Sir Stephen Hough (b.1961)
Mirabilis
London Choral Sinfonia/Michael Waldron
James Orford (organ)
rec. 2023, St John the Evangelist, Islington, London
Texts included
Orchid Classics ORC100256 [75]
Not long ago, I reviewed a two-disc set made by these same performers; that was devoted to choral music, both sacred and secular, by Samuel Coleridge-Taylor. Showing their versatility, they now present a programme of much more contemporary vocal music. The sessions for this new album took place some three months after the aforementioned Coleridge-Taylor recordings and used the same venue and recording team.
Sir Stephen Hough has been at the top of the pianistic profession for decades now. Goodness knows where he finds time in his busy international schedule to write music, but he does. I’ve heard some of his pieces before and I’ve admired what I’ve heard. However, I think I’m right in saying that this is the first album devoted entirely to his music.
The main work on the disc is the Missa Mirabilis. This isn’t the first recording of the work, but I suspect it is the first recording in its original form with organ accompaniment. In 2012 Hough made an orchestral version of the Mass and that was recorded in Colorado in 2014. When I reviewed that Hyperion disc, I expressed my admiration for the work and said I’d also like to hear it in its original version. Now, thanks to Michael Waldron and his colleagues, I can. I deliberately haven’t gone back to the orchestral recording – nor have I re-read my review – because I wanted to appreciate the organ version in its own right. The composer has written the booklet notes in which he explains the title he gave to the work. In 2006, the day after doing some intensive work on three of the movements, he was involved in what sounds like a pretty horrendous car crash. As luck would have it, he had the manuscript with him and he salvaged it from the wreckage. While waiting in hospital to be assessed – happily, he was unscathed – he did some more work on the Agnus Dei. It’s hardly surprising that he should reflect his miraculous escape from the car crash in the title of his mass setting.
The mass, which was written for Martin Baker and the choir of Westminster Cathedral, is scored for SATB choir and organ. Hough describes the music of the Kyrie as “sweet and consoling”. By contrast, the Gloria is very energetic and jubilant. The pace slows briefly partway through, at ‘Qui tollis’, though here the music is quite intense in mood. At ‘Quoniam tu solus Sanctus’ the opening music returns, though now the music is, if anything, even more jubilant. The Credo is the heart of the work. Hough’s treatment of the text is most interesting in that often it is articulated by the tenors and basses in music that is almost staccato while the female voces contribute periodic interjections of the word ‘Credo’ in a way that is almost disruptive. As one often encounters in mass settings, the central portion (from ‘Et incarnatus’) is slower and more reflective, but thereafter the setting becomes very lively indeed; indeed, the concluding pages are both challenging for the performers and dramatic, though the movement subsides into a hushed ending which might suggest a feeling of doubt rather than certainty of belief. This is a very original and arresting approach to the Credo.
There are big, grand gestures in the Sanctus whereas the Benedictus is on a smaller scale: Hough describes the latter as “deliberately and sentimentally intimate”. The Agnus Dei is the longest movement and, in its pages, Hough makes very effective use of contrasting dynamics. There’s often drama in the music, not least in a substantial organ interlude. Much of the movement is an intense plea for peace but eventually the Agnus Dei ends in a vein of tranquillity. Stephen Hough has written a highly original and fine setting of the mass. Here, it receives a superb performance. The singers of London Choral Sinfonia are faced with some challenging material – especially the sopranos, who are often taken up into their highest register – but their response is marvellous. The organ part is spectacular at times: I wonder what it sounded like on the huge organ in Westminster Cathedral. James Orford delivers virtuoso playing and the 1963 Walker organ of St John the Evangelist church, Islington sounds tremendous.
The mass was written for the choir of Westminster Cathedral; the 2007 setting of the Evening Canticles was composed for James O’Donnell and the choir of Westminster Abbey. These canticles, set for sopranos and altos with organ accompaniment, are interesting in a couple of ways. Firstly, the music itself is very good and secondly, the way that the texts are treated calls for comment. It seems from the notes that James O’Donnell proposed that both the Latin text and English translation should be set. Without access to a score, I can’t be sure if Hough sets both the Latin and English texts in their entirety or “just” interweaves them – I suspect the latter is the case. The result is intriguing and, as is implied in the notes, ecumenical. I think it works very well. In the Magnificat the words are sung to fast music in what is a compressed setting. The Nunc dimittis is slower and more spacious, culminating in a ‘Glory be’ that is gentle and very different to the thunderous way in which the same words are set at the end of the Magnificat.
