I Saw Eternity is a deeply introspective album composed by Alexander Campkin and performed by the Phoenix Consort, a young, UK-based SATB choral ensemble. Due for release by Convivium Records in September 2024, the album conveys a profound journey from darkness to light, showcasing some of Campkin’s existing compositions and arrangements, as well as debut performances of new works.
Born in 1984 and a graduate of Oxford University, the Royal Academy of Music, and the University for Performing Arts in Vienna, Campkin’s compositional journey has been deeply influenced by his personal experiences, particularly his diagnosis with multiple sclerosis at the age of 17. This life-changing event redirected his focus from a career as a viola player to that of a composer, where he has since garnered acclaim worldwide. If you'd like to learn more about Alexander Campkin's musical journey and experience as a composer, you can read our interview with him.
The Phoenix Consort, whose members are current students or graduates from Durham university, specialise in a diverse choral repertoire from Renaissance polyphony to contemporary works, with this debut recording marking a significant milestone for the group. Under the direction of Adam Whitmore (read our interview with Adam), the consort navigates the emotional and texturally rich landscapes of Campkin’s compositions with sensitivity, exploring the aforementioned journey from darkness to light.
As usual, I shall focus on two or three standout tracks, but I urge you to explore the full album, which is available to pre-order now in both digital and CD format from Convivium Records or Presto Music, and will be on all major streaming platforms from 6th September 2024.
Track three, "Calm Me, O Lord", begins with a serene homophonic texture that immediately establishes a sense of almost meditative tranquility. Campkin's setting of the simple prayer text unfolds gently, the harmonies moving together slowly and gracefully. The Phoenix Consort’s delivery of this opening is deeply reflective, evoking a quiet, sacred space. As the piece progresses, more dissonant elements emerge, mirroring the text’s growing intensity. The upper voices break away from the initial unity, creating a web of independent melodic fragments that cascade around the listener. The consort handles this shift with professional dexterity, building towards a passionate yet not overwhelming crescendo. The eventual climax is powerful, but never loses the sense of calm and propriety that anchors the piece, making this track a standout moment on the album.
The eponymous track, "I Saw Eternity," sets a text by the 17th-century poet Henry Vaughan and showcases Campkin’s skill for crafting ethereal soundscapes. Written for upper voices, the piece is characterised by close harmonies and subtle shifts in tonality that create a shimmering, otherworldly atmosphere. The Phoenix Consort’s performance here is particularly evocative, with their clear, pure tones perfectly capturing the contemplative sense of suspended time and space that the text evokes. The gradual harmonic shifts and suspended dissonances are truly expertly handled: for those unfamiliar with choral singing, these are both really rather difficult aspects to perfect. The consort’s ability to maintain such a delicate balance between dissonance and consonance is a testament to their skill and Whitmore’s sensitive direction - bravo.
Track eight, "Dazzling Darkness," another Vaughan-written text, is perhaps the most dynamic and rhythmically complex track on the album. Campkin’s exploration of vocal textures is on full display here, with the ensemble employing a range of more unconventional contemporary techniques including whistling, humming and dense chord clusters to bring the mystical text to life. The Phoenix Consort tackle this challenging piece nimbly, navigating the rapid shifts in texture and colour with impressive confidence, resulting in a vibrant and energetic performance that really showcases the range and professionalism of the group. The use of the unconventional vocal effects adds a layer of intrigue and reinforces the theme of light emerging from darkness, a recurring motif in Campkin’s work. It is well worth a listen.
I Saw Eternity is a powerful debut for The Phoenix Consort, showcasing both their technical proficiency and their emotional depth. Alexander Campkin’s compositions are beautifully rendered by the ensemble, with each track offering a unique perspective on the album’s overarching theme of transformation, from darkness into light. Under Adam Whitmore’s commendable direction, the consort has created a recording that both honours Campkin’s vision and also establishes them as not just an ‘up-and-coming’ choir, but already a formidable presence in the world of choral music. This album comes highly recommended for anyone interested in contemporary choral music, and it promises exciting future endeavours for the composer, the ensemble and the director.
As mentioned above, the full album is available to pre-order now in both digital and CD format from Convivium Records, Presto Music, and will be available on all major streaming platforms from 6th September 2024.
