Music is the pathway to so much more. I am constantly struck by the ways in which choral music, composition and the organ are catalysts for advocacy, art, collaboration and friendship. For a ‘serious’ musician, it used to be that other interests would have to be sacrificed, or at least put on hold. During my own conservatoire training, there was a focus on replicating music to the highest possible standard, but for many of us it felt like something was missing.

But that was pre-pandemic. When the avenues for work narrowed during lockdown and its aftermath, many felt drawn to creative risk-taking. I believe we are now seeing the fruits of this artistic bravery. Our cover story explores the ever-growing desire of the vocal group Sansara to reflect on society and events that surround us. Speaking about issues of displacement is a risk that founder Tom Herring believes is vital. Composer Kerry Andrew also gives a beautiful insight into a creative life that spans song-writing and writing novels. Andrew explains how words and music have informed each other in their life and how folk music also has influenced choral composing.

The craft of organ building, too, requires a synergy between musical and technical craft. The recent passing of two eminent organ builders, Dominic Gwynn and Jürgen Ahrend, has led many to reflect on their impact on the craft of organ building, but also on musicians who have collaborated with them. Organist Andrew McCrea’s tribute (see page 9) speaks of Dominic Gwynn’s ‘transformative presence on the organ building world’, but also of Gwynn’s ‘modesty, kindness and gentleness’.

This is such a rich and creative time for new music in the UK. The funding does not always match the talent of emerging composers, but the Three Choirs Festival has a great reputation for commissioning new works. A few weeks ago I spent two days at the Festival in Worcester, and hearing lesser-known works by Stanford and Holst alongside new commissions highlighted the impact of giving trust to audiences. Young composers are able to take risks, prioritising collaboration and writing music for today’s audiences, with the Three Choirs right behind them with a firm commitment to the future of contemporary choral music. Audience members I spoke to mentioned these new commissions as the highlights of the Festival.

Finally, as a new academic year begins, it feels like the natural time to look at new repertoire. I’m thrilled that organist and choral director Rupert Gough has taken on our choral music column, looking at a wide variety of repertoire that you might like to consider, introducing us to new settings and new composers. Sending all best wishes for a vibrant, creative start to autumn.

This article originally appeared in the Autumn 2024 issue of Choir & Organ. Never miss an issue – subscribe today