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Michael J Foley, Director of Music Jan 1962 - Apr 1980
Michael Foley joined the staff of St. Alban's as Assistant Director of Music
under Edward Bloomfield. Michael had one day visited St. Alban’s to listen to
the music, and perhaps to see how the building of the new Compton organ was
progressing. (Michael worked for the organ builders John Compton & Co. at the
time, and toured the country, demonstrating Compton organs.) He attended the
Consecration service of the rebuilt St. Alban's church in June 1961 and was
moved by what he saw and heard. He wanted to be a part of St. Alban's
music-making at that exciting time, and offered his services.
Michael had been an organ enthusiast from childhood. In his early teens he
played truant from school, cycling around Essex where he lived, in order to
visit as many churches as possible and play their organs - in those days most
churches were left unlocked all day.
The following profile of Michael Foley was written by Fr. Priest, our Vicar from
1965-79, and was printed in the Bourne Echo of June 1966:
'Michael was born in London in 1938 and in London he has spent most of his life.
During the years 1957-59 he completed his National Service in the Royal Army
Dental Corps stationed in Canterbury, during which time he seized the
opportunity of taking part in a number of major concerts held in the Cathedral
there. His musical education has been mainly of a private nature, but he studied
the violin, conducting, harmony etc with Reginald Adler, a pupil of Sir John
Barbirolli, and who now leads the Essex Chamber Ensemble which plays regularly
in St Alban’s Church. As an organist, Michael is mostly self-taught, but he
worked for a time with Conrad Lewis of St Mary, Bourne Street. During his time
in the Army he was chosen to attend a course of music training and was taught
composition by Dr Geoffrey Bush and Malcolm Arnold (composer of much music for
the films). Michael has some compositions to his credit, and although they are
so far unpublished they have been performed in our church.
His previous appointments include: S Alban’s, Ilford, 1954-55; S Mary Magdalene,
Paddington, 1955-57; S Agnes, Kennington Park, 1958-59; S Margaret, Leytonstone,
1960-61; appointed Organist and Master of the Choristers S Alban, Holborn,
January 1962. Michael is also Musical Director of the Merton Singers and
conductor of the St Alban’s Singers, with whom he has, in the last few years,
performed such works as the Bach S John & S Matthew Passion, Fauré’s Requiem,
Mozart’s Requiem and a number of smaller works. He spends a good deal of time in
giving organ recitals up and down the country, and in giving lessons. He is
employed by the John Compton Organ Co. Ltd. as Assistant General Sales Manager.
In July of last year he married Maureen Rye, the well-known and popular leading
soprano of our choir.
Years ago, when I was vicar of the Isle of Dogs, I was blessed with six
assistant curates, but alas, no organist was available. One day a boy of 17 or
18 years of age appeared and offered to play the organ for weddings, and as on
the Isle of Dogs we were kept quite busy with Saturday weddings, this offer was
quickly accepted. Little did I then know that some ten or more years later we
were to meet again, I as Vicar and he as organist, of S Alban’s Holborn. We are
more than lucky in having so competent a musician, so able a Master of the
Choristers, and so brilliant an organist, and we should all be not only
grateful, but most appreciative of his ability, his enthusiasm and his worth.
The happy relationship which exists at S Alban’s between the organist and the
self-styled musical Vicar should be an encouragement to others of the same class
who do not, and seemingly cannot, work together without friction, unhappiness
and unrest.'
As may be surmised from Fr. Priest's profile, Michael was somewhat scornful of
qualifications. He felt that if you could do something, you didn't need a piece
of paper to prove it.
Michael was one quarter Jewish, and took pride in his Jewish connections. For
many years, whilst organist at St. Alban's Holborn, he was also organist of St.
John's Wood Liberal Jewish Synagogue, and later at Wembley Liberal Synagogue,
where he played regularly until his death.
The magazine The Organist published an article by E.W. Gallagher reviewing
Compton's latest organ in St. Alban's church. The article concluded 'It is good
to know that the nature and philosophy of this fine and most distinctive organ
are fully appreciated by Mr. Michael Foley, who handles it with skill,
enthusiasm and, above all, lively imagination. There is a vibrant atmosphere
about the musical affairs of this church under his keen leadership. He is indeed
fortunate in having secured the energetic support of his fine choir with whom,
it would seem, he is prepared to tackle pretty well anything, yet the
congregation may safely take it for granted that he will never let the side down
by an inadequate performance. Byrd, Stanford, Fauré, Mozart, Schubert,
Palestrina, Elgar, Wood, Stravinsky - all these and others too have their little
niches in the repertoire of this most devout body of singers under their equally
dedicated musical director, who is ably backed up by his assistant, Mr. Roderick
Davies. What would churches who value decent musical standards do without people
such as these! In the midst of all this, a magnificent church organ stands ready
at the bidding of its player to evoke every mood and emotion of which organ
music is capable…’
This article captures the mood of those times. Michael was indefatigable in
organising large numbers of orchestral and choral concerts on Saturdays,
mid-week, lunchtimes, and 'sermons in music' replacing the sermon at Evensong
once a month. The list of recitals and concerts at St. Alban's, and their
programmes, is so long that I have put it at the end of this article, so as not
to interrupt the flow of the text. Michael had an extremely large network of
musical friends, and managed to persuade most of them to come and perform at St.
