Pietà Power at the Cadogan Hall

 

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Saturday night, late October, and there’s a chill in the air, and it’s not all down to weather! Brexit dramas, political deadlock, dire economic and climatic warnings have filled the day. I’m relieved to put those eerily dark streets off Sloane street behind me, and to step into the warmly lit Cadogan Hall.

I’ve come to see Pietà, a choral work by Richard Blackford, which is getting its London premiere tonight. I do enjoy choral music; a Handel, Verdi or Mozart Requiem will set off the Christmas season nicely, provided the choir is polished and the work is performed in a warm, comfortable venue (all of which I was expecting to get this evening). I have spent too many Christmases shivering in churches, listening to, or singing the same works for my own choir!

Having interviewed Blackford prior to the performance, I was very much looking forward to seeing Pietà performed live. I knew that the composer had used the traditional Stabat Mater hymn as his starting point.To the hymn for the grieving Mary, whose son has been crucified on the Cross, Blackford added poems by the Russian poet, Anna Akhmatova. Akhmatova wrote them in a state of heightened anxiety, when she thought she had lost her own son to the KGB during the Stalin purges. Introducing this new element, Blackford hoped to bring audiences closer to the subject. Akhmatova was an ordinary mother after all – one with which the audience could easily identify and empathise with. See my interview here: Pietà Premieres in London: Interview with composer Richard Blackford.

In the audience at the Cadogan, I watched a choir of one hundred and ten singers walk out on stage with thirty-six violin, viola and cello musicians. Members of the children’s choir were already in position in the the dress circle. Mezzo soprano,  Catherine Wyn Rogers, appeared last with baritone, Huw Montague Rendall. Reigning above them all, in her own gallery above the stage, stood soprano saxophonist, Amy Dickson, in a resplendent gold dress. Together with conductor Gavin Carr, they all formed a perfect tableau.

For the opening prelude, the strings, and the cello theme set the mournful tone. The strings playing in their extreme upper register ratcheted up the tension. The choir  entered with a hushed pianissimo before crescendoing slowly and inexorably.“Through her weeping soul…./A sword passed”, they sang, expressing Mary’s visceral pain as she watches her son’s crucifixion. Lines like these are not forgotten in a hurry.

As you may have gathered by now, Blackford’s composition is not your usual slow and contemplative Stabat Mater, as you might get with Pergolesi for instance.

The second movement with its rocking string rhythm, over which Amy Dickson’s soprano sax rode so hauntingly, took my breath away. Blackford’s use of the soprano saxophone in an obligato role, was a stroke of genius. Dickson’s instrument is pivotal in the work. One minute accompanying the strings and establishing a dialogue with them; the next echoing  the emotions of the mezzo soprano. At key moments, Dickson’s instrument follows its own serene path, riding high above the drama taking place around her. Her melodies full of pathos are most memorable in the final two movements.

At the concert I was also struck by how well Blackford writes for singers. He chooses them well too. Tonight Catherine Wyn-Rogers’ mezzo voice suited Akhmatova’s anxiety-ridden, ‘Weeks fly swiftly by’. The syncopated rhythms were not easy, however Wyn-Rogers executed them perfectly. Huw Montague Rendall’s baritone conjoined well with Wyn-Rogers’ burnished tones in the tender duet in Fact me mecum pie flere – I would have liked more duets but I’m betraying my love of opera here!

Most impressive was the Bournemouth Symphony Chorus. Having already performed the work at the Lighthouse, Poole, the BSC was by now a slick operation. Most memorable was the a cappella piece in Akhmatova’s poem A Chorus of Angels Sang. I closed my eyes and the chorus’s melded voices transported me back to Easter Mass at the Russian Orthodox Church in la Rue Daru, Paris, where my Georgian grandmother used to take us as children. My mother, accompanying me on the night, told me that she had had the same reaction and had shed several tears.

 

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Russian Orthodox Church, la rue Daru, Paris.

With Pietà Blackford has produced a work of tremendous passion, drama and tenderness. The children’s choral interlude was a complete joy to listen to. So poignant though as well, as images of snow, Christmas and of war-torn territories and motherless children, crowded my mind. This was no accident, the composer intended it this way.

Conductor, Gavin Carr was magnificent on the night. He had a job on his hands: two choirs in different spaces, string orchestra at his feet, soprano sax up above in the gallery, two new soloists who had probably only had one rehearsal as is usually the case. And Carr engaged all the performers with expert precision. I felt that every single musician and singer in the room had the utmost respect for him and the work. Furthermore they loved what they were performing.

This is an exciting work to see live and to perform as a choir. Highly recommended.

KH

A recording of Pietà is available on Nimbus Records, featuring the original soloists from the premiere at The Lighthouse, Poole, the extraordinary mezzo, Jennifer Johnston (Bayerische Staatsoper) and the much in demand on the opera circuit, baritone, Stephen Gadd. Also available for Download and Streaming. 

For choirs: Study Score, Vocal Score and Orchestral Parts are available to purchase and hire from Nimbus Music Publishing.

