Review in Retrospect: Herbert Howells' Hymnus Paradisi 10/10

British composer Herbert Howells had a knack for writing highly evocative choral compositions. However, his existence in the realm of concert music has been largely forgotten. There are a few works some are familiar with: A Spotless Rose, Requiem, Like as the Hart, and, what many consider to be his greatest work, Hymnus Paradisi. However, the latter is regarded as the greatest only by those who really dig deep into the music of Herbert Howells. If this man was held in such high esteem among elite British composers (Ralph Vaughan Williams, Benjamin Britten, etc.), then why is his diamond composition, Hymnus Paradisi, mostly ignored?

Born as one of six children on October 17th, 1892, Howells began music lessons at a young age in 1905 with Herbert Brewer, organist of the Gloucester Cathedral. Becoming friends with Ivor Gurney, his pupil at the Cathedral, Howells decided to follow his dear friend's lead and study in London at the Royal College of Music. Howells thrived, composing mostly orchestral music. It wasn't until he composed his Psalm Preludes and op. 17 Rhapsodies for organ, where Howells' signature aesthetic was codified.

Howells went on to marry singer Dorothy Eveline Goozee in 1920. He met Dorothy nine years before they got married, and they had two children: a daughter named Ursula and a son named Michael. Despite living securely, a tragedy for Howells occurred in 1935: at the age of only nine, Howells' son Michael contracted polio and died three days later. Heeding the consultation of his daughter Ursula, Howells channeled his grief through composition. Using a significant amount of musical material from his unpublished 1932 Requiem, Howells composed a majority of what would become his paramount large-scale choral work, Hymnus Paradisi.

Sublime, ethereal, emotional expressions in sound are executed with the utmost sensitivity in this immaculate composition. The "Preludio" is undeniably somber, with contrapuntal lines that trudge through with deep remorse that most likely evoke the sorrow Howells experienced after his son's death. One might add that there seems to be a touch of despair and anguish in the roaring moments of trumpets and horns in the "Preludio." Drenched in melancholy, hope seems distant for some time.

"Requiem ætérnam dona eis, et lux perpetua luceat eis." The English translation, "Eternal rest give unto them, and let perpetual light shine upon them," intoned by two choirs in chorale style, offers a sense of reconciliation. One moment displays a grandiose, evocative gesture shared homorhythmically with all sections of both choirs, singing the word "Requiem," as if Howells, though in great remorse, surrenders his son to eternal rest.

As the texture diminishes to a single tone, the soprano soon follows with the same text sung previously. The texture ebbs, flows, and grows as the soprano sings higher and higher, eventually peaking on the word "perpetua." The texture diminishes. Soon after, the music from the "Preludio" is invoked, creating tension and uncertainty.

The soprano soloist then sings Psalm 23, exuding a sense of peace that likely reflects a moment of greater acceptance of his son's absence. Significant sensitivity to melismas and melodic contour creates lush, fluid material for the soprano soloist, and soon after, the tenor soloist comes in with "He shall convert my soul" with the same degree of musical elegance written for the soprano. Primary lines are exchanged between the soloists and build up to a B5 sung by the soprano and a G4 by the tenor, with the chorus also commanding the listener's attention. Afterwards, the choir comes to the forefront for the rest of the Psalm, building to two heights and diminishing.

With astonishing brilliance, the fourth movement begins with high string tremolos, sparkling celesta, quiet yet rejoicing trumpets, and soaring sopranos and altos singing "Sanctus" ("Holy" in English). This material continues for some time, but the texture is a bit altered with the soprano soloist's entrance intoning Psalm 121: "I will lift up mine eyes unto the hills, from whence cometh my help." Howells has created a dramatic shift from melancholy to joyous inspiration, illuminating the listener to a state of heavenly bliss, likely suggesting a celebration that his son is forever in paradise.

Revelation 14:13, where the promise of everlasting rest from life's labours is expressed, begins with the tenor in a strange, mystical texture. Tranquillity pervades the sonic landscape, and "blessed are the dead" is invoked by both the soloists at a crescendo where the chorus, alongside the soloists, reach the peak of the movement before declining to "rest from their labours."

"Holy is the true light," a text composed by William Henry Harris, opens with a sobering fanfare shared between two trumpets, which soon gives way to the chorus. Great heights, manifested by the chorus, and a gradual decay to the soloists singing "Alleluia," complete the composition with great consolation.

Herbert Howells died on February 7th, 1983, at the age of 90. He composed throughout the entirety of his life, and after his death, his daughter Ursula started the "Herbert Howells Society," which illuminated how influential Howells' music had been and is to this day. However, despite the multitude of commemorations after his death, Howells remains largely unknown to many who have not had the luxury of hearing his music. It is my desire and fortunate privilege to expound awareness on his diamond, Hymnus Paradisi. Hopefully, recognition of the beauty Howells offered to the world will grow.