Alban's for special occasions. One suspects they generally gave their services
gratis, since this number of events would otherwise have been unlikely to break
even. Michael's social circle was wide, and he frequently made new acquaintances
who were singers. This seemed to be the way in which singers were recruited to
the choir. I suspect that Michael did not set much store by auditions, and I
know of no-one who sang in the choir in Michael's day (myself included) who was
auditioned. Singers joined the choir at Michael's invitation, and were given a
trial period. Michael's network also meant that he was involved with
music-making in many other places besides St. Alban's. The father-in-law of one
of St. Alban's basses was rector of St. Olave's, Hart Street, and Michael took
on the organisation and promotion of lunchtime recitals there. St. Olave's also
hosted an annual service for Trinity Lighthouse, attended by Prince Philip, and
Michael was the Director of Music for this event, with St. Alban's choir
singing. St. Alban's choir also sang there for some Saturday weddings.
Michael also took St. Alban's choir to perform elsewhere, and it was often hired
for society weddings, the singers attending prestigious receptions afterwards.
The choir gave a concert at Waltham Abbey, performing the Haydn Passion. One
former choir member recalls a recital at Westminster Abbey for which the
programme included Gerald Shaw's Filsham Mass, a piece of 1960's 'accessible'
church music which Michael championed, but it was not popular with all of the
choir, including my informant. He felt the piece was not in keeping with the
rest of the programme, nor with the venue. The recital took place at the time of
the IRA bombings in London and there was a bomb scare, just as the Filsham Mass
was to be sung, so the Abbey had to be evacuated. As a result the Filsham Mass
was not performed, to the relief of some, and was taken by them to be divine
providence!
However, let's return to the start of Michael's tenure at St. Alban's:
1962
APCM, April 24th: 'Fr. Startup* reported to the meeting that whilst we possessed
one of the loveliest of modern churches, a few snags had been discovered. This
was particularly true of the acoustics. Steps were being taken to overcome this
and indeed he had spent quite a long time that evening with the Architect and
Churchwardens discussing the problem. He asked everyone to be patient on this
matter and be sure that something practical was being done…He was sure the
congregation would like him to express its deep appreciation to Mr. Michael
Foley our organist and the members of the choir for the really lovely way in
which the traditional Holy Week and Easter music had been sung.'
*Fr. Startup was our Vicar from 1947 -1965
Centenary celebrations: 'On the evening of Sunday, May 11th, 1862, our first
vicar, Father Mackonochie, in a verminous room over a fish and chip shop in
Baldwin’s Gardens, conducted the first service in the newly-formed parish of
SAINT ALBAN THE MARTYR, HOLBORN. The service consisted of the Prayer Book Litany
followed by an instruction. We propose to celebrate this event as the Centenary
of our parish on Friday, May 11th, 1962, and will repeat the same service. At
6.30 p.m. the Litany will be sung in procession, followed by a Solemn Mass.'
Music for the Centenary
FRIDAY, 11TH MAY, SOLEMN MASS
Missa Aeterna Christi Munera - Palestrina
Sacerdotes Domini - Byrd
SUNDAY, 13TH MAY, SOLEMN MASS
Ecce Sacerdos Magnus - Burgess
Mass in B flat - Mozart
How lovely are thy dwellings - Brahms
SOLEMN EVENSONG & BENEDICTION
Canticles - Gibbons
Glorious in Heaven - Vittoria
The Bourne Echo reported: 'None can forget the magnificent music, the singing of
the choir, the organ and the orchestra, the trumpets sounding forth at the most
solemn moments.'
1963
APCM, Tuesday April 16th: 'A real tribute must be paid to the musical side of
our services and the work done by our Choirmaster and Choir - this was
especially true of the Holy Week music and the glorious Bach Passion sung during
Lent.'
'In June this year there is to be a Conference in London of International Organ
Builders and a desire has been expressed by its delegates to hear and inspect
the organs in three London churches, S. Paul’s Cathedral, S. Peter’s,
Clerkenwell, and S. Alban’s, Holborn.'
MUSIC FOR ST. ALBAN’S-TIDE
Saturday 22nd June, St. Alban’s Day. 12 noon, Solemn Mass.
Mozart in F
Motet: O quam gloriosum, Vittoria.
p.m. Solemn Evensong.
Canticles: Gibbons Short Service
Motet: Glorious in heaven, Vittoria.
Sunday 23rd June. In the Octave
a.m., Solemn Mass.
Schubert in G (with orchestra)
Motet: How lovely are thy dwellings, Brahms
Voluntary: Organ Concerto no. 7, Handel.
p.m., Solemn Evensong.
Canticles: Stanford in G
Te Deum: Stanford in B flat
Voluntary: Toccata in F, Widor.
'The Evening Mass on Friday, July 12th, will be sung in requiem for the repose
of the soul of William Conwy Roberts, a member of our choir who died so suddenly
in April. It will be followed by a short recital of music beloved by him.'
'On Sunday August 25th our Solemn Mass is to be televised by I.T.V. at 11-0
o’clock.'
1964
January: 'Hugh Shaw died in Hammersmith Hospital on 7th January. Hugh, a member
of our choir, was taken ill during the Summer and for the last few days of his
life he was very ill indeed. He had been anointed some time ago by Father
Vincent, the Hospital Chaplain, and received the blessed sacrament regularly. He
leaves a wife and three young children. For them and his mother we offer our
Masses and prayers in their sorrow. May he rest in peace.'
Parish Party. 'Well over 100 people gathered together in the School on Thursday,
January 16th, where a good time was had by all! Appetising snacks of all kinds
were served on trolleys and a running buffet was kept open for the whole
evening. We are greatly indebted to Mr. Michael Foley and members of the Choir
for a delightful half-hour of music, which was much appreciated.'
