SCOTT WHEELER (b. 1952)Serenata (1993)

This chapter discusses Scott Wheeler’s Serenata. Originally scored for tenor and guitar, this is a highly accessible, exceptionally attractive cycle of five songs. Here Wheeler sets these fine poems with exemplary care, believing that if the text was treated meticulously, the expression would take care of itself. Wheeler now admits to having moved on from this stance, obeying a personal inclination towards romanticism, and a need to give rein to spontaneous emotion. The result, however, is a thoroughly expert, vivid piece of vocal writing, which gives the singer every chance to display their technical and interpretative talents. Wheeler allows the voice to warm up gradually through the cycle; the highest and most demanding phrases occur in the last two songs.

IGOR STRAVINSKY (1882–1971)The Owl and the Pussy-Cat (1966)

This chapter studies Igor Stravinsky's final work, The Owl and the Pussy-Cat. With typical sly relish, Stravinsky seems to be mocking any pomposity in his admirers, confounding everyone by leaving the stage with a brief, light-hearted coda to his cherished large-scale achievements. This well-loved nonsense verse by Edward Lear was the first poem his wife Vera got to know, and the piece is dedicated to her. This chapter reveals that the song has a strong connection between English and Russian schools of absurdist humour. To add to the fun, Stravinsky even here adheres to a strict twelve-tone system, affectionately lampooning the method he favoured for his last works.

MALCOLM SINGER (b. 1953)i am a little church (1976)

This chapter discusses minimalism through the work of Malcolm Singer. Here he manipulates his numerically based systems with expertise and elan. The quirky originality and innately musical rhythms of e. e. cummings’s poetry is captured quite beautifully. The work’s tessitura is not high, but dynamics are often very light, hence the stipulation (on the score) for soprano. Absolute clarity and precision are essential, and there is no room whatever for rhythmic hesitancy or insecurity. Highly repetitive phrases in a similar pitch area (especially around E at the top of the stave) can become quite tiring vocally, and there is a real danger of seizing up through neglecting to relax throat, neck, and jaw muscles when preoccupied with counting tricky rhythms.

RHIAN SAMUEL (b. 1944)The Hare in the Moon (1977)

This chapter considers the mini-cantata, The Hare in the Moon, by Rhian Samuel. This work skilfully bridges the gap between Eastern and Western styles. Plain parlando writing is contrasted by a rich array of neo-baroque runs and melismas, and a dazzling variety of rhythmic patterns. The narration, which constitutes over half the piece, is propelled by sections of fast-moving, non-notated speech. The singer has to assume the characters of a fox, a monkey, and a hare, as well as a god disguised as an old man. Devices such as glissandos add to the fun. In contrast, ‘Threnody’ and ‘Envoi’ are arias in miniature: the first a virtuoso display piece, and the second, a tender reflection.

GEORGE ROCHBERG (1918–2005)Fantasies (1971)

This chapter examines George Rochberg’s Fantasies, written as a present for his wife on their thirtieth wedding anniversary. A set of four haiku-like miniatures for medium voice and piano, Fantasies makes an ideal introduction to a modernist vocal idiom for those who have yet to lose their inhibitions and plunge into new territory. A flexible mezzo would perhaps be best suited to the diverse range of styles packed into such a small frame. Clear projection is essential, in view of the economy of the vocal writing, and a certain forthright strength, as well as a poised lightness. There are just a few moments of Sprechstimme, whispered as well as spoken, and a couple of long, arching melismas, which require considerable breath control. In contrast, speech rhythms are also deftly employed. It is the pianist, however, who has the lion's share in shaping the narrative and illustrating the texts, in a most satisfying part, full of wit and humour, and incorporating some challenging figurations.

JULIAN PHILIPS (b. 1969)An Amherst Bestiary (1997)

This chapter studies a series of vignettes by Julian Philips, based on the poems of Emily Dickinson. This format allows the performers to concoct their own groups, ‘mixing and matching’ according to personal taste, and adapting them to fit different occasions and contexts. Ever-practical, he gives suggestions for viable selections lasting three, five, or seven minutes. For a more substantial concert item, he recommends framing groups with the ‘Prelude’ (for solo piano), ‘Foreword’, and ‘Afterword’. Here, the vividness of Dickinson’s verses is matched by music of captivating brio and sensitivity, with settings that go from infectious energy to poignant simplicity. Only three pieces last over two minutes, and the shortest, ‘The Robin’, is a peppy forty seconds.

THEA MUSGRAVE (b. 1928)A Suite o’Bairnsangs (1953)

This chapter discusses Thea Musgrave's settings of nursery rhymes from her native Scotland. The poems are aptly projected, in music of an approachable style, with some rhythmic quirks, all in an unmistakeably Scottish vein. A young and relatively inexperienced singer will feel happy and comfortable performing them, and should relish the challenge of enunciating the dialect words. For the faint-hearted, however, the author has made a straight English translation, but this could perhaps diminish the bracing effect of the piece. The composer has set the Scottish words meticulously, so some of the translations do not roll off quite so easily in the voice. Moreover, a light, clear tone is appropriate for the infectious, dancing lines, and there is plenty of contrast in mood and tempo, making it a beautifully balanced item for a recital.

JAMES MacMILLAN (b. 1959)Three Scottish Songs (1991–1995)

This chapter explores the work of James MacMillan. It examines a brief cycle, which demonstrates his ability to scale down and simplify his style without lowering his standards or resorting to pastiche. Seemingly naïve, strophic settings have an appealing freshness here, bearing the stamp of someone with an innate understanding of the practicalities and subtler natural nuances of the voice. The piano writing, too, is arresting, and musical ideas are deployed with economy and skill. Although the three songs were written for different occasions—the first was originally for voice and ensemble—they work extremely well as a sequence, since the endings of the first and second settings imply a continuity, proceeding attacca into the next.

JOHN McCABE (1939–2015)Requiem Sequence (1971)

This chapter explores John McCabe’s Requiem Sequence. This work, by one of Britain's most masterly composer-pianists, was written in memory of conductor Sir John Barbirolli (1899–1970) and composer Alan Rawsthorne (1905–71). It is simple in structure and highly practical to perform—an invaluable addition to the soprano recital repertoire, and also eminently suitable for a church setting. As would be expected, the keyboard writing is especially striking and idiomatic. The vocal tessitura concentrates on the upper middle range, which could expose any vulnerability in tuning or security of line, but could also serve as a useful exercise in preserving legato between registers.

IRVING FINE (1914–1962)Mutability (1952)

This chapter describes Irving Fine’s Mutability. This cycle is distinctive and powerful, with striking musical and verbal images. The musical style can be described as neoclassical with elements of serialism, yet there is great flexibility and variety within the strict compositional procedures. The singer will need to command a wide range of colours and dynamics, as well as rapid articulation. A high standard of musicianship is also expected, especially for pitching some difficult intervals. A voice with a cutting edge will sound well here. Darker, fuller tones, verging on a contralto-like quality, will enhance lower-lying passages. However, the singer must always be able to move around nimbly, producing a clear tone over the whole range. The pianist will also have a good time getting to grips with an exciting part.