The Choir - 10th Feb - Paul Mealor

[ardcarp]

The second in a series of programmes presented by leading figures in the choral world. Today, composer Paul Mealor presents his pick of choral music for royal occasions and discusses the challenges of large-scale ceremonies with the director of music at St. Paul's Cathedral, Andrew Carwood. There's a birthday to celebrate too, as Paul marks the 70th of a friend who's been a huge inspiration to him, American choral composer, Morten Lauridsen.

All the music played was IMO beautifully done by, inter alia, St Paul's (with BR!), The Cambridge Singers, Polyphony and the US choir Voce. The Walton Coronation Te Deum had been done in the repeat of CE barely an hour before. Oh well, you can't have too much of a good thing, Draco

Royal music apart, the programme developed into somethig of a Lauridsen-fest...if the word 'fest' can apply to such morbid stuff. In the full version of Lux Aeterna I just found myself wondering how anyone could continue repeating the same chord progressions and melodic tics throughout a lifetime. But I know lots of people love it.

Anyway, the programme is very much worth a listen on i-player...

http://www.bbc.co.uk/programmes/b01qkvtr

...but have your hanky ready when Paul talks to Morten.

[DracoM]

I truly do want someone with expertise to explain why Lauridsen has become some sort of revered God figure?
I'm with ardcarp on the effect his music has on me, and I can't see what there is in the music that so many DoMs schedule him?
Genuine request: why is he so popular?

[ardcarp]

I am willing to concede that O Magnum Mysterium has become 'iconic'. Likewise Whitaker's Lux Arumque. But in the past, composers would develop, move on, explore new ground. And after singing a whole programme of such stuff, one does begin to fantasize over a semiquaver or two.

[Gabriel Jackson]

I am willing to concede that O Magnum Mysterium has become 'iconic'. Likewise Whitaker's Lux Arumque. But in the past, composers would develop, move on, explore new ground. And after singing a whole programme of such stuff, one does begin to fantasize over a semiquaver or two.

I've only ever heard one piece by Morten Lauridsen, and that only once or twice (O magnum mysterium...) so can offer no comment on his oevre, but all composers really develop and explore new ground in the way I think you're suggesting? Of course many did, very conspicuously - Tallis, Monteverdi, Beethoven, Stravinsky etc. but did, say, Byrd, or Bruckner?

[Vox Humana]

I tend to think it's in the same realm as Beecham's quote about the British not understanding music but absolutely loving the noise it makes.

I recall a critic writing about Gorecki's third symphony when it was all the rage some years back, "There's not so much music here as meets the ear." Personally I think that sums it up this sort of music quite neatly. I like nice sounds as much as anyone, but I like music to stimulate my surviving braincell a bit as well.

[Gabriel Jackson]

I recall a critic writing about Gorecki's third symphony when it was all the rage some years back, "There's not so much music here as meets the ear." Personally I think that sums it up this sort of music quite neatly. I like nice sounds as much as anyone, but I like music to stimulate my surviving braincell a bit as well.

I don't know what is meant by "this sort of music" but clearly that critic does not have ears to hear, for there is a great deal in Gorecki's Third Symphony, as there is in every piece by Gorecki, who was a highly original, and great, composer.

[ardcarp]

I've only ever heard one piece by Morten Lauridsen, and that only once or twice (O magnum mysterium...)

You're a lucky guy, Gabriel. I know composers need a certain amount of seclusion to write, but where have you been sheltering all these years?

[Gabriel Jackson]

You're a lucky guy, Gabriel. I know composers need a certain amount of seclusion to write, but where have you been sheltering all these years?

I've never seen The Sound of Music, either...

[BBMmk2]

I do rather like Gorezki's 3rd Symphony and Totus Tuus, the latter I find quite moving.

This current format of The Choir is rather interesting. At least Aled Jones is'nt presenting!

[decantor]

I truly do want someone with expertise to explain why Lauridsen has become some sort of revered God figure?
I'm with ardcarp on the effect his music has on me, and I can't see what there is in the music that so many DoMs schedule him?
Genuine request: why is he so popular?

I lack all expertise, but I do have theories. May I inflict some of them on you?

I believe we are witnessing a social phenomenon. As religion drops out of people's lives (and sometimes even when it persists) there is a thirst for what is often termed 'spirituality': a stillness amid the bustle, a sense of the universal, beauty as a comfort-blanket, art as a warm bath, music as ear-candy. The essence here is that the experience (musical or other) should be undemanding but reassuring, almost mystically personal but also intrinsically communal. There is a fascination with clouds and the Aurora Borealis - slow moving entities, where a snapshot or slide-show leads to as much awe as the real thing. Folks relish being "in awe", but do not wish to be taxed by complexity - the understanding of complexity is divisive, undemocratic, and threatening.

