The Choral Music of Julian Marshall
Julian Marshall
MS8211 Julian Marshall Brochure v7.indd 15
22/1/18 16:34
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22/1/18 16:34
Julian Marshall Julian Marshall has a wealth of experience as a songwriter, composer, teacher, lecturer, mentor and musician. Following education at Dartington Hall School and the Royal College of Music, he became internationally known as the co-creator (with Kit Hain) of the 1970s group Marshall Hain, whose single Dancing in the City went platinum in 1978. He was also a member of the band The Flying Lizards and scored a top ďŹ ve UK hit with their version of the well-known song Money in 1979. In the 1980s he formed the group Eye to Eye with American songwriter and performer Deborah Berg. The group recorded two classic albums for Warner Brothers produced by Steely Dan producer Gary Katz and a latter-day third album produced by Roxy Music producer Rhett Davies. During the 1980s and 90s, as well as writing and recording his own music, Marshall produced records, played as a session musician on both sides of the Atlantic and worked in A&R for Boulevard Records in LA and Polydor Records in the UK. Since the early 1990s, he has run his own highly successful teaching, mentoring and coaching practice. He has taught and lectured at Dartington College of Arts, Plymouth University, Middlesex University and Dartington International Summer School. From 2010 to 2015 he co-launched and was creative director of London Song Company, an organization for songwriters offering a range of training and opportunities across a wide stylistic brief. Currently, he is a Teaching Fellow at the Institute of Contemporary Music Performance (ICMP) in London. Today, composing music takes a centre-stage role in his creative life. As well as the many songs for Marshall Hain and Eye to Eye, Marshall has also composed music for film, theatre and the concert hall. This includes Old Enough, an Orion Pictures film directed by Marissa Silver, the short film Still Life directed by Emma George, and the score for the play Shakespeare’s Will at Theatre Clwyd (2010). In recent years, he has turned his attention to choral music, composing a cantata for mixed voices, 2 celli and mezzo-soprano, Out of the Darkness (for Melanie Pappenheim), a follow-up work, for mixed voices, six cellos and tenor, The Angel in the Forest (for James Gilchrist), a series of Christmas carols on traditional texts including In the bleak midwinter and The holly and the ivy, and a collection of William Blake settings, Dark Disputes and Artful Teasing. He has an ambitious and varied roster of work in progress. The music of Julian Marshall is published by Novello & Co. Ltd. www.julianmarshall.co.uk https://soundcloud.com/julian-marshall-projects www.musicsalesclassical.com
MS8211 Julian Marshall Brochure v7.indd 1
22/1/18 16:34
Dark Disputes and Artful Teasing Notes from the composer:
of ten songs in any particular order, except to suggest that, perhaps, The Little Girl Found makes a rather good starting number and The Voice of the Ancient Bard is a good finisher. However, the order is truly at the bidding of the choir.
Since childhood, I have been intrigued, perplexed and, more latterly, awed by the poetry and paintings of William Blake. I shall leave it to writers such at Kathleen Raine to bring us closer to understanding the depth of Blake’s spiritual vision, but, to me, as a musician and composer, he quite simply throws down the most inspiring of gauntlets.
How sweet I roamed is the odd one out of the set, taking its text not from the Innocence and Experience collection but from two other Blake poems: Song – from Poetical Sketches and I Heard an Angel from Manuscript Lyrics between Innocence and Experience.
His Songs of Innocence and Experience have long been a draw to composers. In fact, Blake himself, I understand, is known to have walked around his house singing these poems as improvised songs.
The writing style in ‘Singing Mr Blake’ varies considerably between a quasi ‘American Spiritual’ style on the one hand and a more genteel legato, though harmonically sonorous, non-jazzy style, on the other. I encourage you to explore and enjoy these differences and not to be afraid of ‘doing your thing’ with the interpretation as you see fit.
In 2011, I sat down to set the first few songs in this collection for a community choir project that saw its premiere at a meeting of choirs at St James’s Church, Piccadilly – the church near Blake’s birth place where he was baptized. In 2012 and then again in 2016 I returned to set more of the poems and, this time, more with the ‘chamber choir’ sound in mind. I do not, however, present this collection
The Chimney Sweeper SATB NOV165913
Cradle Song weeper imney S The Ch WILLIA
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BLAKE
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dness
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The Divine Image
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NOV165847
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MS8211 Julian Marshall Brochure v7.indd 2
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22/1/18 16:34
The Echoing Green WILLIAM BLAKE
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The Sun does a - rise, And make hap -py the skies. The mer - ry bells ring
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© 2016 Novello & Company Ltd Not for rental or hire by third parties
MS8211 Julian Marshall Brochure v7.indd 3
22/1/18 16:34
The Sick Rose
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MS8211 Julian Marshall Brochure v7.indd 4
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22/1/18 16:34
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A Poison Tree SATB NOV165968
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22/1/18 16:34
Other Unaccompanied Choral Works
The holly and the ivy
The annual ritual of A Festival of Nine Lessons and Carols – on Christmas Eve at King’s College, Cambridge – was a deeply adhered to and important event in my family life growing up.
