Dame Judith Weir (b 1954)
In the Land of Uz (2017)
Amy Beach (1867-1944)
The Canticle of the Sun, Op 123 (1927)
Yale Schola Cantorum / David Hill
Hyperion CDA68466 [60]
It’s serendipitous that this CD arrived with me towards the end of July, just a matter of days before the start of the 2025 Three Choirs Festival; it was at the 2024 Festival that I heard for the first time Judith Weir’s strikingly original In the Land of Uz in a performance given to celebrate her 70th birthday (review). On that occasion, the BBC Singers were conducted by their current chief conductor, Sofi Jeannin. It was her predecessor, David Hill who conducted the BBC Singers when the work was unveiled at the 2017 BBC Proms; it’s good that he has had the opportunity to record it.
Although the booklet contains an excellent note about In the Land of Uz by Joseph Fort, it may be helpful if I reproduce here some comments about the work which the composer wrote for the Three Choirs performance. She explained that the piece ‘is a dramatised reading of the biblical Book of Job, from which all the text is taken, in the musical form of a cantata, or short oratorio. The majority of the music is sung by the chorus, but there are also ‘obbligato’ roles for a small group of instruments which appear singly or in pairs; viola, double bass, soprano saxophone, trumpet, tuba and organ. Job appears from time to time as a solo tenor; his thoughts are also represented by the viola. Although the bulk of the storytelling is undertaken by the chorus, a speaking narrator also makes occasional appearances.’ In addition to the instruments, the score requires a solo tenor, SATB chorus, and a narrator (a speaking part). Judith Weir compiled the text herself. In brief, the libretto describes the manifold misfortunes that are visited upon Job; the mental torment he endures as a result and the efforts of his well-meaning comforters to distract him; Job’s loyalty to God despite all his misfortunes, leading to his vindication and a long, happy life.
In the Land of Uz is a very dramatic work, even though it was not conceived for the stage. The music graphically portrays the drama, and one feature of the score is how aptly Weir has selected the small instrumental ensemble. Each instrument has a very precise function – the viola, for instance, is essentially Job’s alter ego and the oily timbre of the soprano saxophone is especially to the fore in the scene of Job’s Comforters (just as in Vaughan Williams’ Job. A Masque for Dancing). It’s only in the last section of the score that all the instruments take part together; even then, the viola is held back until the closing bars. Not only is Weir’s work very dramatic; it’s also very original in design. The chorus fulfil a number of functions; at various times they act as narrators or commentators and in addition they give voice to Job’s comforters. Job himself is represented by the solo tenor. Here, the singer is Steven Soph: he seems ideally suited to the role; his singing is admirably clear, as is his diction, and his plangent tone expresses very convincingly the distress felt by Job in the face of his misfortunes. The spoken role of the narrator is taken by Tommy Watson. If I say that the sound of his voice may make you envisage an African-American Gospel preacher I do not mean to be in any way flippant, still less disrespectful. Watson’s voice has a deeply resonant timbre and he delivers his passages of narration very convincingly indeed.
The singers of Yale Schola Cantorum are marvellously incisive where needed and also sing with just the right degree of expressiveness. A few years ago, when I reviewed one of their earlier albums with David Hill, I described the choir as “highly accomplished”; the personnel will have changed since then but my description is just as valid. The instrumentalists all have challenging contributions to make and without exception they deliver the goods. It may be invidious to single out individuals but the viola part is especially important and Gretchen Frazier plays it eloquently. One highlight is the short section where the trumpet (Timothy Leopold) and the organ (Ethan Haman) conjure up an aural impression of the Whirlwind; these two players do so thrillingly. Judith Weir demonstrates throughout this score an acute ear for imaginative textures and timbres: these Yale singers and instrumentalists translate her ideas into music with great skill and flair.
