Four Anthems on Traditional Texts
 for mixed choir

music by David McCulloch O.S.B.
(Catalogue L023)

 
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Notes

Detailed performance notes, as written by the composer, are listed below: -

Adam Lay Y-Bounden
The key to interpreting these four pieces is to be very responsive to the meaning of the words.  In this first piece, the musical variation and key structure is an attempt to express the theological movement from Adam's fall through disobedience in the darkness of D Minor (verse 1), to our joy at the salvation wrought by God through Mary's obedience to the angel's message in B Major (verse 4).  The fundamental truth expressed in the words is that Adam's sin was "necessary" to bring about an even greater salvation, as the Exsultet from the Easter Vigil rite puts it, "O happy fault, O necessary sin of Adam, who gained for us so great a Redeemer."  The first verse should be sung strongly, the second simply; the third, a little slower, in an atmosphere of stealth; the fourth joyfully.  I hope the choir will enjoy the antiphonal effect at the climax of "Deo gratias!"

Jesus Christ the Apple Tree
Unlike the other texts in this volume, which date from the late medieval era, this famous poem was first published in the late 18th century.  I have attempted to express its artless character and symbolism by a strophic structure.  Here the text meditates on our personal relationship with Jesus, the guardian of our souls, and the melody is written to reflect the pastoral mood of the text.  The first verse should be sung in a clear fresh voice, and the second verse continues the happy mood. The atmosphere darkens slightly in the third verse, which should be brought out in the vocal tone.  The fourth verse should be sung as graphically as possible, slower and heavier with longer pauses, as the soul examines itself and recognises the weight of sin which it is dragging after it.  The final verse and coda should lead to a joyful and life-affirming climax.

I Sing of a Maiden
This famous anonymous 15th Century poem has been set by many fine composers, and I hope my setting finds a place in the repertoire of a choir of good amateur ability.  Although the metre changes regularly, I do not think the rhythms should be found too difficult, as the crotchet beat continues steadily on.  In verse three, the bass is a varied inversion of the soprano melody of verse two.  The piece should be sung in the same simple and inward feeling of devotion for the first three verses, and then the mood changes with a crescendo leading into the climactic last verse: a hymn of praise to the beauty and simplicity of the Mother of God.

Thou who Createdst Everything
It gave me great pleasure to set this extraordinary late medieval lyric to music.  I feel that the poet is torn between the Western spirit of devotion to the bloodier aspects of the Passion of our Lord, and the earlier tradition of iconography flowing from the Eastern Christian tradition, in that the Passion is also a prayer of intercession by the Son of God to the Father.  I have attempted to express both aspects in this piece, but I feel that the hieratic, iconographic element is more important.  The slow moving harmonies need to be savoured and the enharmonic modulations kept carefully in tune!  Again the intensity gradually increases towards the last line, which should be sung very strongly as an appeal to God inspired by the gospel texts: "My God, my God, why have you forsaken me" and "Father, forgive them, for they know not what they do."

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