``Look to. Treble's going . . . she's gone.'' This call from the ringer on the treble bell is the signal for bellringers to pull on the sallies of their ropes one after the other. When I recently visited Great St Mary's bellringers, practising on a Monday evening, there were twenty-five ringers taking part. They rang `rounds' down the scale before starting `methods', traditional sets of changes requiring great concentration in counting and watching the ropes of other ringers.
Patrick Brooke, who became Master of the Cambridge Youths for the second time last October, was in charge of the practice. In 1564 the church was fined 2s. 2d. `for not ringing at the Queen's coming', and perhaps as a consequence by 1572 a society of ringers was in existence. The Society of Cambridge Youths was refounded on 3rd August 1724 and is one of the six oldest associations of bellringers in the country.
`George' Brown has been one of the ringers for ten years and for the last three has been Secretary/Treasurer. She explained that the ringers are of all ages and backgrounds and that there is an even number of male and female ringers: it is skill rather than strength that is required. ``The nice thing is that you can ring in other towers. It is a great fraternity and visiting ringers are made welcome --- except during exam-time in Cambridge.'' The Society had a weekend in Norfolk last year, ringing at Great Yarmouth, Wymondham, Norwich and Aylsham.
George said that the bells at Great St Mary's have a mature sound, full of character. In 1722 the eight bells then hanging were recast and two new bells added. The work was carried out at the Whitechapel Bell Foundry, which is one of the two surviving foundries today. In 1769 the tenor bell fell when it was being rehung and was too damaged to use. At the Whitechapel Foundry it was recast on 14th February 1770 and was a `maiden bell' (i.e. it required no tuning after it was taken out of the mould). Two new bells were added by public subscription and the inscription on the first bell tells us: ``These two tribbles to make a compleat peal of twelve.'' In addition to the peal of twelve there is also a small priest's bell (fourteen and a half inches in diameter) which dates from 1607. The tenor bell weighs 27cwt (see The Bells of Great St Mary's for details of all the bells) and this was the bell that was rung for the nightly curfew (from the fourteenth century until 1939) for fifteen minutes, followed by strikes according to the day of the month. Until 1929 the tenth bell was rung for fifteen minutes at 5 am for apprentices and University bedmakers.
The first peal on the twelve bells was 5610 Grandsire Cinques rung on Christmas Eve 1770. (One of the ringers, John Incarsole, was totally blind.) Other achievements are recorded on peal-boards in the tower, for example a peal of Bob Maximus rung on 21st June 1788 and described as ``a true and exquisite peal consisting of 6,600 changes''.
There has always been a close connection between the University and the bellringers. Bells have been rung at the church for University Sermons since 1303 and for University Congregations and other events since 1660. The University Guild of Bellringers (founded in 1879) also rings in the tower. The Master is Robert Johnson, who is reading maths at Clare College. The Guild has about 30 members and organises a termly ringers' bicycle outing, a Guild Week (in which former members take part), a weekend of ringing at the New Year and an annual dinner in March.
There are 5,205 churches in England with bells and Great St Mary's is one of the 90 or so churches and cathedrals with twelve bells. At noon on 1st January 2000 it is planned to ring bells across the country. Patrick explained: ``Because we'd like to have as many bells as possible ringing for the Millennium we need to teach a lot of people to ring or bring back people who have learned and lapsed. I would like to start up a scheme for teaching people.'' Patrick taught a band at Chesterton and has a lot of experience of teaching bellringing to beginners: ``You can learn at any age. I started when I was 13 and that is about right because, if you are younger than that, physical strength and co-ordination become a problem. I've taught a lot of adults: people have learned at 80! Many people learn very quickly in adulthood.''
On hearing the bells on Sundays and special occasions it is easy to be unaware of their history and the expertise and dedication of the bellringers who, in Edgar Allan Poe's words, are:
Keeping time, time, time
In a sort of Runic rhyme.
Teenagers and adults interested in learning bellringing are invited to contact Patrick Brooke (Tel. 01223 565494).
As a complement to last month's Majestas, this issue is taking music as its focus.
Music has always taken an important place in worship and has long been understood as an invaluable resource for evoking a sense of the sacred. In the first book of Chronicles there is a fascinating description of the orchestra that David assembled to accompany the Ark of the Covenant on its travels (1 Chronicles 15:16ff). Music was understood as a gift from God, a part of his blessing on his people and a sign of his generosity. In the context of praise, it provides a different way of expressing ourselves to God --- an alternative language far less limited than speech by social, intellectual or even national boundaries. It is far more spontaneous.
