A professor I knew
well at one of London's top conservatoires
once told us that Gibbons' heart attack
at the youthful age of 42 was brought
about by sheer overwork and that he
died whilst playing the organ at Westminster
Abbey. The former may be true; the latter
is not, as anyone who has seen his memorial
tablet in Canterbury Cathedral can tell
you.
Gibbons can also be
associated with King's College, Cambridge,
where he was a choirboy under the direction
of his elder brother Christopher. The
King's College recording of Gibbons
Church music I shall be mentioning along
the way. Gibbons is also linked with
the choir at Magdalen, to whom a music
book of Gibbons' anthems was presented
in 1673. This book contains all of the
pieces on this CD. Thus in two paragraphs
four of the most outstanding institutions
for church music can be linked with
this very important and influential
figure.
The words of the title
of the CD 'With a Merrie noyse' come
from Psalm 47 which is set in 'O Clap
your hands together' perhaps one of
Gibbons most unbuttoned anthems, popular
but not typical.
If the portrait of
him which adorns the beautifully presented
folder accompanying this recording,
is anything to go by he was one of the
rather a tight-lipped and austere early
'thou shalt not enjoy thyself' protestants.
Indeed on performing some of his music,
not least the often slightly severe
madrigals, and in listening to these
pieces of church music, one can imagine
him in this characteristic role. As
much as I love his music, and I have
known it for over forty years, it can
be like some pieces by William Byrd,
rather earnest and serious in its counterpoint
and choice of texts.
But what Gibbons does
so supremely well is write melodies.
Think of 'The Silver Swan' or, as on
this CD, think of the Hymn 'Come kiss
we those lips of thine'. That title,
needless to say could never have found
itself in ‘Hymns Ancient and Modern'
although the tune is in with the text
'Forth in thy name O Lord I go'.
The Kings College Cambridge
recording of Gibbons under Philip Ledger
is now over twenty years old (on ASV
GAU 123); it was first released on LP.
If you think that this new CD at less
than an hour is short, the Kings' recording
is seven minutes shorter. In any event
the comparison may be helpful as that
disc contains such similar works.
This new disc has all
of the non a capella pieces accompanied
by a consort of viols. This is because,
to quote the excellent booklet notes
by David Skinner, 'There is little doubt
that this music would have been performed
in a domestic context with viols (or
various combinations of instruments)
but there is little evidence that viols
would have been a regular occurrence
in church. On the other hand there is
little evidence that viols were not
used in church". He is not the first
to record Gibbons with viols. Even back
in the days of the LP, in the 1960s,
it was done by The Purcell Consort of
Voices and the Jay Consort of Viols
(on Turnabout). It is interesting that
on the ASV disc mentioned above the
choir are joined by the mysteriously
anonymous 'London Early Music Group'
in three of the anthems including 'This
is the Record of John'. This version
incidentally has the mellifluous Michael
Chance in the verses whereas Magdalene
College go for Rogers Covey-Crump, a
fine singer certainly and one very experienced
in early music. However he is a tenor
with that particular timbre; normally
an alto will be encountered in a cathedral
performance. The other soloists are
convincing and experienced performers.
The four treble soloists, named only
inside the booklet but who are pictured
within, are superb in intonation and
balance especially in the 'Te Deum'
from the 2nd Service.
The sound of this new
recording is very immediate, as if you
are sitting facing the choir, a friend
of mine described it as 'in your face'.
This makes an anthem like 'O Clap your
hands' very exciting. The King's recording
is more recessed; more one might say,
conservative and typical of its period
twenty years ago when church music was
held more at arm's length. The 'Kings'
performances are traditional whereas
on this new disc Bill Ives has produced
an unusual sound, not one suitable for
cathedral or college evensong but one
more fitted to the private chapel, i.e.,
in a more confined space than such a
choir would expect. It is immediate
and arresting.
Of the other works,
'Great King of Kings' is usually known
with its Victorian Whitsuntide words
'Great Lord of Lords supreme immortal
King'. The organ pieces work beautifully,
breaking up the choral ones at apt intervals
and are delicately ornamented, at times
I felt overly so.
The CD booklet with
its attractive pictures and illustrations
is attached to the cardboard cover and
is a joy to hold. All texts are given,
and like the essay are translated into
French and German. Not only does David
Skinner tell us about the music. He
also writes eloquently about the circumstances
surrounding the composer's death!
Gary Higginson