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These new pieces were often taxing: a high B for solo treble in Thomas Adès's "The Fayrfax Carol", hectic stops and starts in Judith Weir's "Illuminare, Jerusalem", stamping in Harrison Birtwistle's "The Gleam". Quite hostile letters came into the director of music's office. One suggested that he should be locked up. Countering those who objected was not too hard, though. The new carols were actually modern versions of the old: the voices of people of the time dancing, celebrating or reflecting, sometimes stridently or clumsily, but with raw devotion.
这些新作品通常都很累人：托马斯·艾德思的《法伊尔法克斯颂歌》中，独奏高音B调，在朱迪思·威尔的《耶路撒冷的光明》中，忙乱的奏奏停停；在哈里森·伯特威斯的《微光》中，忙乱的跺脚。相当有敌意的信件送到了音乐指挥的办公室。有人建议把他关起来。不过，反驳那些反对的人并不难。新颂歌实际上是旧颂歌的现代版本: 当时人们跳舞、庆祝或者反思的声音，有时尖锐或笨拙，但带着原始的虔诚。
His choristers could sing them with a freedom, edge and individuality they could not show in the weightier hymns or in the anthems. In 1918 Eric MilnerWhite, who had founded the service, wrote of his wish to bring in "colour, warmth and delight". These qualities were definitely now back at King's. They fitted the director's conviction that choral singing was the best possible use of body, brain and heart, the whole self. Everyone should get out there and sing. At the same time, he made sure the choir did not lose its otherworldly sound. He treasured the thought that anyone who heard it might find peace and consolation there.
他的唱诗班可以自由地、尖锐地、有个性地唱这些歌，这是在沉重的赞美诗或圣歌中所不能表现出来的。1918年，该服务的创始人埃里克·米尔纳怀特曾写道，他希望能带来“色彩、温暖和欢乐”。这些品质现在肯定又回到了国王学院。它们符合斯蒂芬·克劳伯里的信念，即合唱是对身体、头脑、心灵和整个自我的最好运用。每个人都应该出去唱歌。与此同时，他确保唱诗班不会失去它超凡脱俗的声音。他很珍视一个想法，即任何听到它的人都能从中找到平静和抚慰。
For behind music, especially the music of Bach, lay something wondrous and beautiful that could be touched. Over the years he felt increasingly uncertain what to call it. But he found himself getting keener on the idea of the Holy Spirit, something around in the air and in the silences between the notes, as the choir sang. Snow had fallen, snow on snow, Snow on snow, In the bleak midwinter, Long ago.
因为在音乐背后，尤其是巴赫的音乐，有着可以触摸到的奇妙而美丽的东西。多年来，斯蒂芬·克劳伯里越来越不确定该怎么称呼它。但斯蒂芬·克劳伯里发现自己对圣灵的概念越来越感兴趣，当唱诗班歌唱时，在空气中，在音符之间的寂静中，有一种东西。雪已掉落，层层叠叠，层层叠叠，在萧瑟的仲冬，很久以前。
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