Rievaulx
A Study in Memory - in Arch Form
for Reed Quartet - with Bells
|
Rievaulx World Premiere Review - by Nicholas Daniel
(International Solo Oboist & Conductor) Pages 28-29 Double Reed NEWS l ISSUE 130 - Reviews "Every piece I hear by the increasingly highly regarded Althea Talbot-Howard boosts my already deep appreciation of her work. This piece showed how well Althea knows these instruments, here with the added zing of percussion played by Sullivan. It was a piece that really caught the ear and stayed with me long after the concert finished." |
From North York Moors Chamber Music Festival Personnel:
"[The quartet] played extremely beautifully and your wonderful work was so well received - so thank you for that contribution, from us personally." "The audience loved Rievaulx." "Very pleased your piece was so well received and thank you for writing such a topical work." |
|
Composer's Notes
Rievaulx - the ruined abbey on the North Yorkshire Moors near Whitby - was once a Cistercian monastery. It was founded by the renowned saint, Bernard of Clairvaux. He was Abbot of Clairvaux from 1115-1128, which was itself a daughter house of the first Cistercian monastery at Cîteaux in Burgundy, France. Cîteau means 'reed' in Old French, because the abbey there was surrounded by marshes and reeds. This illuminated manuscript shows a monk of Cîteaux cutting some reeds. Rievaulx Abbey was founded in 1132. It was decommissioned by King Henry VIII, in 1538. |
|
The Genesis of the Piece
In August 1990, a friend who was studying on the Royal Academy of Music's postgraduate course with me, kindly invited me to visit Yorkshire. I stayed with him and his parents for three days, and, during that time, we drove over to Rievaulx Abbey.
We arrived at the end of day, and we were the only ones there. We were free to walk straight onto the site, and I really enjoyed seeing this beautiful monument for the first time, just as the late summer day began to draw to a close.
Rievaulx Abbey was only in use for 400 years. It has been a ruin longer than it served as a functioning monastery! For many centuries, visitors have travelled from near and far to see it. Some of those happy occasions feature towards the middle of the piece, inspired by the picture at the bottom of this page.
Performance Notes
Rievaulx can be performed by four or five players, depending upon whether or not Bells & Part One (see below) are doubled.
The piece begins with the ringing of the Compline bells. Compline was the early evening monastic service. Either tubular or Aluphone bells - or tuned handbells - can be used.
Seven bars into the A1 section, the bass instrument plays the first line of Te lucis ante terminum ('To You before the End of Day') - a famous Gregorian chant commonly sung at Compline. The upper instruments soon follow.
Other compositional features of the A1 section are parallel organum in fifths and octaves, and a Guillaume de Machaut chromatic perfect cadence.
The A2 section at the end concludes with my answering melody to the musical question posed by the traditional Te Lucis melody.
Each section is labelled on the score, in lieu of rehearsal marks, in order to help performers to see the structure.
I hope you will enjoy it!
In August 1990, a friend who was studying on the Royal Academy of Music's postgraduate course with me, kindly invited me to visit Yorkshire. I stayed with him and his parents for three days, and, during that time, we drove over to Rievaulx Abbey.
We arrived at the end of day, and we were the only ones there. We were free to walk straight onto the site, and I really enjoyed seeing this beautiful monument for the first time, just as the late summer day began to draw to a close.
Rievaulx Abbey was only in use for 400 years. It has been a ruin longer than it served as a functioning monastery! For many centuries, visitors have travelled from near and far to see it. Some of those happy occasions feature towards the middle of the piece, inspired by the picture at the bottom of this page.
Performance Notes
Rievaulx can be performed by four or five players, depending upon whether or not Bells & Part One (see below) are doubled.
The piece begins with the ringing of the Compline bells. Compline was the early evening monastic service. Either tubular or Aluphone bells - or tuned handbells - can be used.
Seven bars into the A1 section, the bass instrument plays the first line of Te lucis ante terminum ('To You before the End of Day') - a famous Gregorian chant commonly sung at Compline. The upper instruments soon follow.
Other compositional features of the A1 section are parallel organum in fifths and octaves, and a Guillaume de Machaut chromatic perfect cadence.