On 5th June Fr. Startup died. 'As the funeral bell tolled on the afternoon of
9th June, Father Startup’s body was received into his beloved church. The
procession, led by the cross, moved up the aisle. About 80 people listened to
the words of the antiphon to the psalm De Profundis: “If thou, O Lord wilt be
extreme to mark what is done amiss, who may abide it?”…When the coffin had been
placed on the bier surrounded by the six tall candles, and the biretta and
purple stole had been arranged on the coffin, Solemn Vespers of the Dead was
sung. The priest began the antiphon to the first psalm “I will walk before the
Lord in the land of the living”. Vespers over, the two assistant priests recited
Matins and Lauds of the Dead while a few people remained in church to continue
their prayers until the beginning of the Solemn Mass of Requiem and the
Absolutions of the Dead. The Mass was sung by Father Avent, assisted by Father
Brooker as Deacon and Father Hill as Sub-deacon. The church was packed…About 15
priests sat in choir with many more in the congregation…The strains of the
Introit rang out: “Rest eternal grant unto him, O Lord, and let light perpetual
shine upon him”…The ablution over, then came the Solemn Rite of Absolution. The
choir began the Responsory “Deliver me, O Lord, from death eternal in that
dreadful day, when the heavens and the earth must pass away, when thou shalt
come to judge the world by fire”…The rite was ended with the singing of the
Benedictus…On Wednesday morning a large number gathered in church for the Low
Mass of Requiem and Absolutions celebrated by Father Brooker…As the cortège left
for Brookwood Cemetery, many people from the parish stood outside the church and
the two classes from the School who had attended the Mass lined up outside the
school…The procession was led out of church by the celebrant reciting the
antiphon In Paradisum…The hearse was followed by seven cars and a coach which
between them conveyed about 80 people to the cemetery.'
Patronal Festival:
Sunday 21st June: Evensong
Canticles: Walmisley in D minor
Anthem: I was glad. Parry
Te Deum: Stanford
Monday 22nd: St Alban’s Day
Solemn Mass: Missa Brevis. Palestrina
Sunday 28th
Solemn Mass: Coronation Mass, Mozart (with Orchestra).
Anthem: How lovely are thy dwellings, Brahms
Evensong
Canticles: Stanford in C
Motet: In pace, Blitheman
1965
'At thirty minutes past six in the evening of March 8th, the great organ roared
out its welcome to Douglas Hamilton Priest, as he preceded the Lord Bishop of
London up the aisle of our magnificent and well-beloved church. This was the
beginning of a series of moving ceremonies in which Father Priest became the
second Vicar of the combined parishes of St. Alban, Holborn, and St. Peter,
Saffron Hill…Six hundred voices swelled to the strains of the Veni Creator.'
Thus began a happy and creative partnership between the Vicar and the Master of
the Music. Michael and Fr. Priest really hit it off. Michael had great respect
and affection for Fr. Priest, who liked good music, and who encouraged Michael
to be adventurous. The number of concerts and recitals increased dramatically.
The ten-year period from Fr. Priest's induction till his 40th anniversary of
ordination celebrations in June 1975 were Michael's most productive and creative
years at St. Alban's.
APCM 21st April: 'The Vicar spoke appreciatively of the excellence of the music,
but hoped that the singing would become rather more congregational in accordance
with modern universal practice.' I believe this heralded the introduction of a
congregational setting of the Creed which, till then, had been sung by the choir
to the choral setting of the day.
In May the Parish Magazine began to list the music for the month, for the first
time since the war.
10th July: 'The wedding of Michael Foley and Maureen Rye, leading soprano: Music
by Parry, Wesley and Britten was performed at the ceremony, held at St. Alban’s.
The organ was played by Arnold Richardson, Director of Music 1936-42, and the
choir was conducted by Edward Bloomfield, Director of Music 1959-61.'
1966
March, letter to the Bourne Echo: 'Dear Father,
I unfortunately overslept this morning and so was forced to attend the 11
o’clock Mass.
My first impression was that I was attending a recital, and as the Mass moved
along I seemed to lose my interest completely and felt a definite aggression
towards these singers who were taking away my concentration. The music was very
beautiful but completely swamped the service throughout.
St. Alban’s, as I understand it, has been trying to move with the times, and has
achieved a Mass with the people joining in and we have had sermons to this
effect.
But the result of the choir’s singing this morning seemed to me to be having the
opposite effect, and unfortunately we have taken a step backwards by producing a
Mass which is extremely difficult for the congregation to take part in.
Has anybody else these misgivings, or am I just feeling particularly difficult
this morning?
Yours sincerely
(Mrs) D.J. FOSTER'
April: To the Editor, Bourne Echo - 'Dear Sir, I was very sorry to see a letter
in your magazine complaining that the singing of your excellent choir was a
distraction to worship. This struck me, a visitor to St. Alban’s or its wartime
temporary homes over many years, as a most undeserved rebuke to a highly
competent and hard-working body.
I feel that S. Alban’s is so much more than a parish church. It has a great
reputation as one of the pillars of Anglo-Catholicism, and it ought to be filled
with a discriminating congregation from far and wide, who would appreciate its
noble building, stately ceremonial, and lovely music.
Its twin pillar, All Saints Margaret Street, is usually packed to the doors, and
that church has always maintained, at vast expense, its own Choir School, like a
Cathedral. People don’t go just for the music; but the music certainly is a very
special part of “worship in the beauty of holiness”.
If some folk are allergic to good music, a fine organ and organist, and splendid
choir, surely they can go to other services, where these privileges are not
provided.
Yours sincerely,
Lawrence Clarke.'
To the Editor: 'Dear Father,
MRS FOSTER VERSUS THE SUNDAY MASS
In the first place, your correspondent was the victim of misadventure, she
overslept. Then, too late for the 9.30 Mass, she was FORCED to attend the 11
a.m. Mass and her mind naturally revolted. Mrs. Foster overslept: in consequence
the normal course of her life was diverted. A reasonable excuse for being
temporarily out of harmony with the divine language of the Sung Mass.
