Following the huge success of the SAF Young Composers Competition within Edinburgh last year, this event was the climax to a competition that reached to all of Scotland: to set one or two texts to music, as entirely fresh compositions.
Two opening anthems, both unaccompanied, and both by Dame Judith Weir, opened the performance. Of particular note in the second were the controlled alleluias at the beginning, swelling to a truly joyful climax of adoration and praise.
And so we were set: Prof Gordon Graham, Chair of the SAF, said that this event was – in many ways – the highlight of his week and year.
We then heard three pieces which were ranked as ‘highly commended. Two of these had actually been written by the same composer – Alexander McNamee – though this would have been unknown to the judges, the identities of the composers only being revealed after the final decisions were made.
Dame Judith Weir said she could have had no idea that these two works came from the same person, with each being so different in character. But she went on to say how thrilled she was that the SAF fills such an important gap – in amongst the many posters and fliers thrust into our hands in the streets, here was a real opportunity for the sacred and the arts to really make their impact. It was an opportunity for the composers to explore sometimes complex texts, and yet to set them with such astonishing delicacy and elegance.
Michael Chamberlain was awarded third prize, particularly for the prominent role he gave to the organ – Dame Judith reminded us that we shouldn’t underestimate the colour and drama that this wonderful instrument can add to our music.
Zoe Watkin’s rendering of Anne Bronte’s Poem ‘The Doubter’s Prayer’ was splendid – so dramatic, but imbued with such intensity – expressing something of the pain and anguish that can so often come as we engage with spiritual questions and angst.
The very worthy winner was Jonathan Love – in his adaptation of ‘An Art of Poetry’. It began by almost arising out of nothing, introduced by breaths and vocals. Not until well into the piece did we hear the name of Christ spoken, before the piece resolved into something almost like a lovely hymn, but done with exceptional originality and flair.
This was a remarkable performance – not only for its musical content, but all that it stood for, and the vision for music it enshrined.
The event finished at 2.15pm.
Composing Sacred Music – ‘The Next Generation’, Thursday 15th August, Canongate Kirk