I
will be writing this review wearing two ‘hats’. The first is
as a listener-musician-reviewer. The second is as a choral director
who can offer general comments about the music’s accessibility.
That
James MacMillan is a Christian and a Roman-Catholic is probably
well known. He is a Dominican lay-worker and one who is willing
to speak out in the press on subjects that he feels strongly
about. I have always felt that in this age of almost militant
atheism his was a voice “crying in the wilderness” able, as
he is, to bring spirituality, liturgy and religious joy to the
concert-hall. This can be heard in such masterworks as ‘Veni,
Veni Emmanuel’ and in ‘The World’s Ransoming’ for
cor anglais and orchestra (1996). MacMillan writes about choral
music in the fascinating booklet essay. Evidently it has been
a part of his life since the early works such as the amazingly
competent Missa Brevis recorded here and written mostly
when he was seventeen. In recent times writing for choirs has
reared its head again and he conducts one himself on a regular
basis at St. Columba’s Edinburgh. They gave a broadcast back
in October 2007 which included a selection of his liturgical
music.
He
says that the seven Strathclyde Motets recorded here - and divided
up on the CD by the Missa Brevis - are aimed at “good church
choirs”. They might have a medieval atmosphere as with the wonderful
‘In splendoribus sanctorum’ at least in their use of
fifths and open harmonies. However in that case the effect is
blended with its crawling chords in a reminiscence of the last
post in the shape of an off-stage trumpet magnificently handled
by Mark O’Keefe. John Tavener is also not hundred miles away
from this music. But there can also be great passion as in the
magnificent opening to ‘Data est mihi’ - an Ascension-tide
Communion motet. MacMillan comments that he wants to convey
a meditative atmosphere in these communion pieces but this work
startles by its originality and emotional power.
The
Missa Brevis is a teenage work with simple modal lines
and clear counterpoint. These are contrasted with declamatory
homophonic sections as in the Kyrie. The Gloria is a genuinely
joyous and rhythmic inspiration reminding us of MacMillan’s
first influence, Kenneth Leighton. The Agnus dei is a
fine setting communicating great feeling with a strong linear
atmosphere often culminating in dark open fifths. This is a
work which any cathedral choir should tackle sooner rather than
later. Its mood would be suitable for a penitential season.
The
Tenebrae responses are Holy week settings and were especially
written for Capella Nova. They are deliberately challenging
with their chromatic lines and require sustained singing and
a full command of most modern choral techniques. MacMillan takes
one text from each of the three ‘Nocturnes’ which are set in
their complete state by composers like Victoria and another
Catholic, Edmund Rubbra. I love the humming sopranos in the
first nocturne above the basses in low register; a quite incredible
spacing is achieved. However I wonder if, being so prolific,
MacMillan is not beginning to lose his inspirational touch.
There are several moments in these Responsorials when I feel
that we are just going through the motions.
With
my choral conductor’s and adjudicator’s hat on, I must add that
very few of the amateur choirs I have come across would be able
or would want to tackle this music. Beautiful it is, but even
the pieces which the composer might consider approachable are
still too difficult. While drones underpin the harmonies, but
in my experience basses get a bit fed-up with drones after a
while. And why does everything have to be so slow. Again choirs,
especially youngsters, want music with life and vitality. Quite
deliberately, as he admits in the booklet, MacMillan likes to
incorporate what I might call ululations, which are a sort of
eastern-style ornamentation, in his melodic writing. Again,
church choirs are hardly used to this and find it technically
demanding and simply ‘weird’. And the fact that everything is
unaccompanied with some quite challenging chords and close writing
in the inner parts makes it all a major undertaking. Arguably
it is beyond most conductors to bring this music off with success.
In addition the broadcast mentioned above - which I know was
heard by choral members I see regularly - was regarded by them
as being ‘boring’. The composer MacMillan tells us that he envisages
‘Give me Justice’ as a congregational item, yet although it
might act as a responsorial it is not especially warm or pleasant
enough for such a group to cope with.
The
presentation of the whole CD is excellent. The booklet essay
is a thoughtful idea that could be emulated elsewhere. It takes
the form of a long interview between a choir member - the ideally
named and enthusiastic Rebecca Tavener - and the composer. Each
work is covered and we learn something about MacMillan’s sources
of inspiration. There is also a biographical sketch of MacMillan.
All texts have been supplied.
If
you recognize the name of the choir, Capella Nova and their
conductor Alan Tavener then it may be because they fashioned
a series of three pioneering recordings of the music of the
Scots composer Robert Carver (d.1568). They were good then but
they have marched on over the years and are now an extremely
fine ensemble. These performances are a real joy and full of
expression with a superbly balanced rich, creamy quality and
a wondrous ability to sing piano. Just occasionally I
would have liked the text to be more audible but overall James
MacMillan must be thrilled with their efforts. In the booklets
notes he acknowledges Robert Carver as a fellow Scot, and as
a benign influence lingering just a little over his shoulder.
Gary Higginson
[70.19]