My interview with Richard Blackford : 

Pietà Premieres in London: Interview with composer Richard Blackford

 

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In June 2019 Frances Wilson reviewed Pietà, a new choral work by Richard Blackford for The Cross-Eyed Pianist. Drawing on the theme of maternal grief and loss, Blackford took as his starting point the Stabat Mater. It is a hymn to Mary, and portrays her suffering as Jesus Christ’s mother at his crucifixion. In his exploration of maternal grief, Blackford decided to add Anna Akhmatova’s cycle of poems, Requiem, to the libretto. Written in 1938 when her son Lev was arrested by Stalin’s secret police, they are a record of the anguish she felt when she believed that she had lost him for good. 

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Portrait of Anna Akhmatova 1914 by Nathan Altman. State Russian Museum

At Pietà’s world premiere, at the Lighthouse, Poole, the musicians and solo singing artists performed to a packed house and received a standing ovation.

In anticipation of Pietà’s London premiere at Cadogan Hall on the 19th October, Karine Hetherington of artmuselondon.com interviewed the composer, Richard Blackford.

When did you first start working on Pietà? And what were the creative stages of the work?

In 2017. It was following a visit to Rome where I saw the famous Michelangelo statue in St Peter’s. What struck me was how moving and sad the story of Pietà was, of Mary cradling her crucified son. I wondered how something so sad, could be also so beautiful and so inspiring in so many ways.

I decided to set the Stabat Mater text, although I was aware it had been set over 200 times. At the same time I was moved by stories about mothers losing their children in the Syrian war. I couldn’t quite finalise my approach to it until I found some poems by Anna Akhmatova, the Russian poet. She wrote a series of poems called Requiem when her son was taken away by the KGB. In them she used very strong Stabat Mater imagery.

How do you work and how long did it take to complete Pietà?

I immerse myself in one work at a time. I block out everything and work very long hours. Getting into it is the hardest thing but once the first of the movements was written for Pietà, I had a handle on the musical language.

It took five months in all to write. It would have taken longer if I had had a full orchestra. This was written for string orchestra and soprano saxophone.

How did it come to you?  Generally composing do you start with words or music?

In this case it was the words first. I wasn’t sure where Anna Akhmatova’s poems would come in or how many poems I would set. Two of them are in fact set back to back in one huge mezzo aria. The other poem I found extraordinary was when Akhmatova wrote “A chorus of angels sang/In that momentous hour”. I thought, the music I write for this mustn’t be saccharine. These are no Hollywood angels! I wanted a tumultuous cry of avenging angels. I wanted it to be more about the mother’s rage. I decided that my setting of the Stabat Mater which is normally slow and meditative, was going to be dramatic. As well as grief, it was going to be about rage and finally acceptance. It would be about earning a place in paradise, not just being granted redemption for no particular reason. I think it gives the music an edge.

Do you play different instruments? How are you able to write for other instruments?

Well I’m a pianist – not a very good one. I used to play percussion, the viola for a few years. But I’ve been a professional conductor all my life and so as a composer and conductor it’s just part of the job to know how to score for every instrument. I’ve always tried to write for instruments and voices, music that is good to play and good to sing. If it’s well written for them – to me – that’s part of the job.

Do you need absolute quiet to work in?

I really do. I’m lucky enough to have a studio in my house in Oxfordshire. I work eight or nine hour days with perhaps a walk around the village in between. When my wife comes home from work she asks me to play back what I’ve written. Sometimes she’ll just nod. Sometimes she’ll say: “I’ve got a real sense of where that’s going”. Her opinion as a listener is very important to me although she is not classically trained. It’s nice because it can be a very lonely path being a composer.

When you are composing, do you stop listening to other music?

That’s a good question. I don’t deliberately stop listening to other music. Perhaps a better way to answer your question is to say that before I start a piece, I do a lot of research. In other words when I was writing the  Stabat Mater, I did listen to a dozen Stabat Maters, including contemporary settings as well, in order to have an insight into how other composers have treated the same text. Research is something I learned through doing my PhD in music. Research is not only necessary but is also very pleasurable.

Is composing a necessity for you? Do you have breaks when you are not  composing?

It is a necessity. Whether it’s composing or being creative in another way, it’s the only thing I really know how to do. I don’t think I’ll ever retire. I start to get cranky if I’m not composing or researching.

Pietà premiered at the Lighthouse, Poole in June this year. What was it like hearing it being performed for the first time?

I knew musically how it would sound as it’s my job to know that. What is impossible to anticipate is particularly how the soloists will interpret your work. I wasn’t prepared for the power of Jennifer Johnston’s interpretation of Anna Akhmatova’s poems [Her mezzo-soprano part will be sung by Catherine Wyn-Rogers at the Cadogan Hall] . I hate the expression but they “blew me away”! I wasn’t prepared for how sweet and moving the children’s chorus was because the Stabat Mater is a bleak, dark piece and yet I try to bring elements of light into it. The children’s chorus is like finding water in the desert.

