Ivor Gurney is known principally as a composer of song, and the recorded catalogue of his works is almost entirely of that genre, for which reason he has never been featured on BBC Radio 3’s Composer of the Week series. Five hours of programming of just songs – even if alleviated with a little of Gurney’s poetry – makes for poor programming. During the last eight years I have been working with the Ivor Gurney Estate to rectify this, in part made possible by my extensive work in the archive and my collation of the first catalogue of Gurney’s musical works. With all this work it has made the prospect of a Gurney Composer of the Week much more realistic, and this is exactly what is happening: he will be featured in the week of 23rd-27th June 2014. To this end, the BBC orchestras have now recorded all three of Gurney’s extant orchestral works, which the Lead Trustee of the Estate, Ian Venables, and I have been editing and bringing to performance. With these key works having been set down and lined up for broadcast in June, it is exciting that in this coming week the BBC Singers and BBC Symphony Orchestra will be recording three Gurney choral works for the Composer of the Week series. One of these recordings is particularly exciting for me, as the BBCSO will be getting their mouths/fingers around my orchestration of Gurney’s choral setting of Edward Thomas’s The Trumpet – a setting of the poem entirely different from his 1925 song setting of that poem.
I first undertook the orchestration of this work in 2008, for performance in Kendal at Ian Jone’s ‘Cumbrian Choral Initiative’ as part of a Vaughan Williams weekend (there are elements of RVW’s A Sea Symphony in Gurney’s Trumpet, and RVW also taught Gurney at the Royal College of Music between 1919 and 1921). The orchestration was given a further outing in 2010 at the Three Choirs Festival, with the Philharmonia Orchestra. I wrote two blog-posts about the work at the time of that performance, which you can read here and here. Following this performance (and the musings of the second of these blog-posts) I made a few small revisions to the score, and so will be listening with especially keen ears on Tuesday as it is being performed, under the baton of Paul Brough.
The other two works to be recorded in the coming week by the BBC Singers are:
- his chant to psalm 23 – a work of relatively little musical interest, perhaps, but poignant for the fact that he sang that psalm to his chant whilst serving in France at Fauquissart to steady his nerves under bombardment;
- a remarkable setting of Robert Bridges, Since I Believe in God the Father Almighty, for unaccompanied double choir, composed in June 1925 whilst incarcerated in the City of London Mental Hospital. This is one of two pieces of Gurney that I am particularly proud of having brought to light. It was first given by Gloucester Cathedral Choir in May 2012, who have performed it a number of times since, and was recently also performed by Tenebrae in a particularly rich rendering, which truly convinced me of its power. The work has its weaknesses, and is not an easy sing, but it is powerful work and is enormously worthwhile. Listen out for it on Radio 3 in June!
The recording of my Gurney orchestration on Tuesday comes at a time when I am again spending many idle moments musing texture and instrumentation. I have recently been commissioned to undertake the orchestration of a movement of Cecil Coles’s suite Behind the Lines, which was left unfinished on his being killed in the First World War. More significantly, however, is the impending writing of my chamber oratorio, The Passion of War, the texture/ensemble for which is critical and is uppermost in my mind at the moment. I can find no precedents for that which I wish to create (a good thing!), and I am trying to be sure that I get it right. For the moment, fingers crossed that all goes well on Tuesday, and that the singers and orchestra think the piece a worthwhile undertaking!
[Corrected: the original posted stated the recordings were to be conducted by David Hill, not by Paul Brough. Apologies to both for this initial misattribution.]