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The Heavens and the Heart James Francis Brown

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The Heavens and the Heart James Francis Brown THE HEAVENS AND THE HEART CHORAL AND ORCHESTRAL MUSIC BY JAMES FRANCIS BROWN BENJAMIN NABARRO VIOLIN RACHEL ROBERTS VIOLA GEMMA ROSEFIELD CELLO CATRIONA SCOTT CLARINET THE CHOIR OF ROYAL HOLLOWAY ORCHESTRA NOVA GEORGE VASS CONDUCTOR The Heavens and the Heart Choral and Orchestral Music by James Francis Brown (b. 1969) Benjamin Nabarro violin 1. Trio Concertante [20:46] Rachel Roberts viola for violin, viola, cello and string orchestra Gemma Rosefield cello Clarinet Concerto Catriona Sco clarinet (Lost Lanes – Shadow Groves) The Choir of Royal Holloway for clarinet and string orchestra Orchestra Nova 2. Broad Sky – Interlude I [7:03] 3. Dark Lane – Interlude II [5:28] George Vass conductor 4. Around the Church – Interlude III [5:52] 5. The Far Grove [5:20] The Heavens and the Heart Three Psalms for chorus and small orchestra 6. Caeli enarrant gloriam Dei (Psalm 19) [6:05] 7. Si vere utique justitiam loquimini (Psalm 58) [6:48] 8. Bonum est confiteri Domino (Psalm 92) [6:40] Total playing time [64:07] About Orchestra Nova & George Vass: ‘Playing and recorded sound are both excellent. It’s a fascinating achievement, beautifully done’ Gramophone ‘[...] an outstanding recording of a powerful and absorbing work’ MusicWeb International James Francis Brown has been a close friend the age.’ The music on this recording for over twenty years. I first heard his music abundantly proves the connuing when, as Arsc Director of the Deal Fesval, truth of Tippe’s words from eighty I programmed his String Trio in 1996 and years ago. immediately recognised in him a kindred spirit. James is commied to the renewal David Mahews of tonality, but not the simplisc sort one finds in minimalism, rather one that uses real voice leading, modulaon and lyrical The Heavens and the Heart: Orchestral melody. Listen to the opening of the Trio and Choral Music by James Francis Brown Concertante, which begins this album, and to the way violin, viola and cello present in The central work on this disc, the Clarinet turn their beaufully craed melodies – Concerto, is concerned with the imaginave in fact a connuous melodic line divided ‘pull’ of a significant place, not solely as a into three long secons. It is the ecstac form of nostalgia but a kind of fanciful lyricism of Tippe reborn in a totally sensing of the ‘content in the soil’ or a individual way. James has that rarest of quality of light – characteriscs that always gis nowadays, the ability to write music seem to me to hold an important, if that is genuinely joyful, without using intangible, message. In the case of the anything like cliché or pasche. The same Clarinet Concerto the place in mind is the spirit can be found in his Clarinet Concerto, small village of Ingworth in North Norfolk a response to a parcular beloved English and, although the two other works landscape, and the rapt psalm sengs presented here don’t ostensibly relate to of The Heavens and the Heart. a specific locaon, it was certainly a powerful smulus, during the process of In an arcle from 1938, Michael Tippe wring, to know where these pieces wrote ‘A composer’s intuions of what would be ‘born’. his age is really searching for may be, and probably will be, not in the least such All three works on this recording received obvious things as the portrayal of stress their premieres in Presteigne, the old county and uncertainty by grim and acid town of Radnorshire which nestles in the harmonies. The important thing […] is that border countryside of the Welsh Marches, he should be in some living contact with as part of the Presteigne Fesval conducted James Francis Brown Photography: Liz Isles by Arsc Director, George Vass with a hand- a work for string trio and string orchestra. The connecon to the English tradion is subsequent movements. picked orchestra of fine string players. As Having wrien a string trio for the Leopold clear, but I hope that the work is fresh and a regular visitor to Presteigne since the String Trio several years previously, George, appealing. I dedicated it to George Vass – ‘Dark Lane’ rather graphically describes an early 2000s, I have always loved the space with his customary knack for finding what originally, in the approach to his fiieth unseling experience: Out walking one and profound calm of this part of Powys. it is that composers really want to do, birthday and the premiere was given on cold January at dusk I became aware of a The lush fields and hedgerows with that sensed my affinity with the medium. 