Bob Chilcott (b. 1955)
Circlesong (2003/2019)
Like a rainbow (2001)
All things pass (2007)
Circles of motion (2007)
Walking the red road (2021)
Treble Choir of Houston/Marianna Parnas-Simpson
Houston Chamber Choir/Robert Simpson
Andreea Mut, Jessica Myers (pianos)
Richard Brown, Leonardo Soto, Matt Richards (percussion)
rec. 2020, South Mian Baptist Church, Houston, USA
Texts included
SIGNUM CLASSICS SIGCD703 [56]
I like Bob Chilcott’s music very much. It is accessible to both singers and audiences but, though it is accessible, it is not always as easy to sing as it may sound to the listener: Chilcott challenges performers, but in a realistic fashion. One other thing I like about him is that he is constantly seeking out texts and subjects that will stimulate young performers in particular. In this connection I think in particular of The Angry Planet and Five Days that Changed the World, both of which appeared on the same CD a few years ago; the disc was warmly received both by me and by Gwyn Parry-Jones (review).
The main work on this new disc, Circlesong, uses both a children’s choir and an adult chorus – the accompaniment is provided by two pianos and percussion (four players). It was originally composed in 2003 for choirs in Birmingham but we hear it on this disc in its revised version, made in 2019 for the Houston Chamber Choir and their conductor, Robert Simpson. Chilcott writes in the booklet that he wanted to write a life-cycle piece and he found his inspiration in English translations of American First Nation poetry. So, his chosen texts originated with several Nations, including Navajo, Iroquois, Seminole, Chinook, Inuit and Dakota. The score is, as he says, “loosely modelled on the Seven Ages of Man”. So, after an Introduction, the sections are Birth, Childhood, Lover, Adulthood, Middle Age, Old Age and Death. He became fascinated by the fact that the image of a circle was a recurring one in the poetry he read while researching prior to compositon and, in fact, the poem that opens the ‘Birth’ section is a Seminole poem in which the text is written down in circular form.
Chilcott sets his texts in varied ways and also employs variety in his scoring. So, for example, some of the movements are a cappella though most are accompanied in some way. Again, some movements are sung only by the children and some by the adult choir, though often the choirs are combined. There are a few sections which are very vivacious. One such is the aforementioned circular poem, ‘Song for bringing a child into the world’, which is lively and joyous. Later on, ‘Summer song’ an Inuit poem which comprises the Adulthood section, is full of energy and colourful percussion.
At other times we hear settings in which the music is typically warm and lyrical. ‘Newborn’, a Pueblo poem in the Birth section, is set for unaccompanied SATB choir; the music is slow and touching, bringing out the very best in the Houston Chamber Choir. Two of the settings struck me especially. ‘O Great Spirit’ a Dakota poem which forms the Middle Age section, is the longest movement in the work. It’s a slow, dignified prayer to the Spirit, beautifully written for chorus and, I should imagine, very pleasing to sing. Immediately following this comes ‘In the house made of dawn’. This Navajo poem serves as the Old Age section. The singers are unaccompanied. In the outer sections the childrens’ voices circle wordlessly around the main choir who deliver the text in lovey block harmonies. This music reminded me a little of some of the compositions of Ēriks Ešenvalds. Circlesong ends with two poems, one from the Comanche nation, the other from the Iroquois, combined into one setting. The full forces are united in this movement and the tone of the music, matching the words, is one of approaching death with confidence.
I enjoyed Circlesong very much. It’s an imaginative and inventive score. I should imagine it’s rewarding to sing and that it goes down well with audiences. It’s certainly served very well here by the performers. I’m not sure that I’ve previously heard the Houston Chamber Choir but I see that Gary Higginson thought well of their 2017 disc of music by Duruflé (review). I was impressed by their singing of Circlesong. They make a most attractive sound. The singing is very well disciplined and there’s good attention both to dynamics and diction. Clearly, their conductor, Robert Simpson, has prepared them very well for this assignment. The Treble Choir of Houston, of whom more in a moment, also make a very good contribution. I must single out one member of the Treble Choir for special mention. There are two movements in the work which are set for solo treble/girl soprano and piano. On this occasion the solos are done by Ella Theurer, who is first class; she sings clearly and confidently and I liked the sound of her voice very much. The instrumentalists are uniformly excellent.
The Treble Choir of Houston under their conductor Marianna Parnas-Simpson sing three short pieces with piano accompaniment. All three are attractive compositions and it’s obvious that these young singers enjoy them. Like a rainbow is very vigorous at first, requiring – and here receiving – strong rhythmic attack. Later, the music slows and becomes more lyrical. The choir does that music very well, as they do the beautiful All things pass. Finally, Circles of motion is a fresh, enjoyable piece which these young voices deliver with great enthusiasm. The performances of these short pieces are disciplined and full of joy. Hats off to these keen young singers.
The Houston Chamber Choir and Robert Simpson close the disc with Walking the red road. The text consists of just seven nouns. I understand that the piece is based on The Seven Sacred Virtues of the Lakota Sioux. The title refers to the commitment to live by these values; the metaphorical 'red road' is a spiritual way of life. It’s a slow-moving, beautiful piece, which is sung very well.
Bob Chilcott himself was co-producer of this disc, working in collaboration with producer/engineer Ryan Edwards. They’ve recorded the performances very successfully. The documentation is good, though I wish Bob Chilcott had said just a bit more about the four shorter pieces.
This is a most enjoyable disc which I hope will increase awareness among other choirs of these rewarding pieces, especially Circlesong.
John Quinn
