Sir James MACMILLAN (b. 1959)
Since it was the Day of Preparation (2012)
Brindley Sherratt (bass)
Synergy Vocals (Micaela Haslam (soprano); Heather Cairncross (alto); Benedict
Hymas (tenor); Tom Bullard (baritone))
Hebrides Ensemble (William Conway (cello); Yann Ghiro (clarinet); Stephen
Stirling (horn); Gabriella Dall’Olio (harp); Elizabeth Kenny (theorbo))
rec. 28-29 November, 2015, RSNO Centre, Glasgow
Text included
DELPHIAN DCD34168 [72:16]
Sir James MacMillan has written quite a number of works
inspired by or directly relating the story of Christ’s Passion and Crucifixion.
One of the earliest was Seven Last Words from the Cross (1993) (review).
It was experiencing this work both live and on disc that really fired my interest
in this composer. Between 1996 and 1997 he produced the orchestral Triduum,
an Easter triptych, comprising The World’s Ransoming, the Cello
Concerto and the Symphony ‘Vigil’. All three of these works were
recorded by Osmo Vänskä for BIS during his time with the BBC Scottish Symphony
Orchestra (BIS-CD-989 and BIS-CD-990). Two choral Passion settings have followed:
the St John Passion (2008) (review)
and the more recent St Luke Passion (2012-13) (review).
However, to the best of my knowledge during his exploration of the events
of Holy Week in major works MacMillan has not taken the story beyond the death
of Christ.
This he has now done in Since it was the Day of Preparation. For
this score MacMillan has gone back to the Gospel of St John, setting the verses
in Chapters 19 and 20 that follow on immediately from the death of Christ.
Indeed, the chosen text and the work itself begin with the words that give
the work its title. As well as the words from St John’s Gospel, which
are set sequentially and without any excisions, MacMillan occasionally interpolates
short passages in Latin from other relevant sources.
All the works I’ve mentioned in the opening paragraph were scored for
quite large forces - Seven Last Words from the Cross required the
smallest ensemble, a chamber choir and small string group. Since it was
the Day of Preparation is particularly economical in terms of forces.
It requires a solo bass to sing the words of Christ, a vocal quartet (SATBar)
and an ensemble of just five players. The make-up of the ensemble is most
unusual: harp, theorbo, clarinet, horn and cello. The score is divided into
three parts and includes a solo movement – or motet - for each of the
five instruments. The piece, which is dedicated to William Conway, the Director
of the Hebrides Ensemble, was given its first performance at the 2012 Edinburgh
Festival and my Seen and Heard colleague, Simon Thompson attended that concert
(review).
Each of the three parts plays continuously. Part I is introduced by an extended
theorbo prelude which Ivan Moody aptly describes in his notes as melancholy
and haunting. There follow passages of unaccompanied narration, first by the
tenor and then the baritone, in which the deposition of Christ from the cross
and then his entombment are related. The singers’ music is akin to elaborated
plainchant and it’s most effective. In between the two narrative passages
comes an interlude for the cello. Here Macmillan exploits the whole compass
of the instrument and the music is often dramatic and challenging. At the
end of Part I there is another instrumental interlude. Fittingly, since it
follows Christ’s burial, the music is mainly restful in nature, though
there’s a more vigorous element near the end.
Part II begins with the early morning visit by Mary Magdalene to what she
finds to be the empty tomb. The narrative, in which all four singers are involved,
is agitated as she brings Peter and John to the tomb. MacMillan’s urgent
music conveys strongly the bewilderment of the disciples. The next instrumental
interlude is for the clarinet; here the music is often strident and it uses
a wide dynamic range and the full compass of the instrument. Then Mary Magdalene
is left alone at the tomb, the alto narrating and the soprano singing Mary’s
words. Christ appears to her. Throughout the score his words are set to authoritative
yet compassionate music and the bass is always accompanied by highly imaginative
instrumental sonorities, rather as Bach did in the St Matthew Passion.
As an example, at this point in the score the accompaniment consists of harp,
cello and gentle bells. We shall hear more of the bells at various junctures
in the score and a note in the booklet tells us that not only do all the performers
get involved in playing the bells but also the composer himself. When Mary
recognises Christ and utters the single word “Rabboni!” MacMillan’s
scoring is absolutely magical.
There’s a harp interlude, during which MacMillan is most resourceful
in his exploitation of the instrument. Then the scene moves to the Upper Room
where Christ appears to the disciples. Here, there’s some very attractive,
lyrical music, rising to ecstasy at the bell-capped moment when Christ says
“Receive the Holy Spirit”. Doubting Thomas’s initial disbelief
is portrayed through urgent music but the moment at which Thomas, sung by
the tenor, recognises Christ and sings “My Lord and my God” is
rapturous. This section ends with a passage for all five instruments. In these
pages the harp and theorbo are particularly prominent and, as Ivan Moody says,
the two instruments form “a single gigantic symbiotic instrument.”
Part III begins with what is by some distance the longest section of the work.
This passage first depicts the disciples fishing on the Sea of Tiberias. Their
efforts are fruitless until Christ appears to them and then, miraculously,
their net is full to overflowing with fish. After they have joined him on
the beach for breakfast comes a key moment in the work where Christ asks Simon
Peter three times: “Do you love me?” and entrusts to him the leadership
of the church. Here the vocal lines are wonderfully expressive. The penultimate
section is a horn solo. The music starts pensively but soon becomes exuberant
and virtuosic. Finally, there’s a tranquil passage for the quartet of
singers. The instruments take over from the voices for the last few pages.
Their music is similarly tranquil and intensely lyrical as MacMillan closes
the piece in a richly reflective vein.
Since it was the Day of Preparation is a highly impressive work.
MacMillan has achieved a paradox through his scoring. On the one hand the
decision to involve only ten musicians brings a sense of intimacy. On the
other hand, so imaginative and inventive is the writing, not least in the
way the instruments are used, that often one is not conscious that so few
performers are involved: the score is, in this respect, greater than the sum
of its parts. Though there are some passage where the narration is deliberately
pared back to a minimum by the use of a single, unaccompanied singer and plainchant-like
writing, I was primarily conscious that here we are listening to music by
a composer who is highly experienced in opera. Much of the piece is highly
dramatic, even when the writing is restrained.
As for the performance, it must be regarded as definitive for here we have
the artists who first performed the score, recorded in the presence of the
composer. Brindley Sherratt is very fine as Christ. The music he has to sing
is dignified and eloquent and Sherratt puts it across with great conviction.
No less impressive are the four members of Synergy Vocals, whether singing
as a consort or individually. All four voices are clear, both in terms of
tone and diction; they are ideally suited to the music. As for the members
of the Hebrides Ensemble, MacMillan’s writing clearly makes significant
demands on all five instruments but so far as I can tell, since the piece
was new to me, these demands are triumphantly met. Moreover, this is not just
about virtuosity; the music requires no little eloquence from the instruments
and in this too the players seem to me to be wholly successful.
Paul Baxter has recorded the piece expertly. The sound has presence, clarity
and ambience. The booklet includes a first class essay by Ivan Moody who introduces
and describes the music with clarity and great understanding.
Since it was the Day of Preparation is a notable score and this accomplished
and committed first recording serves it admirably and should bring the work
to the wider audience it deserves.
John
Quinn
Support
us financially by purchasing this from |
|
 |
|