Completed in 2026, this work originates from a 1977 collaboration on a song cycle of five poems, Moments, for baritone and piano. Setting lyrics by John Barber it was later transcribed for mezzo-soprano and piano;  both versions are published by UMP (2020). The poems celebrated significant moments and places in England and France at the start of a relationship. Forty-nine years later it was decided to follow up with another collaboration, this time from the standpoint of John’s consequent long and happy marriage – albeit with some sad experiences that life inevitably dispenses.

The result was Reflections – five epigrammatic experiences including, tragically, the loss of two young granddaughters, Lily Bea and Esther.  It was decided to use a narrator for the poignant lyrics, with an accompaniment of two pianos and two percussionists. The instrumentation, style and use of a narrator follow on from another recent work …a plague o’ your houses (UMP 2021). However, Reflections commemorates a near-half century with thematic reference to several of the movements from Moments, where some songs are unified by water imagery.

The opening movement, North Cornwall, recalls an invigorating coastal walk with the music evoking the rugged landscape and stormy weather conditions. The eccentric poet and priest Robert Hawker (1803-1875) was ordained in 1831, and served as vicar of Morwenstow in North Cornwall, UK from 1834 until his death.  Perhaps best known as the author of ‘The Song of the Western Men’ (1825) he is also remembered for his ‘sermons’ – biblical commentaries and daily devotionals. A path from the village church leads down to the cliff edge where ‘Hawker’s Hut’ (National Trust) is built into the cliff from driftwood. Here Hawker spent much time in contemplation, writing poetry and ‘sermons’ whilst smoking his opium pipe.

In Lily Bea, a borrowed musical quote is used –  from Ravel’s Pavane pour une infante défunte (1899) – which is flexibly referenced on glockenspiel. Sparse scoring, with a slow dirge for the pianos and iconic repeated chords, attempts to convey the tragic loss.

In Second Movement the poet proudly remembers attending an orchestral concert where his younger daughter was principal horn in a performance of Tchaikovsky’s 5^th Symphony (1888). Fragments of the exposed horn solo are alluded to numerous times surrounded by somewhat nervous free counterpoint – until the coda where the Tchaikovsky horn melody is fitted against ‘water’ music from Moments.

The movement entitled Esther is in similar mood to Lily Bea, once again attempting to convey something of the overwhelming loss of a grandchild. This time brittle motifs on temple blocks are echoed softly by the timpani with sparing use of the desolate ‘bereavement chords’ heard earlier.

In the finale, St Cuthbert’s Way, the poet recalls a fifty-mile walk with his elder daughter. Opened in 1996, the entire trail  links Melrose Abbey in the Scottish Borders with Lindisfarne off the Northumberland coast in England. It is named after the 7^th century saint, a native of the borders, who spent his life in the service of the church. Opening with the impression of tired footsteps the work ends triumphantly, portraying both a huge physical achievement alongside the fulfilment of happy family life. The mood becomes increasingly optimistic (again drawing on Moments) yet ends quietly with a final reminder of the ‘bereavement chord’ – recalling a grief that can never be forgotten.

Duration:   c. 11 minutes

PERFORMANCE DIRECTIONS:

Ideally Reflections should be directed by a competent conductor to ensure precision throughout.

Arrows are used to indicate precisely where the Narrator should speak. The accompaniment has been timed to allow this to fit exactly. Where a closing arrow has been used the narrator should not over-run; but where a closing arrow is omitted the time constraint is less crucial.

Each narrated lyric should be clear and not rushed;  intensity should be judged by the prevailing dynamic level and emotional content. The final line of each poem provides coherence to the set and should be characterised poignantly.

Percussion 1:  timpani (3), mark tree, xylophone and temple blocks (3)

Percussion 2:  bass drum, temple blocks, glockenspiel and xylophone.