I wish
that I had heard the opening Three Marian
Carols during the Christmas season, for they are amongst the most beautiful
examples of the carol writers art that I have come across in a long time. These evocative numbers have been collected
from a number of the composer’s previously published works and are grouped
together for this recording: they cover a span of 48 years of musical composition. The earliest, ‘Mary laid her child’ dates
from 1964 and is a setting of a poem by the 20th century ‘Lakeland’
poet Norman Nicholson. This is a poetic
mediation based on the idea that Jesus was born near a ‘miry frozen farm.’ The
location of the the nativity has been moved from Bethlehem to Bassenthwaite,
maybe. The music reflects the cold, the frost, and a glimmer of warmth from a
fire in the barn. The poem concludes with an intimation of the crucifixion. ‘Dormi Jesus’ was written nearly a decade
later and is based on an anonymous 15th century text. This is a heart
achingly beautiful carol that balances bitter-sweet harmonies with a lovely
soprano solo. The most recent is ‘I sing of a maiden’ (2008) which is based on
another anonymous text. This well-balanced carol utilises a semi-chorus
alongside the main chorus. All three numbers work well as a group. The composer
has written in the liner notes that ‘writing carols has been a constant pleasure
throughout [his] career, as relaxation from sterner stuff…as a way of
participating in the great tradition of music for the community.’
I found
the Mangan Triptych difficult to come
to terms with. It is not that the music
is ‘difficult’ or unapproachable: it is just that the work as presented here is
too long –at least for me. However, this is not a huge problem as each of the
three ‘panels’ were composed for a different occasion and appear to have been
performed separately. Taking them one at a time would be my recommendation for
a listening strategy. James Clarence Mangan was born in Dublin in 1803. After an education at a Jesuit school, he worked
as a lawyer’s clerk, then for the Ordnance Survey and latterly as an assistant
in Trinity College Library. His early
poetry was apparently ‘a-political’ but subsequent to the Great Famine, he
began to explore Irish nationalistic themes.
He had a tragic life, being afflicted with illness, depression and irrational
fears. He was an eccentric – appearing on Dublin streets wearing a long cloak, green
spectacles and a blonde wig. In 1849, he
died from of cholera – however his health had been compromised by malnutrition,
poverty, opium and alcohol. However, W.B. Yeats considered Mangan to be one of
the best Irish poets.
John
McCabe states in the liner notes that he was ‘immediately impressed…with the
characteristically Irish rhetorical power and vivid imagery’ [of the poetry].
He considers that it has ‘a powerful visionary quality.’
Three
things need to be said. The text is full of allusions, metaphors and symbols.
The meaning does not jump out to the listener.
I was reminded of the English poet Christopher Smart in the complexity
and convolutedness of the imagery. Secondly, John McCabe has brought some
impressive music to these settings. It
is characterised by almost continual invention. The musical content has
McCabe’s usual characteristic of a wide-ranging harmonic language ranging from
the acerbic to the meltingly beautiful. There are times when the the poet’s
mental turmoil is reflected in the music, although there is much that is
reflective and heart-easing. Finally,
this work could (should?) be regarded as a ‘choral symphony’ for eight-part choir.
As such the composer has stated that he prefers the ‘movements’ given in the
order presented on this disc. It is a work that will challenge the listener.
‘Amen/Alleluia’
was written in 1981 for the William Ferris Chorale in Chicago for their
twentieth anniversary concert. Apart
from the title, there are no words in this composition: it is effectively a ‘deconstruction’
of the the syllables. The ‘amen’ part of the work is slow whilst the ‘alleluia’
begins quietly and builds up to a scorching climax. It could be argued that the
repetition of two words over a 5-minute span is either a bit experimental or somewhat
Handelian. However, as an exercise in sound it makes an interesting point, even
if the text is not too imaginative.
I enjoyed
the descriptive setting of Thomas Hardy’s poem ‘Proud Songsters’. It does
indeed capture ‘the vigour of young birds singing and the evanescent nature of
their existence’. ‘The Lily-White Rose’
is extracted from a larger work, Songs of
the Garden (2004/2009) for soloists, chorus and full orchestra (or
ensemble). The present motet is a moving arrangement for SATB.
I imagine
that the ‘Morning’ and the ‘Evening Watch’ will be often be performed ‘back to
back’ in spite of some 36 years separating their composition. Both texts are derived
from the Welsh poet Henry Vaughan (1621-1695) who was a ‘metaphysical’
poet. There is an interesting stylistic contrast
between the two texts and their setting. The organ is used to considerable
effect in the latter.
‘Great
Lord of Lords’ is a good piece to follow the introverted dialogue between the
body and soul of the ‘Evening Watch’. This
is a big powerful setting of a song of praise that creates an impressive
balance between choir and organ.
‘A Hymne
to God the Father’ (1966) is a reserved setting of a poem by John Donne. The
harmony is often bitter-sweet with only occasional relaxation. McCabe uses
three soloists to add intimacy to the music.
The final
setting, ‘The Last and Greatest Herald’, opens with an impressive organ
flourish. The text is by the Scottish poet, William Drummond of Hawthornden
(1585-1649) and examines the contribution to the Christian story made by St.
John the Baptist during his sojourn in the desert. The choral writing is
typically massive and vibrant, with contrasting sections of reflective music.
The work ends with a huge climax urging the listener to ‘Repent! Repent!’
Throughout this work, the organ is busy providing an intricate accompaniment
that is almost ‘jazzy’ in places. A
great finish to this CD
This is a
handsomely presented CD. The singing by the BBC signers under David Hill is
perfect. Every nuance of McCabe’s music is clear and well-defined: the words are
always audible. Most of the music on this disc is a-cappella; however the
remainder has an organ accompaniment – so I must not forget the excellent
playing by Iain Farrington, who is also a composer, as well as an organist and
pianist.
The liner
notes are by John McCabe – so no potential for argument there. The texts of all
the works are included along with a translation of ‘Dormi Jesu’ by Samuel
Taylor Coleridge.
This CD
can be recommended to anyone who appreciates modern but accessible choral
music. For those listeners who only known this composer through his large- scale
works such as the ballets, the Chagall
Windows or Cloudcatcher Fell for
brass band, this disc will be an eye opening exploration into a facet of
McCabe’s music that is little represented in the CD catalogues.
Track Listing:
Three Marian Carols (2008/1973/1964) Mangan Triptych (1983/1980/1979) Amen / Alleluia (1991) Proud Songsters (1989) The Lily-White Rose (2009) The Morning Watch (1968) The Evening Watch (2003) Great Lord of Lords (1967) A Hymne to God the Father (1966) The Last and Greatest Herald (2008)
Iain Farrington (organ) BBC Singers / David Hill
With thanks to MusicWeb
International where this review was first published.
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