Carol for soprano solo and SATB chorus a cappella, with divisions. Text by James, John and Robert Wedderburn (16th cent.)forces: SATB Choir, Soprano
published by: Oxford University Press
A video of Voces8 performing Balulalow at the Gresham Centre in London can be viewed here: https://www.youtube.com/watch?v=uRu8ZUa5vBk
An article on Balulalow appears on the blog of fellow composer and academic Dr Phillip Cooke: https://www.phillipcooke.com/blog/2016-2/on-francis-potts-balulalow/
Inspection pages and a link to this piece on Spotify can be found in OUP’s Francis Pott choral sampler:
Written in March 2009, this setting was dedicated to Judy Martin and the Choir of Christ Church Cathedral, Dublin, where for some years I seemed to be a sort of unofficial composer-in-residence. The strophic arrangement of the text is preserved in the music, with a gentle first verse for chorus succeeded by a second in which a soprano soloist spins a more passionate line above a free variation of what has already been heard. The second verse also features division of the chorus parts to create a richer texture, but the setting returns ultimately to the hushed E flat major from which it arose. Balulalow was published by Oxford University Press in 2010. It was first recorded by Commotio under the direction of Matthew Berry, with Grace Davidson, soprano, for the Naxos CD In the Heart of Things (8.572739) released in 2012. A second recording was made in 2013 by Paul McCreesh, Emma Walshe (soprano solo) and the Gabrieli Consort on the Signum label (‘Incarnation’, SIGCD 346). With my blessing, the Signum recording transposed the setting up a semitone for purposes of accommodating it within an unfolding sequence of related tonalities. Four further recordings have followed. For promotional purposes a yet further performance of Balulalow was recorded for Oxford University Press by The Oxford Choir under Christopher Robinson (producer: John Rutter). A sound clip of this may be heard on the website of the soprano soloist, Kirsty Hopkins. In 2018 the Finnish violinist Teppo Ali-Mattila, a member of the Helsinki Philharmonic Orchestra, requested permission to make an arrangement of Balulalow for 6 solo cellos. This was given, and the arrangement has been approved by Oxford University Press, publishers of the original choral version. Further developments will be reported here.
Stephen Pritchard, The Observer, Sunday 12 February 2012: Pott is one of today’s most interesting choral composers, managing to make challenging, intricate music instantly accessible. Even on a cold, snowy night he can draw a crowd. Combine his work with the vocal dexterity of Commotio, one of our finest young choirs, and you know you can expect a programme of rare quality. Conductor Matthew Berry’s perfectly balanced ensemble has something that many choirs strive for but few achieve: the ability to sing quietly without losing pitch or tempo, most beautifully realised in Pott’s Lament, written last year as a tribute to Staff Sergeant Olaf Schmid, killed in Helmand in 2009 while defusing a bomb. Setting the sorrowful but consolatory words of Wilfrid Wilson Gibson (“We who are left, how shall we look again/Happily on the sun or feel the rain”), it is graceful, dignified and heartbreaking. Commotio lapped up Pott’s polyphonic Mass for Eight Parts, sailing through the tricky counterpoint of the Kyrie before savouring the thick textures of the Sanctus and its ecstatic, concluding Osanna.
Nicola Lisle, Oxford Times, February 2012: Commotio’s latest recording — their fourth — is, quite simply, stunning. Pott’s sublime Mass for Eight Parts forms the framework for the CD, from the quietly compelling opening of the Kyrie Eleison, with its intricate texturing, to the heartfelt Gloria in Excelsis Deo, and the poignant Agnus Dei. This is an inspiring work. …Interspersed between the movements of the Mass is a selection of Pott’s other works, all handled with sensitivity and sincerity. The heartbreakingly beautiful Lament, a setting of Wilfrid Wilson Gibson’s poem We who are left…, is a moving plea to remember the dead, written in memory of an Afghan war hero. In contrast, Ubi caritas is both joyous and contemplative. Listening to this CD is an unforgettable experience, and it is worthy of a place on any music-lover’s shelf.
