User:Martin Emslie/sandbox

www.omegaandalpha.co.uk

Martin Emslie, FLCM was born in Lytham St Anne’s, Lancashire on 17th December 1955. He spent the first 24 years of his life in the area, being educated at King Edward’s VII Grammar School. He studied music at O and A level and learnt to play organ, piano, trumpet and guitar. Whilst a teenager he started playing church organs around the area but also played in pubs and clubs in Blackpool, playing for Frank Carson and Les Dawson among others. This eclectic musical background steeped him both in sacred music and music for entertainment.

The oratorio was submitted to the London College of Music for their consideration (2012). On the strength of this piece of music they decided to award Martin the rare accolade of a Fellowship.

Why was it Written?

Martin was looking for something for his choir (MD of the Castle Cary Choir) to sing at Easter. Looking at the things that were available for an amateur choir, which might not have a huge amount of resources, he realised there was not much out there. There are the standard pieces like Stainer’s Crucifixion but after choirs have sung these a few times they might want to try something a bit more contemporary. Omega & Alpha is a blend of sacred music and choral singing with a touch of musical theatre.

What is an Oratorio?

Oratorios are very specialised pieces of music form: there are no spoken words, it’s all sung, but it’s in a concert format so performers don’t have to worry about acting, movement, costumes or scenery. That makes it more of a challenge because you have to put the piece over purely by the music and singing, and the expressiveness of the soloists in particular. The lack of distractions for the eye means that you are working in sound alone. Choirs enjoy singing oratorios because it gives them a lot to do – they are very much part of putting the story over.

How was it Written?

The hardest part was putting the words together, to come up with a new take on the Easter Passion story. It has been put to music over the last four or five centuries. Martin Emslie set out to write something that would make the audience think a bit more, not to be contrary to any doctrine but to try to find a more human angle, perhaps open people’s minds a bit.

It took about two months to write the words using as many direct quotes as possible from the Bible. Then he wrote in some extra bits, which he felt were supportive of the words he was drawing on from the Bible. He then started writing the music, which he decided to do chronologically, starting with the Prologue and working through to the end. Writing the basic themes and basic harmonies took about six weeks. Then, of course, the real work started to turn it into a completed score.

Which Version of the Bible is Used?

Martin decided to use the King James I authorised version for two reasons. Firstly he was trying to get back to source. This was the earliest version he could get his hands on so it wasn’t coloured by the interpretations of subsequent translators. Secondly, the language that is used in this version has a flow and a lyrical quality which works beautifully in choral music. Why Omega & Alpha?

Omega & Alpha is a direct quote from the book of Revelations in the Bible, “I am the Alpha and the Omega, the beginning and the end”. When Martin started work on the piece he wondered exactly where to start and finish the story. He came to the conclusion that the start had to be the fulfilment of the Old Testament prophecy where it was said, “the Messiah will come into Jerusalem, riding on a colt.” This gave you Jesus coming into Jerusalem deliberately acting out the prophecy with a view to provoking the authorities. It was this moment where the whole story started to take place for the composer. It finishes with the resurrection, and the question is, ‘Was the end of Jesus’s life, the start of Christianity; hence Omega and Alpha.’

How was the Oratorio Received by the Music World?

Martin decided, right at the beginning, that he needed to have the support of both the academic music world, and the church. It was his hope that it would be performed around the country, and around the world, in the future and the most likely venues will be churches. If he didn’t get the support of the church, that would be a difficulty. So he submitted the work to the Bishop of Bath & Wells, who was been tremendously supportive from a liturgical viewpoint and agreed that it could have its premiere in Wells Cathedral.He also contacted the London College of Music, who were equally supportive and who invited him to submit it for a Fellowship (awarded September 2012). So both institutions seem to recognise it as a sensible piece of work.

About the Music

Martin Emslie tried to make the music enjoyable to listen to, so deliberately avoided modern musical styles. He uses a traditional style of harmony which is recognisable to those used to hearing sacred music, but equally he tried to give it a touch of musical theatre as well, as so much of his work has been for the stage not the church.

What Sized Orchestra does it Require?

The première at Wells Cathedral will use a choir of about 120 singers and an orchestra of 46, which is half a symphony orchestra. That is one of the versions of Omega & Alpha, but Martin Emslie also recognised that music societies and choirs (for whom this is primarily written) may not be in the financial position to use an orchestra – or indeed may not have a venue big enough to accommodate one. So he also wrote a version for organ, and another version for a small orchestra which might takes advantage of the flexibilities of electronic keyboards.

How Long Does the Work Take to Perform?

It takes approximately 75 minutes, for two reasons. Firstly, Martin wanted it to be performed without any intermission, he wanted it to run straight through. Also, if you are sitting on a church pew for longer than an hour and a quarter your mind starts to wander from the music! So he tried to be thoughtful to the audience.

Who are the Soloists for the Wells Performance?

Omega & Alpha has a requirement for three soloists. Firstly the mezzo-soprano, Marta Fontanals-Simmons will sing the female role. She is currently training in opera at the London Guildhall School of Music and has a truly beautiful voice. The bass-baritone part will be sung by Gerard Delrez, who has sung all over the world and does a lot of work with English National Opera. He brings huge experience to the part. And the tenor part, the role of Jesus, will be sung by Jonathan Ansell who has had a solo career for the last three or four years but prior to that he was the front man of the group G4 which was so successful in the first series of X-Factor (2004). He’s a very versatile singer and a rising star in the classical world.