Kenneth Shenton writes:
CHRISTOPHER TAMBLING, who died on 3 October 2015, aged 51, and had enjoyed an international reputation, was one of English sacred music’s most popular and productive composers. Speaking through a language that is rich in variety but none the less familiar, his seemingly inexhaustible creativity has made a lasting impression on performers and audiences alike.
Born in Clevedon, Somerset, Christopher Peter Tambling was educated at Christ’s Hospital, Horsham. From there, his musical talents took him first to Canterbury Cathedral and then St Peter’s College, Oxford, both with organ scholarships. Studying with Geoffrey Webber and David Sanger, he was elected a Fellow of the Royal College of Organists in 1985. He also served as organist of Pusey House.
Beginning his teaching career at Sedbergh School in 1986, Tambling was appointed Director of Music at Glenalmond College, in Perthshire, three years later. He became City Organist, and also conducted the Perth Orchestra. For 18 years, from 1987 onwards, his outlook found a particularly happy and expressive outlet as Director of Music at Downside School, and Master of the Schola Cantorum of Downside Abbey.
Tambling had been a composer since his schooldays, when his talents were skilfully nurtured by Malcolm McKelvey, and his music rarely fails to radiate good humour. He first came to public attention by putting a contemporary twist on the well worn and traditional. Finding a lack of well-edited music suitable for his teaching, in typical style, he began to fill the gaps himself. Initially designed for performers of more moderate ability, his later editions encompassed more extensive challenges.
At the heart of his compositional output remains a large and varied collection of highly practical sacred choral music. Of the many anthems, two in particular stand out, Angel-Voices Ever Singing, and a setting of a Michael Forster text, Triune God In Love Resplendent, each refined, disciplined, and meticulously crafted. Two further Forster collaborations are Singing, Dancing Carpenter: a musical, dating from 1993, and Exodus: The Musical, published two years later. Complete with congregational hymns is an extended Lenten cantata, Hail Redeemer.
The directness that characterises Tambling’s choral output remains a prime feature of his organ music. Here again, a similar utilitarian outlook infuses a range of liturgical and concert music, much of it designed for players and instruments of limited resources. Though slight, each is cleverly and precisely imagined, its structure handled with fluency and care.
Conceived on a larger and perhaps more personally distinctive canvas, a fine five-movement Symphony brings together the many disparate elements in his technique, all handled with the skill of a master craftsman.
He is survived by his wife, Sara Babington, and sons, Edward and Benjamin. Both boys have followed their father into music. Edward, an organist, has held positions at both Westminster Cathedral and Westminster Abbey and is now Assistant Director of Music at St James’s, Spanish Place, in London, while Ben, a singer, is currently working at Wells Cathedral School.