Richard BLACKFORD (b. 1954)
Mirror of Perfection (1996)1 [36.28]
A Westminster Te Deum (2010)2 [9.52]
On another’s sorrow (2005)3 [5.14]
I know that my Redeemer liveth (2007)4 [3.22]
From The Song of Songs (1985)5 [3.55]
A lullaby of the Nativity (2006)6 [3.57]
I will sing unto the Lord (2009)7 [3.53]
1Ying Huang (soprano), Bo Skovhus (baritone); 5Olivia
Robinson (soprano), 2-4, 6, 7BBC Singers, 2, 5-7Iain
Farrington (organ), 2-7David Hill (cond)
Bournemouth Symphony Chorus, Ballard Lane Preparatory School Choir
Bournemouth Sinfonietta/Richard Blackford
1rec. Winter Gardens, Bournemouth, 16-18 August and 25-27 August
1997 2-7rec. St Paul’s Church, Knightsbridge, London, 22 February
2012
NIMBUS ALLIANCE NI 6205 [66.41]
This issue combines a reissue of the Sony recording (SK60285) of Mirror
of Perfection with some new recordings of various choral anthems by Richard
Blackford, but it seems that something has gone bizarrely wrong with the booklet
presentation. It looks as though a couple of pages have been omitted between
pages 11 and 12, with the result that the text and translation of the Te
Deum is missing together with any information on the works other than
Mirror of Perfection. It is obvious that the choral anthems, scored
for different forces and in different styles, were written at different times,
but it was only after considerable research on the internet that I was able
to confirm this and supply the dates given in this review. [see footnote]
Mirror of Perfection is a response to texts by St Francis of Assisi,
some of which (notably Canticle of Love III) are surprisingly erotic
in content. The scoring, for string orchestra plus horns and timpani, is sometimes
reminiscent of Bliss in his Pastoral, and the richly expressive music
sometimes reminds one of Bliss as well. The main problem with the work arises
from the use of Italian texts - except oddly for the Canticle of the birds,
which uses as French translation of a Latin original. This keeps the meaning
of the text at one remove from the listener and produces at times what seems
like a rather mechanical response to the words, almost like Carl Orff. The
best musical passages come in the extended orchestral interlude during the
Canticle of the birds and the superlatively cumulative meditation
which forms the final Canticle of Peace. The main recurring theme
of the Canticle of the Furnace brings an unconscious echo of the
third of Mahler’s Wayfarer Songs. There are many touching moments
throughout, and Ying Huang and Bo Skovhus sing with passion and feeling, but
at the end one is left feeling warmed but slightly unsatisfied.
The choral anthems begin with the Westminster Te Deum and end with
the Psalm setting I will sing unto the Lord, the two most recent
works here, both scored for chorus with rumbustious organ parts that at times
evoke the spirit of Walton. The short unaccompanied anthems On another’s
sorrow (to a text by William Blake) and I know that my Redeemer liveth
are both little gems, but the setting of texts from A song of songs
does not match the beautiful treatment of similar words by Jonathan Dove which
I reviewed earlier this year (review).
The setting of A lullaby of the Nativity, on the other hand, is marvellous.
Holst famously set the same text, and Richard Blackford here correctly echoes
his rhythmic freedom in the treatment of the anonymous fifteenth century words
– but his addition of an organ accompaniment and the way he rises to the words
“Angels bright they sang that night” are something else again. This is a piece
that deserves to be performed often.
The performances throughout are excellent, and the Bournemouth Sinfonietta
provide a rich accompaniment in Mirror of Perfection. The children’s
choir sound a bit recessed in the sound picture, but otherwise the sound is
fine; and the later recordings by the BBC Singers have plenty of character
and atmosphere.
Paul Corfield Godfrey
Sung with passion yet at the end one is left feeling warmed but slightly unsatisfied.
Footnote
Nimbus were approached about the booklet. They replied that the decision not to include the text of the Te Deum was taken by Richard Blackford who thought it was unnecessary. Also Richard Blackford felt he did not have any thing additional to say or point out about the anthems.
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