More video of Frederick Stocken performing his own organ composition. Following on from last week’s posting of Frederick playing the last movement of his music inspired by St Michael, this week and next week I will post more excerpts from Frederick Stocken’s trilogy of sacred works inspired by the archangels. Today we have the second movement from St Rapheal. For those who are coming across this little series of blog postings for the first time, I repeat the text that introduces my friend Frederick and his music:
Based in London, Frederick Stockenis a composer who is creating modern compositions in the classical tradition. By this, I mean that he creates works that seek to follow traditional principles of harmony and with a melodic richness and complexity appropriate to it – ie his work is neither dissonant nor minimalist. I first became aware of him when he spoke to Joanna Bogle’s Catholic Cultural Group in London about the principles of beauty in musical composition. What struck me particular was his approach to understanding the principles of the tradition in which he is working, so that he apply them in modern era. Much of what he articulated became the inspiration for my own approach to resurrecting a culture of beauty with a focus on art.
Shortly after I met him I heard his First Symphony premiered at the Royal Albert Hall in London. I am used to the concert program in which they lure the paying customers in by playing something familiar from the classical repertoire, perhaps Beethoven or Mozart, and then inflict upon the paying customers the premier of a modern piece that is so horribly dissonant and you hope you never have to hear again. It is so predictable, that whenever I see the phrase ‘World Premier’ in the program I wonder if it is just put after the interlude to raise drinks receipts by encouraging people stay on in the bar a bit longer rather than listen to the clashing chords. i have even heard Catholic composers talk about their aim of producing beautiful music and drawing people to God, and then when you hear the music, it is difficult to distinguish it from any other modernism. Frederick’s work is not throw-back or pastiche, but unlike all the others, he is at least prepared to allow the tradition to guide him what he does and you can hear it immediately in his work.
For those who might be within striking distance of Leed in England, he is speaking at the cathedral there on January 4th. The title is: Sing a New Song to the Lord? Musical reflections on the sacred and the secular, tradition and modernity.