The major work on this CD is James Whitbourn's The
Seven Heavens which was composed and revised between 2014 and 2016. The
basic concept of this piece is ‘a musical portrait of C. S. Lewis portrayed in
the imagery of the mediaeval planets.’ Few readers of these pages will be
unaware of the important contribution of Lewis to theology, medieval literature
and children’s books. Most of us have read at least some of the Narnia
Chronicles. Others will have been helped by his practical and compassionate
‘apologetic’ approach to the intricacies of theological matters.
Full details of the work’s progress
are given in the liner notes. This includes an introductory text to each
movement written by the C.S. Lewis scholar Dr Michael Ward. This places Lewis’s
life into chronological episodes each of which relates to the attributes
associated with one of the medieval planets (The Moon, Mars, Mercury, Jupiter,
Venus, Saturn and the Sun), – or the ‘Seven Heavens’. The sung texts are derived
largely from the Orphic Hymns (The Hymns of Orpheus), translated into English
by Thomas Taylor (1792). Also featured are extracts from William Shakespeare,
Joseph Addison, the Psalmist, Thomas Lodge, St John, Percy Bysshe Shelley and
C. S. Lewis himself.
Musically, this is an eclectic
score, that sounds like a synthesis of everything I have ever heard from the western
choral tradition - old and new. That is no bad thing. It makes for an
approachable work that is enjoyable and satisfying from first note to the last.
There is much beauty in these pages. The listener will be inspired and moved.
The Seven Heavens was
originally written for a massive orchestra with the organ of the Ulster Hall in
Belfast, where the work was premiered during the 2014/15 season as part of the
140th anniversary of the Belfast Philharmonic Choir. A reduction for
choir and chamber orchestra was subsequently made two years later. It is this
version that is heard on this disc.
I wonder if Dr Ward’s texts could
have been spoken before each section. There certainly seems to be a little
extra room on this CD.
I found ‘Ada’ a little insipid. The
choir is accompanied by violin and harp: I wonder if this was necessary. The
piece is a tribute to Lord Byron’s only legitimate child, Ada Lovelace with the
text taken from Byron’s long poem Childe Harold’s Pilgrimage. I guess
that few people read these long narrative poems today, however this extract is
both tender and melancholy. The music was written in 2015 in response to a
request from one of Ada’s descendants. Unsurprisingly, Whitbourn has used the
notes A-D-A as a major constructive motif in this piece.
‘Video caelos apertos’ was
specially commissioned to mark a visit from the Medina High School, Ohio to St
Stephen’s House, Oxford in 2014. The
title reflects St Stephen’s words as quoted in the Acts of the Apostles,
shortly before his martyrdom: ‘I see the heavens opened’. The anthem begins with a ‘plainchant’ melody,
before expanding into music reflecting a text from Revelation: ‘You are worthy,
O Lord our God, to receive glory and honour and power’. The liner notes state
that the composer has used ‘mensural devices beloved of medieval composers.’ In
this context, I am not sure what is meant. I guess the definition implies that
the ‘symbols’ give the exact value of the notes and the rests as opposed to
plainsong which has no measurable pulse. But without seeing the score…
I am not sure about the eclectic,
if not eccentric, nature of ‘The Voices Stilled.’ Ostensibly a setting of the ‘Agnus
Dei’, the music incorporates the viola which at one point echoes the ‘Last Post’.
I guess it was appropriate for its original inception as a memorial piece for
the commencement of the Great War. The
choral music is ravishing, but the ‘band’ is an intrusion.
‘Eternal Rest’ was originally an
orchestral number written for broadcast during Queen Elizabeth, the Queen
Mother’s funeral in 2002. Fifteen years
later Whitbourn recomposed the work for choir and organ. It sets the words ‘Eternal
rest grant unto them, O Lord. And light perpetual shine upon them.’ It is a
beautiful setting that is, for me, the highlight of this CD. A perfect fusion
of text, voices and organ. It is a work that is fully in the tradition of
Anglican Church Music.
‘Gratias agimus tibi’ is as
setting of the college grace of St Stephen’s College Oxford. This is now sung
at all college high days and holy days. Scored for choir without accompaniment,
it is an effective and inspiring little piece. The timeless nature of this
setting reflects both the medieval (Gothic) revival structure of the college
(1876) and a more contemporary aesthetic.
The two final pieces are
effectively a setting of the Anglican Mag and Nunc Dim. To highlight the Jewish
heritage of the text, Whitbourn has introduced some sinuous melodies played on
the viola: I am not convinced that this works. The organ part, on the other
hand, is demanding and totally effective.
The liner notes give a detailed
account of each work, including texts and translations. There are the usual
biographies of the composer and performers. Further details of James Whitbourn
can be found in his excellent website.
I was unable to find who played
the violin, the viola or the organ. The performances by Cor Cantiamo is superb
in every way.
Track Listing:
James WHITBOURN (b.1963)
The Seven Heavens (2014/2016) chamber version
Ada (2015)
Video caelos apertos (2014)
The Voices Stilled (2013)
Eternal Rest (2002/2017)
Gratias agimus tibi (2015)
Canticle of Mary (2011)
Canticle of Simeon (2011)
Cor Cantiamo/Eric A. Johnson
Rec. Boutell Memorial Concert Hall, Northern Illinois
University, 26-29 May 2017
DIVINE ART dda 25192
With thanks to MusicWeb International where this review
was first published.
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