Yours etc.
O.M. Taylor'
To the Editor: 'Dear Father,
With reference to Mrs. Foster’s letter in the last issue of Bourne Echo I
consider that she is taking a very narrow view on the point of worship at St.
Alban’s on Sundays.
I think we are very fortunate in having two Sung Masses, catering for everyone.
Firstly the 9-30 a.m. Parish Mass which emphasizes the Family Meal at which
everyone can sing their heads off.
Secondly the beautiful 11 a.m. High Mass for those of us who feel in the singing
of the Ordinary of the Mass Sunday by Sunday to the same melody, as at 9-30 Mass
- and I have suffered this for many years at my last Parish - the words lose
their meaning and become parrot-like, and we long to be inspired by beautiful
singing where we can meditate on every word and meaning i.e. our faith is
brought home to us in the Creed and the wonder and glory of God in the Gloria
and Sanctus which the composer interprets for us and we feel the glorious
majesty of God in the holy sacrifice of the Mass, at which we are taking part.
May I add how fortunate we are at St. Alban’s to have such a wonderful choir and
organist to make this all possible.
I hope that Mrs. Foster will be able to realise this the next time she is FORCED
to come to the 11 a.m. Mass and not think of it as a Music Recital. Why
shouldn’t one of God’s most precious and great gifts, the gift of Music, be used
in his praise, honour and worship at Holy Mass?
Yours faithfully,
A.C. Lee'
'Dear Father,
Having read Mrs. Foster’s letter in this month’s issue of Bourne Echo, I am sure
that the majority of people who regularly attend the 11a.m. Solemn Mass each
Sunday would not agree with her criticisms that the singing and music
“completely swamped the service throughout” causing her to “lose interest
completely” so that she felt “a definite aggression” towards the singers who
were taking away her concentration.
I have always found the music and singing perfectly adjusted to the beautiful
liturgy and a very great joy; together, carrying one on with complete absorption
to the great Canon of the Mass. Far from producing, as Mrs. Foster suggests, a
Mass in which it is extremely difficult for the congregation to take part, St.
Alban’s has achieved one which is living and vital and in which all can take an
active part. This surely is a step forward, not backwards!
Yours sincerely,
(Mrs.) Louise Wilson'
April: 'In the weeks ahead worshippers will enjoy the unusual experience of
seeing a work of art in progress. On the scaffold erected behind the high altar
Mr. Hans Feibusch, a famous mural painter, will be at work, giving visible being
to his vision of Our Lord in glory…Mr. Feibusch will have before him a painting
surface rising some 50 feet from the ground…He is accustomed to working on this
grand scale and has recently completed in Newport, Monmouthshire, what is
believed to be the largest mural painted in Europe since the 18th century. This
great undertaking is not designed as a memorial to anyone, but rather it is done
as a THANKSGIVING for the lives and ministries of three former Vicars, Fr. Ross,
Fr. Eves and Fr. Startup.'
APCM 14th April: 'The Vicar said that the work of the organist and choir could
hardly be surpassed, and he was very grateful for what they had done.'
MUSIC FOR JUNE
Patronal Festival: 'The music chosen to be sung in church at this time is most
inspiring and worthy of our so great musical tradition. As an extra this year,
we plan Solemn Evensong with orchestra on Saturday 25th June, at 6.30 p.m.
Possibly, too, an exhibition of the Church Plate and Vestments. Again, possibly,
after Evensong a Cheese and Wine Party, outside if fine, inside if not. The
choir will sing music appropriate to the occasion, and an orchestra of old
instruments, such as serpents and viols - the type of orchestra that used to
supply music to churches before organs became so popular and of such you may
read about in Thomas Hardy’s Under the Greenwood Tree - will also beguile us.'
Trinity Sunday, 5th June
11-0 a.m. Darke in F. Hymn to the Trinity, Tchaikovsky.
6-0 p.m. Wood in E flat. Above Him stood the seraphim, Dering.
Corpus Christi, 9th June
6-30 p.m. Stanford in C. Ave verum, Mozart.
Trinity I, 12th June
11-0 a.m. Byrd 4 part. Ave verum, Wills.
6-0 p.m. Harwood in A flat. Evening Hymn, Ley.
Trinity II, 19th June
11-0 a.m. Harwood in A flat. Jesu dulcis memoria, Victoria.
6-0 p.m. Batten 4th service. Gloria Patris, Tallis.
Alban, 22nd June
12 noon. Jackson in G. O quam gloriosum, Victoria.
6-30 p.m. Messe solennelle, Gounod. Glorious in heaven, Victoria.
Saturday, 25th June
6-30 p.m. Stanford in A. I was glad, Parry. Psalm 100, Vaughan Williams.
Hallelujah, Handel.
Trinity III, 26th June
11-0 a.m. Missa brevis, Kodaly. How lovely are thy dwellings, Brahms.
6-0 p.m. Walford Davies in G. O quanta qualia, Harris.
NOTE: The services on Saturday 25th June, at 6-30 p.m., and on Sunday, 26th
June, at 11-0 a.m. will be accompanied by organ with orchestra.'
Retrospect of the festival: 'The experiment of having Solemn Evensong on the
Saturday night proved an enormous success. The Church, in spite of rain, was
nicely full and the music most glorious.'
