a song more silent new works for remembrance Sally Beamish | Cecilia McDowall Tarik O’Regan | Lynne Plowman Portsmouth Grammar School Chamber Choir London Mozart Players Nicolae Moldoveanu It was J. B. Priestley who first drew attention Hundreds of young people are given the to the apparent contradiction on British war opportunity to participate as writers, readers, memorials: the stony assertion that ‘Their Name singers and instrumentalists, working in Liveth for Evermore’ qualified by the caution collaboration with some of our leading ‘Lest We Forget’. composers to create works that are both thoughtful and challenging in response to ideas It is a tension which reminds us of the need for of peace and war. each generation to remember the past and to express its own commitment to a vision of peace. E. E. Cummings’ poem these children singing in stone, set so evocatively by Lynne Plowman, The pupils of Portsmouth Grammar School are offers a vision of “children forever singing” as uniquely placed to experience this. The school images of stone and blossom intertwine. These is located in 19th-century barracks at the heart new works for Remembrance are an expression of a Garrison City, once the location of Richard of hope from a younger generation moved and the Lionheart’s palace. Soldiers have been sent inspired by “a song more silent”. around the world from this site for centuries. It has been suggested that more pupils lost their James Priory Headmaster 2008 lives in the two World Wars than at any other school of comparable size. Today, as an inscription on the school archway celebrates, it is a place where girls and boys come to learn and play. On Remembrance Sunday each year the school performs a concert in St Thomas’s Cathedral which, thanks to the imagination of my predecessor Dr Timothy Hands and the continuing support of the Governing Body, includes an annual commission of a new work for Remembrance, in partnership with our Associate Musicians, the London Mozart Players. 3 Liturgical section and the Making Music Award. Ave Maris Stella was at Christ Church, Oxford. Dominus Dutton Epoch released a CD of her choral work Ave Maris Stella was commissioned for Illuminatio Mea is to be seen in one of the three in the autumn of 2004 (CDLX 7146) and a CD Portsmouth Grammar School Chamber Choir, stained glass panels of the school’s Boer War of orchestral and chamber music in autumn and first performed at the PGS Remembrance Memorial window in Portsmouth Cathedral. 2005 (CDLX 7159). Three Antiphons have been Concert in November 2001. The text has a recorded by an international trumpet ensemble special significance for Portsmouth with its The work begins with tranquility. The consisting of players from the Berlin Philharmonic great naval heritage; the central section “They introduction expands the main melodic shapes and Vienna Philharmonic and were released on that go down to the sea in ships” is particularly over rich chords placed between the melody the Brass Classics label recently. Her works are poignant today as we remember those who notes, to a glorious suspension, which is then regularly broadcast on BBC Radio. have lost their lives at sea. echoed in the inner parts, and becomes a key feature of the opening section. The choir enters In 2006 she was selected from a large list of The composer explains that the piece takes its with a glowing richness, and the sopranos break composers by the Bournemouth Sinfonietta basic inspiration from some words of Woodrow free from the depths of the texture, rising to a Cecilia McDowall Choir to compose a choral and instrumental Wilson which she chanced on following a visit to soaring melody of naturally resolving suspensions. Educated at Edinburgh and London Universities work, Five Seasons, whose brief was to ‘celebrate see the Cathedral and talk about the commission: At “solve vincla”, the second verse of the original and Trinity College of Music, Cecilia McDowall the organic landscape’. This exciting and unique “The freedom of the seas is the sine qua non of words, the music becomes unsettled as it moves won several prizes for composition, including the project, which was premiered in Sherborne Abbey peace, quality and co-operation.” The decision to a minor key and the intensity builds to Chappell Prize. She has a distinctive style which in November 2006, involved the composer and was taken, however, to keep the sources for the another powerful climactic suspension at the speaks directly to listeners, instrumentalists the novelist and poet, Christie Dickason, taking text of the piece to the Biblical or liturgical, and top of the tenors’ and sopranos’ range. and singers alike. Her choral output has been up mini residences at five organic farms (under to draw on artifacts in the Cathedral, especially described as having a ‘freshness, brightness and the auspices of the Soil Association). the