At the end of my review of the Three Choirs Festival performance, I wrote this: “I don’t believe a recording has been made but, in any case, I wonder if the piece would make quite the same impact on CD or radio. Though there’s no physical ‘action’, I think it’s one of those pieces that is best experienced when one can see as well as hear the performers.” Well, now there is a recording and I’ve found it fascinating to hear. On one level, I think my initial reaction is correct: one does benefit, I believe, from experiencing the music physically. On the other hand, a recording – especially such a fine one as this – offers the opportunity to hear the score in detail. This recorded performance, so expertly led by David Hill, confirms another judgement I made in 2024, namely that In the Land of Uz is “an extraordinary composition, and a bold one” I don’t expect there will be many chances to hear it live, not least because it requires highly expert performers, so this recording is all the more welcome.
I believe that this is the first recording of the Judith Weir piece. By contrast, Amy Beach’s The Canticle of the Sun has been recorded at least once before; it was set down in 2021 by the Charles Wood Singers and then, as now, the conductor was David Hill (review). However, this new recording is by no means a duplication. Hill’s earlier recording used the composer’s 1928 version with a reduced accompaniment for organ. This Yale recording presents Beach’s original orchestral accompaniment. The instrumental scoring is not excessive: here, the forces used are pairs of flutes, clarinets, oboes and bassoons; four horns; two trumpets; strings (6/6/4/4/2); and timpani. I learned from the notes that the first performance of the work was given in 1928 using the organ version; the orchestral premiere did not take place until 1930.
Beach set as her text the celebrated verses by St Francis of Assisi in the English translation by Matthew Arnold (1822-1888) and fashioned them into a work of substance which here plays for 22:39. The music is accessible and very well fashioned; Beach’s vocal writing is very responsive to the sentiments expressed at different points in the text. It would be wrong to express a preference for either of Hill’s recordings over the other in terms of the quality of the singing; both vocal ensembles are very accomplished. However, I think this new Hyperion recording has a couple of important points in its favour. One is that, for all the excellence of Philip Scriven’s organ playing on the Regent CD I now have a personal preference for the orchestral scoring. The other advantage is presentational. Hyperion divide the work into seven tracks whereas Regent offer the piece as one single track; I much prefer the Hyperion layout.
The present performance is excellent. Once again, the singers of the Yale Schola Cantorum excel. The solo quartet is drawn from the choir. All four soloists do very well but soprano Juliet Ariadne Papadopoulos commands particular attention: Beach’s writing in the soprano solo movement (track 12) is memorable and Ms Papadopoulos gives a delightful account of it. Amy Beach sets all the sections of St Francis’s verses with conviction but one thing that I particularly like is the way she ends the piece. The Canticle of the Sun is a song of praise, albeit the praise is delivered in several different ways, some of them quite thoughtful. The very last line reads: ‘Praise ye and bless ye the Lord, and give thanks unto Him, and serve him with great humility’. Beach takes her cue from those last two words and the conclusion of her setting is subdued, thoughtful and humble in tone. I enjoyed this performance of The Canticle of the Sun; it’s a sincere, accomplished work which is well worth hearing, especially in a performance as excellent as this.
David Hill stepped down from the position of Principal Conductor of the Yale Schola Cantorum in 2024; he had been in post since 2013. It may well be, therefore, that this disc is his final recording with the ensemble. If so, it’s a notable achievement with which to conclude his term. The disc offers two highly contrasted choral works. They may not have much in common as compositions but both are full of interest. What the works do have in common is that here they are presented in very fine performances. David Hill directs his instrumental and choral musicians expertly – as one would expect – and the performers make the best possible case for both works.
Hyperion’s presentation is excellent. The technical side of the project was in the safe hands of K&A Productions: producer Andrew Walton and engineer Deborah Spanton have recorded the music expertly. There’s an excellent balance between singers and instrumentalists and the sound has ideal clarity. The booklet essay by Joseph Fort introduces and describes the music very well indeed.
John Quinn
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