Indeed, I have read opinions offered by some of our most credible experts, that he is rapidly becoming one of the leading composers in this country. Mr. Wilcher is, in his vocal works, very much of a miniaturist, expressing himself within a minute or two in most instances, so that, with whatever he needs to say, he has to make his point very rapidly, which, in less gifted hands couldbe potentially dangerous.
In the first song, BEGINNINGS, written for spoken word, with 'cello and piano accompaniment, Mr.Wilcher has expressed himself eloquently with his own poem, which, to my mind, is reminiscent of the writings of the seventeenth century mystical poet Thomas Traherne, (1637 - 1673). This work provides an equal partnership for all three performers, with three sections, of a stanza each, for the speaker. The 'cello part is lyrical, and not difficult musically, leaving much scope for the player's interpretive powers. This, however, is offset by the piano part which, although fairly innocuous in the first section, written for both hands in the bass clef, looks quite frightening in the second short movement, with both hands in the treble. However, practice will be rewarded with dexterity in playing this section, and no musician should attempt anything without lots of practice, anyway!
For me, the most interesting aspect of this miniature is that it is for the SPOKEN word. Not parlando, which is usually spoken in the rhythm of the instrumental line, but spoken as pure poetry in block form. This condences the poetry beautifully, and also makes it possible for singers who are also effective speakers (and all singers should be,) to perform this work. Singers and speakers with imagination and poetry in their souls will welcome this addition to the repertoire.
STRINGS IN THE EARTH AND AIR, a poem by James Joyce, is set by Phillip Wilcher, for medium voice, violin and 'cello. I find this short work interesting in that it is set, extremely positively, in A major, with an opening statement, consisting of an ascending scale of A by the 'cello, taken up by the voice, then repeated by the violin, before each instrument, and the voice, take up respective statements of their own, returning, at the end, with the ascending scale by the violin, finally by the 'cello, whence it came, but raised by an octave. Now, if this seems a radical deparure from the norm, the answer lies in the words.
The regular readers of this magazine will know, by now, that Phillip Wilcher has a great affinity with poetry; setting quite a number of James Joyce's poems, which I have reviewed in earlier issues. He has set the sentiment of Joyce's poem very well indeed. It begins "Strings in the earth and air make music sweet. Strings by the river where the willows meet" and ends "With heads to the music bent, and fingers straying upon an instrument" I think that this very well sums up Mr. Wilcher's treatment of this song.
The words of NATIVITY were written by the Australian poet James McAuley, and set by Phillip Wilcher for medium voice, violin and piano. Mr. Wilcher's vocal writing is not complicated, is tuneful, and he does not try to be "clever" in the way in which many young composers do, in order to make a point. His writing is sweet and utterly sincere. The feeling of this song, in all parts, is rhapsodic and mellow. Well suited to the medium voice, it should not prove difficult for any good singer to interpret the poet's intentions, which is really all a composer of art songs and ballads try to do.
I would recommend this song to any teacher who has access to a violinist in the studio. This, as well as the 'cello songs etc. could form part of a very interesting recital program, and would be an adventure in ensemble work for an ambitious student, as well as for a professional singer.
Some of the most outspoken and influential poems and statements ever made concerning the cruelty, savagery, futility and human waste of war, and compassion for its victims, were written by Lieutenant Wilfred Owen, M.C. killed, at the age of twenty-five, exactly one week before armistice, on the 4th of November, 1918.
One of the opening statemnets of his writings read "my subject is war, and the pity of war." Anyone who has been in conflict will know how true and how powerful his poetry is. One of his most dreadful and powerful poems is the ANTHEM FOR DOOMED YOUTH, notably set by Benjamin Britten in the first movement of his towering WAR REQUIEM. This setting, by Phillip Wilcher, for voice, 'cello and piano, reflects this savagery, combined with a sensitivity for the victims, in this case soldiers on all sides of the conflict. Opening pesante, with heavy chords on the piano, the voice moves, almost in speech rhythm, in quavers, semiquavers and triplets, against an almost calm emotional counterpoint in the 'cello.
For anyone who knows and has sung the WAR REQUIEM this makes a very interesting comparison, and, unlike the Britten setting, can be performed in its own right. This would make a useful addition to the repertoire for ANZAC or Armistice Day music, which is scarce at any time.
THE LAND OF LOST CONTENT is one of the poems of A.E.Housman's cycle A SHROPSHIRE LAD, sixty-three poems reflecting the life of a sad, melancholy and sometimes bitter young man in the Welsh border country. The poems, although first published in 1896, strangely prophesy the conflict of 1914 - 1918, and it is difficult to read them without being aware of Mons, Ypres, Flanders and other appalling fields of war.
The other aspect of these poems, however, recalls life in the border countries overlocked by Wenlock Edge. This setting of THE LAND OF LOST CONTENT brings back memories to me of sitting on Wenlock Edge, recalling the music of Vaughan-Williams, George Butterworth, Gerald Finzi, Ivor Gurney and others. Phillip Wilcher is in good company here, although it has to be said that Housman was totally antipathetic to anyone setting his words to music, especially the settings by Vaughan-Williams.
Mr. Wilcher's opening speed is allegro agitato, in the piano. This effectively suggests the breeze blowing in the trees, hundreds of feet below the edge. However, when the voice enters, there is a lovely legato which contrasts well with the accompaniment. So this gentle song meanders its way to a quiet conclusion. Once more, a song for medium voice, not difficult, either musically or vocally, but well crafted, and, once again, conveying its message and then ending. What more needs to be said?
Mr. Wilcher has also set Housman's ON THE IDLE HILL OF SUMMER, from THE SHROPSHIRE LAD, one of the poems which uncannily prophesy the first world war. The mood and rhythm are Marche Funebre in common time, but heavily set with triplets, which suggests a steady drum beat for weary soldiers. The piano part also carries a discreet but definite bugle call.
This piece, for me at any rate, is not just a song, but a duet for piano and voice. There is a new strength in Mr. Wilcher's music, which is quite clear in this work, with the piano part more extended than is usual for one of Mr. Wilcher's songs. This is well written for medium to high voice, and it is rewarding to sing. I know, because I have sung it. Warmly recommended.
Henry Howell
Review source: Music Teacher Magazine Vol. 10 No. 2
