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Britain's Centuries-Old Lichfield Choral Tradition
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14191 |
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Section : |
THE ARTS
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7 / 1988 |
1,038 Words |
| Author
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David H. Ehrlich
David H. Ehrlich, an avid theatergoer, is an independent
writer based in Washington, D.C. He has previously written
numerous essays for The World & I. |
Very few sounds are as pure as those of the voices of English choirboys filling the lofty spaces of a medieval Gothic cathedral. Or, for that matter, as when those choirboys are brought to our shores and perform in a nineteenth-century Victorian brick church in Washington, D.C. Such was the pleasure for the audience that packed St. Mark's Church on Capitol Hill to hear the Choir of Lichfield Cathedral last April.
The choir, which toured the eastern seaboard for eleven days, consisted of fifteen youngsters, angelically attired in scarlet robes with Elizabethan ruffs around their necks. It was supplemented by the nine adult males of the Cathedral's Vicars Choral, a guild of singers that has performed more or less without interruption since the middle of the thirteenth century.
Young boy sopranos just don't sound like the female sopranos we are more accustomed to hearing. Their trained, as yet unchanged voices have an otherworldly quality: direct, clear, occasionally piercing, and entirely lacking in vibrato. Individual character is almost totally absent from the tone they produce, which only lasts for a few years. Developed as the boys reach preadolescence at eight or nine, the characteristic tone disappears when their voices change at the age of twelve or thirteen. Interestingly, outstanding vocal quality does not necessarily persist as their voices mature.
This unique tone has inspired a choral literature written expressly for boy choirs, either unaccompanied, or together with lower voices or instruments. The two parts most often associated with their sound are the treble cantus firmus, which carries the melody above the lower
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