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Shakespeare has inspired countless and varied performances, works of art and pieces of writing. He has also inspired music. In this 400th year since Shakespeare's death we asked five composers 'how did you approach setting the Shakespeare text you chose for your recent work?'
At the beginning of May 2015, I spent some time at the Cornwall International Male Voice Choral Festival, a massive affair with 70 choirs at 60 events in 50 venues all over Cornwall, packed into a long Bank Holiday Weekend. The mastermind behind this well-organised event was Festival Director Peter Davies, director of the Huntingdon Male Voice Choir.
My father, Paul Bullard, was a landscape and portrait painter, and on family holidays he would sit and sketch, sometimes with me by his side, filling my music manuscript paper. As a child, I used to think that his task was easier than mine: all he had to do was to put on paper what he could see in front of him, whereas on the other hand I had to imagine a whole sound world, hearing music in my head, and then put it down on paper. Of course that wasn’t really correct: what I didn’t realize was that his task was to re-present the view in front of him in pen and ink, or oils, and not merely copy it. In other words it was an equally creative process to composing.
‘Paul Bullard: Suffolk Garden’ courtesy of Alan Bullard
So what my father was doing, I suppose, was looking at an existing object from a different angle, ‘arranging’ it for pen and ink, and that just got me thinking about the way that composers often do that too. At the moment I’m reading John Eliot Gardiner’s book Music in the Castle of Heaven and guided by that I’ve been listening to some of J. S. Bach’s cantatas. In most of these, Bach takes a well-known melody and re-presents it, embroidering the material in a myriad of ways. It wasn’t a new idea of course: composers had been doing it for hundreds of years, but Bach’s skill and variety in transforming the ‘known’ material, both in his choral works and his organ Preludes, is breathtaking. And ever since, many composers have loved to re-present the old with the new in the same way.
And so when I came to write my recent Advent cantata, I found myself using the traditional hymn ‘O come, o come Emmanuel’ as a starting point. I turn its phrase shapes into recitatives, and use it as a slowly moving melody in some voices against more decorative singing in the others, so that although the hymn is never sung in its complete form, it permeates the whole work and, I hope, gives the listener a sense of security and comfort. In a similar way, my Christmas cantata, A light in the stable uses the ancient hymn ‘Of our Maker’s love begotten’ as a melodic basis throughout, as well as using a number of Christmas carols, concealed in the background as well as in the foreground.
