Alleluia

(L)

This work for large choir is based on allusions to some quotations from JS Bach. It opens with some chordal progressions, hummed quietly, the harmonies being 'smudged' to create an impressionistic blur. Eventually the word Alleluia emerges in the basses, before the music settles to its main middle section, where a famous Bach chorale underpins a decorative and imitative counterpoint.

Gradually, a more declamatory treatment of the word appears, leading to a homophonic climax, which then gives way to some fast, virtuosic, running passagework. The opening humming music returns for the piece to end serenely and quietly.

James MacMillan

Reproduction Rights
This programme note can be reproduced free of charge in concert programmes with a credit to the composer.

Choral level of difficulty: 5 (5 greatest)

This remarkable work was commissioned by the Oregon Bach Festival to celebrate Helmuth Rilling’s 80th birthday in 2013 and his final season as conductor of the festival. It is scored for a large choir of 4 soprano, 4 altos, 4 tenor and 2 bass parts. MacMillan bases the work on the chorale, Herzlich tut mich verlangen, used several times in the St Matthew Passion (including, for instance, the Passion chorale immediately following Jesus’s death). We hear it in a fragmented version, hummed, at the start while upper voices weave a mellifluous texture above. There are some extraordinary effects such as the descending phrases in semitones where there are hints of Schoenberg’s Friede auf Erden and even of gentle blues. Then, eventually, the word ‘Alleluia’ is sung openly by the basses using a chant-like figure with some familiar MacMillan ornamentation. The piece builds up through powerful contrapuntal writing, using double choir effects and wide pitch range, to a searingly emotional climax which is quite breathtaking. The start of the final section, again in double choir formation, sees long notes in one group with punctuating outbursts in rhythmic patterns from the other group. Everyone joins together homophonically, briefly, before a firework display of demi-semiquavers (32nds) leads to a reprise of the gentle opening with the initial rising fourth of the chorale ending the piece reminding us of the inspiration both of Bach and of Rilling’s inspired Bach interpretations.

This is a work for expert choirs, and at a thirteen minute duration, is a tour de force of a cappella singing over a large timespan. As always, choirs need to be able to respond to the demands of colour and texture demanded by the composer which bring the music alive. It is notable that this work uses only one word (besides humming), and it is a testament to MacMillan’s imagination that interest is not only maintained but positively demanded throughout. This is an outstanding work which should be widely used by choirs equal to its demands and would obviously be effectively programmed with Bach motets.

Repertoire Note by Paul Spicer