‘Music that speaks to the soul’: Musical director of Louth Choral Society, Dr Alison Willis previews Passiontide Concert
As Passiontide approaches, audiences are invited to an evening of reflective and beautiful choral music. Ahead of the forthcoming concert, Dr. Alison Willis speaks about the inspiration behind a programme featuring the radiant Credo in F by Antonio Lotti, the expressive Stabat Mater by Emanuele d'Astorga, and two beloved works by Gabriel Fauré — Cantique de Jean Racine and the serene Requiem, performed by choir and chamber orchestra.
Why did you choose this programme for this concert?
As the concert is on Palm Sunday, the start of Christian Holy Week in the run up to Easter, it seemed entirely appropriate to focus on themes of faith and loss.
Why these pieces?
The concert opens with Lotti's Credo in F, setting the words of the Nicene Creed, 'I believe in one God'. The overall shape is in three parts, the outer sections being quite bright in nature. The central section, setting the words 'He was crucified' is much darker and, for me, one of the most beautiful pieces of choral music ever written!
D'Astorga's Stabat Mater is based on the 13th-century Christian hymn to the Virgin Mary that portrays her suffering as mother during the crucifixion of her son Jesus Christ. 'Stabat Mater dolorosa' means 'the sorrowful mother was standing'. As a composer and conductor I am passionate about telling women's stories and therefore, both as a woman and a mother of sons this text resonates with me.
Fauré's Cantique de Jean Racine is another stunningly beautiful choral piece, written when the composer was only nineteen. We performed it with organ accompaniment in our November concert and the opportunity to revisit it with orchestra was too good to turn down!
The concert ends with Fauré's Requiem, continuing the theme of faith and loss including the dramatic Libera Me, 'deliver me, Lord, from eternal death', yet with the promise of redemption offered by the final In Paradisum.
Where did you first hear these pieces?
Most of Lotti's Credo in F is new to me but I have known the central section, the Crucifuxus a 8 since my days in the church choir as a teenager. I thought it was absolutely beautiful then and my opinion has not changed, the Choral Society are aware of this! I think it is the constant suspensions and resolutions in between the parts that create the tension and absolute sorrow in the music and I am sure this piece has had a lasting effect on my own compositions.
Louth Choral Society was working on D'Astorga's Stabat Mater when Covid 19 struck. As we all know choirs were unable to sing together for some considerable time and once they were able to resume a new programme was agreed, meaning the piece was never performed. It was completely new to me and is not widely performed, which having got to know it I find surprising as it is a wonderful piece featuring full choir sections interspersed with solos, duets and small ensemble sections sung by the soloists.
Fauré's Requiem has been a part of my life since I was thirteen. Again, we sang it with the church choir, then with massed school choirs and college choirs. I have also played viola in it, rather badly I fear! The detail in Fauré's score is exceptional in helping shape a performance which I hope will be full of pathos and drama.
Why should people come to this concert?
Why wouldn't you come to this concert?! We are delighted to be performing with Lincoln Pro Musica Orchestra and our four wonderful soloists, Christopher Maltman, Mark Wilde, Emma Wardell and Kimberley Raw. The programme is a feast of varied music that has both power and pathos which, in the beautiful surroundings of St James' Church should be the perfect start to Holy Week. We hope to see you there!