On an individual level music can be a direct source of personal encounter with the divine --- a place for meeting, with life-changing consequences. St Augustine, in the Confessions, attributes his conversion in part to the hymns of the earliest Christians: ``How I wept to hear your hymns and songs, deeply moved by the voices of your sweet singing in church. Their voices penetrated my ears, and with them truth found its way into my heart; my frozen feeling for God began to thaw, tears flowed and I experienced joy and relief.'' (IX.6.14). What is described is not simply an emotional experience: it is sacramental and sanctifying.
Perhaps part of music's power for good (though equally, potentially, for bad) lies in the fact that it comes to us through our ears rather than our eyes. The Christian conceptuality of God usually draws on images of sight, or concealment of sight, and light is the primary metaphor for God. In our mind's eye we have a picture of Jesus, healing, teaching, travelling, dying. We tend to use our imaginations visually, and none the less so in relation to God.
But music comes to us not in images but in sound, giving another avenue of perception that leads understanding along a different route, and possibly around some of the road blocks that impede us. It exercises our imagination in a different way. If God manifested himself to Moses through the sight of the burning bush, he also manifested himself to Elijah through the sound of the silence that followed the whirlwind on Mount Horeb.
The modern composer John Tavener explicitly claims that his music is the religious icon's sonic counterpart, a part of the same spiritual mediation: ``it possesses simplicity, transfigured beauty and austerity and yet to the believer it inspires awe, wonder and reverence.''
A conference on the life and theology of the Orthodox Church in present-day Russia is taking place at Great St Mary's this month. On Saturday 21st February, from 1.30pm to 4.30pm, lectures will be given by Dr Alexander Dvorkin (Professor of Church History, Moscow), Dr Irina Levinskaya (Member of the Russian Academy, St Petersburg) and Fr Martirij Baguine (a parish priest in Moscow). Additionally, the Divine Liturgy of St John Chrysostom will be celebrated by Bishop Basil of Sergievo, with the choir of the Russian Orthodox Cathedral, London, at 10.30am, and Vespers will take place at 5pm.
On Sunday 22nd February, at 8pm, there will be a Panel Discussion, with the guest lecturers and others.
There is no charge for any of the events, and they are open to everyone. Further details are available from the Church Office (Tel. 01223 350914).
``Appearing confident is often not easy, especially when we have to do things in front of others, apply for jobs or courses, or deal with tricky situations.'' Build Your Confidence, a course which took place for the first time last summer, aimed at helping young people develop confidence, is being run again this month. In a fun but serious way, the course will look at situations where it is easy to feel lacking in confidence and consider various ways of dealing with it. Activities will include talks, role-plays, games, a visit to a Magistrates' Court, and a discussion with a local business man. The leaders are Peter Hilken, Pauline Davison and Robert Avery.
Places are still available, and further details are available from the Church Office (Tel. 01223 350914) or any of the leaders.
Following her article, Accidental Resurrection, in last month's Majestas, Robin Stemp will be exhibiting several series of her paintings and photographs in Great St Mary's during Lent.
The Vicar, the Revd Dr John Binns, will also be exhibiting some of his sculptures.
Starting on February 25th, the exhibition will run for a month.
``Tell me plainly, and I will listen in silence. Show me where I have erred. Turn and look at me, God, for my integrity is in question. Troubled nights are my lot. When I lie down I do nothing but toss till morning twilight. My body is infested with worms, and scabs cover my skin. What is man that you make much of him, only to punish him morning by morning and test him every hour of the day?''
Does God answer Job's questions satisfactorily? Is Job as blameless as he claims to be? Do you have a sneaking sympathy for the comforters? The debate will continue, but everyone agrees that this is one of the great works of world literature. A dramatic reading of the book of Job, performed by eight members of the Great St Mary's congregation, will take place at 6.30pm on Sunday 1st March. All are very welcome.
Peter Hilken
Great St Mary's has chosen a book by Cambridge's own Regius Professor of Divinity as its Lent Book this year. The Shape of Living, by Professor David Ford, takes as its theme the nature of the `overwhelmings' which are an inevitable part of modern life, and the experience of challenge and change.
