John McCabe Choral Music on Naxos

I wish that I had heard the opening Three Marian Carols during the Christmas season, for they are amongst the most beautiful examples of the carol writers art that I have come across in a long time.  These evocative numbers have been collected from a number of the composer’s previously published works and are grouped together for this recording: they cover a span of 48 years of musical composition.  The earliest, ‘Mary laid her child’ dates from 1964 and is a setting of a poem by the 20^th century ‘Lakeland’ poet Norman Nicholson.  This is a poetic mediation based on the idea that Jesus was born near a ‘miry frozen farm.’ The location of the the nativity has been moved from Bethlehem to Bassenthwaite, maybe. The music reflects the cold, the frost, and a glimmer of warmth from a fire in the barn. The poem concludes with an intimation of the crucifixion.  ‘Dormi Jesus’ was written nearly a decade later and is based on an anonymous 15^th century text. This is a heart achingly beautiful carol that balances bitter-sweet harmonies with a lovely soprano solo. The most recent is ‘I sing of a maiden’ (2008) which is based on another anonymous text. This well-balanced carol utilises a semi-chorus alongside the main chorus. All three numbers work well as a group. The composer has written in the liner notes that ‘writing carols has been a constant pleasure throughout [his] career, as relaxation from sterner stuff…as a way of participating in the great tradition of music for the community.’

I found the Mangan Triptych difficult to come to terms with.  It is not that the music is ‘difficult’ or unapproachable: it is just that the work as presented here is too long –at least for me. However, this is not a huge problem as each of the three ‘panels’ were composed for a different occasion and appear to have been performed separately. Taking them one at a time would be my recommendation for a listening strategy. James Clarence Mangan was born in Dublin in 1803.  After an education at a Jesuit school, he worked as a lawyer’s clerk, then for the Ordnance Survey and latterly as an assistant in Trinity College Library.  His early poetry was apparently ‘a-political’ but subsequent to the Great Famine, he began to explore Irish nationalistic themes.  He had a tragic life, being afflicted with illness, depression and irrational fears. He was an eccentric – appearing on Dublin streets wearing a long cloak, green spectacles and a blonde wig.  In 1849, he died from of cholera – however his health had been compromised by malnutrition, poverty, opium and alcohol. However, W.B. Yeats considered Mangan to be one of the best Irish poets. 

John McCabe states in the liner notes that he was ‘immediately impressed…with the characteristically Irish rhetorical power and vivid imagery’ [of the poetry]. He considers that it has ‘a powerful visionary quality.’ 

Three things need to be said. The text is full of allusions, metaphors and symbols. The meaning does not jump out to the listener.  I was reminded of the English poet Christopher Smart in the complexity and convolutedness of the imagery. Secondly, John McCabe has brought some impressive music to these settings.  It is characterised by almost continual invention. The musical content has McCabe’s usual characteristic of a wide-ranging harmonic language ranging from the acerbic to the meltingly beautiful. There are times when the the poet’s mental turmoil is reflected in the music, although there is much that is reflective and heart-easing.   Finally, this work could (should?) be regarded as a ‘choral symphony’ for eight-part choir. As such the composer has stated that he prefers the ‘movements’ given in the order presented on this disc. It is a work that will challenge the listener.

‘Amen/Alleluia’ was written in 1981 for the William Ferris Chorale in Chicago for their twentieth anniversary concert.  Apart from the title, there are no words in this composition: it is effectively a ‘deconstruction’ of the the syllables. The ‘amen’ part of the work is slow whilst the ‘alleluia’ begins quietly and builds up to a scorching climax. It could be argued that the repetition of two words over a 5-minute span is either a bit experimental or somewhat Handelian. However, as an exercise in sound it makes an interesting point, even if the text is not too imaginative.

I enjoyed the descriptive setting of Thomas Hardy’s poem ‘Proud Songsters’. It does indeed capture ‘the vigour of young birds singing and the evanescent nature of their existence’.   ‘The Lily-White Rose’ is extracted from a larger work, Songs of the Garden (2004/2009) for soloists, chorus and full orchestra (or ensemble). The present motet is a moving arrangement for SATB.

I imagine that the ‘Morning’ and the ‘Evening Watch’ will be often be performed ‘back to back’ in spite of some 36 years separating their composition. Both texts are derived from the Welsh poet Henry Vaughan (1621-1695) who was a ‘metaphysical’ poet.  There is an interesting stylistic contrast between the two texts and their setting. The organ is used to considerable effect in the latter.

