Mediæval Bæbes
Of the many Christmas events that I have attended over last few weeks, this is the one that will really stay in my memory.
artist
It is five years since celebrated crossover choral ensemble Mediæval Bæbes last included Norwich Cathedral as a stop on their annual Winter Tour. It was therefore not entirely surprising to find a sizeable queue snaking its way from the cathedral entrance, and stretching back almost as far as the Erpingham Gate on Tombland, as I arrived. However, before they could enter and take their seats, the eagerly waiting crowd was treated to a spectacular torchlight procession. Led by the six Baebes, dressed in their flame-red robes, and accompanied by their three band members, the group solemnly and ceremonially sang and played their way across The Close before entering the Cathedral itself. A lovely Christmas bonus for any passing visitors, as well as for the waiting queue.
Indeed, the Mediæval Bæbes have always been a striking musical force, ever since founding members Katharine Blake and Marie Findley formed the group back in 1996. Blake was a member of gothic rock trio Miranda Sex Garden, and Findley is still a successful film-maker and writer. The current line-up also includes foot percussionist and step dancer Josephine Ravenheart, cellist Maya McCourt, and sopranos Sophia Halberstam and Fiona Fey. They were backed tonight by border piper Michael J York; lyre, zither and all-round multi-instrumentalist Charlie Cawood; and percussionist Ben Woollacott.
The impressive interior of Norwich Cathedral provided a breathtaking backdrop as the singers took to the stage, having first changed into their white robes, for a first half set that begins with the Advent hymn, 'Veni Veni Emmanuel'; the well-known Yuletide favourite 'Joy To The World'; and the French carol, 'Noël Nouvelet'. An a-cappella version of the well known 'Gaudete', and a moving rendition of 'The Coventry Carol' ensured that the seasonal theme was never far from the fore, although a version of the Spanish villancico 'Ríu Ríu Chíu' (once performed, we are told, by 1960's American group The Monkees) also introduces a welcome burst of winter sunshine. The first half concludes with 'Personent Hodie', and a chance for Katharine Blake to impress us with her towering great bass and sub bass recorders, and a neat tiny twin recorder trick. It also features a clap-along refrain that sounded strangely familiar, and perhaps explains why the track is sometimes subtitled 'We Shalt Rock Thou'.
We are told that the bar is open for the interval, as would be the 'Mediæval Portal of Joy' (aka the merch stand).
The Bæbes and the band return for the second half, with the ladies now dressed in green, and they reconvene with 'Yonder Lea', a stirring Scottish ballad that tells how the power of love triumphs in the face of adversity. 'Gower Wassail' (taken from the latest album 'Mydwynter') celebrates the ancient drinking tradition of blessing the apple trees in Winter.
A segment that begins with 'Cusp of a Lion', a vocal interpretation of an ancient Arabic love poem, and continues with the haunting 'Horos', with its rich Middle Eastern influences, is both stirring and powerful. It concludes with a dramatic and impressive 'Phantom' from Blake, and has to be one of the most beautiful and moving things that I have heard live in concert this year. It is followed by 'Laudes Celebret', a gentle but celebratory account, composed by St Hilary in the 4th century, that tells of the Three Wise Men as they travel to Bethlehem, carrying gifts for the new born king.
The second half draws to a close with the pastoral beauty of 'Kindely'. For the encore, we are treated to a seasonal burst of 'Deck The Halls', and a beautifully intimate and introspective arrangement of Robert Burns’ 'Auld Lang Syne'.
Of the many Christmas events that I have attended over last few weeks, this is the one that will really stay in my memory, long after the cold meat sandwiches and stale mince pies have all been eaten, and the decorations are safely back in the loft. Maybe it was the atmospheric setting, maybe it was the glorious voices of the Mediæval Bæbes, or maybe it is because I am not really the grumpy old Scrooge that some people think I am.
Either way, thank you to the Mediæval Bæbes for really making my Christmas, and please, please, please, do not leave it another five years before you return.