SATB NOV295812
In dulci jubilo SATB
I have always found the service magical. When I was twelve years old, The Rite of Spring and Miles Davis rocked my world; but carols transported me, and composing them is now one of my favourite things. The three published so far feature settings of well-known texts – a particular challenge I enjoyed giving myself.
NOV296791
In the bleak midwinter SATB NOV295801
A thing of beauty
A thing of beauty was written for the wedding of my daughter Gabriel and my son-in-law Wesley. As with the carol settings, it was both a challenge and a great joy to set such a well-known text.
SATB NOV165836
For G abriel JOHN
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The Ho Joyful,
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22/1/18 16:34
In dulci jubilo SOPRANO
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q. = 48
JULIAN MARSHALL
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Now sing with hearts
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The Kolmar Cantatas A brief note on the life of Gertrud Kolmar. Gertrud Chodziesner was born on 10 December 1894 into a Jewish family in Berlin. After training as a teacher, she worked with orphaned and disadvantaged children until an ill-fated love affair with a non-Jewish army officer resulted in an abortion and subsequent suicide attempt. After the Armistice in 1918, she found work as a private tutor and governess until the autumn of 1927 when she attended a vacation course at Dijon University. But her time in France was curtailed when she was obliged to return home to nurse her mother. Following her mother’s death in March 1930, Gertrud assumed full-time responsibilities for the family household in Finkenkrug, an idyllic rural suburb of Berlin.
While living in Finkenkrug, Gertrud (under the pen-name Kolmar) composed nearly all her important works: not only the novel Die Jüdische Mutter (The Jewish Mother, 1930), the drama Cécile Renault (1935), the historical study on Robespierre (Das Bildnis Robespierres, 1934) and the dramatic legend Nacht (Night, 1938), but also her eight cycles of poetry: – the nineteen sonnet (plus one) Bild der Rose (Image of the Rose, c.1932), the nineteen poem cycle Napoleon und Marie, the forty-five poem cycle Robespierre, the fifty-three poem cycle Alte Stadwappen, (Old Municipal Coats of Arms), the seventyfive poem cycle Weibliches Bildnis (Female Portraits), the twenty-nine poem cycle Mutter und Kind (Mother and Child), the forty-eight poem cycle Tiertraüme (Animal Dreams) and finally Welten (Worlds), the seventeen poem cycle which she wrote between 17 August and 30 December 1937. Although she would subsequently write the extraordinary novella Susanna (1940), Welten was to be her last collection of poetry. In July 1941, Gertrud was conscripted to a munitions’ factory. Just over a year later, her father was deported to Theresienstadt and finally, in late February 1943, Gertrud herself was arrested and deported to Auschwitz where, had she managed to survive the nightmare journey east, she would have been selected, on arrival, for immediate extermination. © Philip Kuhn 29 September 2010/8 January 2012 This short note is extracted from Sein Antlitz ist Lei/ His Countenance is Sorrow, Philip Kuhn’s full length essay on the life and work of Gertrud Kolmar, originally published in a limited edition by itinerant press to mark the world premiere of Julian Marshall’s Out of the Darkness.
Out of the Darkness Soprano/SATB/2 Cellos Gertrud Kolmar Vocal Score – NOV166254-01 Full Score – NOV166254 Cello Parts – NOV166254-02
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Julian Marshall – Writing Out of the Darkness In November 2008 I stumbled across the poetry and letters of Gertrud Kolmar and was at once struck by what a remarkable woman and poet she was. Her poetry is strikingly full of life, colour and vibrancy – revealing a life of vivd, awakened experience – and her poem, Aus dem Dunkel (Out Of The Darkness – from her Welten cycle), is surely one of the most stirring. Written in 1937 the poem evokes powerful, dream-like images of crumbling and decay – serving as an eerie foretelling of the imminent tidal wave of horror about to hit the world. Deeply moved by this poem, I felt almost compelled to write a piece in service to what occured to me as being her extraordinary capacity to stand powerfully in her experience of life whilst, at the same time, expressing this with exquisite powers of perception. I decided to set Out of the Darkness as a cantata for chamber choir, mezzo soprano soloist and two cellos. To begin with, I imagined that I’d settle on a musical language that might somehow meet the darkness in the poem. But as I began to compose, quite different stylistic voices seemed to suggest themselves. Influences of Tango and Bossa Nova, as well as more abstract ideas, all seemed ironically appropriate. The result is a cantata of a little under 40 minutes. Form Out of the Darkness is divided into seven sections – including an off-stage Prologue. The sixth song, The River, features the line, ‘Far off, the river speaks with its banks’, but this song is also the only section of the piece that uses text other than Kolmar’s poem. The text used here is taken from two Sephardic ballads – La Serena and A La Nana. I have allowed myself this poetic licence as The River allows a brief time for reflection away from the journey of the main text. And why Spanish? Well, Kolmar was a linguist, the Jewish culture is multinational, and the words are not only incredibly beautiful, but also, in the case of A La Nana, painfully ironic.
