Yesterday’s broadcast of the Advent Carol Service from St John’s College, Cambridge (which, strangely, actually took place a week ago), once again included several pieces of more recent music.
The newly commissioned piece came from a composer i’ve not heard of, James Long. Long’s anthem, Vigilate, weaves together words from the Biblical books of Mark & Revelation to arrive at a text that, in a nutshell, backs up its titular imperative—“watch!”—with an emphatic “or else”. The music is fairly standard-issue new choral music, yet it’s not without some telling moments; the opening & closing stanzas perhaps punch hardest, & while Long’s use of snatches of Latin to echo the English is odd, the appearance of “gallicantu” (“cock’s crow”) is nicely judged. The middle stanzas lose their way somewhat, getting bogged down in the words, but the conclusion of “and every eye shall see him, And they also which pierced him”, where the men’s voices are abruptly silenced to leave just the trebles, is very striking.
Today is Ash Wednesday, the first day of Lent, and throughout the next seven weeks, among other things, i’ll be featuring a selection of pieces suitable to the season. To begin, a recording of the world première of James MacMillan‘s anthem Domine non secundum peccata nostra, given by the choir of St John’s College, Cambridge. Directed by Andrew Nethsingha, the performance took place on Ash Wednesday last year, and also includes a solo violin, played here by Margaret Faultless. The piece is structured as a simple rondo, in which the refrain—heard three times—focusses on the essence of the text, words adapted from verse 10 of Psalm 103:
Domine, non secundum peccata nostra quae fecimus nos, neque secundum iniquitates nostras retribuas nobis.
(“Lord, do not repay us according to our sins or our iniquities.”)
MacMillan keeps the refrain relatively subdued, the words emerging from extended melismas over simple harmonies (the use of harmony throughout is simple). The violin nags away at the periphery, picking at notes, arpeggiating them, finally becoming a complementary melodic entity in its own right. There are two episodes, and both contrast strongly with the refrain, projected with much greater force. Read more