For those who missed the installment (no pun intended) on the term chancel, a review of this area where the choir traditionally sits may prove helpful.

The chancel is the place between the sanctuary and the nave where the choir, and typically the clergy, are ensconced during the liturgy.

The term itself hails from the Latin word cancelli meaning "grating" or "lattice," which originally referred to the ornate screen that surrounded it.

In the early church there was no "choir" distinct from the congregation because the clergy sang all of those parts of the liturgy, such as the Psalm, Sanctus (or Holy, Holy, Holy), and Agnus Dei (i.e., O Lamb of God) that we now associate as being "choir lead."

However, as the liturgy developed, the sanctuary became so crowded with clergy, adding their voices to the celebration of the mass, that this new grouping of (non-celebrating) priests who were placed "atop" the chancel were referred to as the corona (Latin for "crown") - which eventually became anglicized into "choir", the term by which they are called to this day.

Notice, however, that unlike the early church, the choir is no longer restricted to the ranks of the clergy and, since many clergy are not as adept at carrying a tune as many who are called to choral ministry, thank God for that!

More importantly though, as the liturgy developed the church realized that worshipping God was the calling of the whole community, not just that of the priest, and that lay people should participate - through serving, reading, offering intercessions, and not least, by offering their voices to lead the faithful in singing God’s praises.

Hence, the choir eventually came to take their rightful place in the chancel.   Some may wonder, however, why "their place" is at odds with the way the congregation is seated.

Put another way "why do the choir stalls face one another and not the congregation?   If they are to lead us in worship, should they not display their talents and leadership to us, face to face?"

There are several reasons, mostly liturgical, why the choir are so orientated.

Liturgically speaking, the choir is seated facing one another because, in the early church, and in much contemporary worship, the Psalms were sung.

Imitating our Hebrew ancestors for whom the Psalter was a sung prayer book, choirs would lead the congregation in praying the psalms as they were meant to be prayed: in song.

Moreover, in praying the psalms it was important, not only that they were sung, but how they were sung.   For example, if you read the psalms carefully you will notice that they are intended to be poetry rather than prose.

However, unlike much of contemporary poetry where the emphasis is on the words rhyming, the psalms rhyme in the sentiments they seek to express.

Turn to any psalm in the BAS and you will notice that they are organized such that in each verse a complete thought is expressed and then echoed in the second part half (separated by an asterisk).   As an illustration of this, consider Psalm 34, the appointed Psalm for today’s liturgy (October 23, 2003).

                I will bless the Lord at all times:
                                      His praise shall ever be in my mouth.

Notice that the second half of the verse not only reiterates, the amplifies the sentiment that precedes it.

Hmmm... interesting, but what on earth does that have to do with opposing choir stalls?

Well, in the early church, and particularly in monastic communities and collegiate chapels where the faithful would gather to worship several times a day, members of the choir, not to mention the rest of the community, would sit facing one another, thus positioning themselves in a way that gave the amplification of themes to the psalms concrete expression.

In simpler terms, one side of the chancel would sign the first half verse and the other side would sing the second.

Those who have had the opportunity to hear the psalms sung thus can attest not only to its beauty, but also to the sense of inclusiveness and participation that such presentation instills; for it is as though the gathered community, through their worship, is engaged in a dialogue of praise, affirming one to another, the abundance of God’s blessings as they echo one another’s praise in song.

This explains why, in our Advent and Lenten Vespers services, we all huddle in the chancel and offer our worship face to face.   In so doing we attempt to recreate the intimate conversation, through song, that we share with one another and with God.

Some, less charitable, liturgists would suggest that the way in which the choir is seated sends, or sings, the wrong message.   These nay-sayers of the choir’s perpendicular placement to the congregation would suggest that the choir should "face" up to their calling as leaders of congregational singing by turning their attention, and their pews, toward the nave.

If the choir’s calling were to be "liturgical performers" this posture would be wholly appropriate.

However, neither choir, nor intercessor, nor server, nor chalice bearer, nor priest, are called to "perform" the liturgy, but to enact and enable the stories, songs, and sacraments that are at the centre of our liturgical life.

Colour me traditional, or worse sentimental, but I believe that the choir have found their rightful place, for there is a sense in which, seated as we are, congregation, choir, priest, servers, readers, chalice bearers, and intercessors all form the "circlet of praise" that makes our worship to God... a crowning achievement.