As part of our second Composition Competition, John Rutter CBE has been kind enough to answer questions submitted by composers on a range of topics: from notating scores to having them performed.
This week, we will be releasing one video every day at 5pm, each on a different subject. The full version will be available on YouTube on Saturday 1 December. We will release a transcript on our website for those with hearing loss.
Watch the individual releases on our Facebook page here.
To mark the centenary of the Armistice that ended World War I, we present ‘Sequence: In Parenthesis’.
About the project
‘Sequence: In Parenthesis’ is a composition by Owain Park, inspired by David Jones’s epic poem, ‘In Parenthesis’, which narrates the experiences of Private John Ball during World War I.
Based on Jones’s own experience as an infantryman, events include the assault on Mametz Wood during the Battle of the Somme.
Earlier this year, we travelled to Mametz Wood with a soldier’s uniform borrowed from the National Theatre to video on-location.
‘Sequence: In Parenthesis’ uses many of the melodies found in David Jones’s work, ‘In Parenthesis’, in conjunction with a narrator who quotes short passages – sometimes related, but often distanced from the choral parts. The original vision for the piece was a dream-like fantasia, that uses melodies quoted in David Jones’s work: English and Welsh hymn tunes and village hall songs are intermingled with trench songs – from both sides of the conflict.
The piece was premiered by Opus Anglicanum, with Zeb Soanes narrating.
Exploring the events of ‘In Parenthesis’ at Mametz Wood and across the Somme with Owain and Sam was fascinating and deeply moving. I feel that a project such as this can only make a light impression on a work as complex as ‘In Parenthesis’, and indeed in our music, the journey of the protagonist, Private Ball, is only a transparency through which we can see darkly, individual experiences of the Great War.
Songs frequently crop up in David Jones’ writing. In Owain’s composition, these melodies are brought in and out of focus, conveying a spectrum of meanings that are unique to each listener. We have found that the resulting effect has been similarly profound wherever we have performed in concerts around the UK and abroad.
My experience, of both listening to and performing the piece, is that it transcends many of the dichotomies of the Great War and our project intends to reflect this: The historical perspective that is clearest to us as young British singers in 2018, especially given the events currently unfolding around us, is one of reconciliation, cooperation and a sense that the bonds that hold us together are far stronger than the forces that seek to pull us apart.
As we commemorate the centenary of the November Armistice, we remember the lives and sacrifices of a whole generation from all corners of the world, and we rededicate ourselves to working towards a time where we will be able to say with confidence: Never Again.
Samuel Mitchell on location in Mametz Wood.
Revd Jim Craig – Chaplain of Guy’s Chapel, King’s College London
The National Theatre – Costume Hire Department
Jamie Wright – Loan of camera equipment
Mair Park – Design of titles
Hafren Park – Production Assistant
The Friends and Patrons of The Gesualdo Six, especially: Margaret Clark, Jean Hackett, Helen Hudson, Lynn James, Jean & Philip King, George Lewis, Chris Lovell, Jan Montague, John Pastor, John Rowlands-Pritchard, Susan Vinther & Karen Constable.
Music featured in the work
Listed by order of appearance:
– Goodbye, Dolly Gray
– Bring me my harp/David of the white rock (Dafydd y Garreg Wen)
– Oh dear! What can the matter be?
– Sosban Fach
– Es ist ein Ros’ entsprungen
– Casey Jones
– Old soldiers never die
– The Spaniard that blighted my life (If I catch Alphonso Spagoni, the Toreador)
– Oh I do like a s’nice s’mince ‘spie!
– Onward, Christian Soldiers
– I want to go home
– Jesu, lover of my soul
– We’re here because we’re here
Please contact us if you would like to know more about the project.
Over the last few months, we have been planning a second Composition Competition to coincide with our fifth anniversary and debut appearance at the Cadogan Hall. After the success of our inaugural competition in 2016, we are delighted to be able to reveal the details of our next competition, running from 2018 into 2019.
We have engaged prominent musicians Cheryl Frances-Hoad (composer, Chester Music) and Nigel Short (conductor, Tenebrae) as judges, and the winning pieces will be considered for publication by Novello & Co, part of the Music Sales group of companies.
The Gesualdo Six will premiere the winning works as part of our debut concert at the Cadogan Hall in London on 7 March 2019. Our concert forms part of the Choral at Cadogan series, which also features the Tallis Scholars and VOCES8 as guest artists.
