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CCA Composer of the Month – SEPTEMBER 2013
YOUR FEATURED COMPOSITIONS OF THE MONTH:
Laudate Dominum – a cantata for soprano choir and orchestra
INSTRUMENTAL AND/OR VOCAL RESOURCES USED:
Soprano soloist, SATB Choir, Symphony Orchestra [2,2,0,2; 2,2,0,0 & Strings. 2 clarinets were added for movements 2 & 3 in the 2003 and 1999 versions although these remain optional for movement 1. Originally written for authentic C18th orchestra]
FIRST PERFORMANCE DETAILS – IF RELEVANT:
Movement 1: 16th November 1996; Movement 3: 27th March 1999; Movement 2: 5th April 2003 all in Derby Cathedral.
PERFORMERS ON YOUR RECORDING – IF RELEVANT:
Dame Emma Kirkby [soprano], Derby Choral Union, Midland Baroque Orchestra [Leader: Diane Terry], David Fisher [conductor]
OF THE WORK(S) YOU HAVE SELECTED FOR THE COMPOSER OF THE MONTH FEATURE, WHAT WAS THE SOURCE/INSPIRATION/COMMISSION WHICH SET THIS PIECE OR THESE PIECES IN MOTION?
When Sir Charles Groves died, the Derby Choral Union (recognised by “Making Music’ as the oldest established choral society in the country) lost a valuable and well-respected President. As I had just become the Musical Director of this famous choir, I was asked for my suggestions as to who could replace the eminent conductor. I put forward Emma Kirkby’s name as she is a singer who started in choirs and who by that time was the world’s greatest early music soprano and adjudged by a later BBC poll as one of the top ten sopranos of all time. Little did I think she’d accept but she did on the understanding that she was ‘Patron’ rather then ‘President’. As a patron is “A person who gives support to an organisation, cause, or activity” rather than being a titular head, this lead to a series of three concerts which Emma Kirkby gave with Derby Choral Union in my time with the splendid choir. The original commission was from East Midlands’ Arts.
WHAT WOULD BE A GOOD PROGRAMME NOTE FOR THIS WORK WHICH EXPLAINS THE STRUCTURE, USE OF MELODY AND HARMONY AND ANY TECHNICAL POINTS RELATED TO THE PERFORMERS?
The works are already described in the works page of my pieces but I repeat here the overview of the cantata which I wrote in 2003 to explain the addition of the final movement which was the virtuoso aria for Emma and orchestra alone:
“I was pleased to be asked by Derby Choral Union to choose a patron for the choir when I started my tenure with them in 1992. Sir Charles Groves [the President at the time] had recently died. I wanted, instead of a famous conductor, one of the world’s most distinctive voices as Patron and was delighted when she accepted. It was, therefore, a great honour to be asked to compose a work for my choir at the time and its Patron. I was very aware of the history of the choir [which dates back to 1793] so I thought it would be appropriate to write in Classical pitch [A=430] to accommodate Emma and reflect the history of the choir too. This meant that I had re-learn some of my composing skills to write for the original instruments of the late 18th century. I had a great deal of help from some of the players in the orchestra, notably the brilliant and world-renowned pair of brass players: Tony Halstead and David Blackadder on natural horn and natural trumpet respectively. I also greatly appreciated the superb advice, bowing skills and orchestral nous of Diane Terry who led her orchestra [Midland Baroque] for each of the three Emma concerts. The commission, with funds made available from East Midlands’ Arts, allowed me to compose freely for what I considered the choir’s and Emma Kirkby’s strengths. The SSATBB scoring reflects the choir’s numbers although the texture was increased to add sonority to the last movement. From the outset it was clear that the composition could grow in size with the choir in a series of concerts planned with Dame Emma [as she has deservedly become] and this presented me with a huge challenge. I needed to compose pieces that would, eventually, form a complete cantata but also allow each section to be independent as required. This also allowed me as composer/conductor to experiment over a long period to such a degree that, when I decided that the orchestration of the virtuoso aria needed clarinets, I revisited the entire work and added clarinets to the texture. This has, strangely, made Laudate Dominum much more useable for performers who can choose the movements to suit concert circumstances. In fact, even the ‘Angel’ aria in the first movement can be (and has been used) as a separate anthem in church services.”
