I didn’t go to the world premiere of Liz Johnson’s glorious new choral work intending to write about it. I just went to support the endeavours of a friend I hadn’t seen so much of since she moved out of Birmingham – it would be nice to see her, I admired her fundraising and awareness-raising efforts for refugees, and I knew the music would be beautiful.
It was beautiful, and also moving. I can’t remember the last time I actually dripped tears during a concert. And then she brought us back to a place of hope by the end of the piece so we were emotionally safe to head back into the real world.
There are two particular aspects to Liz’s compositional voice I’d like to reflect on here. The first is her distinctive and assured handling of dissonance. The music moves seamlessly along a continuum from very harmonic and euphonius to uncompromisingly dissonant whilst always sounding realistically like it belongs in the same musical world. Part of this I think comes from the way she’ll season the consonant passages with strategically placed diatonic clashes that provide poignancy in the moment, but also help to mediate between the different regions of her harmonic palette.