Drawing on the bible, and especially the poetry of Michael O'Siadhail, the book considers the realities of desire, vocation, power, secrecy, the use of time, leisure and work, the influence of others, the constant flood of information and other topics, in relation to an authentic, modern, Christian living.
The Shape of Living will be used by this year's Lent Study groups (further details of which are forthcoming). It is published by Fount and is currently available from Great St Mary's Bookstall, priced 6.99.
Composer James MacMillan reminisced jokingly in a recent interview with the Sunday Times about his decision in the early 1970s, as a fourteen-year-old, to join the Communist Party and how, in consequence, the small Ayrshire town of Cumnock where he attended the local Roman Catholic school became ``an ideological battle ground''. In 1977 he moved on to study music at Edinburgh University, where he discovered Stravinsky, Webern, Messiaen and 20th-century Russian music, before going on to take a PhD in Composition at Durham. Meanwhile, his political concerns had found expression, within Catholicism, through a strong interest in Liberation Theology, and his music can be viewed, in one sense, as his personal contribution to the Church's crusade on behalf of the poor and the oppressed.
In terms of the structure of his compositions, MacMillan has freed himself from classical conventions in order to pursue a more direct expression of narrative and emotion, whilst at the same time alluding to traditional sacred and secular forms to restrain and enhance meaning. In two works first performed in 1993, Seven Last Words from the Cross (written for choir and orchestra) and Visitatio Sepulchri (a sacred opera based on a 13th-century Latin Easter play), MacMillan's compositional style is typically eclectic, embodying echoes of plainsong, Bach's Passion chorales, Eastern chant and Scottish lament. In Seven Last Words the Crucifixion Narrative is conveyed with graphic immediacy, while the Good Friday liturgy provides a framework in which to contain emotion. In the final section, `Father, into Thy hands I commend my spirit', the liturgical order is abandoned and the work ends with a personal statement of grief with strong Scottish cadences.
For MacMillan, human beings are fashioned, constrained and also destroyed by social and political forces. His Christ is the Liberator from social injustice. It may seem a far cry from the dark landscape of 17th-century Scotland to the bustling streets of 20th-century Buenos Aires, but the annals of the post-Reformation Scottish witch trials and the political repression of the Argentine Military Junta show horrifying similarities. There is the same paranoia and obsessive hunt for perceived enemies, the same use of torture to extract confessions and the betrayal of associates, the same barbaric executions. The Confession of Isabel Gowdie, first performed in 1990, is MacMillan's requiem for the most famous victim of the witch hunts. It is a powerful and terrifying orchestral tone-poem beginning with quiet allusions to Scottish folksong, Gregorian chant and Gaelic Psalmody. A dramatic central fantasy section portrays the hallucinations and hunting of the accused. Once the conflict is over, there follows a peaceful ending when the Gregorian `Lux aeterna' is reasserted. The political tragedy of Latin America underlies some of MacMillan's most impressive work. Búsqueda (meaning `search') is a music-theatre piece written in 1988, based on the poetry of the Mothers of the Plaza de Mayo in Buenos Aires, who demanded justice for the sons and daughters who had been kidnapped by the military authorities in the years following the 1976 coup. The poems are interwoven with passages from the Latin Mass, a disappeared son being compared to the crucified Christ, a lamenting mother to Mary at the foot of the Cross. The very beautiful and deeply moving Cantos Sagrados (1989) are a trilogy of songs about political oppression, setting two poems by Ariel Dorfman and one by Ana María Mendoza which lament the fate of the Disappeared and the oppression of the Conquistadors. Latin texts affirming Christ as Liberator are again interwoven with the poems.
One of MacMillan's most exuberant celebrations of Liberation Theology is his percussion concerto, Veni, Veni Emmanuel, recorded by Evelyn Glennie. The initial inspiration is the Advent proclamation in Luke 21:28 (``your liberation is near at hand''), and the piece makes use of 15th- century French Advent plainchant, culminating in the Gloria of the Easter Vigil where the Gospel promise of liberation is realised in Christ's Rising. Throughout the work the soloist, using a wide range of instruments, evokes an ever-changing heartbeat (the human presence of Christ), while the orchestral accompaniment suggests ``a huge distant congregation murmuring a calm prayer in many voices''.
For some listeners, MacMillan's music will at first seem too unconventional. But it repays close attention. He has described his ideal listener as one ``with bristling antennae listening to the music, absorbing it with hunger and interest''.
