally, and most of all, and I suppose quite unexpectedly, I really enjoyed the newly commissioned carol. It often takes time to become familiar witha new piece of music ; so often they are too modern and can irritate an old traditionalist such as myself. I hope, therefor, that you, the reader, will have the opportunity of hearing the Shepherd's Carol - you won't be disappointed.
Article first published in Once. A . Chorister. Volume 6 No 4 The Magazine of The Federation of Cathedral Old Choristers' Associations Reproduced with permission of the Editor (2000) Copyright. FCOCA 2001
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