It is remarkable to think that a work of the stature of Herbert Howells' Hymnus Paradisi, described in the Proms programme notes as having 'raised the perception of him as a major voice in British music', should only receive its Proms premiere in the 2012 season. The oversight does not reflect particularly well on previous directors, but its restoration, in a similar vein to last year's Gothic Symphony of Havergal Brian, adds a feather in the cap of current Proms director Roger Wright. Not only that, it uncannily reflects the work's performance history.
So personal was the work to the composer that it did not see the light of day from the year of completion, 1938, until 1950, when Vaughan Williams insisted it should be performed at the Three Choirs Festival in Gloucester Cathedral. The reason for this delay, apart from Howells' reluctance to see his work performed in any sphere for fear of negative criticism, was its standing as a memorial to his son Michael, who tragically died of polio aged nine. The composer's words, recorded in Christopher Palmer's short biography, put the work in perspective. "The sudden loss in 1935 of an only son, a loss essentially profound, and, in its very nature, beyond argument, might naturally impel a composer, after a time, to seek release and consolation in language and terms most personal to him. Music may well have power beyond any other medium to offer that release and comfort. It did so in my case, and became a personal, private document."
With this in mind the performance, coming as it did after a number of tragic infant deaths in the UK recently, felt incredibly close to home. It helped, too, that the combined forces of the BBC Symphony Chorus and the London Philharmonic Choir – about 230 singers in all – were incredibly well drilled in their performance, marshalled by British music specialist Martyn Brabbins, who also conducted the Gothic last year.
The text is a hybrid of the composer's choosing, using parts of the Requiem at start and finish but including psalms and poems that take light as their central theme. The impact was clearly heard and felt, for the composer's response is extremely personal and emotionally direct. Howells uses modal harmonies in a way that reminds the listener of Vaughan Williams and Ravel, but which remains individual and subtly inventive.
Complementing this is his orchestration. Howells uses the organ but at no point does it dominate, instead supporting the overall sound, often underpinning with wonderfully sonorous bass note foundations. The last of these notes, with which the piece ends, is a low 'E flat', which in this performance had the effect of blowing a calming breeze across the auditorium. Before this the music seemed to be floating above the ground, thanks to the composer's skilful manipulation of his vocal lines, and while we could not fully hear the soloists, Miah Persson and Andrew Kennedy having to battle against the huge choral forces in an unhelpful acoustic, the effect of this writing was still pertinent.
The biggest compliment that can be paid to Howells is that the audience fell silent for a full 30 seconds when the music had finished – proof that the music and its keenly felt emotion had made an incredibly powerful impact. With that in mind it is surely time to reappraise the composer's output and program his music – orchestral, chamber, vocal or otherwise – more frequently.
After the interval Brabbins conducted an enthusiastic performance of Elgar's Symphony no.1, an interpretation that kept a firm hand on the tiller and left little room for sentiment. This gave a fresh dimension to the stately theme, which was light on its feet, though meant some of the more stormy arguments in the faster music were a little rushed at times. That said the symphony – first performed at the Proms 104 years before Hymnus Paradisi - proved an ideal complement to the Howells, while reminding us what a wonderful piece it is in its own right. Howells – who met Elgar a number of times before finally making an impact on the older composer – would surely have approved of the dual programming, with his emotional outpouring finally thrown into a spotlight it should have been occupying for many a year.
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