‘Great Lord of Lords’ is a good piece to follow the introverted dialogue between the body and soul of the ‘Evening Watch’.  This is a big powerful setting of a song of praise that creates an impressive balance between choir and organ.

‘A Hymne to God the Father’ (1966) is a reserved setting of a poem by John Donne. The harmony is often bitter-sweet with only occasional relaxation. McCabe uses three soloists to add intimacy to the music.

The final setting, ‘The Last and Greatest Herald’, opens with an impressive organ flourish. The text is by the Scottish poet, William Drummond of Hawthornden (1585-1649) and examines the contribution to the Christian story made by St. John the Baptist during his sojourn in the desert. The choral writing is typically massive and vibrant, with contrasting sections of reflective music. The work ends with a huge climax urging the listener to ‘Repent! Repent!’ Throughout this work, the organ is busy providing an intricate accompaniment that is almost ‘jazzy’ in places.  A great finish to this CD

This is a handsomely presented CD. The singing by the BBC signers under David Hill is perfect. Every nuance of McCabe’s music is clear and well-defined: the words are always audible. Most of the music on this disc is a-cappella; however the remainder has an organ accompaniment – so I must not forget the excellent playing by Iain Farrington, who is also a composer, as well as an organist and pianist. 

The liner notes are by John McCabe – so no potential for argument there. The texts of all the works are included along with a translation of ‘Dormi Jesu’ by Samuel Taylor Coleridge.

This CD can be recommended to anyone who appreciates modern but accessible choral music. For those listeners who only known this composer through his large- scale works such as the ballets, the Chagall Windows or Cloudcatcher Fell for brass band, this disc will be an eye opening exploration into a facet of McCabe’s music that is little represented in the CD catalogues. 

Track Listing:

Three Marian Carols (2008/1973/1964) Mangan Triptych (1983/1980/1979) Amen / Alleluia (1991) Proud Songsters (1989) The Lily-White Rose (2009) The Morning Watch (1968) The Evening Watch (2003) Great Lord of Lords (1967) A Hymne to God the Father (1966) The Last and Greatest Herald (2008)

Iain Farrington (organ) BBC Singers / David Hill

NAXOS 8.573053

With thanks to MusicWeb International where this review was first published.

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John McCabe: Chamber music on Guild

I first discovered the music of John McCabe in an old plastic box outside Hughes Second Hand Bookshop in Llandudno- circa 1975. Amongst many vinyl records there was a copy of the EMI recording of the Chagall Windows. This record was marked up ‘Not for Sale’ so I have always assumed that it was someone’s review copy.  I remember getting it home and being rather disappointed. The music seemed oddly dissonant and far removed from Vaughan Williams’ The Lark Ascending which I had also bought at the same shop. However a few years later I heard a couple of McCabe’s organ pieces which I thoroughly enjoyed. When the Chagall Windows was re-released on CD I bought a copy – one again second-hand. This time I appreciated it and began to understand the composer’s musical language.  Over the years I have heard a fair number of works from McCabe’s pen, and generally I have liked what I have heard.  As an aside, my favourite piece by him is Cloudcatcher Fell for brass band.

John McCabe has been reasonably well served by the recording industry. Dutton Epoch has released a couple of excellent CDs dedicated to his concerted pieces, including two piano concertos. Hyperion has offered his Symphony (Of Time and the River). His major ballet scores Arthur Pendragon and Edward II are both currently available.  Many more pieces large and small are in the various catalogues and reward searching out. Some works will only be located on vinyl by the dedicated collector.

The present CD of chamber works is therefore a major addition to the repertoire. I have glanced through the composer’s website discography and believe that only one of these works, Fauvel’s Rondeaux is currently available elsewhere - Dutton Epoch CDLX 7125.  The present version of this work makes use of the bass clarinet.

I have never listened to any of these works before, so I guess that I come to them with a largely innocent ear. I am grateful to the excellent liner notes by the composer.

I believe that 63 minutes of clarinet tone is a lot for the average listener to cope with at one sitting, so I suggest taking these pieces, one at a time. They are presented on the disc in chronological order: I recommend listening to the works thus.

Movements is an excellent little work that provides a fine introduction to John McCabe’s ‘early’ chamber music style. The seven very short 'movements’ were originally composed in 1964 when the composer was about 25 years old. They were dedicated to the Gabrieli Ensemble.  The inspiration for the work came from William Faulkner’s novel The Sound and the Fury. The full sense of this book (I have not read it) is, apparently, only revealed after finishing it.  The progress of the music is in the form of a palindrome, though to be honest, without the score I would probably not have noticed. The last three sections, an allegro agitato, an allegretto and the concluding lento are palindromes of the first three movements played in reverse order. The middle section is an adagio and represents the literal heart of the piece.

