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’ (Mother pray for thy Son) from 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 during 1953.
Bax contributed little music for use in the church: there is a
Magnificat, and a Nunc Dimitis. The present work could be given happily
at a Christmastide recital or a choral concert in one of our great cathedrals. 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 Anglican Churches. In fact, he had
had a non-conformist childhood. It is
better to suggest that Bax’s piety 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.
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 [Bax] at [the] Queens Hall in
November 1922. I have no doubt that this and Arnold’s other motets can be
associated with what Arnold heard the Oriana do at the Balfour concerts ten
years earlier…’
Yet despite 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; 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 agued 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.
Interestingly, a similarity of theme has been identified between the ‘Alleluias’
of ‘Mater Ora Filium’ and the
tone poems Nympholet and November Woods.
It was first performed at the Queen’s Hall on 13th November
1922 by the Oriana Choir conducted by Charles Kennedy Scott.
There are several recordings of this motet available. Graham Parlett (Arnold Bax Website, Discography, February 2017) has
listed a baker’s dozen of recordings. I recommend The Carice Singers conducted
by George Parris on NAXOS 8.573695.
With thanks to the English Music Festival, where this programme note was
first published. I have made a few minor editorial changes.
pray "to" your Son
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