Category: Notes on Works

Magnificat – John Rutter

The UK premiere of John Rutter’s Magnificat was given in Coventry Cathedral, but this was a year after the world premiere, which was in the Carnegie Hall, New York. Indeed, most of Rutter’s larger choral works were written for American choirs.

It is an immediate, tuneful, sunny work, which has the added bonus of being performable by amateurs. Its directness is explained by Rutter himself: he says, ‘In countries such as Spain, Mexico and Puerto Rico, feast days of the Virgin are joyous opportunities for people to take to the streets and celebrate with singing, dancing and processions. These images of outdoor celebration were, I think, somewhere in my mind as I wrote, though I was not fully conscious of the fact till afterwards.’* It should be added, that it is highly singable because Rutter happens to write very well for the voice.

His conscious model, however, was J.S.Bach’s Magnificat, specifically the earlier E flat version which has a set of so-called Lauds, or Songs of Praise, which were traditionally inserted amongst the Latin text (these included the popular German hymn, Martin Luther’s Vom Himmel hoch, and the plainsong Virga Jesse floruit). So similarly Rutter has interpolated a setting of the anonymous 15th century English text Of a rose, and he uses the plainsong tune for the Sanctus, which, again, would not normally be part of the Magnificat. (There are other bits of plainsong lurking amongst the orchestra.) Rutter has also dipped into other ‘traditional’ formal ideas, such as in the Doxology, as it was in the beginning. Here he has employed the common practice of making this a repeat of the opening music (as did Bach (Magnificat), Handel (Dixit Dominus), Vivaldi (Gloria) – and many more).

Rutter has made this piece available in a version for full orchestra and also for a smaller ensemble. Stour Singers will be using the latter version, for the simple reason, the smaller orchestra will fit in the church.

*© Collegium Records

If you would like to listen to John Rutter talking about the Magnificat on YouTube, please click on the following:

 

Requiem – Gabriel Fauré (1845-1925)

Fauré’s Requiem does not follow the traditional pattern of a mass for the dead. It was not triggered by the death of someone he knew, nor was it a commission. He said it was ‘composed for the pleasure of it’.

Gabriel Fauré

It was started when Fauré was 32, and it took him 16 years to finish. It is a wonderfully serene work, despite being composed during what might now be called a protracted ‘mid-life crisis’.

He had been appointed choirmaster at the famous Madeleine church in Paris and had become engaged to Marianne Viardot – he had been in love with her for 5 years. In October Marianne broke off the engagement because she felt, not love for him, ‘only affection mixed with fear’. It appears that behind his outwardly charming manner Fauré hid a darker side.

Fauré was devastated and immediately went away on long travels in Germany, England and Switzerland. He met Liszt twice, but it was Wagner and his operas which particularly fascinated him. Despite this obsession, strangely there is no trace of Wagner in his style of composition.

Eventually returning to Paris aged 38, he married and settled down to the tedium of organising services at the Madeleine, and teaching piano and harmony – what he called his ‘mercenary work’. But his ambition was to flourish as a composer. Sadly the daily grind ensured he only had time to compose during the summer holidays, and he despaired of ever reaching the public. Being so grossly thwarted in his real calling, perhaps it was not surprising that privately he suffered from what he called ‘spleen’, which took the form of depression and anger, perhaps violence. Things did not improve until he was 45, when he did start at last to gain some recognition. He finished work on the Requiem 3 years later, in 1893 (although he would go on to reorchestrate it in 1900).

Considering the turbulence of his spirit during its composition, the serenity of the Requiem is quite extraordinary.

Bach Cantata No.191 Gloria

Much of Bach’s prodigious output consists of re-workings of previous compositions.

This is true of Cantata 191. It is described by Bach as a Christmas Cantata, and it is entirely a reworking of parts of the Gloria from his Mass in B minor. For the first movement he has used the chorus Gloria in excelsis – et in terra pax from the Mass unchanged, and the following duet is the Domine Deus from the Mass sung to the words ‘Gloria Patri et Filio et Spiritui sancto’. The cantata concludes with the chorus Sicut erat in principio.The music for this is the chorus Cum sancto spiritu which concludes the Gloria in the Mass. The words Sicut erat don’t fit the original, so he has modified the beginning so that they do.

