Kevin Junk - Oboe

We will sing the versions in the order that they written, starting with the oldest. Derek Healey composed his In Flanders Fieldsin 1976 and for years it was the only version that was regularly performed. It begins and ends with an instrumental solo that represents the song of the lark and is also used as an interlude to join the various sections of the piece. Although Healey wrote this for alto recorder, it is often performed using an oboe. It is the only version that makes any attempt to imitate the sound of the lark. As with most versions, it begins quietly (in this case with solo sopranos singing the melody whilst the other voices support this with “oo’s” and “ah’s”). The “We are the dead” section is sung by the tenors and basses before all four voices forcefully enter one after the other on the words “Take up our quarrel.”

Eleanor Daley (1993) also begins with a unison solo for sopranos and altos. The full choir does not enter until the “We are the dead” section. As in the Healey version the tempo picks up and the voices again forcefully implore us to “Take up the quarrel with the foe.” The piece gradually slows down and quietens in the final few measures.

Selig Sind die Toten is by Renaissance composer Heinrich Schütz and is from his Geistliche Chormusik (1648). It is written in the imitative polyphonic genre which means that each “segment or line of the text is provided with its own perfectly adapted musical line, which is expressed in each of the voices in turn and in combination. These points of imitation are usually self-contained, but often there is overlap and interpenetration reflecting the composer’s understanding of the relationship of text.” Schütz makes use of six of these segments which are easily identifiable when listening to the piece. Schütz also writes this piece for six distinct voices – two sopranos, alto, two tenors, and bass. The text is from the Book of Revelations:
Blessed are the dead, that die in the Lord from now on. Yea, the Spirit speaks: They rest from their labours and their works follow them.

Non Nobis, Domine by American composer Dan Forrest can be performed a cappella or with full orchestra. It was premiered at the Salzburg Festival in 2018 for the World Choral Festival. Non nobis, Domine is a short Latin hymn used as a prayer of thanksgiving and expression of humility. The Latin motto of the Knights Templar is this sentence which translates as “Not to us Lord, not to us, but to your Name give the glory.” Forrest’s piece begins with a chant to which other voices are gradually added as the volume and intensity increase. Each section moves towards a repeat of the words “Non nobis, Domine” which reaches a climax midway through the piece. After that the piece is written for eight voices which continue to repeat the short text in its entirety. Forrest adds the word “alleluia” and four bars from the end has the tenors and basses repeat, very softly, the words “non nobis, Domine” before ending with an “Amen.”

Wagner Barbosa - Violin
Scott McKnight - Cello

Kirkland Adsett (2006) uses violin and cello as an accompaniment and uses the same melody and harmonization to open the piece and for the words “Take up our quarrel with the foe.” He uses a new melody and harmonization for both the "We are the dead" section and for the closing lines of the poem.

Christine Donkin (2009) makes use of four-part harmonization throughout, a cappella. This version is probably the most straightforward and subdued and calls for the judicious use of rubato. Donkin’s version also has the most limited vocal range but shows great intensity. The music for the opening phrase is used again to begin the section with the words “Take up our quarrel with the foe” but with a little bit more forcefulness.

Tanya Bergen - Organ
Scott Harrison - Trumpet
Brad Litster - Percussion

In 2010, British composer Karl Jenkins composed his In Flanders Fields for full orchestra and chorus but then adapted it for a version with organ, trumpet, and side drum/snare drum. This version sounds like something that you would hear at a military tattoo. The piece makes extended use of an instrumental section at the beginning, in the middle, and at the end. Throughout, the snare drum keeps a steady and relentless pulse and much of the choral part is in unison.

David MacIntyre’s (2012) composition is the most extended of the eight versions and to me, the one that most faithfully expresses the text. As in previous instances, the piece begins with a melody in the sopranos. This is accompanied by the other voices with a staccato and rhythmic chant. MacIntyre uses a distinct musical approach for each section of McCrae’s poem. Musically, the “Take up our quarrel” section is like a fanfare that calls us to take action but not as forcefully as other versions have used. At the end the same melodic line returns in the soprano sections with the other voices accompanying it as they did at the opening.

Wagner Barbosa - Violin

Canadian composer Stephen Smith selected Walt Whitman’s The Last Invocation to set to music for SATB choir and solo violin. There is immense tenderness throughout this piece which is especially evident when the choir sings the word “tenderly” almost like a caress. The violin provides an obbligato throughout and at one point incorporating “Gloom of Autumn”, an anonymous tune from The American Vocalist (1849). The voices never rise above mezzo forte. The piece is divided into sections that revolve around four distinct musical motifs, sometimes sung alone or else in various combinations.

Paul Mealor’s (2014) composition was first performed at the Festival of Remembrance at the Royal Albert Hall in London with musicians from the Massed Bands of the Guards Division, The Countess of Wessex’s String Orchestra, and Orchestral Musicians from the Royal Marines Band Service and Royal Air Force Music Services and the Choir of Royal Holloway. Obviously, we cannot replicate that performance. Our version features a simply piano accompaniment with the opening section sung by the tenors and basses. The middle section has the sopranos and tenors in unison with the altos and basses providing accompaniment. At times Mealor has all four parts singing in unison with a high tessitura. His version is the only one that omits the “Take up our quarrel” section and instead moves on immediately to “If ye break faith with us who die” and as in the opening with the tenors and basses singing pianissimo. This is simplicity at its best!

The most recently composed In Flanders Fields is that of David Rosborough (2020). Once again the opening is a solo for the sopranos with the other three voices vocalizing on an “oo.” The same melodic line appears for the sopranos with the words “Take up our quarrel,” but now the other three parts, singing the same notes they did at the opening, also join in with the text. The middle section, beginning with the words “We are the dead” consists of only eleven bars and those eleven bars are divided into six very short sections separated by rests to better emphasize each thought or idea.