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more known in his native United on microtonality, which he defi nes term, each chorus section
Kingdom, where he was educat- as a modal vocabulary based upon is co-ordinated only among
ed at the Westminster School, the non-tempered intervals less than themselves, The sopranos sing
Royal College of Music, and stud- a semitone (a detailed description together with themselves, the
ied with spectral composer Tristan with a hierarchical chart is found altos similarly, and so on, and
Murail in Paris. He also studied in on pages 422-23). This makes for each section has its own con-
other settings with Olivier Messi- some compelling soundscapes in his ductor. There is no co-ordi-
aen and György Ligeti. Anderson music, including instrumental com- nation between the sopranos
has taught at the Royal College of positions Symphony, Eden, and The and the tenors, or the sopra-
Music and at Harvard, and cur- Imaginary Museum, to name a few. nos and the altos, or between
rently teaches composition at the Choral works, which are relatively the basses and the sopranos,
Guildhall School. Anderson’s music recent especially since his stint as or anyone. It took me about
features a melodic approach, with a singer in the London Symphon- a year to write that piece, on
contrasting layers and frequently a ic Choir (2005-2012) include both and off. I had several goes at

driving or forward rhythm. Often large works and intimate fare. it… I just tried [the harmonic
music of exotic or foreign cultures Among the most famous are Four combinations] out, at the pia-
also predominates, including those American Choruses and I Saw Eternity no again and again, every sin-
of eastern Europe and the modal (SATB a cappella), Heaven is Shy of gle vertical that could possibly
ragas of India. I would further de- Earth (mezzo-soprano, choir, and happen between the parts. So
scribe his style as eclectic and ethe- orchestra), and Magnifi cat (SATB a you can imagine what kind of
real, often in combination. cappella). These works, like their ti- work that is.” [p. 192]
The book is divided into eighteen tles, have an ethereal, other-worldly
interviews, which seem like conver- character. There is also a signifi cant Julian Anderson is a composer
sations over lunch or in the intima- repertoire of chamber music. who merits study by anyone serious
cy of a drawing room. Indeed, the The book itself is a fascinating about their craft and art. This book
prelude exchange is titled, “Jeux: A journey into the life, infl uences, and not only gives insight into the pro-
Conversation over Lunch.” This is resources of the composer. Dingle’s cesses he uses, but also the spiritual
followed by Origins, Enthusiasms, skill as an interviewer is ever pres- and life connections behind them.
Training, Dance, Folk, Composing ent. He knows how to ask questions I found it difficult to put the book

(or Not), Understandings, Begin- that elicit honest yet profound an- down, and it prompted me to much
nings (and Endings), Puzzles, Sing- swers. listening, which is available on in-

ing, Memory, Practices, Advocacy, For choral aficionados, the chap- ternet resources. In short, for both
Partnerships, and Multiple Choices, ter titled “Singing” is most intrigu- the composer and choral musician,
among a few others. Also included ing. In discussing “Beautiful Valley this work is well worth the read.
are a list of illustrations, a chronol- of Eden” from the Four American
ogy, a list of personae, catalogue of Choruses, the composer examines Donald Callen Freed
published works, discographies, and his compositional technique in even Omaha, NE
a bibliography. The organization is greater detail than the excerpt be-
easy to follow and, after one gets low, which nonetheless gives in-
used to the interview format, fl ows sight into Anderson’s compositional
logically and seamlessly. Each chap- technique and process:
ter includes a prefatory paragraph
about the direction of the conversa- Anderson: “With…‘Beautiful
tion and its context; it is a guide of Valley of Eden,’ which is the
sorts as to what to expect. one that had the biggest im-
Most of Anderson’s work is based pact on my music in the long

CHORAL JOURNAL October 2022 Volume 63 Number 3 65