The first movement is described as follows and, in the absence of a score (apart from the “Angel Aria”), I have added timings to follow the structure of this movement:
The universality of the text “O praise the Lord all ye people” is emphasised by the use of four languages: Latin, German, English and French. It is in ternary form with an introduction and coda. After the horns and trumpets announce the fanfare theme [0:02] which unifies the work, the choir sing all the languages in turn: Latin [0.27], German: [1:12], and English [1:37] except for French, with two distinctive themes allocated to each text. The first section closes with the whole choir singing the fanfare figure [2:00] before the soprano soloist begins the French text [2:36] in a slow and lyrical melody in C major accompanied by pulsating strings, oboe solo and flutes. The choir joins the soloist [4:21] in the second part of the middle section before a long cadence brings back the original E flat tonality [5:40]. The third section begins with another choral fanfare [5:50] before the reintroduction of all the earlier themes [6:17] now in a multi-layered texture of increasing complexity. A giant eight-part double canon ensues [6:57] and this is in turn followed by a shorter harmonised canon [7:34] before the climax of the work is reached in two massive statements of “Laudate” [8:00]. A tranquil section marks [8:25] the re-entry of the soprano soloist to end the movement. The horns play a closing fanfare [8:58] which ends the movement as quietly as it began.
The recording can be accessed by clicking here: Laudate Dominum.
Laudate Dominum omnes gentes, laudate eum omnes populi. Quoniam confirmata est super nos misericordia ejus et veritas Domini manet in aeternam.
Lobet den Herrn, alle Heiden; preiset ihn, alle Völker! Denn seine Gnade und Wahrheit waltet über uns in Ewigkeit.
O praise the Lord all ye nations: praise him all ye people. For his merciful kindness is great toward us: and the truth of the Lord endureth for ever.
Louez l’Eternal, vous toutes les nations, célébrez-le, vous tous les peuples! Car sa bonté pour nous est grande, et sa fidélité dure à toujours.
The next two movements are described in the list of my works. Movement 2 [Laudate Dominum de caelis] & Movement 3 [Alleluia].
CRITICAL FEEDBACK:
Emma Kirkby: "Thanks for a lovely bit of writing - for me and all the forces! I really enjoyed it."
From an interview with Emma Kirkby and Pierre M. Bellemare (July 13, 2004) published in La Scena Musicale, Canada´s Classical Music Magazine: LSM [PMB]: “…and what about the music that David Fisher has composed for you?” EK: “David Fisher is a talented choirmaster and composer. He wrote a piece for me to do with the wonderful Derby Choral Union--one of Britains oldest groups and still very healthy today, and of which Im proud to be a patron. It is a very singable piece for me and there are bits that are great to listen to and pretty challenging to sing.”
Liz Clarke [Derbyshire Now - February 1997]: "Emma Kirkby was provided with a vehicle to show a packed cathedral her superb talent and David Fisher even managed to stretch, test and ultimately show off the choir. [Emma Kirkby]...loves the unpredictability of performing live and her enjoyment of the piece was obvious. Her beautiful voice and those perfect high notes were heard to their best advantage...there was thunderous applause and David Fisher glowed with pride as he led Emma from the stage."
Members of the audience wrote:
"... the theme given to Emma [Kirkby] is one of the most beautiful themes I have ever heard. When I heard it my hair stood on end..."
“I have attended many of your concerts and thoroughly enjoyed them but Saturday’s was something special. Your music and Emma’s voice – was so moving.”
“It was wonderful! The entire concert seemed to have a brilliance such as we have never heard before. The atmosphere was truly electric.”
“…your composition is dynamic, moving and challenging to sing! It has everything that music should have – and more.”
Will Todd [composer]: "I was glad to hear the Laudate Dominum live - made the solo sections more immediate and beautiful. I really enjoyed it and I congratulate you...."
WHEN DID YOU FIRST START COMPOSING AND WHAT WAS YOUR FIRST PIECE?
I always remember trying things out on the piano [I’m a self-taught pianist, alas] and my first recognisable piece was for two trebles and organ at the age of 11 – not surprising as I was a chorister in Leicester Cathedral at the time. I showed it to the estimable Jonathan Gregory the Head Chorister at the time [later Master of Music at Leicester from 1994-2010] and he took it to show Dr Gray who was the Organist and Master of the Choristers. Dr Gray was very kind about the piece and an irregular but considerable number of sessions with him allowed me to develop my skills.