July, From the Vicar’s Window: ORGAN RECITALS. 'These we have on the second
Wednesday in each month. They are indeed a regular fixture. Would that more
people made them so. It is sometimes rather sad to see how few people seem to
enjoy these recitals. Surely more, many more, people could support us, for, as
you well know, the money collected at these recitals all goes towards the cost
of our Church music. Many of us think nothing of paying quite high prices for
seats at a theatre or a cinema. Why be shy of attending a music recital which
may well charm the ears and so enable you to give generously to the cause of our
own music?'
A farewell message from our artist: 'Dear Friends, I have completed my task and
am leaving you after three months’ work in this beautiful church. They were
exciting months from the first day on, when Mrs. Bray, my assistant, and I stood
trembling on the top platform of the scaffolding, gazing down into the vast body
of the church and at the surface of the wall stretching away endlessly beneath
us…I would beg you to look at the mural, when you sit in front of it, not only
to puzzle it out, but to also let it sink in quietly…let your eyes travel slowly
over the wall and enjoy all the colours, the light and the movement you will
find there. To achieve richness of treatment and beauty of colour are as
important to the artist as the telling of the story; they are in fact his form
of worship. And he hopes that the choice of his colours will rouse an echo in
your hearts and will help you lift them up in prayer.'
October 19th, 6.30 p.m.: Dedication of the Mural
Ecce Sacerdos, Elgar
Mozart Mass no 4 in C
I saw the Lord, Stainer
I was glad, Parry
Let all mortal flesh, Holst
'The Lord Bishop of London dedicated the Mural painted by Hans Feibusch. The
Bishop was greeted in the customary manner, with trumpets and the singing of the
motet Ecce Sacerdos Magnus, set to music by Edward Elgar. Then after the Gospel
of the Mass, the act of Dedication, and till then the Sanctuary was but dimly
lit, but now, with trumpets sounding, all the new lights were turned on and the
Mural glowed in all its glory. After an excellent sermon from the Bishop, the
Mass proceeded in all dignity of movement, all excitement of splendid music and
all wrapped in a great spirit of devotion and praise which pervaded the church.
Perhaps there was too little for the congregation to sing, but when it did, as
in the Creed, the Lord’s Prayer and in the Canon of the Mass and in the last two
hymns, well certainly such a volume of praise had scarce been heard in the
church for many a day.'
November: 'Some people think we spend too much on our music. Maybe that is so.
But at least the choir make every effort to lighten this cost by arranging
recitals both organ and choral. But the support of our people to these efforts
leaves much to be desired. Anyhow, you have a great chance in November, for on
Wednesday, 9th November, there is to be a performance in church of the Requiem
by Fauré. May I count on you all to fill the church for this, so that we may be
encouraged to put on a performance of Messiah by Handel in December?'
1967
July: SUNDAY EVENSONG 'The number of people who come to Evensong on Sunday
nights gets smaller and smaller. This is a great tragedy, for the Evening Office
is so very beautiful. But if people won’t come, what then are we to do?
Certainly I must point out that the Sunday night collection falls far short of
covering the cost of incense, candles and music which Solemn Evensong and
Benediction demand. Should the position not improve then some drastic changes
must, at the least, be seriously considered.'
July, Vicar’s holiday: 'I made my way to Bristol, for I wished to see the new
church of All Saints, Clifton. During the war the church, like St. Alban’s, was
burnt out. I had known this church most of my life and, indeed, when I was up at
the University of Bristol I had organ lessons from the organist and was one of
the assistant organists…I became, not unnaturally, a friend of the organist*
while I was up at the University. During this time he composed a Mass which he
called Missa Sancti Albani. For these two reasons I presented our choir with
copies, and they gave the first performance in our church some time ago now. For
those who may be interested it will be sung on the first Sunday in October.'
*Kirby
September: 'We at St. Alban’s should not only be proud, but deeply grateful, for
the enormous work and effort put in by the Organist and members of the Choir in
the wise choice of music made and in their so capable and beautiful performance
of the same.'
October 25th: 'The Dedication Festival was attended by Michael Ramsey,
Archbishop of Canterbury. His Grace told me after the Service how very, very
happy he was to be able to visit us, that he much enjoyed the Service and was
most impressed by the size of the congregation, the lovely music and the
dignified ceremonies.'
1968
'Congratulations to Mr. and Mrs. Michael Foley on the birth of a daughter,
Rebecca Frances, on April 8th.'
June, Vicar’s Window: 'Saturday 22nd June - St. Alban’s Day - and despite a
rain-washed evening, the Church was packed for the Solemn Mass at 6-30 p.m. That
in itself was thrilling enough, but the music of the Dvorak* Mass, superbly sung
and played uplifted the hearts of all present in the worship of Almighty God.
What a wonderful beginning it was to our Festival Weekend to be sure. And again
the church was packed for the Sunday Mass and again both Choir and Orchestra
thrilled us all with their excellent performance of the Mozart Coronation* Mass.
Yet again the Church was full for Solemn Evensong and again the music was
triumphant. To Michael, our organist and his choir, I do indeed offer my
heartiest congratulations for everything done for the praise of God and in
honour of S. Alban.'
*These two pieces do not accord with the printed music list, which shows the
Masses as being Schubert in C on the 22nd and Dvorak in D on June 23rd.
Dedication Festival: 'In response to many requests, the choir will sing the
Dvorak Mass, which gave so much pleasure on S. Alban’s Day. But this time there
will be no orchestra. The Mass was originally written only for organ, and Dvorak
added the orchestral parts later. Neither will the Dvorak Creed be sung, as it
really is rather long for a Sunday Mass, and nothing is more thrilling than to
hear the congregation reciting their belief, albeit to the music of Martin
Shaw.'
1969
APCM, April 9th: 'The Vicar announced that Mr. Hans Feibusch would paint 14
Stations of the Cross to fill the panels cut in the wall of the Church. He hoped
that all the Stations would be given, so the only cost to the parish would be
£60 for the wooden panels on which the Stations would be painted. Eight Stations
had already been promised.