One of the most rewarding experiences of our 2016 competition was running a composition workshop for entrants in the younger category, with sixteen young composers attending to hear their works sung as part of a masterclass and concert. This time, we hope to deliver two workshops for young composers in London and Manchester, and we are currently applying for funding to realise this ambition.
In addition, John Rutter CBE will hold a Q&A session on score presentation before the submission deadline, providing composers with an opportunity to learn from his vast experience of publishing scores and notating music for their own submissions.
Guy James reflects on our first concerts in the North of England, CD recording and performance at the SJSS Holy Week Festival 2017.
An early start heralded the beginning of our Spring projects, with me meeting Owain, Joseph, and the familiar rented 7-seater just outside Cambridge on Sunday morning. Engineering works on the Great Western Railway, a hasty U-turn and three hours of driving later saw more of us than we were expecting arriving together in the car in Monmouth for a concert as part of Wye Valley Music’s 2016/17 season. Our programme spanned the whole range of our repertoire, featuring several pieces that would be recorded later in the week! The church and Monmouthshire were stunning and we really enjoyed performing there and seeing some familiar faces in the audience, many of whom had travelled down from Herefordshire. Being one of the members of the group who suffers from standing at a normal height, I then found myself in the familiar position of being pressed up against Josh and our luggage in the back of the car for the drive back to Cambridge to begin our much-anticipated recording in the beautifully sunny Trinity College.
We were very happy to be recording some of our very favourite repertoire, that of the English Renaissance Masters. The whole group have grown up singing and loving the works of such composers as William Byrd, Thomas Tallis, John Sheppard and Orlando Gibbons and it was a real privilege to be able to work intensely on their music with Adrian Peacock and David Hinitt in Trinity College Chapel where we gave our first concert over three years ago. This work completed we headed off to further our first ever Spring Tour with a concert in Kingston Parish Church on one of the most beautiful days of the year, preceded by tea and croquet kindly provided by our very generous hosts.
The following days saw our tour continue, for the first time headed northwards! One of several highlights for me included working with the brilliant Blackburn Cathedral choristers on Allegri’s Miserere as part of a concert featuring highlights from our tour repertoire. The cathedral is a wonderful modern building, perfect for some of our more ethereal pieces and I particularly enjoyed performing Lukaszewski’s Recessit Pastor Noster alongside two of Bach’s Passiontide Chorales in the warm acoustic. The next day brought a further personal highlight, a day in Bolton alongside the energetic and inspiring Bolton Music Service, enjoying performances by many local amateur choirs and ensembles before a workshop with the gathered company and a short performance by ourselves. It was marvellous to see local live music making in such rude health and to see so many people brought together by music and performance supporting each other. Long may this ethos and such friendships flourish.
The next week we concluded our spring projects with a return to St John’s Smith Square for their inaugural Holy Week Festival alongside Tenebrae and several of our other favourite artists. Our concert featured several modern pieces including the London Premiere of Owain Park’s Sequence: ‘In Parenthesis’. Requiring the unusual forces of 5 voices and a narrator I have had the opportunity to listen to this piece several times in churches across England and it has quickly become one of my favourite pieces in our repertoire. It was a perfect conclusion to our spring projects to hear it performed in London for the first time alongside Thomas Tallis’s Lamentations of Jeremiah in a very moving exploration of loss and lament for Holy Week.
Josh Cooter writes about Arvo Pärt’s Passio
We were incredibly honoured to be asked to continue our connection with St John’s Smith Square to perform Arvo Part’s ‘Passio’ in the opening concert of London’s International A Cappella Choral Competition on the 25th June. We were thrilled that the composer himself was able to attend to see us perform the parts of Jesus, Pilate and the Evangelist quartet, with Owain conducting the soloists and instrumentalists alongside Stephen Layton and the Holst Singers in this remarkable setting of the Passion story. It truly was a very special evening for all involved!
Alexander Chance on our performance at Raynham Hall
Early in June we made a trip past Cambridge on to King’s Lynn, and thence into the depths of the gorgeous sun-soaked Norfolk countryside, to Raynham Hall. This is the home of Lord and Lady Townshend, who host an annual summer concert series in its stunning marble Great Hall. We had been invited to perform by the series’ musical advisor, Michael Chance.