James MacMillan is giving a sermon at Choral Evensong at St Catharine's College at 6pm on Sunday 26th April as part of a series entitled Faith in Music. He is one of the artistic advisers to Cambridge University's Theology Through the Arts project, described in the January issue of Majestas.
Michael Haynes has been Director of Music at Great St Mary's for nearly four years, coming from a post as organist at a parish chucrh in Sussex. From an early age he has had a deep interest in both the organ and church choral music. He studied organ and composition at the Birmingham Conservatoire, before taking a post-graduate year at the Royal Academy of Music in London. At Great St Mary's his responsibilities include the Parish Choir, the Girls' Choir, and the Great St Mary's Singers. He also organises other musical events for the church, including the Market Music series of free lunch-time concerts on Saturdays.
Michael plays a key role in choosing the hymns and music for the Sunday liturgies, and much thought goes into making appropriate choices: ``Selecting the music is a time-consuming, sometimes perplexing, but usually satisfying task. Successfully done, the musical choices set the right atmosphere for worship and help to increase the power of the written and spoken word.'' Many of the best traditional hymns are used --- particularly those associated with the main festivals --- but there is also scope for more contemporary choices; From Heaven you Came, Shine Jesus Shine, Be Still for the Presence of the Lord have all been used recently.
At Mattins and Evensong, and whilst people receive at the Parish Communion, the Choir sing an anthem. Equal care is given to making the music and words fit the occasion. ``The anthems need careful selection. Frequently one can be found that matches the theme of the day. But if this cannot be done precisely, then we use one that reflects the mood of the season.'' The choirs constantly try to add new works to their repertoire ``sometimes new music has to be rehearsed weeks, sometimes months ahead.'' Michael also composes for the choirs, and as an influence he especially cites the work of Herbert Howells. He has composed a setting for the verses and responses sung at Mattins and Evensong, which is regularly used at Great St Mary's. Rather unusually, the verses and responses flow into each other to produce a continuous musical narrative, emphasising the one movement of prayer being offered through them. Michael reflects that it is particularly rewarding writing for a choir that one knows well, and for situations that one directly understands.
Michael is the first Director of Music to direct the Parish Choir and the more recently formed Girls' Choir, and he sees them as mutually supporting and strengthening to each other. In some quarters girls' choirs have been actively discouraged, but Michael is swift to argue for their general acceptance. Their obvious difference in character, he believes, can only complement and highlight the distinctive qualities of boys' voices. Another challenge facing girls' choirs is the relative paucity of material set specially for them (two soprano lines and one alto line are the ideal, as opposed to the usual soprano, alto, tenor and bass setting), though some composers, including Benjamin Britten and John Rutter, have written pieces specifically for girls voices. Adding adults to sing lower lines has recently opened out more possibilities.
The Parish Choir was recently featured in an article in the Times on Saturday, exploring the loss of choristers from parish church choirs to more prestigious cathedral and college choirs. Michael was pleased with the article and felt it was a boost to receive some outside interest in some of the issues of recruitment. He also believes, though, that the problem shouldn't be overstated. Recruitment of boys is always critical, as their time as trebles has an unavoidable limit. Many, however, stay on in the choir to sing as tenors and basses.
Gillian Jackson describes how an ingenious use of technology has enabled music to become a means of expression in a special way.
Meldreth Manor School is run by SCOPE for children with Cerebral Palsy. All pupils are described as having Severe Learning Difficulties and many as having Profound and Multiple Learning Disorders or Acute Developmental Delay. Movement and language are in most cases very limited, but there is a wide range of levels of understanding. However, none of these descriptions adequately portrays the range and variety of abilities and gifts these children can demonstrate if communication is made possible.
At Meldreth pioneering work has broken many barriers for disabled children across the curriculum, offering them the opportunity to make choices in all aspects of their lives and take an active part in their own learning processes. At one time music at Meldreth was a rather one-sided activity, with staff playing instruments and singing while helpers moved around the group, holding bells against pupils' ears. At best this was enjoyable, but it offered little opportunity for pupils to respond and often inhibited their attempts to vocalise to music. However, in recent years Soundbeam technology has transformed music-making in special schools.