July, Vicar’s Window: 'The first performance of the Filsham Mass by Gerald Shaw
on Trinity Sunday last gave great pleasure to all those who heard it. Now I am
happy to tell you that our choir is making a record of this Mass in our church.
So as soon as the record is available I will let you all know and arrangements
will be made, I hope, that may make it possible for us to purchase the record
through our Church.'
1970
May, Vicar’s Window: 'Very many people have commented on the beauty and dignity
of the services of Holy Week and Easter, and I do thank most warmly our organist
and choir for all the beautiful music and the Servers, too, for their devotion
and constant faithfulness.'
July, Vicar’s Window: 'During August we shall be without our organist and choir
on Sunday nights. Consider this. I have been Vicar now for five years and the
choir as a whole has never had one single night off. When individual members
have been on holiday, the organist has always provided substitutes, and so we
have enjoyed the fruits of their labours. But this year it shall be otherwise.
If sufficient people turn up for Evensong on these Sunday nights, music will be
provided by either Fr. Perkins or me at the grand piano. The music on Sunday
mornings in August will be maintained at its usual high level, so let no-one be
too despondent.'
Saturday 26th September: 'Choral Evensong will be sung by the choir of St.
Andrew’s, Leytonstone at 4-0 p.m.'
October, Vicar’s Window: 'The Stations of the Cross are completed and are now in
position. We most cordially thank all those who have given one Station each, and
our heartfelt gratitude to Hans Feibusch for his wonderful work in design and
artistic painting. I dare to say that there cannot be another set of Stations
anywhere to compare in beauty of colour, in boldness of design and in depth of
feeling. They make a most worthy addition to the church, already so enriched by
his magnificent mural.'
'So many nice things have been said about our August Sunday night Evensongs with
the grand piano that I venture a little experiment to begin in October. On the
first and third Sunday nights of each month, there will be organ, choir and
sermon. For the second Sunday night, music by the congregation and the piano
without sermon. We will retain the Sermon in Music on the last Sunday in each
month, and where there should be five Sundays then on the fourth Sunday we will
have piano and congregation. I do hope this will prove to be acceptable and
agreeable to all those who apparently enjoyed it all in August.'
'Your prayers are asked for the recovery of Amanda Foley, convalescing after her
operation.'
Saturday, 5th December: 'The choir of St. Andrew’s, Leytonstone will sing
Evensong in church at 6-0 p.m. Some months ago they came and did likewise, and
the singing of this choir of men and boys was excellent and most enjoyable.'
1971
'A very good congregation attended the Solemn Mass of Requiem for Ernest Langton*
on Wednesday 13th January 1971…The music was absolutely wonderful and many were
the congratulations showered upon the choir and its director of music. That was
right and proper as a great deal of thought and work had been done in
preparation.' *Churchwarden
'The numbers attending our Lenten services have been most encouraging, and
particularly so at the Wednesday night Sung Mass, at which Fr. Perkins gave a
series of the most helpful talks. Many have much appreciated this, so it is
hoped that we may have Sung Mass on Wednesday nights instead of the usual Low
Mass. Music, too, has played its part, and the organist and choir are to be
congratulated for all their hard and fine work. Particularly so in the fine
performances of Messiah and the Bach S. John Passion.'
'On the evening of Palm Sunday in place of Evensong, the Stations of the Cross
will be dedicated and following this ceremony the choir will sing a slightly
shortened form of the S. John Passion by Bach. I do hope that you will all make
a special effort to be present, as apparently so many of you are not over-fond
of turning out on a Sunday night.'
In 1971 and 1972 the ‘Sermon in Music’ continued to be a regular feature at
Evensong, at the last Sunday in the month.
'S. Alban’s Day on 23rd June - whatever next? Well, the Church has seen fit to
allocate 22nd June to the Martyrs John Fisher and Thomas More, and S. Alban has
been given the day after. It seems quite silly to stand out and adopt a
non-conformist attitude in retaining 22nd June for S. Alban when the Church
decrees otherwise, so we fall into line with the reformed calendar, remembering
the words of the psalmist ‘A day in thy sight is but as yesterday.'
S. Alban’s Day: 'A large congregation completely filled S. Alban’s Church for
the Solemn Mass in the evening of Wednesday, 23rd June, at the beginning of our
Festival. It was a thrilling experience to hear the hymns - all the old
favourites - and the Creed sung with such fervour and obvious sincerity. Before
the Mass there was a procession in honour of S. Alban in which about forty robed
clergy and twenty children from our school, boys and girls, took part. Many
people remarked how smart the children looked, sporting their bright red
shoulder-sashes and carrying their flowers and candles. The choir, accompanied
by a small orchestra, sang Beethoven’s Mass in C which I see from perusing old
copies of the parish paper was being performed in St. Alban’s as long ago as
1890…The choir gave us of their best throughout the Festival and so to them and
to our Director of Music, Michael Foley, we offer our grateful thanks.'
August: 'Our church organ has run into difficulties, alas. Some very vital but
tiresome things known as leather pneumatic envelope motors are slowly perishing.
Already many have done so and in consequence many notes will not sound. There
are about 1,700 of these miserable things and all must soon be replaced at
approximately the cost of £500. Whereas this is the sort of thing that can
happen quite often in the organ-building world, for me personally, this is a
great vexation since the organ is but 10 years old. But many consider the organ
to be a very fine instrument and therefore it would be folly to house an organ
which cannot be used, which indeed will be our lot if repairs are not soon
carried out.'