After a delicious lunch, we had a chance to test and delight in the concert hall’s marvellous acoustic for several hours, before our important pre-concert ritual of garden cricket, featuring, in a testament to the depths of the Townshends’ cupboards, the rare luxury of actual stumps and bails.
The concert programme itself seemed a fitting one for a sultry May evening – Italian madrigals by Monteverdi and Gesualdo, as well as lesser-known but equally joyous works by their contemporaries Gastoldi, Anerio and Giovanelli. We sang to a greatly appreciative audience, who had travelled from all corners of this glorious and often under-visited county (where I lived with my family for ten years); the packed room did nothing to dampen the acoustic. We are immensely grateful to the Townshends for hosting us so warmly and generously, and we hope to return in the future.
We teamed up with Ely Cathedral to release five videos for Holy Week as part of their #LiveHolyWeek initiative. We really enjoyed getting to sing in the incredible acoustic of the Ely Lady Chapel, and we’re very pleased to be able to share the results with you.
The ensemble and the judges were amazed by the number of entries and the extremely high standard of work. It was particularly pleasing to receive submissions from all over the world from composers of all ages, and in a variety of interesting styles. We thoroughly enjoyed looking through all the entries, and it was wonderful to see composers writing so well for the group’s specific requirements. We are delighted to reveal the winners of our Composition Competition 2016.
In the 18-and-under category, the winner is Joanna Ward, with For a number of coins.
In the 19-and-over category, the winner is Phillip Cooke, with Judas Mercator Pessimus.
The two winning works were given their world premieres on Sunday 19 June 2016 at St John’s Smith Square, and the winners formally presented with their awards. We also ran a composition workshop for entrants in the under-19 category with composer David Bednall; sixteen young composers attended to hear their works sung as part of a masterclass and concert.
About the winners
Joanna Ward – 18-and-under category winner
Joanna Ward is an 18 year old composer, pianist and singer from Newcastle upon Tyne. After enjoying composing at school, she was encouraged to broaden her horizons and take specialised composition lessons, and has done so at the Sage Gateshead’s Weekend School for the past two years. Her compositional successes thus far include being selected as a composer for the NYO; having pieces performed at the Sage (including a piece she wrote for their Youth Orchestra, Young Sinfonia); and having a piece workshopped and performed by Voces8. She also enjoys playing the piano and singing, and is a member of the National Youth Choir of Great Britain. She is currently studying for A levels in Music, Maths and Physics, and hopes to read Music at university next year. https://soundcloud.com/joannamward
Phillip Cooke – 19-and-over category winner
Phillip Cooke was born in the Lake District in 1980 studying at Durham and Manchester Universities before taking a PhD at Cardiff University with Anthony Powers. He was a Junior Research Fellow at The Queen’s College, Oxford University and Composition Tutor at Eton College before being appointed Lecturer in Music at Aberdeen University in 2013. His music has been performed across the country by many of the leading choirs and ensembles. He is active as a musicologist having co-written The Music of Herbert Howells in 2013 and is currently writing the first scholarly book on James MacMillan. He is married with two children, lives in rural Aberdeenshire and supports Everton. www.phillipcooke.com
About the 2016 Competition [archive]
Composers are invited to submit a new work for The Gesualdo Six’s inaugural Composition Competition. The winning works will be premiered by the group at St John’s Smith Square on Sunday 19 June 2016. A prize fund of £1000 is available.
2016 marks the 400th anniversary of Shakespeare’s death, and the 450th anniversary of Gesualdo’s birth. Works by Shakespeare and words set by Gesualdo make up some of the chosen texts for composers to set, alongside poems by Christina Rossetti and Emily Brontë.
This competition is open to all composers, divided into two age categories: 18 years and under, and 19 years and above. The deadline for submissions is Friday 15 April 2016 at 5pm.
The competition is supported by St John’s Smith Square and Novello & Co Ltd, part of the Music Sales Group of Companies.
2016 marks the 400th anniversary of Shakespeare’s death. We have included two texts by William Shakespeare in our competition: passages from Twelfth Night and The Merchant of Venice.
2016 marks the 450th anniversary of Gesualdo’s birth. We have included two texts that he set to music during his lifetime: Sparge la morte and Judas mercator pessimus.
Rossetti and Brontë
Composers are also invited to set poems by Christina Rossetti and Emily Brontë, A Birthday (My heart is like a singing bird) and Fall, leaves, fall.