The Soundbeam operates in much the same way as a burglar alarm. It responds to movement by emitting a sound. Any movement within the range of the beam, however slight or poorly co-ordinated, will be translated into sound. The Soundbeam can be fed through an electronic keyboard, enabling the musicians to play a wide range of notes and sounds. It can be programmed to play prerecorded sounds such as footsteps, water or train sounds or even recordings of the children's own vocalisations. The technology can be daunting for the staff, but there are few pupils, however seriously disabled, who do not respond when offered the opportunity to create sound in this way. During the summer last year the school put on a Soundbeam concert lasting an hour and a half, in which the children performed music with trained musicians. Some of the Soundbeam musicians have appeared on television to demonstrate their achievements and there have been dance and drama workshops in which professional artists have worked collaboratively with our pupils.
The Soundbeam offers unique opportunities for people with severe disabilities to initiate sound, create their own tunes and rhythms and participate on equal terms in music-making. There is also growing evidence to show that working regularly with the Soundbeam over a period of time can bring about lasting changes. Phil Ellis of Warwick University has been studying the effects of long-term work with the Soundbeam and has demonstrated that this work increases awareness and willingness to communicate in even the most `locked-in' young people which can be seen in all aspects of their lives. For many it has become a starting point for a greater involvement, but for some it will remain one of the few areas of their lives in which they can experience real autonomy.
Gillian Jackson teaches in the Further Education Unit at Meldreth Manor School. She comes to GSM, and her daughter, Naomi, is a member of the Girls' Choir.
Majestas recently had a chat with two younger choir members.
Imogen Parker is 12 and has been in the choir for more than four years: ``I've got lots of friends here and I like the music, and it's fun.'' Apart from singing in the Girls' Choir and the Concert Choir, Imogen is learning to play the organ, piano and clarinet, and she plays in the Cambridge Youth Concert Band. She attends Chesterton Community College, where her favourite subjects are French, German and Maths. Despite a busy life, she still finds time for TV: ``I'm addicted to soaps. My favourite is probably Friends .''
Richard Horley has belonged to the Boy's Choir for over a year and his blond hair makes him easily recognisable. Like Imogen, he enjoyed the choir visit to Hildesheim. He is proud of gaining the Bishop's Award at Ely (which required singing a hymn, psalm and anthem and answering questions) and his red Senior Ribbon. Richard is learning to play the organ, piano and cello -- and he claims to be just bigger than the cello!
Richard is 11 and attends Milton Road Junior School and likes art and games. His favourite TV programs are Rugrats and 999 Lifesavers.
Lynne Broughton considers the tapestry in St Andrew's Chapel, made by Alex Pearson and given in memory of Geoffrey Wood.
A modern tapestry hangs in St Andrew's Chapel. At first sight it seems merely a simplified landscape scene, but closer attention reveals much to meditate upon.
The creation of the world is suggested by the division of the scene into a circle within a square. Medieval artists often portrayed God with a pair of compasses, marking out the globe and dividing it from the waters above and below the firmament. In the same way, within the circle on the tapestry, light is divided from darkness, and sea from dry land. Bird-shapes hover, recalling the Spirit of God moving on the waters on the first day of creation. They also represent the birds, created on the fifth day together with the fish and other sea-creatures shown in the lower part of the tapestry (Genesis 1:1-23).
On the land is a road. It winds around a hill, leading upwards and heavenwards. We are reminded of Christ, who is the way, the truth and the life (John 14:6). We are reminded also that Christianity was called `the Way' before the term `Christian' was ever coined (Acts 9:2; Acts 11:26). In the sky is a rainbow. It signifies God's promise to Noah never again to allow the waters of chaos to overwhelm sinful humanity. He set a rainbow in the sky as a sign of that promise (Genesis 9:8-17). A church tower shows the presence of a Christian congregation, who bear witness to God's continued faithfulness.
God's covenant with Noah was only the beginning of his work for our salvation. That work reached its climax in the cross of Christ. The cross too is represented here, as part of the fabric of the world; a cross is formed by the boundaries that divide into quarters the circle representing the globe. In the late Middle Ages Christ, when portrayed as the Redeemer, was shown holding a cross-inscribed orb. This signified the entire created universe, sustained in being by his love. It may well be that Julian of Norwich was recalling such an image in her vision of a small round object which seemed impossibly fragile. Christ assured her: ``It lasts, and ever shall last; for God loveth it. And even so hath everything being --- by the love of God.''
This article forms part of a series describing our Church building.