FROM GRAHAM OWEN, SUB-ORGANIST: 'Forest School, Snaresbrook, is an Independent
School near Leytonstone in East London. The music department is expanding and
since my appointment as Music Master in September 1971 I have taken over control
of the Junior Choir. Any of the boys in the Junior School who are aged between
10-14 years are allowed to join the Choir, after a simple audition, and we
practice twice a week. We are very much looking forward to our visit to S.
Alban’s on Sunday, 27th February, when we come to sing Evensong at 6-0 p.m. This
will be our first venture outside the school.' Vicar’s footnote - 'Here is an
opportunity not to be missed. So many of you say you prefer a choir of boys, and
here is your chance to listen to some. I do hope that a great many of you will
attend this Evensong, for it would be most discourteous to stay away. We must,
at least, be polite to our guests.'
1972
Easter: 'The congregations were good and the music at the Solemn Mass was truly
triumphant. Who of us who were present will forget in a hurry the outburst of
timpani and cymbals as the great Easter hymn “Jesus Christ is risen today” was
sung? In spite of the heavy demands made on the choir during the Holy Week
services, they appeared and sang on Easter Day like a choir of angels. We must
all congratulate Michael Foley, not only for his diligence, but also for
producing such wonderful results.'
April: Because of the miners’ strike there were lengthy power cuts. The Vicar
writes: 'The power cuts were most trying. People came into church and helped
themselves to what candles they could find…Twice Sunday Evensong had to be
cancelled. Only once were we troubled in the Sunday 11-0 a.m. Mass. A hasty
substitution of an unaccompanied motet in place of one with organ accompaniment,
and a holy sprint from the organ gallery to the grand piano for the concluding
hymn, saved us from undue gloom and embarrassment.'
Patronal Festival: S. Alban’s Day was kept on Friday 23rd June, and the music
for the Solemn Mass was Haydn’s Nelson Mass, ‘The Imperial Mass’, as it was
billed, together with Monteverdi’s Beatus Vir. Both of these items are the first
recorded performances of them in St. Alban’s. For Sunday 25th June Mozart’s
Orgelsolo-Messe was performed. The Vicar wrote ‘This Mass, too, is very lovely,
and will be sung in English. We are greatly obliged to Fr. Milburn, Vicar of St.
Paul’s, Brighton, who by so kindly lending us the copies has made it possible
for us to sing this Mass.'
Dedication Festival: 'We should all be grateful and congratulate Michael Foley
and the choir for the wonderful singing, in particular of the Vaughan Williams G
Minor Mass, on the Dedication Festival. We take so much for granted that it is
all too easy to forget to say “Thank you very much”.'
The last music lists for regular Sunday Evensong appear in December 1972, and
thereafter sung Evensong on Sundays appears to have been discontinued. There is
no comment about this in the magazines of December 1972 or January 1973,
although previous references to poor attendance at Evensong tell their own
story.
1973
For the first time S. Alban’s Day was kept on 20th June.
Vicar’s Window, October: 'I know of some churches where the running cost of
music is three times as much as ours, and yet their repertoire seems to me
nothing like as comprehensive nor as adventurous as ours. Moreover, members of
our choir are paid but a poor pittance that scarcely covers their travelling
expenses. But we struggle on, lifting up hearts and hands and voices to the
praise and glory of God, and that should be reward enough.'
'Behind the altar in the chapel of S. Joseph* there now stands a very
interesting organ. It was built by N.P Mander Ltd. for exhibition at the
International Organ Festival held in June last at S. Alban’s Abbey…This organ
will be used, with orchestra, soloists and choir, for a MUSICAL RECITAL on
Wednesday, 18th October, at 8-0 p.m.' This organ remained the property of N. P.
Mander, but was stored at St. Alban's until about the year 2000. For 27 years or
so St. Alban's had the use of this instrument, though it was occasionally
removed when needed for a performance elsewhere. It's final journey from St.
Alban's, we understood, was to the Isle of Dogs, to a church where there had
been a fire, and its organ destroyed, where it was to be on long-term loan.
*This chapel, once on the north side of the church, was replaced by the route
from the church into the new St. Alban's Centre in the early 1990s.
'The Annual Requiem for the Catholic Societies is on Thursday, 15th November, at
7.0 p.m. The music at this service is the Liszt Requiem, which may well be the
first liturgical performance to be sung in this country.'
1974
Ash Wednesday: 'Harold Holwell*, on holiday in Australia, attended the 7.00 a.m.
High Mass at Christ Church St. Laurence, where he met William Reid, at that time
Resident Conductor of The Australian Opera Company, who were regular performers
at the newly completed Sydney Opera House. Mr. Reid told Harold how at one time
he played at St. Alban’s when we were housed in the temporary church.' *Harold
Holwell was a sub-deacon for many years, and for a few years was a churchwarden.
June: RODERICK EDMUND DAVIES. 'Regular members of the congregation will be
saddened to hear of the death, at the age of 55, of Roderick Davies. He was for
a number of years sub-organist and a member of our choir until he returned to
live in his native town of St. Leonard’s, where he had been a choirboy at the
churches of St. Mary Magdalene and Christ Church. It was at the latter that he
began his life-long interest in the organ and church music as a pupil of the
late Alan Biggs. He moved to London in his late teens and held the posts of
assistant organist of St. Mary Magdalene, Paddington, before coming to Holborn
in 1961. He was an able composer and some of his works are in the repertory of
our own choir. Roderick will be remembered for his gentle kindness and
compassion towards his friends and his sense of humour - often directed against
himself.
May he rest in peace. M.J.F.'
