David GOODE (b. 1971)
Anthem for All Saints’ Day (2008) [8:25]
Anthem for St. Catherine’s Day (2005) [7:12]
Anthem for St. Cecilia’s Day (2004) [8:36]
Variations on a Theme by Francis Warner (2007) [12:22]
Anthem for St. Peter’s Day (2007) [7:19]
Anthem for the Visitation (2009) [7:41]
Anthem for Christ the King (2009) [10:42]
The Choir of King’s College, Cambridge/Stephen Cleobury
Ben-San Lau, Parker Ramsey, Douglas Tang (organ)
rec. King’s College Chapel, Cambridge (?). Dates unspecified.
English texts included
OXRECS OXCD-123 [62:34]
David Goode has achieved international renown as an organist
but I suspect his work as a composer is much less well-known – I was
unaware of this side of his talents until this disc arrived for review.
This new release is a collaboration between three longstanding friends: Goode
himself; the musician and poet, Francis Warner (b.1937), who wrote the words
for the six anthems and supplied the theme for the organ Variations; and Stephen
Cleobury, who conducts the King’s College Choir and who, I infer, directed
the first performances of Anthem for St. Cecilia’s Day and
Anthem for Christ the King.
Anthem for All Saints’ Day, which opens the programme, is a
strong, forthright piece in which the writing is often busily contrapuntal.
As you might expect, given the identity of the composer, there’s an
important independent organ part but there are several passages where the
choir sings a cappella. One thing that should be said straightaway
is that just because Goode is a celebrated organist doesn’t mean that
these six anthems are for organ with choral contributions. On the contrary,
Goode is primarily concerned with the words he is setting and the organ, though
often used strikingly, is frequently in a subsidiary role.
Warner’s words for Anthem for All Saints’ Day are interesting.
They stress that sainthood is not confined to those canonised by the Church
and that sainthood is often won by hardship during the earthly life. It’s
as well that the words are supplied because the trebles’ words are not
always distinct. Though this anthem lasts for less than nine minutes one has
the impression of a piece on a big scale.
I was less convinced by Anthem for St. Cecilia’s Day. The use
of the choir, and especially the frequent deployment of solo voices, is interesting.
There are also some imaginative onomatopoeic effect in both the vocal parts
and the organ accompaniment as the text describes various musical instruments
and terms. However, I came to feel that both the words and the music were
a bit too clever. I don’t feel that the piece communicates with the
listener with sufficient directness and in particular I wonder how a church
congregation would follow it if, as often happens, they don’t have the
words of the anthem to follow.
On the other hand the poem which Goode has set as Anthem for St. Peter’s
Day strikes me as being the most successful text of the six. Here in
five stanzas Warner has encapsulated the five key events in the life of St.
Peter: his calling by Christ; his nomination by Christ as the Rock on which
the Church will be founded; his denial of Christ; the washing of the feet
– this incident is out of chronological order, but no matter; and his
martyrdom. David Goode’s music is often very dramatic and there’s
a strong element of dissonance, especially when Peter weeps after denying
Christ. Solo voices are often employed and the organ part is very much in
the background; often the choir is unaccompanied.
Anthem for the Visitation takes the form of a dialogue between Mary
and her cousin, Elisabeth. This is the only a cappella piece on the
programme. The vocal; lines are often very contrapuntal and I came to feel
that perhaps the piece was somewhat over-composed.
Anthem for Christ the King uses three trumpets and two trombones
as well as the organ. The brass instruments add brilliance to the piece, especially
in the first and last of the four stanzas of the poem. However, I feel that
both the text and the music get a bit bogged down and over-complicated in
the middle and as a result the piece rather loses its way for a while before
a resplendent conclusion is achieved.
Bisecting the anthems into two groups of three comes a work for solo organ,
Variations on a Theme by Francis Warner. The theme is a merry, dancing
little tune heard at the start right up in the treble register of the organ.
There follow eleven variations (I think) which are skilful and entertaining
and which explore the theme in a variety of musical styles. What is, if I’ve
counted correctly, the ninth variation is a lively fugue (9:43) which is followed
by a majestic carillon (11:20) and an imposing conclusion (11:44). I enjoyed
this piece and whichever organist is at the console gives a very good account
of it.
The fact that I’m unable to tell you who plays the Variations is the
result of an inadequate booklet. The documentation is frustratingly incomplete.
Biographies of Stephen Cleobury, David Goode and Francis Warner are included,
as are the words of the six anthems. Details of the first performances of
all the pieces are also supplied. So far so good. However, no details of the
when and where the recording was made are provided – I’ve assumed
that the King’s College Chapel was the venue. The engineer and producer
aren’t credited. Nor are we told which organist is playing on which
track – you might have thought that would matter especially in the case
of the solo organ piece. Finally, and most seriously, there are no notes whatsoever
about the music. Since these pieces will be unfamiliar to many listeners it
would have been nice to learn something about it. For example, what is the
source of the theme for the organ Variations? I’m sorry to list so many
quibbles but these things are so basic and their omission is, frankly, just
sloppy.
I wanted to like David Goode’s pieces and there’s a good deal
to admire here. However I found the words and music were too often over-complicated.
Frequently the anthems didn’t speak to me with sufficient directness
and, for example, I didn’t find the thematic material lodged in the
memory. Possibly these are pieces that would work better if heard singly as
part of a mixed recital. However, that’s
a subjective reaction and other listeners may feel very differently.
Stephen Cleobury and his choir – and organists – are predictably
skilled advocates for David Goode’s music.
John
Quinn
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