A Celtic Prayer: Choral and Organ Music from Paisley

In 1973, I worked for a few months in Paisley. During lunch breaks, I would often go for an explore around this historic town. Regularly, I would stop at the Abbey and on occasion would hear the present director of music, George McPhee, playing the superb Cavaillé-Coll organ. There was an atmosphere about the Abbey which was absent from the local Church of Scotland which I attended. For one thing, it matched English Cathedrals in their choral repertoire and endeavour. And they encouraged youngsters to sing in the choir. I sang in my local parish kirk, and, at 17 years old, was the youngest by about 30 years. 

One of the encouraging things about this CD is that it is crammed full of music written by Scottish composers. As a Scot, I do feel they are largely ignored by concert hall promoters, radio producers and record companies. There are exceptions, such as James McMillan. But in most cases, they are shown the back door. At least five of the composers featured on this disc have produced symphonies of one sort or another. They are rarely, if ever, heard. Flowing against the tide is the cycle of five symphonies by Thomas Wilson, currently being released on the Linn Record label.

The ethos of this Priory disc is to balance Renaissance music with ‘contemporary’ works.  The CD opens with Benedictus es Domine’ (Blessed art thou, O Lord of our Fathers) with the text taken from the Scottish Episcopal Prayer Book of 1929. George McPhee has created a powerful and attractive setting, which is sung in English, despite its Latin title. The organ is heard to fine effect, especially in the concluding ‘Glory Be.’

Aberdeen-born Martin Dalby contributes one of the loveliest anthems on this disc. ‘Mater salutaris’ was written for the choir of Glasgow High School in 1981.  The text, which is macaronic, is set as a peaceful and genuinely moving meditation on the Queenship of Our Lady.

‘A Celtic Prayer’ by George McPhee is based on an anonymous Gaelic text, collected, and translated by the Highland-born exciseman, folklorist, antiquarian, and author, Alexander Carmichael.  McPhee has created a wonderfully evocative setting of this prayer beseeching protection by the angels, saints, and Our Lady. But note. He has written music that is typically modal rather than relying on Scotticisms or tartanry. It is a gorgeous anthem, that should be in the repertoire of all choirs.

‘Chosen’ by James MacMillan was composed specially for George McPhee as part of the fortieth anniversary celebrations (2003) of him assuming the post of Musical Director at Paisley Abbey. It is a profound setting of a poem by the Lancastrian poet Michael Symmons Roberts who has regularly worked in partnership with MacMillan. The musical style is the most ‘advanced’ on this CD. The burden of the words is a contemplation of Mary’s doubts about her moral fitness to give birth to Christ.  Equally poignant is St Joseph’s thoughts about why he was chosen to be Jesus’s earthly ‘father.’ The truth of Gabriel’s promise that the baby is ‘The Lord of Life, of seas, skies and stars’ is confirmed to Mary in a blaze of choral glory.

Thomas Wilson is best recalled for his opera based on James Hogg’s ‘gothic’ masterpiece: The Private Memoirs and Confessions of a Justified Sinner. This was premiered in Glasgow by Scottish Opera in 1975. Wilson also wrote a wide range of music in virtually every genre. As noted, his symphonies are being revived. ‘There is no Rose’ is a heartbreakingly beautiful setting of a medieval text. This unaccompanied anthem was written in 1974.

I have not come across the music of Stuart MacRae before. His webpage suggests that he is ‘one of the most exciting and expressive composers working today.’  Certainly, exploring his website reveals someone whom I should explore. The online video of Simon Smith playing MacRae’s Piano Sonata is incredible. The delightful carol ‘Adam lay ybounden’ is given a flawless performance here. This deeply felt piece effectively compliments the text and explores the nub of Christian ‘cosmic’ theology in the imaginative words of an unknown 15^th century makar.

The longest work on this disc is Edward McGuire’s Three Donne Lyrics. George McPhee explained to me that this was the work that the entire disc was centred around. It is a remarkable setting for choir accompanied by bass flute. The three sonnets are ‘Hear us, O Hear us’, ‘At the round earth’s imagined corners’ and ‘Ascension.’ The music matches the metaphorical and sensual style of Donne’s poetry. The bass flute, played by Ewan Robertson, adds a considerable emotional pull to these words. The Lyrics were written for the Abbey Choir and was premiered in 2003.  

Looking at McGuire’s catalogue there are several works I would love to hear. As a Glaswegian, this would include the Overture: Clyde Built and A Glasgow Symphony. Maybe one day the RSNO will skip yet another programming of a pot-boiler and oblige.

