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Hyperion Records

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Angel by William Morris (1834-1896)
Courtesy of Peter Nahum at The Leicester Galleries, London
Track(s) taken from CDA67867
Recording details: June 2010
Wells Cathedral, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: June 2011
Total duration: 14 minutes 53 seconds

'Wells Cathedral Choir gives a compelling survey of choral pieces by one of Britain's most important composers … MacMillan's musical voice remains breathtakingly distinctive and true. This disc is a worthy recorded tribute to a truly significant figure in contemporary music. Highly recommended' (Choir & Organ)

'The Wells singing is of a consistently high standard (MacMillan's trademark use of melisma is particularly well assimilated) and organist Jonathan Vaughn delivers a scintillating account of Le tombeau de Georges Rouault, the magnificent solo piece which ends this absorbing programme' (BBC Music Magazine)

'Here is another splendid release of recent British choral music from the choir of Wells Cathedral and its superb director Matthew Owens … the choir is, in a word, magnificent. Singing with impressive self-assurance and clearly revelling in MacMillan's uncanny ability to make everything sound perfectly natural even when the technical skills involved are extraordinarily demanding' (International Record Review)

Le tombeau de Georges Rouault
2003; composed for Thomas Trotter

Introduction  EnglishFrançaisDeutsch
At the time of writing, MacMillan has written five works for organ of which only the short Meditation (2010) is more recent than Le tombeau de Georges Rouault, written in 2003 for Thomas Trotter. Rouault (1871–1958) was a highly significant French artist who, as MacMillan notes ‘has always been a constant fascination for me—the way he embraces the divine by using quite ordinary, mundane and profane images—of clowns and prostitutes etc. He seemed to be another Catholic artist attempting to find the numinous in the everyday.’ MacMillan also described Rouault’s work as ‘dark, subtle and moving in its observation of the frailty of human life … The archetypes and characters captured in his work were the subliminal inspiration behind much of the material in this music.’

The opening interval of a minor ninth is seminal to the whole work. The initial melodic line uses it twice in a phrase which is like holding up a distorting mirror to a chorale melody—and here is the first clue to this work, the mirroring of the mundane by the bizarre, or the bizarre by the mundane … which is which? The work is based on this opening theme, which is heard very clearly in the opening sections and more subtly as the piece progresses, in the manner of a theme and variations. As the music becomes ever more complex (it is highly virtuosic) so the theme becomes subsumed by toccata-like figuration which leaps all over the instrument in imitation of fairground acrobats. MacMillan gives other clues to his characters with markings including brash and clowning, Burlando, energico, and reedy, brassy. We have sleazy glissandi for prostitutes and mock dignity for judges. It encapsulates a whole world between double bars, as Rouault’s work did within a picture frame. But even when the theme is only hinted at, that interval of a minor ninth is there glaring at us like a clown through white makeup. One section (bar 84) begins with three of them thrown down together—G sharp/A in the pedals, A sharp/B in the left hand, and C/D flat in the right hand. In the Andante scherzando section, the longest and most dramatically virtuoso part of the work, MacMillan develops a long-breathed theme for the pedals which grows out of this interval. In its chorale-like progress it seems to represent the longing for Christ’s steadying hand on the tiller of the menagerie of human life, represented here by displaced octaves, scurrying semiquavers, fragmented chordal figures, leering motifs and, finally, a simply ‘wild’ pounding of the keyboards into silence. After a stuttering restart, pianissimo, MacMillan brings back a whole chorale prelude-like section from early in the work and he finishes with the opening theme given in octaves, forte but also cantabile, before two final crashing bars of discord. It is a tour de force of imagination and execution.

from notes by Paul Spicer © 2011

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