December is a collection of four Christmas pieces, composed at different times and subsequently gathered together. The set includes two familiar Christmas hymns, Hark, the Herald Angels Sing and Silent Night, in which Hough sets the traditional words to new tunes. Hark, the Herald Angels Sing is not set strophically; instead, the music is varied according to the sentiments of the words in each verse. The treatment of Silent Night is more elaborate than the traditional musical simplicity to which we’re accustomed. Both settings are refreshing. Advent Calendar takes a fine and thoughtful poem by Rowan Williams, the retired Archbishop of Canterbury. Here. Hough’s harmonic language is both fascinating and expressive and I think his music catches the mystery of Williams’ words. The setting of the last stanza of the poem is especially beautiful. I also admire very much The Gate of the Year. Apparently, this setting began life as a solo song for the tenor, Robert White; I haven’t heard the original version but the music is very convincing as a choral piece. Hough provides an eloquent response to words of reassurance in troubled times. The programme also includes a completely separate Christmas piece in the shape of Hough’s version of Ding Dong Merrily on High. Again, he has set familiar words to his own new tune. He tells us that he was “aiming for maximum exuberance and jangle”: he succeeded.
Another example of new wine in old bottles arises right at the start of the programme. Just as I am will be familiar to some as an old Victorian hymn. Here, Hough takes the words and sets them to new music for choir and organ. After a fairly chaste setting of the first verse for female voices only, the music becomes much more intense in places. The result is a far cry from Victorian hymnody and is well worth hearing. So, too, are the Three Marian Hymns for upper voices and organ. All three settings are very appealing but I especially like the last two. Salve Regina is tenderly lyrical. The music for Ave Maria is both gentle and touching, though the brief urgency at ‘Ora pro nobis’ comes as a (convincing) surprise. These pieces are beautifully sung.
As was the case in the aforementioned Coleridge-Tylor album, the present programme gives organist James Orford his moment in the sun. The Sonatina for organ was commissioned by the same organist/choirmaster who requested Just as I am. This work for solo organ plays for some ten minutes and is cast in two short movements. The first movement, Allegretto tranquillo, is a very attractive and inventive little composition during which the music played on the manuals often bubbles delightfully. The other movement, Allegro giocoso, is an extrovert dance which is more straightforward in design than its predecessor. Orford plays the Sonatina brilliantly and the Walker organ sounds splendid.
The programme concludes with Hough’s arrangement for choir and organ of Danny Boy. To be honest, this seems a bit of an outlier given that all the other choral pieces are sacred, though I guess it’s intended as an encore. Wisely, Hough doesn’t over-egg the pudding. I’m afraid I’ve always found the words and music excessively sentimental but Hough’s way with it is sophisticated and skilful.
The music on this album is very rewarding. Missa Mirabilis is an effective and important work. The other pieces are smaller in nature but all show sensitive craftsmanship and a genuine gift for choral writing. I enjoyed the programme very much and I hope that other choirs will take up Stephen Hough’s music. All the pieces receive splendid advocacy. The singing of London Choral Sinfonia is terrific; the choir is a very well-trained and responsive ensemble. James Orford’s organ playing is equally distinguished. Judging by a note in the booklet, Michael Waldron felt a strong affinity with Hough’s music as soon as he started to study it. That will account for the conviction of the performances.
Producer Adrian Peacock and engineer David Hinitt have done both the performers and the music proud. The choir has been recorded clearly and incisively while the sound of the organ has presence and impact. The documentation, which includes valuable notes on the music by the composer, is excellent.
Apparently, Stephen Hough has written more choral music than could be accommodated on a single CD; having listened to this fine disc I share Michael Waldron’s hope that Volume 2 might be a feasible proposition.
John Quinn
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Contents
Just as I am (2014)
Missa Mirabilis (2007)
Kyrie; Gloria; Credo; Sanctus; Agnus Dei
Londinium Magnificat (2007)
Londinium Nunc dimittis (2007)
Ding Dong Merrily on High (2017)
December: Advent Calendar (2004); Hark, the Herald Angels Sing (2007); Silent Night (2010); The Gate of the Year (2004)
Three Marian Hymns (2004): O Sanctissima; Salve Regina; Ave Maria
O soft self-wounding pelican (2007)
Sonatina for organ (2019)
Danny Boy (2016)
