Tue, Dec 8 2015 12:27
‘Is this music for quiet reflection?’ The question with which Roger Bolton introduced a segment on new music for Advent on Radio 4’s Feedbackprogramme was surely a little disingenuous. The immediate answer was an excerpt from my new Advent anthem, The Birth of Speech, which seemed to be saying a fairly emphatic 'No!’ What followed balanced complaints – ‘downright ugly’, ‘screechy’, ‘discordant’ – against the voices of those who had enjoyed the mix of old and new in the recently broadcast Advent Carol Servicefrom St John’s College, Cambridge.
As the Order of Service for the St John’s Carol Service puts it, the season is one of ‘growing anticipation, both of the first coming of Christ and of that day when the prayer, ‘Thy Kingdom come’, is finally and fully answered’. The season is tense, both joyfully and fearfully so. Anyone who has shared in the excitement of pregnancy and the arrival of a child could testify to the range of emotions entailed in the anticipation of new life. ‘Quiet reflection’ is certainly needed, but so is the energetic embrace of change and new challenges.
The celebration of Advent focuses our thoughts on the relationship of birth to death, prophecy to fulfilment, Creation to Apocalypse, and sin to redemption. If Christmas is an answer, Advent is a question, and the poem by Hartley Coleridge that I chose to set for my new piece is entirely built from questions about sound. It begins by asking, ‘What was’t awaken’d first the ear / Of that sole man who was all human kind?’ and goes on to wonder whether it was sounds of wind or water, beast or bird, that were the first to be heard by a human being. Its final question asks if, instead of external things, it might have been ‘his own voice’ that awoke him with its sound. The ‘sole man’ is Adam, first created human, but, especially since he remains unnamed in Coleridge’s poem, he stands for everyone to have been born since, including Jesus Christ.
In my setting the trebles spend most of the time waiting to be ‘born into song’ in the final question. I wanted the congregation to share in that experience, wondering expectantly when – or if – the boys’ voices would be heard. In this way and through a musical language, essentially tonal in approach, albeit mixing sweet consonances with some astringent dissonances, my aim was to highlight the drama of Coleridge’s exploration of the mysteries of consciousness, perception and life itself.
It was, of course, just one small contribution to a ninety-minute sequence of readings and music, which encompassed the austere beauty of plainsong, the grandeur of Advent hymns, the purity of Palestrina and the sumptuous sensuality of Herbert Howells. It is a testimony to the talents of the young musicians of St John’s College, Cambridge, to the vision of its Director of Music, Andrew Nethsingha, and to the vitality of the College as a religious and educational institution that new commissions form such a significant and unapologetic part of the choir’s repertoire. The service opened with a raptly ecstatic setting of the Latin antiphon, O Oriens, by Cecilia MacDowell and also included Judith Bingham’s eloquent fusion of Wordsworth and 16th-century words by Lancelot Andrewes, The Clouded Heaven. Both offer plentiful scope for ‘quiet reflection’ as they draw the ear and eye to contemplation of the stars which illuminate the night sky as Christ lights the way for those who ‘dwell in darkness’. Quietness need not imply a cosy retreat from reality, nor, I hope, should reflectiveness preclude the (sometimes noisier) examination of life and death in all its raw and restless beauty.
Wed, Feb 4 2015 10:54
The score of Vine for solo harpsichord can be downloaded here.
Sun, Feb 2 2014 01:32
The Britten Sinfonia's new family concert, Songs of No-Man's Land, including new music by Tim Watts premiered at London's Wigmore Hall on 23rd January 2014 before touring to Cambridge, Norwich and Peterborough. Performed by Joy Farrall (clarinet), Jacqueline Shave and Miranda Dale (violins), Clare Finnimore (viola) and Caroline Dearnley (cello), and presented by Rus Pearson, it is based on the children's book, War Game by Michael Foreman. The book tells the story of four Suffolk lads who enlist to fight at the outbreak of the First World War and follows them on their journey to the front line where, in a brief lull in the fighting, they play a Christmas Day football match with German soldiers. The concert version combines narration and incidental music with opportunities for audience participation.
Fri, Jan 10 2014 10:26
Vine for solo harpsichord has been selected as joint winner of the Horniman Museum Composition Competition and was premiered by Jane Chapman at the Museum on 29th January alongside the other winning piece, The Sprawl, by Adam W. Stafford. The competition was set up to inaugurate a new exhibition of musical instruments, including the 1772 Jacob Kirckman harpsichord on which the new pieces were performed. It was adjudicated by Alexander Goehr, Rhiann Samuel and Jane Chapman. The opening speech was given by Sir Peter Bazalgette who also presented the prizes.
Wed, Jul 18 2012 07:19
Quests for spiritual enlightenment and sensual discovery...memories of lovers, long ago and faraway...the incomparable strangeness of the everyday...
Ideas of the exotic are explored in all their mystery and potency in a programme of songs based on translations of Hindu, Spanish, Polish, Serbian, German and Gaelic poetry. The performers bring a theatrical dimension to their musical voyage through Gustav Holst's Vedic Hymns, Samuel Barber's Three Songs Op. 45, Judith Weir's Songs from the Exotic and Tim Watts's White Shadow.