As the
advertising blurb for this short film points out there are more than 20,000 (Anglican)
parish churches in England. It advocates that even on the shortest of journeys,
whether by foot, cycle, car or train, the traveller could expect to pass at
least one or two of them. An Artist Looks at Churches is presented
by one of Britain’s greatest 20th century artists, John Piper
(1903-92), who has selected a number of buildings given in roughly chronological
order. He visits and describes them during this short British Transport Film
made in 1959.
Nine churches,
built over a period nine centuries are explored (see list at end of post). Piper begins with the Church of St. Mary
& St. David, Kilpeck, Herefordshire constructed around 1140 and concludes
with St. Bernadette's RC Church, Lancaster, Lancashire which was completed in
1958. At the time of the film it was brand new. At this latter church, the attractive free-standing
tower has since been demolished.
During his investigations,
Piper ‘reveals the beauty and riches of architecture, decoration, carving and
sculpture aged in mellow stone and weathered glass; the art of the wood carver
and the sculptor, and in doing so finds that through the centuries the portrayal
of the human face and figure has been an unfailing source of inspiration to all
who have brought their talents to the service of the Church.’
The music for
this film was composed by Peter Racine Fricker (1920-1990) during 1958 and was
recorded at the Beaconsfield Studios on May 6, 1959. The Sinfonia of London was
conducted by the composer. The score features flute, oboe, trumpet, harp, 6
violins, 4 violas, 3 cellos, double bass. I understand that it remains in
manuscript.
Other works by
Fricker at this time included his Comedy Overture, op.32 (1958), the Toccata
for piano and orchestra, op.33 (1959) and the Pastorale for organ (1959).
The film opens
with no music, just birdsong and Piper’s footsteps: however after a few moments
the chimes of various churches begin to ring. This is the cue for Fricker to
introduce some bell-like figurations with a rough-hewn tune supported by
dissonant harmonies. Sometimes, as the
score develops the music becomes a little more contemplative, with hints of
Ralph Vaughan Williams in his more acerbic mood. This is no pastoral fantasy, but
does often have an intangible English feel to it. Fricker uses the string cantilena as one of
his devices throughout this work, although this is hardly modal, is more chromatic,
and does not echo RVWs pastoral symphony. If anything, it is more like the
second subject of the opening movement of the Symphony No.4 in F minor. Sometimes,
as at the section when Piper is reconnoitring Shottisbrooke, he pulls a hummable
tune. Views of some fields in the
landscape are accompanied by music reminiscent of Aaron Copland’s wide open prairies.
The mood
changes, as John Piper explores East Budleigh Church (All Saints), in Devon
where Fricker matches the grotesque, but often charming, carvings with rustic
dance music tinged with something nautical or shanty-like. His style alters once again when providing
the accompaniment to the visit to St. Mary's Church, Lydiard Tregoze, near
Swindon in Wiltshire. Here he seems to recapture the mood of 1950s romantic
films, but only for a very short time. This is pushed to one side by a passage
of ‘splashy arpeggios’ underlining the effigy of Viscount Bolinbroke and his
pages.
As Piper begins
to examine churches from the nineteenth century Gothic Revival, Fricker turns
his hand to some reflective woodwind writing which is almost idyllic in its
effect. A brief visit to Sir Ninian
Comper’s beautiful St. Phillips Church, Cosham, Portsmouth, Hampshire is accompanied
by brass and strings.
The music that complements
images of Graham Sutherland’s ‘Crucifixion’, at St. Matthew's Church,
Northampton, features a harsh oboe melody. Finally, as the film concludes with
a study of Henry Moore’s early sculpture Madonna
and Child, Fricker uses a gorgeous string quartet passage before reprising
the bell-like figurations of opening. The film concludes as it began with bells
and birdsong.
An Artist Looks at Churches was reviewed
in Monthly Film Bulletin (April 1961):
A documentary
which looks briefly at church architecture in England from the middle Ages to
the present day. A commentary, written and spoken by John Piper, points out the
changes and developments which took place between each period, and gives
something of the background which led to them.
This is a good
subject, but unfortunately marred by having too little time to say anything
significant. The rapid progression from one style of architecture to another in
the film gives a good idea of development as a whole - from eighteenth century
classical grace, for example, to the nineteenth century preoccupation with the
Gothic as a sop to its own materialism. But there is only room for one church
to represent each period, and often only for one or two features to represent
each church. Consequently one comes away with an impression of certain trends
(if, that is to say, so few examples can be truly representative) but also with
a feeling of superficiality. John Piper's rather poetic, well-delivered
commentary helps to mitigate this failing, as does some very sensitive
photography of these works of art in their English settings.
The churches featured in the film include:-
Opening/Closing
Credits: Ellesborough,
Saints Peter and Paul
Church of St.
Mary & St. David, Kilpeck, Herefordshire
St. Leonards
Church, Grateley, Hampshire
Blessed Virgin
Mary's Church, Isle Abbotts, Somerset
St. John the
Baptist's Church, Shottesbrooke, Berkshire
East Budleigh
Church (All Saints), Devon
St. Mary's
Church, Lydiard Tregoze, Wiltshire
Parish Church
of St. Peter, Gayhurst, Buckinghamshire
(Unnamed Church)
St. Phillips
Church, Cosham, Portsmouth, Hampshire
St.
Bernadette's RC Church, Lancaster, Lancashire
St. Matthew's
Church, Northampton, Northamptonshire
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