So we get a small insight into the way Bach worked. There are many more examples of reworkings to hand, since all the Mass in B minor apart from the Kyrie and the Gloria consists of reworkings of previous cantatas.

Handel’s Saul

Handel’s Saul

is surely one of the most moving works in Handel’s whole output. He took great care over it, spending a full 65 days in its composition (compared with the amazing 24 days for Messiah and 27 days for Israel in Egypt.

G F Handel

 

Charles Jennens, had presented Handel with a libretto, perhaps for Saul in 1735. But it was on 26th July 1738 that the 53-year-old Handel actually started work on Saul, the day after hearing there were not enough subscribers for a proposed opera. Oratorios were so much cheaper to stage than operas.

In Saul, as in his next oratorio Israel in Egypt, the chorus plays a major role as the People of Israel. Apparently the public of the time did not particularly like massive choruses, preferring simpler airs; but in the longer term the choruses have proved to provide some of the most powerful and poignant moments in the piece, as in the Envy chorus and the funeral lament.
The public didn’t appreciate the more imaginative orchestra either. They were used to an orchestra of just strings, oboes and continuo; in Saul there were also trumpets, trombones, kettle-drums (borrowed from the Tower of London), flutes at one point and a carillon. This carillon was played with a keyboard, and was in effect forerunner of the celeste. It was, according to Jennens, one of Handel’s maggots.

The King’s Theatre, Haymarket, London

Saul was first performed in January, 1739 at the King’s Theatre in the Haymarket. It proved to be one of his most popular works, being performed six times on the trot during its first season.

 

Charpentier’s Filius prodigus

Marc-Antoine Charpentier (1643 – 1704) lived and worked under the rule of Louis XIV.

For a composer of his stature it is perhaps surprising that he was never a member of the Chapel Royal. But there were excellent opportunities elsewhere in Paris, such as the court of Mademoiselle de Guise, for whom he composed Filius Prodigus in 1680.

Ten years previously he had returned home to Paris from a 3-year stay in Rome, imbibing all that was Italian in musical practice. Mademoiselle de Guise, being very much an italophile, immediately appointed him her court composer and resident counter-tenor.
During the next 17 years he composed a huge amount of music for her and her friends and relations, including the ‘motet dramatique’, Filius prodigus. In 1680 Mademoiselle de Guise enlarged her group of musicians, making it one of the largest and best private musical establishments in France. His scope thus widened, Charpentier produced, in Filius prodigus, a work on the scale of a small oratorio. He cast the rôle of the prodigal son as a counter-tenor, so Charpentier himself will have been the first to perform the rôle.

Michael Haydn’s Run, ye shepherds

Michael Haydn (1737 – 1806)

Run ye shepherds was probably composed in 1775, in Salzburg. Michael Haydn worked for the Archbishops of Salzburg for most of his professional life. This was early in the reign of Archbishop Colloredo who was famous for favouring simplicity in church music (causing problems for some of his composers). Michael Haydn had already been working towards a simpler style of composition and he flourished under this new Archbishop.

The words of Run ye shepherds are simple and direct. Haydn sets them to music of a näive charm which perfectly matches their simplicity. The centre-piece of the work is a contemplative soprano solo ‘O happy shepherds’. This is framed by two short choruses: first the excited shepherds hurrying to the stable; then a lullaby which ends with the baby asleep.

Haydn’s Kleine Orgelmesse (Missa Brevis Sancti Johannis de Deo)

Joseph Haydn

Joseph Haydn’s employer, Count Nicolaus I of Esterhazy, was a keen amateur musician and made huge demands on Haydn. This meant the greater part of Haydn’s output took the shape of symphonies and chamber music written for the Court. But he was called upon at times to compose music for the Church.

