Musgrave Wild Winter 1

 Day 51

Musgrave Wild Winter 1 - Lamentations for voices and viols

Susie LeBlanc

John Potter

Ian Honeyman

Richard Wiestreich

Fretwork

It has taken to day 51 for me to discuss the work of a living composer. And I have to confess rather shamefacedly that it was only when I read the review of the ENO revival of her opera Mary Queen of Scots that I realised that Thea Musgrave was still alive and working at the grand old age of 95. She must surely be the last pupil of Nadia Boulanger who is still composing.

I knew the name of course but I don't recall hearing any of her music before. This piece is an intriguing discovery - it is a setting for four solo singers and a consort of viols of various poems in different languages all reflecting on the horrors of war. The sonority of the viols bring a very distinctive sound to the music - at the same time both timeless but also very modern in the way that the instruments are used. it is not a straight setting of the texts but more of a kaleidoscope with the voices weaving in and out of each other and the poems overlapping with each other. In many ways it is the aural equivalent of a film with constant cuts between scenes and a mixture of wide angle and close up shots.  I found it very effective. I would describe the idiom as post Britten - slightly reminiscent of the very free interaction of voices and instruments in his church parables. I certainly will explore some more of Musgrave's music - there's plenty to go at as one one expect from a composer whose has been active since at least 1951. Perhaps she will celebrate her centenary with a new piece.