Programme Notes for St. Cuthbert Suite - Sage Gateshead 2021

On Saturday 24th July the Sage Gateshead are premiering a newly orchestrated and expanded version of my composition the St. Cuthbert Suite. I’m immensely proud of this music and of all the performers involved. A huge thank you to everyone involved for making this happen.

Below are some programme notes that help explain the music a little and a little bit more about St. Cuthbert.

1.      St. Cuthbert’s Theme

In the opening we hear the Cuthbert theme played by solo violin. Set in E major this theme is developed throughout the suite and heard in various guises. 

2.      A Shepherd from Melrose

It is believed that Cuthbert was born in the vicinity of Melrose (in present-day Scotland) in 633. He guarded sheep on the hills above the abbey at Melrose. In this section the main theme is played by the woodwind, meanwhile echoes of the Cuthbert theme can be heard in the strings. The music here is tinged with a folk-like modal quality, and we hear the first improvised solo during this section from the flugelhorn and then electric piano. 

3.      A Vision

When he was about eighteen, Cuthbert had a vision of the soul being carried to heaven by angels. Here the music is much slower and uses rich harmonies reminiscent of Debussy and Ravel. In the improvised solos from the viola and guitar you can hear the influence of Duke Ellington.

4.      The Almost Unseen Prayers of Cuddy’s Duck

This opens with an improvised texture over a drone, as the viola and second violin imitate the call of the Eider Duck, also known as the ‘Cuddy Duck’. The text for this movement was created by members of Quay Voices in workshops with poet Carmen Marcus. This movement features performers from all the Sage youth ensembles together on stage. 

5.      The Indefatigable Evangelist

Cuthbert was initially master at Ripon Monastery, returning to Melrose after conflicts between those who adhered to the Celtic and Roman rites. He was sent to the Priory at Lindisfarne 

His reputation for devotion and sanctity, and the fact that he himself had been raised in the Celtic tradition and now supported Roman rule made his gentle leadership ideal for the job at hand. He spent a great deal of his time at Lindisfarne evangelizing among the people of the area, and exercising the tact and patience for which he was known to lead the conversion to Roman Christianity[1]

In this section the main theme is heard in the brass and saxophones. The underlying feel of this section regularly pivots between feeling in 6 and 12 with cross rhythms and syncopation throughout. There’s an improvised solo dialogue between two of trumpets before alto saxophone and guitar solos. This section builds to a climax with an improvised tenor saxophone solo over the final section, before a sudden ending to the music. 

6.       Solitude

In 676 Cuthbert was granted leave to retire to take up the simple life of a hermit. The music here is reflective. There’s a solo improvisation from the baritone sax and trombone. Following this, a developed version of the main theme is heard now performed by the trumpets and saxophones.

Just where Cuthbert chose for his retreat is uncertain. Some traditions say that the rocky islet of St Cuthbert's Island, near Lindisfarne, was the spot. Other traditions place him in St Cuthbert's Cave, near Howburn. In any case, he did not stay long, and soon moved to Farne Island, opposite Bamburgh, which was more remote.[2]

7.      Keeping Distance 

The final piece of Part 1 involves spoken word and singing from members of Quay Voices. The music in the piano here is based on the opening section of ‘Solitude’ creating a link between the text and the reflections by members of Quay Voices on life in lockdown with Cuthbert’s period of self-imposed isolation.

Part II 

8.      Cuddy’s Beads

This movement is performed by Folkestra and composed by Kathryn Tickell based on the theme from ‘Shepherd of Melrose’. The title refers to bead-like fossils that are washed out onto the beach and in medieval Northumberland were strung together as necklaces or rosaries, and became associated with St Cuthbert.

9.      Many Miracles

There were many miracles associated with Cuthbert following his death. This section begins with an improvised texture using shakers and percussion instruments created by the young musicians. The music in the main theme modulates frequently and passes through several keys.  There’s an improvised solo from the flugelhorn.

10.   The Death of Cuthbert

Cuthbert died on March 20, 687 and was buried on Lindisfarne. In this section we hear a re-working of the Cuthbert Theme intermingled with the music from ‘A Vision’. 

11.   The Vikings 

Cuthbert’s story wouldn’t be complete without some telling of what happened to his body after his death.  In 875, Lindisfarne Monastery was raided by the Vikings. This section begins with a very slow and ominous line in the bass, bassoon and baritone sax. It builds in tempo and intensity and climaxes with an aggressive freely improvised solo from the tenor sax and drums. 

12.   Seven Years Wandering

The Monks were alarmed by the the Danish invasions and so fled from Lindisfarne with their treasured possessions (including the Lindisfarne Gospels). They wandered for a full 7 years! The music itself references this in that it uses 7/4 and 7/8 time signature. The main melodic material references the minor third interval first hear in the Cuthbert theme. 

13.   The Wonder Worker of Britain 

This title was given to Cuthbert following his death. 

In 698, Cuthbert's tomb on Lindisfarne was reopened and it was discovered that his body had not decomposed in any way. His tomb quickly became a magnet for pilgrims.  Miracles reported at his grave became so numerous that Cuthbert was called the ‘Wonder-worker of England’. As a result of these miraculous occurrences, he was canonized as a saint.[3]

The music in this section is a reworked version of the St. Cuthbert Theme reminiscent of the music of Olivier Messiaen. 

14.   Dunholme

Cuthbert’s final resting place was at Durham, or Dunholme as it was called. The music in this final section is largely Aleatoric (involving chance procedures – in this case specific motifs played at choice by the members of the ensemble) and is descriptive of the bird song and bells you can hear on the river banks of Durham. 

[1] https://www.durhamworldheritagesite.com/history/st-cuthbert/life

[2] https://www.durhamworldheritagesite.com/history/st-cuthbert/life

[3] https://www.durhamworldheritagesite.com/history/st-cuthbert/body