Judith Bingham

Mix Tape #38 : Organ

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The theme of the new 5:4 mix tape is one i’ve been wanting to explore for a long while: the organ. It’s an instrument with which i’ve had a pretty infatuated relationship since my teenage years, both as a listener and as a very occasional practitioner (organ was my second study alongside composition during my first degree, and for a few years i co-directed a church choir). People tend to have a certain idea of what they think organ music is like. People tend to be wrong. i hope this mix tape will go some way to illuminate what the organ is capable of, what it can be, when wielded with real imagination. As always, the mix consists of personal favourites, encompassing a pretty wide range of approaches to the instrument. i’ve structured the mix in four sections, each lasting roughly half an hour. Read more

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Proms 2011: Judith Bingham – The Everlasting Crown (World Première)

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Given that so few composers seem to show any real interest in the organ these days, the prospect of a new work for the instrument at this year’s Proms—of 35 minutes’ duration, no less—was a mouth-watering one. Splendidly, the honour was given to Judith Bingham, a composer who, compared to some, seems ever to be lauded in somewhat muted tones, yet in my experience, never seems to put a foot wrong in her diverse output. Her oeuvre flits in and out of direct religious statement, but even pieces with a more secular emphasis usually allude to things spiritual. Her new work for organist Stephen Farr, The Everlasting Crown, is just such a piece, exploring the perhaps unlikely subject of precious stones associated with powerful historical figures, stones that, “undecaying, constant – represent aspects of monarchy and power” (from Bingham’s programme note). Read more

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Choral Evensong (Wells Cathedral): music by Judith Bingham, Philip Wilby and Messiaen

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Today’s service of Choral Evensong from Wells Cathedral—part of the New Music Wells Festival—broke the moribund trend of these broadcasts to celebrate English banalities in aspic, and revelled in a collection of new choral music.

It got off to a poor start, however; the American composer Gary Davison‘s setting of a text by Thomas Ken, Glory to thee, my God, this night, did little more than execute the most perfunctory and predictable word-painting; it’s an utter waste of a really rather lovely text—do we really need yet more composers incessantly churning out this banal brand of generic guff?

Following the first hymn, though, wonder of wonders: the alternative canticles! It’s incredibly rare these days to find a cathedral that actually remembers these alternatives exist, rarer still that composers see fit to set them to music. Kudos to Wells and to Judith Bingham for being prepared to break with Anglican tradition and be imaginative! Read more

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