Make a joyful noise!

Alan Bullard’s anthem, Make a Joyful Noise unto the Lord, receives its first performance on Sunday 27th October at St Guthlac’s Church, Market Deeping, by the church choir directed by the organist, Peter Davies.  Peter has had a long association with Bullard’s music and Alan was delighted to have the opportunity to write this anthem, funded as part of the organ restoration project.

The church’s 137-year-old organ has been given a new lease of life in an £80,000 restoration project and it to be re-dedicated this weekend – the new anthem forming part of the celebrations.

The instrument, in St Guthac’s Church, Market Deeping, will be re-dedicated by the Bishop of Grantham, the Right Rev Dr Nicholas Chamberlain at a service of thanksgiving and re-dedication on Sunday 27th October at 10am.  Details here.

The anthem will be published by Oxford University Press next year.

Clavichord music

In the early 1970s, inspired, I think, by the Fitzwilliam Virginal Book and by the clavichord music of my teacher Herbert Howells, I bought a secondhand Morley clavichord, and quite soon wrote some music for it.  Later, due to pressure on space and house-moving, it sat in a corner unplayed, and only recently I found a performance space for it again and was able to revisit and further explore the clavichord repertoire, enjoying this quiet and peaceful, but also most sensitive and colourful keyboard instrument.

This explains the forty-year gap between the composition dates of my clavichord pieces: Prelude, Air and Gigue of 1973 (the Air and Gigue were published by Oxford University Press but are long out of print), Six Miniatures of 1975, and Level, 2018.

Air and Gigue were first performed by Kathleen Crees at London’s Purcell Room in June 1975, and much more recently have been recorded, on harpsichord, by Penelope Cave – details here on the CD ‘Panorama 1919-2013’ (Prima Facie CD) and on Spotify here (tracks 18 and 19).

My recent piece, Level, is a palindromic study originally written for marimba and first performed by Joby Burgess, and now completely revised and rewritten for the clavichord. The marimba and the clavichord have more in common than one might think and it was a very interesting and enjoyable task to recreate the piece.  The palindromic structure – the second half of the piece being the first half in reverse (both in rhythm and pitch), creates a gradual development from calm (with one or two intermediate rises and falls) towards a busy climax, and then a gradual return to the character of the opening.  I think that the difficulty for any composer using this structure is that a climax point half-way through the piece is more difficult to manage, as there is a natural tendency for high points to feel more appropriate at approximately two-thirds of the way through (the ‘golden section’ proportion) but I hope that in my piece the relaxed and calm character of the clavichord, together with the emerging realisation of the unfolding of the music in reverse, will carry the music through.

So it is with great pleasure that I look forward to a clavichord concert by Francis Knights on Saturday 9 March 2019 at 2.30 pm in Hughes Hall, Cambridge, in which he will play all of the above pieces, alongside music by Herbert Howells, Barry Guy (world premiere), Ivan Moody, Julia Usher (world premiere), Graham Lynch and Matyas Seiber: a great opportunity to hear and assess clavichord music of the past hundred years. Admission is free: details here

Alan Bullard’s music at ACDA

For all composers, bringing their work to the attention of performers is a major part of their work, either individually or working with a publisher. This week sees the biannual convention of ACDA (American Choral Directors Association) in Kansas City, to which publishers, performers and composers will be travelling to from all over the world.

Alan Bullard’s music will be available to see and hear both on the OUP and the GIA stands. Oxford University Press have produced the following online material as a backup to their presence at ACDA: you can view an OUP online catalogue for the choral music of Alan Bullard here  and, if you have Spotify, there is an OUP playlist of Alan Bullard’s choral music here

New works for Children’s Chorus of Greater Dallas

Two new works for the Children’s Chorus of Greater Dallas

Alan Bullard’s two new songs for the Children’s Chorus of Greater Dallas, was premiered in Centuries of Song at the Morton H Meyerson Symphony Center, Dallas, Texas, (see picture) on April 7 2019.
Alan was there to hear Song to the Moon performed by the Prelude Chorus (director Cynthia Nott) and This is the Key, performed by the Apprentice Chorus (director Kimberley Ahrens).

Both works are published by Oxford University Press

While Alan is in Dallas, at 2.00 on the same day he led a workshop on his music entitled Meet and Sing, an afternoon with composer Alan Bullard sponsored by the Church Music Institute, at Northway Christian Church, Dallas.

June update: here are links to the live first performances of Song to the Moon and This is the Key

Images of Peace

A couple of years ago I was approached by Colchester Choral Society, a good amateur choir who have commissioned several pieces from me over the years, to commission a new unaccompanied work that would focus on the concept of world peace – a subject dear to the hearts of many, and sadly perhaps in our minds  even more now than for many years.

As always with choral music, finding suitable texts liberates and starts the compositional process, and for this piece, the commissioners requested a work that would encourage peace and understanding while not focussing on any particular creed or belief. So in my research for texts and ideas I looked at a number of peace symbols or images, and while not all of these suggested appropriate poetry, the symbols of the olive branch, the dove, and the rainbow in particular came into the foreground. Eventually, I found texts from a range of sources, including the English metaphysical and pastoral traditions, and the Taoist, Jewish and Christian traditions, and the shape of Images of Peace was born.

