Arnold Bax did not compose a great deal of music for unaccompanied chorus, yet the few works he did write are invariably well produced and effective for both singers and audiences alike. A brief study of Graham Parlett’s essential Catalogue reveals six works that could be classified as being for unaccompanied chorus.
The earliest of these is the present Mater ora filium of 1921. The following year saw the desolate ‘This Worldes Joie’ written to a 14th century text. The short ‘carol’ entitled ‘The Boar’s Head’ was composed in 1923 for, and dedicated to, the Blackpool Festival Committee. Out of interest, this event was won by the Warrington Male Choral Union –still going strong under a different name. The same year saw the straightforward working of ‘I sing of a maiden.’
Nearly twenty years elapsed until the 1942 settings of Five Greek Folksongs – which Bax himself regarded as being based on “...very quaint and rather barbaric tunes…”
Virtually the last composed work by Arnold Bax was the part-song ‘What is it like to be young and fair?’ This was a setting of words by the composer’s brother Clifford. It was performed as part of the Garland for the Queen as an event at the Coronation Celebrations in 1953.
Bax certainly did not contribute music for use in the church – although the present work could be given happily at a Christmastide recital or a choral concert in one of our great cathedrals. Of course this is not to suggest that Bax was anti-Christian, yet he certainly did not relate to the ritual and ceremonial of the Roman or
In fact he had had a non-conformist childhood.
Perhaps it is better to suggest that Bax’s spirituality was found in
other directions than conventional religion.
It could be that his spiritual temperament was more in tune with the
Celtic Twilight as exemplified by W.B. Yeats. Anglican Churches
Colin Scott-Sutherland quotes a personal reminiscence by Charles Kennedy Scott – “His [Bax’s] unaccompanied motet for double choir, ‘Mater ora filium’ came later when I had the satisfaction of performing it with the Oriana [Choir] at Messrs Murdoch’s concert of recent works of Arnold at [the] Queens Hall in November 1922. I have no doubt that this and
’s other motets can be associated with
heard the Oriana do at the Balfour concerts ten years earlier…” Arnold
Yet in spite of Kennedy Scott claiming his choir to be the stimulation for Mater Ora Filium, the immediate inspiration for this work was found at a performance by the Tudor Singers of the William Byrd’s Five Part Mass. Bax heard this work at one of Harriet Cohen’s soirees at
Wyndham Place. This
great liturgical setting made a huge impression on Bax; in fact he thought it
more significant than the music of J.S. Bach himself. Bax was attracted by this
“spiritual, ornate and emotionally austere” music.
It could be argued argued that ‘Mater ora filium’ is imbued with the spirit of the Elizabethan age, yet it would be unfair to suggest any kind of pastiche or archaism. The work is a fine example of Bax’s contrapuntal technique – although use of this ‘technical’ word is in danger of giving the impression that this work has an academic nature. ‘Mater ora filium’ is scored for unaccompanied double chorus with a short solo for tenor. Even a superficial hearing reveals extremely difficult part writing that makes strong demands on the singers. There is timelessness about this setting that seems to make influences and musical allusions unnecessary. It is a truly lovely anthem of devotion to Our Lady and her Son.
Mater ora filium was first performed at the Queen’s Hall on 13th November 1922 by the Oriana Choir conducted by Charles Kennedy Scott.
With thanks to the English Musical Festival 2006 Programme Book where this note was first published.