John Quinn, Musicweb International, 2012: The Mass is a most interesting and important work. …Pott’s debt to the masters of sixteenth-century polyphony is clear and readily acknowledged; indeed, he has eagerly built on the foundations laid by Tallis and Byrd in particular and has a deep respect for that tradition. The Mass was shortlisted for the choral category of the 2011 British Composer Awards and surely merited that recognition. It strikes me as a fine and moving work and I hope it will be taken up by others through the exposure it gets from this excellent first recording. …The short pieces are equally fine. Ubi caritas… inhabits the same rarefied space as Maurice Duruflé’s exquisite setting of the same words – I can think of no higher compliment than that. This is a most distinguished disc. Francis Pott is a significant composer and his choral music is consistently rewarding. Collectors who are already familiar with his music will certainly want to hear this disc, especially for the chance to experience his new Mass setting. The disc offers an excellent opportunity for others to whom Pott’s music may be new to sample it for themselves. Thereafter, I would recommend newcomers make further exploration through the Dublin Cathedral disc before tackling the magnificent The Cloud of Unknowing. Anyone thinking of acquiring this disc can be assured that it is a significant addition to the Naxos catalogue.
Malcolm Riley, Gramophone, February 2012: This important new release of a cappella music by Francis Pott draws its title from the final line of Wilfrid Gibson’s poem Lament. It captures that aching sense of loss which threads through much of this music. This should not imply a lack of joy or exultation – as a supreme choral polyphonist Pott can build up an agitated climax with the best of them – but it is those melting moments of repose which are especially telling and memorable. …With a duration of over 40 minutes, the Mass reveals all of Pott’s harmonic fingerprints: pivoting chords anchored to false-relation pedal points, rigorous, rolling counterpoint worthy of the Tudor polyphonists and masters such as Rubbra, wrapped up in satisfyingly strenuous textures. For the most part this is demanding music, for both the performer and the listener, not superficial. Those patches of languid repose such as in the Benedictus and the intimacy of Balulalow are deeply moving. …A powerful disc of important music.
Philip Sommerich, Classical Music, February 2012: Pott gets marks for courage in seeking to fuse English Renaissance polyphonic structure with 21st-century harmonies. The result is distinctive rather than derivative. The interpolated smaller-scale works contrast well, particularly the swirling Lament.
Robert R. Reilly, Crisis Magazine – journal for the Catholic Laity [USA], August 2012: [Included under the heading Listen, and Take Heart: Music that Shines through the Darkness:] …Before we leave Great Britain, I must say something about the music of Francis Pott (b. 1957), compiled in a new Naxos CD (8.572739). Of Thomas Tallis’s sixteenth-century contrapuntal masterpiece, Spem in Alium, Pott writes, ‘the surface effect unashamedly seeks to capture and bottle eternity, mastering literal time to become spiritually timeless’. This is what he achieves in these precious pieces. …So long as there are composers such as Pott, all is not lost. And you thought Western civilization was over? Listen, and take heart.
Christian Stobbs, New Directions, June 2012: The music itself is glorious. And, most pleasingly, does not – in the cliché sense – try to be too contemporary. As a chorister at New College and regular fixture of the Winchester Cathedral choir during the Nineties, Pott reveals an innate understanding of the sound world we are all so familiar with. …The Mass for eight parts …is a work rich in colour and harmonic language. This is a setting that we can only hope becomes as established as [the Masses by] Martin and Vaughan Williams.…[Commotio] should be lauded for championing such a fine contemporary composer. Indeed, the excellent singing certainly does justice to Francis Pott, whose Mass, in particular, is a welcome addition to the choral repertory. The main work on this disc is the Mass for eight parts…There is the same sense of continuity with the old Tudor masters and the sheer delight in the interweaving of vocal lines. The singers convey the appropriate other-worldly sound without any sense of strain or effort.
Paul Corfield Godfrey, Musicweb International, April 2012: Pott certainly believes in challenging his predecessors; three of the settings on this disc come into direct competition with well-established pieces by Britten. His Balulalow comes into competition not just with Britten but with Warlock’s beautiful setting; all three use solo voices in conjunction with the choir. Grace Davidson here takes the palm for sheer beauty of voice which convinces one that this setting is fully the equal of its predecessors. In I sing of a maiden Pott actually surpasses Britten in the aptness of his response to the text.
Choir of York Minster / Robert Sharpe
Regent REGCD 467 x 2015
Exultate Singers / Keogh Connelly, soprano solo / David Ogden
Acis EXUCD 004 x 2015
Commotio / Grace Davidson, soprano solo / Matthew Berry
Naxos Naxos 8.572739 x 2012
Gabrieli Consort / Emma Walshe, soprano / Paul McCreesh
Signum SIGCD 346 x 2013
Choir of New College, Oxford / Robert Quinney
Novum NCR 1390 x 2016