Congratulations to all the members of the University Cecilian Choir and Consort on last Friday’s night’s premiere of the new commission piece by Russell Hepplewhite.
The combination of words, music and images brought the new setting of the Magnificat, in which the sacred text was interspersed by new poetry by Nancy Gaffield, to vivid life. The Choir and strings, comprising students and staff from across the University, came together in vibrant form to deliver an accomplished performance of a brand-new work, always a challenge and especially in front of a live audience including both composer and poet!
If you missed it, the piece will be performed again on Friday 9 June as part of this year’s Summer Music Week, our annual music festival bringing the musical year to a close.
As part of the continuing ten-year anniversary of Colyer-Fergusson, the Music department continues to explore new musical frontiers in commissioning a piece from composer Russell Hepplewhite; an innovative take on the Magnificat, written for the University Cecilian Choir and string orchestra.
Bringing the Song of Mary together with new poetry by Nancy Gaffield, Emeritus Professor in the School of Creative Writing, the choir has been working on the piece in rehearsals, and we were delighted to welcome the composer to the concert-hall this week as the choir worked together with Russell.
It’s always a nervous experience to rehearse a piece with the composer present, but there was a tremendous rapport between the choir of students and staff and Russell, as the group continued to develop the piece with direct Composer Input. Heroically, Russell volunteered to be the repetiteur for the rehearsal, and choir, composer and poet spent a lively session bringing the piece to life.
Before the rehearsal, Russell and Your Loyal Correspondent filmed a conversation about the commission, about the process of writing a piece that combines a well-known sacred text with contemporary poetry, and techniques of writing for voices and strings – the interview will appear soon!
Pictured are Russell and Nancy with the Cecilian Choir; the piece receives its premiere performance in Colyer-Fergusson on Friday 31 March; tickets here.
The University Cecilian Choir has been hard at work rehearsing a brand-new setting of the Magnificat, the Song of Mary, which the Music department commissioned as part of its year-long anniversary celebrations of the Colyer-Fergusson Building’s ten years. Last night, the Choir was delighted to welcome poet Nancy Gaffield to the rehearsal; Nancy has written four new poems which are interspersed with the text of the Magnificat, with music written by Russell Hepplewhite for mixed choir and string orchestra.
The new piece is an exciting blend of high energy, driving rhythms, lyrical melody and sumptuous harmonic colours, particularly in the sections setting Nancy’s poetry; each of the four poems is written in response to a famous piece of art representing stages in the life of Christ, including Michelangelo’s The Birth of Adam, Ghirandaio’s The Visitation, and Piero della Francesca’s The Baptism of Christ. Here, the music revels in the same richly-colourful textures as each of the paintings; last night was an opportunity for Nancy to talk with the choir about her poems, the relationship to the paintings, and to hear some of the piece coming to life in rehearsal.
The first performance takes place in Colyer-Fergusson Hall on Friday 31 March, with a second performance on Friday 9 June as part of this year’s Summer Music Week; details and tickets for the premiere performance online here. It should be quite something…
As part of the anniversary celebrations to mark the ten-year anniversary of the opening of the Colyer-Fergusson Building on the University of Kent’s Canterbury campus, we’re delighted to have commissioned a new piece by the composer Russell Hepplewhite.
The piece, written for mixed-voice choir and string orchestra, is a setting of the Magnificat interspersed with four new poems written by Nancy Gaffield in the School of Creative Writing. Each poem, inspired by an historic painting, responds to the canticle, the ‘Song of Mary,’ in which Mary rejoices that she will give birth to the Christ-child and the positive changes which will be wrought in the world.
Recently named one of the Evening Standard’s 1000 Most Influential People in London, Russell Hepplewhite has won critical acclaim for his ground-breaking operas for children including Shackleton’s Cat, Silver Electra and Laika the Spacedog, written for English Touring Opera. His music appears on CD releases for labels including Regent Records and has been featured on BBC Television and Radio, as well as being performed at venues including the Royal Albert Hall, the Wigmore Hall, the Library Theatre Luton, the Purcell Room and the Queen Elizabeth Hall. Most recently, his collaboration with the poet Michael Rosen, a set of children’s songs entitled Everything, is included in the Friday Afternoons song bank project, inspired by Britten’s song-cycle of the same name.
Nancy Gaffield is Reader Emeritus in Creative Writing at the University of Kent and an award-winning poet with six poetry publications. Her first collection of poetry, Tokaido Road (CB editions 2011) was nominated for the Forward Best First Collection Prize and was awarded the Aldeburgh First Collection Prize that year. Other poetry publications include Continental Drift (Shearsman 2014), Meridian (Longbarrow 2019) and Wealden (Longbarrow 2021), which is a collaboration with the musical group The Drift. She was commissioned to write a libretto for the opera, Tokaido Road: A Journey after Hiroshige, composed by Nicola LeFanu. It premiered at the Cheltenham Music Festival in 2014 and subsequently toured nationally. She regularly gives workshops, lectures and readings, including festival appearances such as the Aldeburgh and Ledbury Poetry Festivals, the Canterbury Festival, and the Words and Music Festival, Rolvenden, Kent.
Russell’s music is richly colourful, highly expressive and also immediately accessible, and it’s very exciting to have commissioned a brand new work to mark the opening of Colyer-Fergusson, the building which forms the centrepiece for extra-curricular music at Kent. By bringing Russell’s translucent musical language together with Nancy’s brilliantly evocative poetry, it will be a fantastic opportunity for students and staff at the University to give the premiere as part of the year-long anniversary celebrations, and a unique take on a traditional moment in the liturgy.
The new setting will be premiered in Colyer-Fergusson Hall by the University of Kent Cecilian Choir and String Sinfonia on Friday 31 March 2023, with a further performance later in June as part of the department’s summer music festival.