This, I believe, is the origin of the popularity of 'cloud music' - it wafts comfortingly around the listener, confirming his appreciation of 'beauty' and 'spirit' while asking little or nothing of his intellect. It is what CFM would describe as 'chillaxed'. There are items in the classical repertoire that easily fall into this bracket: eg. Allegri's Miserere, Vivaldi's slow movement in Autumn, Elgar's Sospiri, parts of Part, apart from others already mentioned. Lauridsen contributes endlessly to the genre for reasons best known to himself. Whitacre has at least tried to move on - his "When David heard" is as bleak as Swayne's Bonhoeffer Prayers - but he no doubt reassures his bank manager with the likes of Lux Aurumque (which I admit I regard as a good piece).

Interestingly, our cathedral choirs are well capable of - almost designed for - delivering this 'dream music'. Instead of asking why they occasionally offer it (surely simply to engage their congregations at the surface level), we should perhaps be grateful that they do not buy the cheap ticket more often. My guess is that Gabriel gets many more cathedral outings than Eric or Morten.

[Barbirollians]

I caught a bit of this . I thought the presenter was horribly fawning about the Royals and switched off- the Nicholas Witchell of choirmasters ?

[Philip]

I'd say decantor is right - we don't really see that much Lauridsen or Whitacre over here. Of Lauridsen's music, I reckon the only pieces likely to feature are 'O magnum mysterium', 'O nata lux' (from 'Lux aeterna') and maybe his 'Ubi caritas' (which is well worth hearing, if not quite up to the Durufle, but what is?!). On Whitacre I think 'Lux aurumque' is probably the only one that gets regular airtime over here - certainly the only one I've ever noticed much. Its also noticeable how so many professional choirs like The Sixteen bring out CD compilations about rest, inner peace etc, which perhaps backs up the view that there is a real market for the quiet, soothing brand of choral music ('cloud music' if you like), which these two composers are great exponents of.

Personally, I regard all the pieces I named above as excellent pieces, and I have Polyphony's recording of Lauridsen's music (which includes all three of his I mentioned), and I would recommend it. Certainly 'Lux aeterna' as a whole could be described as repetitive, but extracting the central movement works well and it is an interesting alternative to the well-known Tallis setting of the same text. His 'O magnum mysterium' I would say is possibly my favourite Christmas choral piece - its shimmering beauty combined with the text seems to express for me the wonder of Christmas - but I am looking at it from a religious as well as musical angle there.

I suppose this style of writing is very 'current', its modern but not aggressive and so attractive to the listener. If its popular then why shouldn't our choirs sing it regularly, especially at Christmas when you see less regular attendees in our Churches and Cathedrals? It can help to form part of a well-balanced concert or service.

Incidentally, I've listened to the programme and there was some excellent music. Its a shame they didn't use a recording of the Walton with an orchestra or brass as the organ-only version loses some effect. The interviews didn't seem to reveal anything I didn't know or wouldn't already have guessed.

[Vox Humana]

This, I believe, is the origin of the popularity of 'cloud music' - it wafts comfortingly around the listener, confirming his appreciation of 'beauty' and 'spirit' while asking little or nothing of his intellect.

That is how I feel about it too and is what I meant by "this sort of music". I wouldn't mind so much if everything that I have heard by Whitacre and Lauridsen didn't sound much the same. Of course some people level the same criticism at Howells. Actually there is a great deal of variety in Howells, especially in his secular music, but I know what people mean when they say that his church music all sounds the same. You can point all you like to the technical differences between his early, middle and late styles, but there is a certain, shall we say, sameness of expression. Perhaps it's something that follows naturally from having a distinctive style, but I don't find it with Leighton, to name but one.

[Vile Consort]

I'm not imagining this am I? That was the second broadcast of the Walton Te Deum in as many hours wasn't it?

[ardcarp]

I believe we are witnessing a social phenomenon. As religion drops out of people's lives (and sometimes even when it persists) there is a thirst for what is often termed 'spirituality': a stillness amid the bustle, a sense of the universal, beauty as a comfort-blanket, art as a warm bath, music as ear-candy. The essence here is that the experience (musical or other) should be undemanding but reassuring, almost mystically personal but also intrinsically communal. There is a fascination with clouds and the Aurora Borealis - slow moving entities, where a snapshot or slide-show leads to as much awe as the real thing. Folks relish being "in awe", but do not wish to be taxed by complexity - the understanding of complexity is divisive, undemocratic, and threatening.

I think you have it there, Decantor. How very well put. Maybe it is part of the human condition to have a thirst for spirituality; and if it is quenched by minimalism this is surely harmless if not ennobling.