The A2 section at the end concludes with my answering melody to the musical question posed by the traditional Te Lucis melody.
Each section is labelled on the score, in lieu of rehearsal marks, in order to help performers to see the structure.
I hope you will enjoy it!
|
'>
Saint Aelred of Rievaulx
|
Te lucis ante terminum ('To You Before the End of Day') is a famous Gregorian Compline Chant which would have been regularly sung in the evening, during the Abbey's heyday. The Bassoon/Bass Oboe commences the piece with this melody.
|
Saint Aelred with two Cistercian monks.
|
Double- & Single-Reed Performances
Featuring 4 & 5 players; Bass Oboe, not Bassoon
Featuring 4 & 5 players; Bass Oboe, not Bassoon
|
|
|
Premieres
Rievaulx - A Study in Memory, in Arch Form received its world premiere at the North York Moors Chamber Music Festival on 18 August 2021, performed by Eleanor Sullivan, Drake Gritton, Fergus McCready & Michael Sluman, who perform in the video above. They gave three additional UK performances in November 2021 at the Leeds & Leicester International Lunchtime Concert Series; and at the Brunel Museum, London. The London premiere was given by the Klosely Qvartet & Ben Quilter at the Old Royal Naval College Chapel, Greenwich, on 9 November 2021. The piece was also rehearsed at a UK double-reed chamber music course. In 2022, performances include a gala concert at Radley College Chapel in March 2022, featuring a mixed group of oboes & clarinets; the BC365 Concert at St Alfege Church, Greenwich, in June; and the USA premiere at the International Double Reed Society Conference on 27 July 2022.
The Klosely Kvartet - with Ben Quilter on Tubular Bells - rehearses at St. Alfege Church, Greenwich, on 30 June 2022. With Natacha Hansen, Soprano Sax; Louis Suc, Alto Sax; Steph Barker, Tenor; Lily Skinner, Baritone.
USA Premiere (27 July 2022): University of Colorado, Boulder with Hassan Anderson, Oboe; Rachel Becker, Oboe d'amore; Danny Cruz, Cor anglais; Sara Fruehe, Bassoon; Althea, Tubular Bells
The Klosely Kvartet - with Ben Quilter on Tubular Bells - rehearses at St. Alfege Church, Greenwich, on 30 June 2022. With Natacha Hansen, Soprano Sax; Louis Suc, Alto Sax; Steph Barker, Tenor; Lily Skinner, Baritone.
USA Premiere (27 July 2022): University of Colorado, Boulder with Hassan Anderson, Oboe; Rachel Becker, Oboe d'amore; Danny Cruz, Cor anglais; Sara Fruehe, Bassoon; Althea, Tubular Bells
PDF SCORE PURCHASE
|
Click on image, to purchase Double-reed First Edition (2021) in E minor from JEWM (£17.50)
6 parts + score: Ob, Ob II/Ob d'am; CA; Bass Ob/Bsn
|
Kindly send a message via the Contact Page, to purchase the PDF editions below:
Clarinet Second Edition (2025): £19.50 ~ Saxophone Second Edition (2025): £19.50
|
Rievaulx
A Study in Memory ~ In Arch Form
For Reed Quartet with Bells
Duration: 6'30"
A Study in Memory ~ In Arch Form
For Reed Quartet with Bells
Duration: 6'30"
Double-reeds: Score & 6 Parts (two instrumentation alternatives)
Clarinets: Score & 6 Parts (two instrumentation alternatives)
Saxophones: Score & 4 Parts
Clarinets: Score & 6 Parts (two instrumentation alternatives)
Saxophones: Score & 4 Parts
|
Bells ~ Sections A1 (bars 1-30) & A2 (bars 113-End)
Aluphone/Tubular Bells/tuned Handbells Can be doubled by the Part One player, who is tacet when the bells play Part One ~ Sections B, C & D (bars 36-106) Oboe I/Clarinet I/Sop. Sax Part Two Oboe d'amore or Oboe II/Clarinet II/Alto Saxophone Part Three Cor anglais/Clarinet III or Basset Horn/Tenor Saxophone Part Four Bassoon/Bass Oboe/Bass Clarinet/Bari Sax |
Mixing & Matching Instrument Families
Rievaulx will sound best played by one single-instrument family (i.e. all-double reeds, or all-clarinets, or all-saxes) with tubular or Aluphone bells. Double reeds & clarinets can certainly be mixed & matched if required, though, as both play in E minor. Both sets of scores & (six) parts need to be purchased, in order to mix and match double reeds & clarinets. The saxophones play in D minor - and so cannot be mixed in with the others, other than in a bespoke arrangement. Playing as a unified group also suits their greater volume. |
BELLS
The Bells
The Bell part should be performed as written on the score using either tubular bells, two Aluphone bells suspended on a percussion stand, or tuned handbells with clappers (B4 & E4, or A4 & D4).