29 August 2006. The soloists were Pauline sound that grew in intensity and uncannily poignant bright light of late-summer Lowbury (violin), Sarah-Jane Bradley (viola) resembled a huge beang heart, unseen, and the cool church interiors with the The string quartet, minus the second violin, and Gemma Rosefield (cello) with the a few yards off. It seemed to pursue me suggeson of local community service, demands a rather more athlec approach, Presteigne Fesval Orchestra. as I walked down the lane through the of one sort or another, spanning the with the cello being allowed to enter a mist and, although I later discovered a centuries certainly exerted an influence higher register and with the shining quality Clarinet Concerto (Lost Lanes – raonal explanaon for the sound, I was on the composion of the notes themselves. of three-part harmony loosening up the Shadow Groves) struck by the transformaon of that denser texture of the tradional quartet. familiar place into somewhere quite sinister Soon aer my first encounter with I relished the opportunity but discovered The sub-tle suggests not only a sense of and unknown. Presteigne, I discovered that, coincidentally, in the process the challenge of creang rural remoteness but also, by analogy, a way many of my ancestors (on my maternal a sasfying contrast between the soloists in which certain paths or possibilies, ‘Around the Church’ is a reflecon on the grandmother’s sides– née Went) lived in and the bulk of strings that make up the perhaps facules glimpsed in childhood, but numberless people who, through the Presteigne during the early nineteenth orchestra. The soluon seemed, to me, not pursued, oen reappear as tantalising ages, have looked out on these same century, so my affinity with the place was to lie with need for strong melodic prospects at odd moments throughout our scenes, many of whom now rest in the greatly enhanced. Although my working invenon and a marked dialogue between lives. The village of Ingworth in Norfolk is churchyard. methods are largely abstract and concerned the two groups. The form of this single- one such remote place that has had a with the intrinsic properes of music, there movement work is quite straighorward. profound influence on my creave outlook Finally, ‘The Far Grove’ suggests a distant is in these three works, a uning and It starts with a flowing moderato, which and, to my amazement, it transpired that point, sll bathed in evening light but overarching theme of me and place and I becomes increasingly forceful before Catriona Sco also has a strong connecon impossible to reach before night closes look on them now as a group of kindred giving way to a more reflecve second with that place from her own early childhood. in. The desire to be there is perhaps spirits, despite the varied purposes of subject. This in turn gives way to a short I was fascinated by the possibility that our sufficiently rewarding and transforming. their concepon. slow secon which acts as a development impressions of that now rather remote me, and allows a gentle cadenza-like freedom. may be similar. The movements are linked by interludes Trio Concertante for solo clarinet, which prepare the There follows a recapitulaon, which is The tles of the movements have a personal listener for the next part of the journey. In the summer of 2005, George Vass asked intensified and sustains momentum unl significance: ‘Broad Sky’ is a gently breezy me to write a work for the following year’s the end. evocaon of that part of Norfolk, which The work was commissioned for the Presteigne Fesval with the suggeson of introduces fragments that are heard in the Presteigne Fesval by Mr Keith Stanley and the John S Cohen Foundaon and received righteousness, O you mighty ones?’ – is a Albans Choral Society with funds from its premiere on 21 August 2008 by clarinest scathing assault on the decepve rhetoric the Arts Council of Wales and the Williams Catriona Sco with the Presteigne Fesval of rulers and is unnervingly pernent today. Church Music Trust. It was premiered on Orchestra. This movement draws something from Bach’s 28 August 2016 by the Presteigne Fesval sombre Lutheranism but it also invokes the Chamber Choir and Orchestra conducted The Heavens and the Heart – Three wrathful vein of the Old Testament; the by George Vass. Psalms for chorus and small orchestra words ‘God crush their teeth’ are treated with unflinching dissonance. There is also © 2018 James Francis Brown The Old Testament psalms are believed to a flavour of the sparse middle-eastern date from around 1000–400 BC and are deserts, the hissing snake, the beguiling wonderfully redolent of the outlook and snake-charmer – images that give a Text & translaon environment of the Ancient World. This is disnctly acerbic tang to this psalm. poetry in which beauty and harshness sit The Heavens and the Heart side-by-side and external fixaons (The In the final movement, Psalm 92 – ‘It is Heavens) are balanced by personal, good to praise the Lord and make music 6.
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