'All too soon after the death of Roderick Davies came the news of the death of
yet another organist, Gerald Shaw. He is well known to us here as the composer
of the Filsham Mass and for those who have the recording of this Mass, he is
playing the organ for that occasion. And so, yet another good friend passes on.'
1975
January: 'Congratulations to Reginald Goodall, formerly organist at S. Alban’s,
and now an acknowledged expert and authority on the grand operas of Wagner, on
his award in the New Year’s Honours of C.B.E.'
Pentecost 1975 was my first visit to St. Alban's. Like many before me, I had
difficulty finding the church, and only arrived at Solemn High Mass for the
Agnus Dei. But the sight and the sound that awaited me has remained with me ever
since. The church was very full, and a seemingly endless stream of communicants
filed up the centre aisle, in a church hazy with incense. The sound of the choir
singing a Mozart Mass was thrilling. I judged there must to be twenty or so
voices, and was surprised later to discover that the choir comprised about a
dozen singers. Someone I knew from another choir was a member of St. Alban's
choir at the time, and probably because of this I joined the choir for lunch at
the White Swan in New Fetter Lane. Most of the choir, and Michael, lunched there
every Sunday. I hoped very much that I would be allowed to join the choir, but
was more than surprised that I was invited to sing Evensong that very day! We
sang a setting of the Evening Canticles for double choir by Henry Smart, and so
began my long association with St. Alban's Holborn.
The choir, then quite a lot larger than it is today, comprised singers of
differing abilities and a wide age-range. Some would probably have described
themselves as amateur in all senses of the word, whereas others had professional
aspirations, and at least one had a professional career behind him. Some singers
were paid, and others were voluntary. Michael seemed to collect singers.
By this time the John Compton Organ Company had gone into liquidation, and
Michael worked for Barclays Bank International. He conducted the Barclays Bank'
Musical Society, and that of the Prudential too, called the IBIS choral Society.
Some singers from these choirs were invited to sing at St. Alban's, but Michael
also found singers at parties and in pubs, and they too would be asked to sing
at St. Alban's, if not regularly, then to swell the ranks for a special
occasion. For many years Michael was Musical Director of Merton Operatic
Society, in Wimbledon, performing operettas such as The Merry Widow and The
Desert Song.
'On Tuesday 10th June at 7.30 p.m. the church choir will be joined by the Epping
Forest Choral Society and the Essex Chamber Ensemble to present a concert in
honour of the Vicar’s 40th anniversary of ordination. The programme will include
Elgar’s Serenade for Strings and a short but rarely heard piece by the same
composer, “For the Fallen” which is a most moving setting of the famous poem by
Laurence Binyon.
The major work will be Mendelssohn’s Hymn of Praise - the Second Symphony to
give it its proper title - which is a choral symphony beginning with three
orchestral movements leading to a richly constructed cantata for soloists, choir
and orchestra.
Most of the performers are donating their services on this very special occasion
as a mark of friendship and respect for one who, for the last ten years, has
proved a severe critic, a firm friend and a loyal supporter of his musical
staff.
Admission to this concert is, of course, free, but it is hoped that as many as
possible will feel it not beyond their means to purchase a programme at the
modest price of 40p.’
M.J.F.
There is an amateur tape recording of this concert.
The parish magazines from Mar 1977-May 1979 were missing when this article was
researched, as were July 1979 to January 1980 and March - December 1980, so
there was no write-up available to me marking the conclusion of Michael’s time
as Director of Music at St. Alban’s Holborn in April 1980. There was an
orchestra for his final service, and the music Michael chose was Haydn’s
Pauken-Messe and Vaughan Williams’ ‘Let all the world in every corner sing’ from
Five Mystical Songs.
I have very fond memories of my early days in St. Alban's choir under Michael
Foley's leadership. The choir was a tightly-knit family group, and socialised a
lot, not just after Sunday service. Michael loved to throw parties and took
great pride in putting on a good spread. Choir parties at his house were a
regular occurrence, and his Christmas celebrations would last many days, with
different people arriving each evening to join Michael's house guests. He liked
to celebrate his birthday and, one year, asked me if I would have dinner with
him on the evening of his birthday. As a surprise, I invited the rest of the
choir to the restaurant. The whole choir arrived and we had a lovely meal. The
one person who didn't arrive was Michael. The next Sunday I was determined that
I would say nothing and wait to hear what Michael had to say to explain his
absence. He never said a word so, to this day, I have no idea why he didn't turn
up that evening! Michael was very proud to be a member of the Parish Clerks, and
once took me to a Ladies' Night dinner, when Bernard Miles was the after-dinner
speaker.
Of Michael Foley's compositions listed below as having been performed at St.
Alban's, some are no longer in the music library. We no longer have his Missa
Sancti Albani, his Evening Canticles in D, his Easter offertory and his two Faux
Bourdon sets. If any reader has a copy of these, or knows their whereabouts, I
would be extremely grateful if they would contact me. Similarly, there are few
photographs of Michael, so any that are in readers' albums would be greatly
appreciated.
Michael loved the tune written by his predecessor, Thomas Adams, to the
Christmas hymn O little town of Bethlehem (which was the only tune used at St.
Alban's till 1980). At each Midnight Mass every year, as we reached the line
'And Christmas comes once more', Michael's face would light up as he broke into
a glorious, child-like smile because, for him, that was the moment that
Christmas began.
Michael also loved to celebrate New Year. He died a few hours into New Year's
Day in 1992, and it is my firm belief that he was not ready to leave this world
until he had seen in the New Year. His funeral, which he had planned, was
conducted jointly by an Anglican priest and by a Rabbi, with a joint choir from
both faiths.
Music performed at St. Alban's under Michael Foley as well as a list of recitals
and concerts can be found here.
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