I always remember feeling overawed on Trinity Sunday. Not because of the theology, but the thought of the following 22 Sundays of ‘teaching’ before the arrival of Advent and the ‘promise’ of the Christmas Season. Owen Swindale has set George Herbert’s thoughtful ‘Trinity Sunday’ meditation on personal sin and the possibility of Divine forgiveness. This is a wistful piece that perfectly creates a mood of compassion and reconciliation.

Chronologically, the earliest anthems on this disc were written by a certain Robert Johnson. Not a lot is known about this individual, save that he was writing before the Scottish Reformation. He was born around 1470 and was probably also a priest in the Roman Catholic Church. It is understood that after he was accused of heresy he fled to England. It is rumoured that he was chaplain to Anne Boleyn. Much of his music appears to have been destroyed or lost. The two well-wrought motets on this disc, ‘Benedicam Domino’ and ‘Gaude Maria Virgo’ are difficult to date. The former may have been written in England as the text alludes to Queen Elizabeth I. The latter may have been completed before Johnson left his living at Scone, near Perth. Both anthems are a huge testimony to a consummate master of his craft. He should not be confused with the English composer and lutenist, Robert Johnson (1583-1633).

One of the Symphonists mentioned above is Cedric Thorpe Davie. You will not find his orchestral music on CD (yet). I have heard radio broadcasts of them, and they certainly deserve revival. Many older folks will recall his excellent score to the Disney film of Robert Louis Stevenson’s action-packed romp Kidnapped (1960). Two short anthems by Thorpe Davie are presented here: ‘The Lord is He whose strength doth make me strong’ and ‘Come Holy Ghost, the Maker’. The first is bold and powerful, and the latter is reflective and restrained. Both feature a satisfying part for the organ.

The CD features three organ voluntaries by the Music Director, George McPhee. The first is a chorale prelude based on the well-known hymn tune ‘Bunessan’, better known as ‘Morning has Broken’ erstwhile made famous by Cat Stevens. The tune is also used for the Christmas carol ‘Child in a Manger’. For the curious, Bunessan is a small village on the Isle of Mull.  Talking of Christmas, the Chorale Prelude on ‘Quem Pastores’ is a suitably restrained and peaceful little number, that would make an ideal introductory voluntary for Evensong or Evening Service during the Yuletide Season. The recessional on this CD, a Trumpet March on [the tune] 'Highland Cathedral', discloses the power and the gutsy reed stops of the Cavaillé-Coll organ to great effect.

The CD booklet gives very brief notes about the works on this CD. The texts and translations (where appropriate) are included in full. I have included dates of the music, where known.

The usual biographical details about George McPhee, the organist David Gerrard and the bass flautist Ewan Robertson are incorporated. Unfortunately, the specification and details of the organ are not given. However, this can be inspected online at the Paisley Abbey Website.

I enjoyed this CD immensely. As noted above, I welcome the decision to ‘fly the flag’ and record a wide range of Scottish music, most of which I have not heard before. It is beautifully sung by the Paisley Abbey Choir with an important input from the organist David Gerrard and Ewan Robertson on the bass flute. The whole recital is presided over by the redoubtable George McPhee who has been Organist and Musical Director at the Abbey since 1963. It is to be hoped that further explorations of mainly Scottish music by this choir and organist will appear before too long.

Track Listing:
George McPHEE (b.1937) Benedictus es Domine
Martin DALBY (1942-2018) Mater salutaris (1981)
George McPHEE Prelude on 'Bunessan' for Organ; A Celtic Prayer (1987)
James MACMILLAN (b.1959) Chosen (2003)
Thomas WILSON (1927-2001) There is no Rose (1974)
Stuart MACRAE (b.1976) Adam lay y bounden (2003)
Robert JOHNSON (c.1470- after 1554) Gaude Maria Virgo
Cedric Thorpe DAVIE (1913-1983) The Lord is He whose strength doth make me strong
Edward McGUIRE (b.1948) Three Donne Lyrics (2017): Hear us, O hear us; At the round earth's imagined corners; Ascension
George McPHEE Prelude on 'Quem Pastores' for Organ
Robert JOHNSON Benedicam Domino
Owen SWINDALE (b.1927) Trinity Sunday (1990)
Cedric Thorpe DAVIE Come Holy Ghost, the Maker
George McPHEE Trumpet March on ' Highland Cathedral' for Organ
The Choir of Paisley Abbey/George McPhee; David Gerrard (organ), Ewan Robertson (bass flute)
Rec. 17-18 January 2020 Paisley Abbey
PRIORY PRCD 1234
With thanks to MusicWeb International where this review was first published.