“O What Evil is War”
Music of War and Peace in 17th century Germany
VOICES & INSTRUMENTS
Tutor: Gawain Glenton
Fulwood Methodist Church, Preston
Reviewer: Gwenda Meredith
Today’s workshop was another of the very fine events that the modest organisers of NWEMF do so well to ensure that that the day is an inspiring experience of singing and playing early music under top professional tutors.
With Gawain Glenton today, not only did we get a great programme of 17th German music to work at and perform, but a deep historical context that Gawain informed us of so colourfully. The tolerance of religious practice, earlier endorsed in the mid16th century was scuppered by Ferdinand 11 in Bohemia, so for example one of our composers studied today, Hammerschmidt, had to flee to Saxony to survive. Then in 1648 the Peace of Westphalia, some of which enlightened text Gawain quoted, showed how a peaceful treaty was drawn up of a vision to shape a religiously tolerant, peaceful modern Europe after so much strife and war. It was wryly commented that these principles would be a very welcome revision today in our contemporary politics!
The venue was a spacious comfortable Methodist church, easy to locate after excellent directions. Eating lunch outside as some of us did, we could admire the small architectural details as the terracotta air-vents with their design of five slender lancets in slim mouldings. The generous refreshments inside for our breaks were very welcome back inside. My resolve not to eat biscuits was unsuccessful.
But it was the gorgeous music of Melchior Franck, Sigmund Theophil Staden, Andreas Hammerschmidt, Andreas Berger, Michael Praetorius and Heinrich Schutz that took centre stage.
These composers’ works deserve much more performance and are so little known here in Britain. There is such a wealth of music to be explored that was played in domestic as well as court and church settings that Gawain outlined, and although more familiar to European audiences for performance, we are fortunate to have dedicated NWEMF events to learn and perform more of this rich treasure of early music such as the 17th century German music coming out of such a deeply troubled period of history.
Gawain took us beneath the notes and surface of the text to express the emotional meaning of the music today. Memorably in the Heinrich Schutz, “Ach Herr, straf mich nicht” piece for 8 parts; The text” – all my enemies be confounded – has to be articulated in rattling semiquavers in contrast to the word painting “Ich bin Mude” – I am weary – with the appropriate rhythm This was stressed by Gawain who implored in his facial gurn to will us on to play and sing mindfully the different moods of this great music. The misery of war and suffering as well as eventual grateful joy was so prescient in our repertoire today coming to life under Gawain’s light mindful energetic direction.
Many thanks for a superbly organised workshop event and immense gratitude to the quiet hard work behind the scenes by those who know who they are, for members as myself of NWEMF to enjoy such a wonderful day of early German Music.
First published in June 2024 Newsletter