stained glass windows commemorating As the music subsides again, a recitative soprano fidelity’ about it, combining flowing melodic those who lost their lives in war. The work itself solo penetrates the texture, a distant beacon of lines and occasionally astringent harmony with The Dutton label recorded a further CD (CDLX makes use particularly of the Cathedral’s ample sound to fill the air, preparing for the tempest rhythmic vitality. She studied composition with 7197) of McDowall’s choral work in 2007 with acoustic, with phrases in the choral parts that that is to follow. The central section of the piece Joseph Horovitz, Robert Saxton and Adam Gorb. the City of Canterbury Chamber Choir and the require the resonance to carry the sound, even is undercut by excited syncopated rhythms in Joyful Company of Singers. when the choir are not singing. the accompaniment, as the voices announce the Her music has been commissioned and theme based on a descending modal scale. The performed by leading choirs, including the BBC Cecilia acted as composer ‘not in residence’ at Verse 1 of Psalm 26 is the motto of Oxford feeling of raging waters and the stormy wind, Singers, ensembles and at festivals nationwide. Portsmouth Grammar School, working with University, Dominus Illuminatio Mea (The Lord is “ventus tempestatis”, is enhanced by the contrast She was short-listed for the 2005 British pupils from a variety of local schools, during the my Light) and is associated with the Founder of between the more lyrical phrases of the choir Composer Awards in two categories, the academic year, 2001-2002. the Grammar School, Dr William Smith, who against the agitated, turbulent accompaniment. 4 5 The anguish of the men is marked by the return Cecilia McDowall - Ave Maris Stella 11:38 of the descending modal scale, before the thrill of the storm subsides, as the choir decrescendos 1|Ave maris stella, Hail, Star of the sea, and the energetic accompaniment slowly comes Dei Mater alma, Nourishing mother of God, to a halt. The soprano solo heard originally is Atque semper Virgo, And ever a virgin, echoed briefly, before the minor key passage Felix coeli porta. Auspicious gate of heaven. from the opening returns, and the last verse brings back the very opening music, filled with Solve vincla reis, Release the chains of the guilty, suspensions that build the tension right through Profer lumen caecis Bring light to the blind, to a powerful closing climax. Mala nostra pelle, Take away our sins, Bona cuncta posce. For all blessings pray. In October 2001, the magazine Classical Music devoted a full-page article to a study of this (Ave Maris Stella) new piece. “When the choir of Portsmouth Grammar School starts to sing, and the London Dominus illuminatio mea et salutare meum. The Lord is my light and my salvation. Mozart Players pick up their instruments on 11 Dominus fortitude vitae meae quem The Lord is the strength of my life; of whom November”, the magazine commented, “let us formidabo? shall I be afraid? hope that the world will be laying down its arms and reflecting on why we still look back on (Psalm 26/27) Armistice Day of 1918.” In 2006, Aled Jones reviewing the work on Radio 3 described it as Qui descendunt in mare navibus They that go down to the sea in ships; “wonderful”. facientes opus in aquis multis And occupy their business in great waters; Ipsi viderunt opera Domini These men see the works of the Lord: Jamie Henderson Et mirabilia eius in profundo And his wonders in the deep. Dixit et surrexit ventus tempestatis For at his word the stormy wind ariseth. Ascendunt in coelum et descendunt in abyssos They are carried up to the heaven and down again to the abyss. Clamabunt autem ad Dominum in tribulatione So when they cry out unto the Lord in their trouble: 6 7 Sua et de angustia educet eos He delivereth them out of their distress Lynne Plowman’s second opera, House of the Statuet turbinem in tranquillitatem. For he maketh the storm to cease. Gods, also with a libretto by Martin Riley and commissioned by MTW, takes its characters (Psalm 106/107) from Irish mythology. Combining eerily atmospheric music with twisted comedy music Dominus illumination mea et salutare meum. The Lord is my light and my salvation. hall numbers, this opera, for adult audiences, was taken on a highly successful UK tour in Vitam praseta puram, Display a pure life, 2006. The Brighton Argus described it as "totally Iter para tuum: Prepare your way and utterly absorbing...one of the finest modern Ut videntes Jesum, Till we find Jesus, operas I have seen"; The Telegraph: "gripping Semper collaetemur. Joy for evermore. throughout...it grabbed me instantly...bags of character, atmosphere, humour and originality": Sit laus Deo Patri, Praise to God the Father, The Guardian: “Plowman is a mistress of Summo Christo decus, Glory to Christ the great, Lynne Plowman theatrical effect".