With five movements, the work lasts nearly 14 minutes, and although it is written so that the movements can be performed separately, I attempted a quasi-symphonic structure for the complete work: the calm first and last movements (‘Sweet Peace’ and ‘Bread of Peace’) partly share the same material, and between these are three contrasting movements. ‘Rainbow of Peace’ is a lively scherzo, and this is followed by an expressive slow central movement (‘Peace in the world’), and then an elegant allegretto (‘Doves of Peace’).

‘Images of Peace’, for unaccompanied mixed choir was commissioned by Colchester Choral Society, using funds from a legacy by Richard Daniel, and the first public performance is on Saturday 17th November, 7.30pm, St Botolph’s Church, Colchester.  

 

Colchester Choral Society, under their director Ian Ray, have also made a recording of this and other works of the British tradition. This will be available at the concert at a price of £10, and also by post (charge for postage): please follow this link for details.  By permission of the Society, you may also listen to the recording of Images of Peace on Soundcloud here. 

The score of ‘Images of Peace’ is published by Oxford University Press. Details here 

Here are excerpts from the five movements (at lower quality sound than the actual CD):

1. Sweet Peace

2. Rainbow of Peace

3. Peace in the World

4. Doves of Peace

5. Bread of Peace

Piece of the Week – New Year Carol

In the 1980s, when our children were either very small or perhaps not quite born, our friends David and Margaret Cutforth kindly lent us their beautiful Elizabethan house in White Colne for a holiday (in return for a little cat-sitting). The lovely grounds stretched down to the river and the house was a magical warren of rooms where the tall amongst us needed to keep our heads down – the doors were marked with a ‘Duck or Grouse’ sign.

On their many bookshelves was an old poetry book containing the poem ‘Here we bring new water’ – quite a well-known verse (set by Britten in the 1930s) which welcomes in the New Year, though I’ve never found anyone who quite knows what it all means!  As a case in point, try reading the Wikipedia entry for the phrase ‘levy-dew’ – which forms the chorus text, and, in my setting, a constantly repeated background to the verses as well. After several learned guesses, the writer has to admit that ‘the meaning of the words is not certainly known’.

Other interesting phrases are:

‘The seven bright gold wires, and the bugles that do shine’ (something to do with Revelation?)

‘Open you the West Door, and turn (=let?) the Old Year go: open you the East Door, and let the New Year in!’

I love these slightly unclear and archaic verses, and I responded, in the productive atmosphere of the old house, with joy and happiness, dedicating it to the owners. You can hear a performance here, and the music is published by Banks Music Publications.  Happy New Year!

Piece of the Week: A Light in the Stable

The other day, I was listening again to the first performance of A Light in the Stable. (You can listen to that performance here).  When I hear those opening notes it always makes me shiver with cold – this might be due to the snowy weather we are having at the moment, but actually it’s more likely that it reminds me of the circumstances of those first few performances, in snowy Minneapolis and its environs a couple of Decembers ago (though Minnesotans will tell me that it’s often a great deal colder!).  I still remember the joy of coming out of the cold into those lovely large, busy, warm churches, to hear such excellent performances by VocalEssence choir and orchestra, directed by Philip Brunelle.
A Light in the Stable lasts about 35 minutes: it’s for SATB choir accompanied by either piano or organ, or small orchestra or chamber group, and it’s been performed in concerts and also in church services. It tells the story of the birth of Jesus Christ, using a mixture of quasi-recitative (or spoken text), new settings of familiar poems, choral settings of traditional carols, and carols in which the audience can join in. Much of it is based around fragments of the traditional plainsong melody ‘Of our Father’s (or Maker’s) love begotten, which we hear complete at the beginning and end.  And by happy chance, some carols will fit together quite nicely: the two tunes of ‘Away in a Manger’ fit together; ‘While Shepherd’s Watched’ combines with ‘O Tell it on the Mountain’; ‘The First Nowell’ combines with ‘Of our Father’s love begotten’, and fragments of other well-known carols permeate the music.  The result is that, although there is much that is newly composed, overall there is a slight air of comfortable familiarity which I hope makes it appeal to a wide range of audiences and choirs. It’s such a lovely story to tell: I really enjoyed writing it and I hope you enjoy listening to it.

Here are the details on this website, and it’s available from OUP here.

Piece of the Week: O Come, Emmanuel

Advent Greetings to all readers! I wrote ‘O Come, Emmanuel’, a 35-minute cantata based on the plainsong melody of the same name, for Sarah MacDonald and the Chapel Choir of Selwyn College Cambridge, in 2012: they gave it its first performance in a liturgical context and later recorded it for Regent Records. Since then it has been performed by many choirs in several countries, and also a number of movements have been performed separately: just this past weekend I heard a choir sing ‘There is a rose-tree’ in a concert (which I followed with a piano improvisation in which I began by playing the final bars backwards), and on the Sunday morning service at our church, one of the short movements, ‘O Key of David’ was sung as an introit. It’s very flexible: it can be sung complete, of course, but also parts of it can be used in many different ways.
It contains arrangements of traditional Advent carols,  new settings of Advent words, hymns in which the congregation or audience may join the choir, linked by the words of the ‘O Antiphons’ set to fragments of the traditional plainsong melody.
Here is a link to the page on this site giving further details, including links to the publishers, Oxford University Press, and to the recording (Regent Records)
Here is a link to a performance of There is a rose-tree by the Selwyn College Choir