Haydn presenting the Mass to the brothers in 1775

In Eisenstadt, just down the road from the Esterhazy Palace was the Abbey of the Brothers of Mercy (Barmherziger Brüder) – it is now the hospital. Haydn (who also lived in the same street) had a great liking for the Brotherhood, and this lovely little Mass is one of a number of works he wrote for them.  It is deliberately modest both in the musical resources needed to perform it and in its dimensions.  To keep it short, Haydn used the common practice in the Gloria and the Credo of having four lines of text sung simultaneously by different voices; tricky if you’re trying to follow the words, but it does eat up the text!

The interior of the Brothers’ chapel, with the organ Haydn played at the first performance.

 

 

Brahms’ German Requiem

Brahms composed the German Requiem between 1865 and 1868, when he was in his mid-30s and in full flow with works such as the Piano Quintet, String Sextets, the Horn Trio, the Handel-and Paganini Variations. It was a time of passionate involvement with a number of young ladies, at one point almost ending in marriage. But in February 1865 he was devastated by the death of his mother, an event which triggered the composition of the Requiem.

For his text he turned to Luther’s wonderful, resonant translation of the Bible, choosing parts which had things to say to the grieving living, rather than being focused on the dead (as in the Catholic Mass for the Dead). The result is a work with deeply dark moments, but which is ultimately comforting and greatly uplifting. His careful naming of it as ‘A German Requiem’ signals the fact that it has nothing to do with the Christian liturgy. It is written specifically for the concert hall, and Brahms commented that it could be called a Human Requiem.

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Mendelssohn’s Elijah

Elijah was commissioned for Birmingham’s Triennial Music Festival

That an eminent German composer should receive a commission from a provincial English music festival may seem remarkable. But Mendelssohn was extremely popular both socially and as a musician; so he was in great demand across Europe, particularly in Britain where he definitely had the status of a celebrity, popular in royal circles. Birmingham at this time being industrially one of the most lively and prosperous centres in the country, had cultural ambitions. By the 1830s it had become a major centre for music, so it was only natural that the festival committee should be interested in inviting such a celebrity to perform in Birmingham’s brand new Town Hall.

Mendelssohn first performed in Birmingham in September 1837 playing his newly composed 2nd Piano Concerto and conducting a performance of St. Paul, which he had composed the previous year. He was such a success that he was invited to return as the Director of the next festival, in 1840. This he duly did, (no doubt arriving by the newly built railway) which led to the Festival commissioning an oratorio from him..

He received the commission in July 1845 for the festival in August 1846. Mendelssohn had started to plan the composition of an oratorio based on the life of Elijah in London in back August 1837. Now his idea was to be realised as a bilingual piece (like Haydn’s Creation), composed to a German text, but to receive its first performance in English.

While working on Elijah, Mendelssohn’s schedule was very busy: he was, after all, Director of the Leipzig Gewandhaus Orchestra, which was for six months in the year a full-time job. He also had to find time to compose his cantata Lauda Sion for the Liege Festival. In May, 14 weeks before the premiere, he sent the first part of Elijah to London for the text to be translated into English. Then he departed to perform in festivals in Aachen, Liege and Cologne. He returned in June (10 weeks to go) to Leipzig to his usual hectic social round. Nevertheless – having added an Overture as an afterthought – he completed Elijah, on August 11th.

A week later he was in London for intensive rehearsals. On the 23rd the orchestra, soloists, chorus and press travelled by a special train to Birmingham. The first performance of Elijah was on 26th August in the Town Hall. It was an instant success.

 

Mendelssohn’s Lauda Sion

Felix Mendelssohn

Mendelssohn was commissioned to write his setting of this text by the authorities in Liège to mark the 600th anniversary of the Feast of Corpus Christi on June 11th 1846.

At the time of this commission, Mendelssohn was working on his oratorio Elijah for the 1846 Birmingham Festival, which was in August. He interrupted his work on that to compose Lauda Sion and to conduct the first performance in St. Martin’s Church, Liège. He must have worked at great speed, because in May and June 1846 he was also directing music festivals in Aachen and Cologne. Elijah was of course completed on time, but with such work-pressure it is not surprising that a year hence he would be recovering from a nervous break-down; indeed thereafter he had only a few months to live.