Hayley Hind, a member of Cambridge Community Church, is Area Co-ordinator for the Association of Professional Music Therapists. She describes here the role music can play in an interdisciplinary approach to healing.
Music therapy is a growing profession, with over 400 qualified practitioners currently in the U.K. It was pioneered in the 1970s by Juliet Alvin and, with an expanding number of training courses, is increasingly being recognised as a valuable therapeutic intervention. Therapists work in a number of fields, including adults and children with learning disabilities and people with mental health difficulties. Work is also done with people who offend, people who have been abused, and people with disabilities within the spectrum of autism.
Music therapy is a creative process which can be likened to psychotherapy or counselling. It uses improvisation to bring the client to a creative state of mind. Through the process, personal and emotional integration and growth are encouraged. The discipline recognises the complexities and intricacies of people's emotional lives, and how much of these are determined in early childhood. Music therapy seeks to offer a space where issues like these can be addressed through non-verbal means within a supportive and non-judgemental setting. A range of percussion instruments is available, for which no previous musical experience is necessary. There is also the opportunity to use improvised vocal sounds. Any sounds or silences are seen in terms of a reflection of the client's emotional world, and of how they are relating to the therapist, for example in an interactive, blocking, chaotic, random, rhythmic or arrhythmic way. Acknowledgement and subsequent exploration of such information can facilitate change and development and can offer the client the experience of having been understood and accepted.
Music therapy is usually available on both an individual and a group basis. Boundaries of time and space are strictly adhered to, in order to create the space in which a trusting relationship can develop. Often, music therapists work within multi-disciplinary teams, and their particular contribution is increasingly valued.
All events take place in Great St Mary's unless otherwise advertised.
| Sunday 1st February Fourth Sunday of Epiphany | |||
|---|---|---|---|
| 11.15 a.m. | University Sermon, Preacher: The Revd Dr Ivor Jones Principal of Wesley House, Cambridge | ||
| 6.30 p.m. | Healing Service | ||
| 7.30 p.m. | Young Adults Group (for details contact Robert Avery, Tel. 01223-359014) | ||
| Saturday 7th | 12 noon | Market Music | |
| Sunday 8th February Third Sunday Before Lent | |||
| 11.15 a.m. | Mattins, Preacher: The Revd Barrie Heaford, Minister of Wesley Methodist Church, Cambridge | ||
| 7.30 p.m. | Start of the Cambridge Inter-Collegiate Christian Union Mission, Paradigm Shift, with the Revd Paul Weston, Vice-Principal of Oak Hill College. (For further details contact Steve Divall, Tel: 01223-508620 | ||
| Saturday 14th | 12 noon | Market Music | |
| Sunday 15th February Second Sunday Before Lent | |||
| 11.15 a.m. | Mattins, Preacher: The Revd. Keith Riglin, Minister of St Columba's United Reformed Church, Cambridge | ||
| Saturday 21st | Tradition and Renewal -- A day conference on the life and theology of the Orthodox Church in present-day Russia | ||
| 10.30 a.m. | Liturgy of St John Chrysostom, celebrated by Bishop Basil of Sergievo, with the Choir of the Russian Orthodox Cathedral, London | ||
| 12 noon | Market Music | ||
| 1.30-5 p.m. | Lectures by: Fr Martirij Baguine, Parish Priest of All Saints, Moscow; Dr Alexander Dvorkin, Professor of Church History, Orthodox University of St John the Theologian, Moscow; Dr Irina Levinskaya, Member of the Russian Academy, St Petersburg | ||
| 5.30 p.m. | Vespers | ||
| Sunday 22nd February Sunday Next Before Lent | |||
| 8 p.m. | Tradition and Renewal -- Panel Discussion | ||
| Ash Wednesday | 8 p.m. | Holy Communion | |
| Start of Accidental Resurrection exhibition, by Robin Stemp | |||
Since this is the same from issue to issue, we have included a single copy of it on the site, as our Who's who at GSM page.
Majestas is edited by Robert Avery, Sheila Cameron, David Hollier, Philip Oswald (proofs) and John Sturdy (HTML) and published by: Great St Mary's The University Church, Cambridge CB2 3PQ, Tel (01223) 350914, Fax (01223) 426555.
Please contact the editors at the above address.
The deadline for the March edition of Majestas is 8th February, and for the April edition, 8th March. Please submit copy to the Church Office.
For further details of the parish, including the regular service times, please see the GSM home page.