It was going to be a challenging rehearsal, I thought: two pieces by Scottish composer James Macmillan, the canonic Gallant Weaver and heart-rending A Child’s Prayer, and the ‘Gloria’ from Gabriel Jackson’s Edinburgh Mass. These are difficult pieces – hard enough to realise at the piano when there’s no closed-score piano reduction to aid rehearsing! – with complicated rhythmic interplay, angular lines that aren’t necessarily leading where you might expect them to go, and modern harmonies rich in added-note chords and eight-part vertical sonorities. I expected it to be something of a difficult rehearsal.
It just shows how wrong one can be.
Having kicked off in lively fashion with Perspice Christicola, better known as Sumer is icumen in but with a sacred Latin text, to get everyone warmed up, we sojourned north of Hadrian’s Wall with Macmillan’s A Child’s Prayer. This has been a favourite piece of mine for a while – it’s one of those pieces that, at first hearing, reaches straight into your soul. We built the three main chords from the basses upwards to get them balanced and in tune, and practiced moving from one chord to the next to make sure the singers knew where they were going. And then – we sang them as written. It’s one thing to know and love a piece that you’ve listened to many times, but to be in the midst of the sound the first time it comes off the page and into the air is a thrilling moment. We then added the two (patient!) solo sopranos, and set off through the whole piece. In the rich and resonant acoustic of the Cathedral Crypt, it will be overwhelming…
Macmillan’s Gallant Weaver is a richly polyphonic treatment of a Scottish folk-song, with a three-part canon in the sopranos – no closed-score, what a challenge to play! – literally weaving the melody amongst the divided upper voices; the lower three voices provide gently lulling sustained chords beneath, before the whole choir burst out into individual part-writing for a sumptuous second verse. It’s certainly difficult, the sopranos having to have the confidence to sustain their own lines against not only the same melody in canon but the colourful harmonies beneath. And it worked very well.
The Jackson Gloria represents the greatest rhythmic difficulty in the entire programme; leaping between 5/8, 3/8 and 2/4 or ¾ bars is taxing; added to which are the tumbling lines in the sopranos and altos like bells pealing, and the fact that the tenors and basses move at different times to both soprano and alto lines. We’re two-thirds of the way through the movement; there’s still work to do, but the effort will be worth it if we can capture the luminous colour and brightly-lit harmonies of the piece as it comes off the page.
Some hard work last night, and some excellent results; quicker than I thought possible. Here’s hoping it continues over the coming weeks; with only five rehearsals left before the concert, we can’t afford to waste a single moment.
(Preview clip via LastFM).