A Musical End of Times

 

Goossens certainly isn't the first to do so.

Franz Schmidt composed his Book of the Seven Seals (BLOG), a favorite setting with many recordings to its name, and Louis Spohr's Die Letzten Dinge are among the most well-known traversals based on the Book of Revelations.

Sir Eugene Goossens' The Apocalypse is a tense musical affair, with occasional exultant flare-ups. Compared to the previously mentioned works, which allow for some lyrical ponderings, sometimes to their detriment, Goossens focuses on the hair-raising aspects, making for an exhausting musical experience.

The best part of The Apocalypse are the portions for double chorus, where the orchestra is usually a colorful undercurrent throughout. I won't say the composer makes the work easy on the listener, yet this is not tough music either, compared to, let's say, his Phantasy Concertos I just covered (BLOG). Goossens uses dissonance and resolution to his favor, homing in on the frightening vision of the Opening of the Seals of the Book of Destiny.

The orchestra is large, and provides Goossens with a wide, colorful palate, full of expanded strings, winds, brass, and percussion. The addition of pipe organ bolsters the many musical climaxes, plus a wind machine and an ensemble of recorders make an unusual impression.

There is also a cast of vocal soloists, the most frequent of which comes from New Zealand bass Grant Dickson in the role of St. John the Divine. This is where Goossens might lose some listeners, for all of the vocal solos are in the form of recitative, although the orchestra helps them from becoming too tiring, rambling, or repetitive.

Conductor Myer Fredman was no stranger to composition premieres, either in the UK or Australia. Here he wrangles the Sydney Symphony Orchestra and the Sydney Philharmonia Choir, alongside many supply chorus additions. Fredman pushes this music too, so there is little time to relax throughout its 80-minute runtime. Luckily, the Sydney performers do the work great justice.

This recording is live as well, so there is an exciting sense of occasion. Best yet, there is little extraneous noise from its live status, and Lyrita easily fits all of the music onto one CD.

I like The Apocalypse from Sir Eugene. Do I love it? Time will tell, although I doubt it will rise to the heights of Schmidt's oratorio mentioned earlier. Yet that one, at nearly two hours, has moments where the action, and its music flags; not so with Goossens.

 

Listen on YouTube

 

 

 

Works
The Apocalypse

Soloists
Narelle Tapping, mezzo-soprano
Lauris Elms, contralto
Ronald Dowd, tenor
Raymond McDonald, tenor
Gregory Yurisch, baritone
Grant Dickson, bass

Performers
Sydney Philharmonia Choir
Sydney Symphony Orchestra
Myer Fredman, conductor

Label: Lyrita
Year: 1984; 2018
Total Timing: 78.29

 

 

 

 

 

I am going to hold off on being over enthusiastic for Goossens' Apocalypse, yet this is a very fine performance to explore.

Maybe not essential listening, but quite an experience, and the music should provide satisfying listening for most listeners.

Plus for Oozy Keep adventurers, there will be much to mine here.

 

 

 

 

 

 

Find more Goossens recordings HERE!