HOUSTON CHOIR DEBUTS A NEW ‘CIRCLESONG’
Beauty can be found in every stage of life. In anticipation, there is hope; in contentment, there is joy; and in reminiscence, there is peace.
There is beauty in success, and there is beauty in tribulation, and this beauty is what renowned British composer Bob Chilcott illustrates in “Circlesong,” a complete life cycle based on American Indian poetry from the late 19th century to the early 20th century that coincides with the seven ages of man delineated by William Shakespeare in his romantic comedy “As You Like It.” The eight-movement piece, which was commissioned by Birmingham Festival Choral Society and the City of Birmingham Young Voices, received its premiere in 2004.
This weekend, over 15 years later, the Houston Chamber Choir, led by artistic director Robert Simpson, will debut a newly revised version of the work in two performances at South Main Baptist Church, culminating in a first-ever recording of the reflective, yet rhythmic music. The program will feature the professional choir — who recently won the 2020 Grammy Award for best choral performance for its Signum Records recording of “Duruflé: Complete Choral Works” — alongside the young, female singers of Marianna Parnas-Simpson’s Treble Choir of Houston and a percussion ensemble. Area high school choirs and their directors are invited to attend for free depending on availability, and following Sunday’s concert, ticketed patrons will have the opportunity to mingle with the performers and the composer himself at an after-party hosted by the Luminary Society’s young professionals.
“In the indigenous American life, the circle is a very important idea, and I love this idea of life regenerating,” said Chilcott, a former member of the King’s Singers. “Everyone finds life through a life that’s been. I find that very attractive that, basically, we all come from our forebears. It’s a very strong idea, and I think one that goes through all philosophies and religions, that we live our life through the people that have born us.”
At approximately 40 minutes, the choral work is profound yet quite simple and lively at the same time, Chilcott explained, its vitality stemming from the percussive nature of the accompaniment that provides a sense of immediacy and impulse. While two pianos deliver strength, the remaining instruments — bongos, marimba, hi-hat, tubular bells, wood blocks and timpani, among others — add colorful texture to the tribal rhythms that contrast with the piece’s tender melodies.
“The whole concept is about hope,” Chilcott said, “and in a sense, it touches on the idea of eternal life.”
After an introduction creates the pensive anticipation of a waiting period, the music reflects birth with a recurring asymmetric rhythm like that of a heartbeat. As the baby develops into a child, the listener is taken on a journey of dreams and possibilities, but once that child becomes a young adult, a need for nurturing and a plea for strength to face a future of unknowns exceed this wild imagination.
The ensemble’s energy builds through the progression of young love, from feeling uncertain in a relationship to finding a partner with whom one’s soul is filled with peace, Chilcott explained. The season of adulthood is followed by middle age, in which one discovers the true fragility of the human existence, surrendering to vulnerability but also acknowledging the beauty within his or her past.
“It’s that time of life when you’re trying to resolve things,” Chilcott said. “There’s a marvelous line that says, ‘I seek strength not to be greater than my brother but to conquer the enemy within myself.’ Then, it says, ‘Make me ready to come to you with pure heart and pure eyes because when life fades away like the setting sun, my spirit may come to you with honor and without shame’.”
The piece begins to deconstruct vocally in an a cappella movement about old age before the sun’s beams fade in a final goodbye, Chilcott explained. At that point, the music returns to a familiar sound, echoing the expectant beginnings in the introduction although with different wording that contemplates the time of death.
Much like the ages of man, the music is cyclical, and now so too is the composition’s existence.
“It’s a piece I always loved,” Chilcott said. “I’m really excited to have the chance to do this project. It’s going to get a life now, I think, because of this.”