17 SIBELIUS SYMPHONY NO. 5

SIR CHARLES VILLIERS STANFORD (1852-1924) THREE MOTETS (c. 1892)

The Dublin-born composer Sir Charles Villiers Stanford became organist at Trinity College, Cambridge and went on to teach at the Royal College of Music. A force in advancing the cause of English music during his lifetime, he composed in a myriad of styles, but is perhaps best known for his choral works in the high Anglican tradition. His Three Motets were published in 1905, but were probably written in 1892. They are dedicated to his successor at Trinity, organist Alan Gray, and the College choir. The first motet, “Justorum animae” is based on a verse from the Book of Wisdom. The second piece, “Coelos ascendit hodie,” was written for Ascensiontide or Ascension Day, and “Beati quorum via” is drawn from Psalm 119.

DAVID FENNESSY (b. 1976) chOirland (2002)

In the composer’s words, “All the words in chOirland are nonsense lyrics taken from the choruses of traditional Irish songs and ballads. I didn’t grow up singing these songs and traditional music was never a big part of my musical life. In fact, it seems the only time I ever hear them now is when I’m in Irish bars here in Britain or in Irish gift shops where, almost inaudibly, they gently prod with their shillelagh sticks at my Irisho’meter, sometimes resulting in an impromptu jig or reel or my standing on a chair and reciting the great speeches of Wolfe Tone. I kind of like my Irish badge, though—all leafy, greeny, plasticky—and play along with its tomfoolery more than I probably ought to. But, like an old friend who I take for granted, I’m sometimes mean to it and end up taking the Mick—to be sure, to be sure.”

SEÁN DOHERTY (b. 1987) I AM THE WORLD (2019)

Written for the World Youth Choir on the occasion of their 30th anniversary, “I am the World” is a celebration of diversity and the universal nature of song. The text by Dora Sigerson Shorter is inspired by The Song of Amergin, an ancient Irish poem, and compares and connects oneself to the wonders of nature. Doherty perfectly captures these elements in spectacular fashion with enchanting rhythmic and harmonic brushstrokes. Quieter sensitive sections are contrasted with moments of grandeur creating an engaging journey from start to end.

MICHAEL MCGLYNN (b. 1964) AISLING (1993)

In the composer’s words, “Aisling (pronounced ASH ling) is the Irish word for a dream. That actually was the original concept for it—the concept of something which is evocative of a dream state. But nothing I do is really that simple. I’m not really in to cuddly Celtic stuff at all. My view in it was that an aisling was also a political statement where a representation of the Irish state comes and tells the poet that he must fight. It’s almost like a Deus ex machina, something which comes out of another realm to entice the poet to do something. Although it is the Irish word for a dream, it has a political and quite a dark connotation to it. And there is a darkness to the melodic line.”

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