McCabe notes that a ‘free variation technique’ is used to create the ‘melodic’ interest in this work.  The composer has avoided the danger of allowing the constructive elements of Movements to reduce it to some kind of pedantic exercise. The sound world may be fairly and squarely in the serialist style but he never allows this to spoil the invention and musicality of the piece.  The work was revised in 1966. I am not sure where the 1969 date in the sleeve notes comes from.

A few years later, McCabe wrote a Sonata for clarinet, cello and piano.  It was a commission by Brocklehurst-Whiston Amalgamated for the 1969 Macclesfield Arts Festival. It was dedicated to the Gervase de Peyer, William Pleeth and Peter Wallfisch trio who gave the work its first performance.  I did wonder why the composer chose to call the work a Sonata rather than a ‘Trio’, however he explains that ‘he felt that this approach, intent on treating the instruments as individuals in a dialogue rather than a single unit, would be more in keeping with a less traditional, though equally abstract style.’

The single movement work is divided into five sections. Once again the middle ‘tristamente’ is the heart of the work. The opening lento is recalled in the concluding andante. There is exciting music in both the ‘allegro’ and the ‘vivo’ sections. I do not believe that a palindrome has been used here – though the formal working out of this Sonata is certainly well-balanced and turns upon the central section. John McCabe has suggested that the inspiration for this work was partly derived from ‘a sense of loneliness and space conveyed by sections of Stanley Kubrick’s film 2001: A Space Odyssey.’  This mood is well-achieved, although offset by some dramatic and often exciting music.

Fauvel’s Rondeaux is a massively impressive work. It was conceived for clarinet (doubling bass clarinet) violin and piano. The work is cast as a ‘gigantic’ rondo with a twist. In a classical rondo the material is presented as, for example, ABACADA.  A is the main theme and B, C & D are episodes that are usually in contrast to it. But the main theme is all important. The twist is that McCabe has provided a dynamic, powerful opening melody which is repeated as in classical rondo. However, the episodes here form ‘the substance of the music’ rather than a commentary on it.

The work is seen as a pendant to McCabe’s great ballet score Edward II where there appears a group of jugglers, acrobats, clowns and musicians. They are led by a certain Fauvel. 

The present work manages to balance the elements of ‘entertainment and the gradually darkening world of conspiracy, lust and power mania’.  It achieves this contrast brilliantly. The musical language is at once approachable and challenging. It is an exciting work with some moments of unease and discomfort for the listener.

Fauvel’s Rondeaux was commissioned by the Verdehr Trio and Michigan State University. It was composed during 1995/96. 

The latest work on this CD is the Clarinet Quintet: La Donna. This was commissioned by Linda Merrick and the Kreutzer Quartet and was first performed at the Royal Northern College of Music in Manchester on June 15 2011.  The quintet does appear to be a little bit of a pot-pourri of styles. Fundamentally lyrical and always approachable, this is music that explores a diverse range of musical devices. From plainsong melody, dance music, hints (and only hints) of minimalist textures, jazzy interludes and even ‘pop’ the composer throws idea after idea at the listener. It is largely uplifting music, however there are some reflective moments in the score. The conclusion is a riot of sound.  It may not be fair to say that the latest work is best – but I certainly feel that this is a fine piece of music that will (hopefully) take up its place in the clarinet quintet repertoire.

I cannot fault the playing on this disk.  All the soloists and the chamber ensemble play this music with flair, concentration and obvious pleasure. I mentioned the excellent liner notes by the composer.  The sound quality is excellent and consistently reveals the clarity of the instrumentation.

I enjoyed every work on this CD, although I have to say that the Quintet and the Fauvel’s Rondeaux impressed me most.  Both works exhibit an impressive understanding of form – one a ‘traditional’ rondo and the other appearing to be largely through composed.  

Track Listing:

Movements for clarinet, violin and cello (1964/66) Sonata for clarinet, cello and piano (1969) Fauvel’s Rondeaux for clarinet, violin and piano (1995/6) Clarinet Quintet La Donna (2010/2011) [18:45]

Linda Merrick (clarinet) Peter Sheppard Skaerved (violin) Neil Heyde (cello) Aaron Shorr (piano)

Kreutzer Quartet: Peter Sheppard Skaerved (violin) Mihailo Trandafilovski (violin) Morgan Goff (viola) Neil Heyde (cello)

GUILD GMCD7369

With thanks to MusicWeb International where this review first appeared.

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