The University Symphony Orchestra is industriously rehearsing ahead of this Saturday’s annual Colyer-Fergusson concert in Canterbury Cathedral, and this year unveils a commission by the University Music department from Kent-based composer and Professor of Composition at the Guildhall School of Music and Drama, Matthew King.
Matthew’s piece will share the Nave with two musical titans; Beethoven’s Eroica Symphony and Haydn’s ‘Nelson Mass;’ I caught up with Matthew ahead of this Saturday’s premiere to ask him about the work and the concepts behind it.
How does your piece relate to (or take on!) the two titans on the programme: Beethoven and Haydn?
I didn’t really want to ‘take them on’. Obviously Beethoven’s Eroica is this massive event at the dawn of Romanticism (a bit like Stravinsky’s Rite of Spring at the start of Modernism) and Haydn’s Nelson Mass is one of a set of pieces which he wrote at the end of his life – it’s only called ‘Nelson Mass’ because Horatio Nelson happened to attend an early performance – but I believe Haydn’s original title was ‘Mass for Troubled Times’ which I have to admit still seems a very relevant title! In any case, both of the ‘titan’ works you mention have an essentially public quality, whereas my piece is very different… and much more intimate in character. Two things connect my piece to Beethoven though: one is the ‘heroic’ key of E flat major (also the key of ‘Nimrod’ in Elgar’s Enigma Variations) and the other is the prominent use of three french horns.
Yours is a highly personal response to the commission request: did this make it easier or harder to write ?
Well easier, in the sense that it was really the only way that I could respond to the idea of ‘heroism’ at the time. But it was written as a tribute to my Dad, who died in March 2017, and that made the process of composing it quite raw emotionally. When you are a small child you tend to view your parents in a heroic way, and in fact Dad had some of the right attributes: he was very tall and good-looking and also very kind. As you get older you realise your parents are human beings with their own foibles, but in Dad’s case his essential kindness always shone through. He ran a special school and, when he died, there were many lovely tributes written about him by young people he’d helped over the years. I guess I wanted my piece to be a kind of pre-verbal tribute, at some kind of deep emotional level. I don’t mean it’s a great emotional splurge – simply that it tries to get to grips with mourning and loss and reflection in quite a measured way.
‘Hero’ can be a very tricky term: how did you deal with it ? I’m thinking it can easily date, or the sense that one man’s hero is often another’s villain…
Yes. I suppose the old idea of heroism as associated with political power, or military strength or whatever, is rather problematic nowadays. I guess there’s a vestige of that old notion of ‘hero’ in the way we view someone like Winston Churchill, or public figures like Martin Luther King or Emmeline Pankhurst: people who prevailed against evil and injustice on a huge scale. I’m also interested in ‘quiet heroism’ – the many unnoticed acts of kindness and generosity that go on all the time. Even in the recent snowy weather there were all sorts of reports of really marvellous acts of quiet heroism from people who certainly didn’t stop to think whether they were being heroic or not. In fact perhaps one definition of heroism might be ‘selfless acts of generosity undertaken by people who have no idea that what they are being is heroic!’
Did the fact that it’s being performed in the Cathedral have any influence or effect on the piece ?
Yes, actually it did. I’ve written for that space a few times. Back in the 1990s I wrote a very big community opera called Jonah which was staged in the Nave, and I learned quite a lot of things from that experience! It’s an awe inspiring building of course, and it has a really huge acoustic which can be difficult to handle, especially in music that has rapid harmonic change. I keep the harmonic pace of my music quite slow, and I tried to create orchestral effects that would blend well with the resonance of the building. I also make use of the space by locating the principal trumpet player up in the organ loft so that his solos come down from on high!
Who are your musical heroes ?
Well they tend to be whoever I’m listening to at the time so it changes from week to week really: recently I’ve been watching some of the great Hitchcock movies with my family and finding renewed admiration for Bernard Herrmann, I’ve been reading all of Jane Austen’s novels and have really been blown away by her marvellous talent. I’ve been listening to Duke Ellington’s Far East Suite and loving it’s raw energy. My daughters like Beyoncé’s Lemonade and I think it’s exciting when (and this is quite rare) musical talent and commercial success are completely compatible!
A friend introduced me last week to the controversial American cultural commentator, Camille Paglia, and I thought she was interesting. I’ve been playing some extraordinary meditative music by Federico Mompou, the Catalan composer on the piano.
Next month it will be a different list!
Matthew’s A Hero Passes will be given its premiere on Saturday 10 March in Canterbury Cathedral by the University Symphony Orchestra, conducted by Susan Wanless; details here.
Students in the University Chamber Choir had the opportunity to work with one of Britain’s leading composers in rehearsal yesterday, in preparation for singing in the University Carol Service in Canterbury Cathedral next month.
The choir was privileged to welcome Russell Hepplewhite to its usual evening rehearsal, to work on Russell’s Star of the East. It can be a daunting prospect, performing a composer’s work in their presence, but the Choir rose to the occasion magnificently.
Hailed by the Evening Standard as ‘one of the brightest young talents to have emerged in recent years,’ Russell’s award-winning work has been commissioned to critical acclaim by English Touring Opera, and his choral works are part of the recent Genesis Choral Library series launched by Banks Music Publications. His next work, Moonfleet, is set to open at the Salisbury Playhouse in April.
It was a terrific opportunity for the students to get to grips with contemporary music with the composer offering them insights into the creation of the work and its realisation; huge thanks to Russell for coming down from London especially last night; we’re looking forward to unfurling the piece in the majestic Nave of Canterbury Cathedral on 11 December.
Because it does. Doesn't it ? Blogging about extra-curricular musical life at the University of Kent.