WHO WAS IT THAT FIRST ENCOURAGED YOU TO DEVELOP YOUR INTEREST IN COMPOSING AND HOW DID THEY HELP?
George Gray was vital in my development. He taught me four part harmony and as a young teenager I revelled in the exploration and study of Bach chorales. I composed several works at the time although the first I am happy to recognise was my Domine, non est written for my mother on Mothering Sunday when I was 14. When Dr Gray retired from the cathedral I wrote a huge "Gloria" for him in up to eight parts with organ accompaniment. After that I wrote an a cappella anthem [O praise the Lord] for Bob Prime, who was the Assistant Organist at the time, to mark his move to the Lake District. Bob [or Mr Prime to me!] always showed an interest in the work I was doing and often gave valuable advice on structure. Peter White, who followed George Gray as Master of Music, was also my teacher at Alderman Newton’s Boys’ Grammar School, and he refined my skills. He was a perfectionist in harmonic construction and his precision and brilliance in explaining unusual modulations stay with me now. After I stopped being a treble and prior to going to Durham University I wrote one of my most enduring pieces for Peter and the Leicester Cathedral Choir: Mary Laid Her Child. First performed by the Vienna Boys’ Choir it has become a staple in many places at Christmas although it is also an Easter carol. Subsequent teachers in higher education did not add to my skills except to encourage me to write longer works.
Mind you, it is due to people like the extrordinarily talented teacher-conductor Richard Stevens whose repeat commissions for the Farnham Festival allowed me to attempt greater and greater things for his young performers. There is nothing that he couldn´t get them to perform. Though he is also an exceptional countertenor, it is his accomplishments in the area of youth music which can rarely be matched by anyone else in the country. He was also fortunate to be able to call on his superb pianist wife Jean to play the premières of all of my pieces for Farnham.
Possibly the greatest believer in my talent, however, is my brother Morris who is an outstandingly gifted musician. He is a professional conductor, singer and arranger and his active encouragement of my pieces right from when we were both adolescents has been of enormous benefit to me. I continue to be extremely grateful for his support. knowledge and experience and for his unerring sense of constructive criticism. My sister, Elizabeth, whilst a good choir mezzo herself was an arts management supremo and it was she alone who worked very hard to gain the funding for composition of my Requiem which, to date, is still my largest work. I am also fortunate to be married to Pauline, the most patient woman on the planet, who not only inspires my compostions but has written superb lyrics for the three Farnham commissions and as a result has been commissioned herself to write lyrics for four more Franham pieces, two of which were composed by inspirational Will Todd.
I should also point out that had Miss Joyce Moon (an amazing teacher who spotted and developed my singing talent at primary school) and Mr David Shaw (whose wonderful musicanship and enthusiastic brilliance at my grammar school encouraged a wider love of music) not been so good in their vocations I might not even have been in the profession long enough to write this paragraph!
WHO DO YOU CONSIDER YOUR GREATEST INSPIRATIONS IN TERMS OF THE MAJOR COMPOSERS AND WHICH OF THEIR WORKS HAS INFLUENCED YOU THE MOST AND WHY?
Britten has always been a massive influence. His writing for the voice in the English language was only equalled in the C17th by Purcell. As a performer and conductor of English Choral Music there are several who have influenced me: S. S. Wesley, C. V. Stanford, Herbert Howells with, occasionally the textural delights of William Byrd.
HOW WOULD YOU DESCRIBE YOUR STYLE TO SOMEONE WHO HAS NEVER HEARD YOUR MUSIC BEFORE?
Melodic and tonal but with complex musical devices and intensely discordant moments relieved by sumptuous harmonies. Will Todd, one of Britain´s greatest and most highly respected composers at the moment, wrote of my music: "His music is cleverly layered, allowing the music to move from areas of complex and dissonant harmony through to tranquil and beautiful passages of lush, romantic consonance, and it is this quality which makes his music enjoyable and memorable." Perhaps it is better for composers to rely on our fellow musicians, composers and members of our audiences to describe our music!
WHAT DO YOU FEEL IS ORIGINAL IN YOUR MUSIC?