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A La Nana A la nana, a la buba, Lullaby, baby, Se durma la criatura, the child sleeps. El Dio grande que los guarde May great God guard them, A los niños de los males. Keep the children from evil. La Serena Si la mar era de leche If the sea were milk, Los barquitos de canela the boats of cinnamon, Yo me mancharia entera would quite dip in Por salvar la mi bandiera. To save my banner. Out of the Darkness was premiered in Winchester Cathedral in November 2009 and was followed by six more performances in the UK and one in Germany over the following several months. First performances, and subsequent recording, were conducted by Howard Moody and featured Melanie Pappenhem (solo mezzo-soprano), Sophie Harris (cello), Lucy Railton (cello) and the Schoolhouse 6 Ensemble. The CD is available on the MMC label (MMC101) and on Spotify.
The Angel in the Forest Tenor/ATB (12-piece ensemble recommended)/ 6 Cellos Gertrud Kolmar (trans. Philip Kuhn and Ruth von Zimmerman) Vocal Score – NOV166243-01 Full Score – NOV166243
The Angel in the Forest, which is also taken from Welten, serves as the text for Julian’s second Kolmar Cantata and offers a disturbing if understated glimpse into the nightmare world about to engulf Europe. As with Out of the Darkness. The Angel in the Forest suggests that a new life can be found in an escape from the City. But refuge is to be discovered not in
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the mountains but in the countryside which holds the promise of an innocent, perhaps even prelapsarian world, with its “musing fields” flowers and grass: a place where the animals “don’t speak evil”. And yet at the heart of this poem, is something perhaps even more disturbing than Out of the Darkness because the early promise of hope bound up with the protagonists’ ability to escape, is slowly eroded at every turn. The Angel in the Forest appears to offer its readers little or no solace other than the imagined possibility that comfort-from-hardship could still be found in a steadfast companion. But even that promise appears to be cut away at the end of the poem. “We will thirst and hunger, suffer together, / Together, one day, sink down by the dusty wayside verge and weep …”. And yet this powerful ending seems also to suggest an allusion to the opening of Psalm 137: “By the rivers of Babylon/ There we sat/ sat and wept / as we thought of Zion”. And if this was Kolmar’s conscious intent then it is precisely through this final reference that the poem succeeds in turning its moment of despair into yet another promise of something “other”. By transposing the allusion away from the waters of Babylon onto the dusty wayside of a seemingly infinite road Kolmar might well be suggesting that even at the depth of despair this place of the poem’s ending is, in fact, merely a resting place: a place to take stock, to remember “Zion”, to mourn for what is lost and thus, through renewed strength, continue onwards. This is Marshall’s second passionate engagement with another significant fragment from Kolmar’s neglected and often forgotten writings. As in his first cantata, Julian has again paid tribute to the poet’s remarkable and powerful feminine creativity and, in so doing, succeeds in commemorating Kolmar’s life so cruelly silenced at the very moment she seemed to be about to peer into and articulate its very depth. © Philip Kuhn, September 2017 – abridged from original programme note.
Form and style The piece is in five sections (or movements), lasting around thirty minutes in total. They are: 1. Give me your Hand 2. Come, Autumn 3. Because the Sun 4. Perhaps 5. Your Arms As in Out of the Darkness, the musical style of The Angel in the Forest is richly varied – embracing or ‘framing’ the text with a broad range of stylistic hues as the piece develops. The composer says: “After completing Out of the Darkness, it wasn’t long before I felt myself powerfully drawn to compose a second piece from Kolmar’s Welten, this time aided by wonderful new English translations of the entire cycle by Philip Kuhn and Ruth Von Zimmermann. The poem I chose for this second cantata setting was Der Engel im Walde – The Angel in the Forest. I decided to set the piece for Tenor solo (purposely confusing the typically assumed gender of the protagonist), cello sextet and a small choir comprising Altos, Tenors and Basses. The role of the choir in The Angel in the Forest varies considerably from that in Out of the Darkness. Instead of the choir being fully engaged with communicating the unfolding narrative it functions more as a kind of Greek Chorus or backing vocals ensemble – pointing towards the core of the piece rather than coming from it. It might be fair to suggest that the emotional pulse of the piece tends to slightly hover over rather than plunge in – again, as it were, pointing to rather than coming from. My purpose here is more to frame or embrace the poem than it is to express the meaning of it.” The Angel in the Forest received its first full premiere at St James’s Church, Piccadilly in January 2010 with James Gilchrist (tenor solo), a cello sextet led by Sophie Harris and the Schoolhouse 6 (vocal) Ensemble conducted by Ian Belton. Julian’s text for The Angel in the Forest is taken from Philip Kuhn’s & Ruth von Zimmermann’s translation of Welten published by Shearsman Books. For further information on all aspects of the Kolmar cantatas, please contact the composer. (www.julianmarshall.co.uk)
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CAT08217
MS8211 Julian Marshall Brochure v7.indd 14
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Published on Dec 6, 2017
Cat08217; musicsalesclassical.com
Published on Dec 6, 2017
Cat08217; musicsalesclassical.com