The performer is either the woodwind player of Part One, or an additional percussionist who plays only the bells. This part is tacet from bars 31-105.
At the world premiere, the part was doubled. Eleanor played Oboe I & Aluphone bells.
At the London premiere, the part was divided. Ben played tubular bells, and Natacha played soprano saxophone.
In a recent sax quartet performance in London, Lily played soprano sax combined with tuned handbells A4 & D4.
IMPORTANT NOTE
Rievaulx should not be performed without any bells whatsoever, except in an unforeseen emergency (in which case the show must go on, of course). An untuned handbell introduction and postlude is the minimum requirement, suitable for situations where tuned bells are difficult to obtain.
The Bell part should be performed as written on the score using either tubular bells, two Aluphone bells suspended on a percussion stand, or tuned handbells with clappers (B4 & E4, or A4 & D4).
The performer is either the woodwind player of Part One, or an additional percussionist who plays only the bells. This part is tacet from bars 31-105.
At the world premiere, the part was doubled. Eleanor played Oboe I & Aluphone bells.
At the London premiere, the part was divided. Ben played tubular bells, and Natacha played soprano saxophone.
In a recent sax quartet performance in London, Lily played soprano sax combined with tuned handbells A4 & D4.
IMPORTANT NOTE
Rievaulx should not be performed without any bells whatsoever, except in an unforeseen emergency (in which case the show must go on, of course). An untuned handbell introduction and postlude is the minimum requirement, suitable for situations where tuned bells are difficult to obtain.
Which Bells to Buy...
If you plan to perform in an educational or professional environment with tubular bells (such as at a school, music centre, conservatoire or concert hall with orchestral percussion instruments for hire), use these, if possible! You can also ask a percussionist to play the tubular bells, instead of the Part One player, if desired.
If you lack regular access to tubular bells, expect to perform Rievaulx on several occasions on tour and have your own transport, I recommend purchasing the full Aluphone bell kit, or a pair of tuned handbells with clappers.
Please note that the cymbal boom stand is moderately heavy, so a car would be the best transport option - or a wheeled suitcase.
If you plan to perform in an educational or professional environment with tubular bells (such as at a school, music centre, conservatoire or concert hall with orchestral percussion instruments for hire), use these, if possible! You can also ask a percussionist to play the tubular bells, instead of the Part One player, if desired.
If you lack regular access to tubular bells, expect to perform Rievaulx on several occasions on tour and have your own transport, I recommend purchasing the full Aluphone bell kit, or a pair of tuned handbells with clappers.
Please note that the cymbal boom stand is moderately heavy, so a car would be the best transport option - or a wheeled suitcase.
|
Video demonstration: how to assemble the cymbal boom stand
|
Althea plays the FULL BELL PART on Aluphone bells E4 & B4 (tonic & dominant), affixed to a percussion stand, with soft cymbal mallets. Southern Percussion, Essex, UK. Cost: approx. £300.00 in 2021. File available for non-commercial use. Contact Althea, to discuss.
|
The Composer Revisits Rievaulx - May 2024
Ruins of Rievaulx Abbey: John Sell Cotman (1803)
|
Rievaulx Abbey: John Wootton (c. 1745)
|
Ruins of Rievaulx Abbey Nave: Roger Fenton (1854)
|