Very little, I expect. Almost all of the music I have composed have been written for specific occasions when the subject matter, the instruments available and the vocal resources are prescribed for me. I like to think that there are times when listeners can hear a piece and recognise my style. One of the best music critics in the country, Neil Crutchley – formerly of the Leicester Mercury – has a knowledge of choral music which would stagger even the most well-informed in the field. He has an unerring sense of what is good (and bad) and how it relates to other composers in a particular genre. Perhaps it is better in this section to quote him at the end of a review he wrote of Laudate Dominum: “In all this music, the composer’s musical ancestry is never in doubt. Vaughan Williams, Howells, Britten and Walton are there but there is also a distinct musical personality of his own. In its sensitivity to words and the great gift of singable melody his music also recalls to mind that of John Rutter and in the field of popular choral music of real quality, there can be no greater compliment.”
HOW DO YOU WORK? WHAT METHODS OF CREATIVITY AND WORK ETHIC DO YOU HAVE? DO YOU SOLELY USE MUSICAL TECHNOLOGY OR DO PAPER AND PENCIL STILL FORM A PART OF YOUR PROCESS?
I always start with pencil and manuscript paper but this is generally after the structure and the words I am setting have been worked out already. I seldom start any piece without the structure already in place - even if it changes later. Working at the piano helps me develop chordally, though melodic lines just happen. I never have to work at them. All modern composers are grateful for music scoring programs which allow us to print out parts and edit our work without the troubling and tiresome rewrites which occurred before computers allowed us to do this. The trouble is that students nowadays have very sloppy manuscript work if they actually write anything down. Much of my early training with George Gray and Peter White was to ensure correct alignment and planning each page to ensure the optimum use of space. These were skills I used all through my teaching career until computers became so prevalent.
WHAT PROJECTS ARE YOU CURRENTLY WORKING ON?
Having just completed a variation for wind quintet and The Legacy for Dr Chris Johns and the choirs of Leicester Cathedral, my next piece is for Joachim Diessner in his justly famous series of concerts under the title of A Countertenor’s Christmas which are performed in Köln every December. Another work being forward-planned after that is for Madeley Parish Church in September 2014.
TO FINISH, WHO OR WHAT IS YOUR FAVOURITE:
[N.B. I did find, as did all my fellow composers, very hard to do so I have selected the best of a variety of performers and works which cover nearly all the music I love. You’ll be able to tell by observing the performers and guessing the pieces. For Barenboim and the Chicago Symphony Orchestra, for example, it is Bruckner symphonies.]
GENRE OF MUSIC?
Oratorio [Elgar & Handel] & Opera [Rossini, Mozart & Massenet]
INSTRUMENTALIST?
Impossible to single one out. My favourite instruments are Clarinet [Alan Hacker & Gervase de Peyer], Cello [Jacqueline de Pré and Pierre Fournier], Trumpet [Maurice André & ex-pupil David Blackadder], Trombone [Christian Lindberg], Piano [Wilhelm Backhaus & Daniel Barenboim]
SINGER?
Too many voices especially with the voice being the greatest of all instruments! Soprano [Emma Kirkby, Lucia Popp, Joan Sutherland, Mady Mesplé, Anna Moffo & Lenka Škornicková] Mezzo [Marilyn Horne, Della Jones & Joyce di Donato], Countertenor [Derek Lee Ragin, Philippe Jaroussky, Joachim Diessner von Isensee and Philip Manser], Tenor [Nicolai Gedda, Michel Cadiou, Juan Diego Florez, Placido Domingo, Peter Pears and Andrew King], Bass [Ivan Rebroff, Gottlob Frick & Bill Snape]
CHAMBER ENSEMBLE?
Allegri String Quartet, Borodin String Quartet, Philip Jones Brass Ensemble and Serenata Winds
ORCHESTRA?
Depends on the repertoire: Orchestre de la Suisse Romande [under Ernest Ansermet], Orchestra National de France [under Jean Martinon], Chicago Symphony Orchestra [under Daniel Barenboim] & the London Symphony Orchestra [under any conductor!]
CHORAL CONDUCTORS?
Paul Spicer, John Rutter, John Alldis, D G Davies and Richard Stevens.
CONCERT VENUE?
Wigmore Hall, St John’s Smith Square, Symphony Hall, Birmingham & the chapel of the College of the Venerable Bede, Durham University.
PIECE OF MUSIC?
Peter Grimes [Britten], Dream of Gerontius [Elgar], Creation [Haydn], Guillaume Tell & Cenerentola [Rossini], Messa di Gloria [Puccini], St John Passion [Bach], La Navarraise [Massenet], Piano Concerto [Pierné] & Violin Concerto [Arensky]