Pluscarden monks have recently collaborated in a most unusual project. It involved the singing of Gregorian Chant, to the accompaniment of free piano improvisation. Over two intense days, on Thursday 30 June and Friday 1 July, some twenty or so Chant pieces were sung and recorded in this way.
The idea for such a collaboration was conceived full fifteen years ago by Australian virtuoso pianist Tom Donald. Tom is now based in London, where he teaches at the London School of Contemporary Piano. Tom began his career as a concert pianist, performing what might be regarded as the usual classical repertoire. He then went on to make a reputation as a jazz pianist. But Tom eludes classification. His particular interest is free improvisation, and the creative exploration of different genres of music, interacting together, to produce something both old and new; both familiar and (excitingly) unfamiliar.
What about really ancient music, like Gregorian Chant, crafted exclusively for use in liturgical worship, put together with something belonging properly to the 21st century? Tom experimented, at first, playing to recordings of Chant. He liked what came out of that, but it did not satisfy him. What he really wanted was to play spontaneously, interacting directly with a group actually singing the Chant. For this, a Choir of professional singers would not do at all. He wanted to accompany real monks, singing Chant that is an integral part of their daily life: for them an expression of all they believe and stand for.
Agreeing (eventually) to cooperate in such a project was of course a risk for the community. On its completion though, the brethren involved more or less reached a consensus: that Tom Donald is a genius, and that this experiment had given glory to God.
We began by singing some pieces with which Tom was already familiar, having listened carefully to our previous recordings. But he seemed happiest when someone would suggest some piece he had never heard of, and knew nothing about. We would start singing that, and he would start playing, his eyes fixed on us. To be sure, this was a brand new and quite remarkable experience for everyone involved!
The project was carried out without any help from external funding. Nevertheless, it certainly seemed that, for its effective realisation, no expense was spared. A Blüthner grand piano was brought up for the purpose from London, to occupy a temporary place by the Pluscarden Choir organ. Top end professionals were recruited, to act as sound engineer and photographer, deploying powerful modern equipment, so that the whole apparently crazy venture could be captured for a wider audience. No serious thought has so far been given to the question of how best to publicise or market the material thus produced: if at all. There is however a firm intention to produce a CD, available for sale, hopefully by the end of this year; also an accompanying film: either or both of which could perhaps prove to be of interest to many people.
After the event, the project manager wrote to the community:
“It has given me personally untold joy to witness something entirely unique, spontaneous, beautiful and unrepeatable coming into being amongst us all. A sound which, before we all came together, simply never existed: rooted in a deep respect for an ancient way of life and worship. We said we’d be asking for the Spirit’s presence upon our endeavour. I believe our collaborative and fresh soundscape truly sang His praises!”
Please God this is true. If so, Pluscarden monks will be well content.