Are you sensitive to different music venues? Pietà will be performed at the Cadogan Hall this month.

In some ways the sound may be more powerful at Cadogan Hall because it’s smaller. In the Cadogan Hall you will be able to hear the words more clearly. My feeling about performance is that once we’ve recorded it, and we have recorded it with Nimbus records, then I let it go. Then if another conductor wants to take it faster or slower, I don’t mind at all because the work has a life of its own then. At least the recording is how I intended it.

Any mad projects in the pipeline?

Very odd that you should ask that! I’m working on a very large orchestral commission about madness. I’m writing a piece for the BBC National Orchestra of Wales about British artist, Richard Dadd, the Victorian painter who was schizophrenic. He murdered his father and was confined to Bethlehem hospital in the mid 19th century. The governor of the asylum saw that he was a hugely talented artist and gave him paints and canvases. For forty years he produced extraordinary paintings. He has works in Tate Britain. The piece is about the thin line between creativity and madness and also how art can redeem someone.

Well we may be coming back to you to ask you about this when it’s finished!

In the meantime I look forward to Pietà’s London premiere at the Cadogan Hall, Saturday 19th October. 

For tickets : https://cadoganhall.com/whats-on/bournemouth-symphony-chorus-2019/

Pietà by Richard Blackford – world premiere at Poole Lighthouse

Pietà by Richard Blackford

Jennifer Johnston, mezzo-sopranno

Stephen Gadd, baritone

Amy Dickson, saxophone

with Bournemouth Symphony Chorus, Bournemouth Symphony Youth Chorus, Bournemouth Symphony Orchestra, conducted by Gavin Carr


The Stabat Mater, a Medieval hymn which portrays Mary’s suffering as Christ’s mother during his Crucifixion, has been set to music by numerous composers, most notably Pergolesi, Schubert, Dvořák, Pärt and Macmillan. In this new setting, Pietà, a co-commission from the Bournemouth Symphony Chorus and St. Albans Choral Society, British composer Richard Blackford interweaves the text of the Stabat Mater with poems from the ‘Requiem’ cycle by Anna Akhmatova, whose husband was taken away and ‘disappeared’ by Stalin’s KGB; her son was also arrested and she feared she would never see him again. In our troubled, turbulent times, contemporary Pietàs are tragically all too familiar – refugee parents desperately cradling babies and children, mourning mothers in war-torn towns and cities, the anger and grief of victims of tragedies like the Manchester Arena terrorist attack or the Grenfell Tower fire…. Through the settings of Akhmatova’s poetry, Blackford makes the Stabat Mater a universal reflection on grief and loss – and the attendant rage, pain and incomprehension.

Blackford chose the title after seeing Michelangelo’s marble Pietà in Rome, and like the sculpture, his new work encompasses grief, rage and sorrow with tenderness, poignancy and, ultimately, beauty and hope. The work is scored for string orchestra, chorus, children’s choir, mezzo-soprano, baritone and solo saxophone. While the chorus and soloists present the main narrative, the pain and grief of Mary and Anna Ahkmatova, the saxophone provides a third, abstract voice, the voice of every grieving mother.

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Michelangelo’s Pietà (St. Peter’s Basilica, Vatican City, Rome)

Pietà was preceded in the first half by Faure’s Requiem which was given a meditative, other-worldly performance by the excellent BSO Chorus under Gavin Carr, with soloists Issie Curchin and Stephen Gadd. This provided a wonderful foil to Blackford’s music, which is intellectual and sophisticated, yet accessible in its use of carefully-crafted melody and counterpoint. Rooted in tonality and modality, Pietà is characterised by rhythmic dynamism, breadth of expression and lush textures, redolent of Janácek. The use of a children’s choir (in the fifth movement of the work) is a nod to another of Blackford’s main influences – Benjamin Britten – and provides an episode of innocence and sweetness in this grief-scorched narrative.

With powerful, operatic singing by mezzo Jennifer Johnston and baritone Stephen Gadd, a fine, emotionally engaging performance by the BSO and BSO Chorus (whose intonation, timing and precision was impressive), the entire work has a filmic visual quality with its clear narrative and highly descriptive scoring – tumultuous strings, passionate dramatic climaxes, ‘snapping’ pizzicato in the cellos (to represent Christ’s flagellation), jagged syncopated rhythms, an acapella movement of intense concentration and beauty. Organised in three parts, Pietà moves from grief and rage to redemption and hope via nine distinct movements. The obligato saxophone, eloquently played by Amy Dickson, provides a unifying link between the movements, initially haunting, mournful and timeless, evocative of an ancient shawm, and later calm and tender as the music moves towards its hopeful, redemptive close. Blackford chose the soprano saxophone to create “a modern inistrumental dimension, very close to the sound of the human voice”.

This arresting, emotionally-intense and accessible work for choir and orchestra receives its London premiere at Cadogan Hall on 19th October. A recording on the Nimbus Label is expected very soon.


Meet the Artist interview with Richard Blackford