Commissioned by Mark Stephenson on behalf of London Musici to celebrate the orchestra’s 20th anniversary, Eternal Light: A Requiem is a stand-alone choral work that will have its London premiere in November 2008 in an exciting collaborative version for choir, soloists, orchestra and dance. The dance, Eternal Light, commissioned by Sadler’s Wells Theatre, will be performed by Rambert Dance Company, its associate orchestra London Musici and Christ Church Cathedral Choir, Oxford. Rambert Dance Company and its artistic director, Mark Baldwin, worked closely with Howard Goodall from the conception of the project to find ways in which the themes of the Requiem might be explored further in dance.

The result of this collaboration is a work that should appeal to a broad-based audience. Following the premiere, Rambert Dance Company will tour Eternal Light nationally across the UK. Over seventy dates have already been confirmed, including the London premiere, which will take place at Sadler’s Wells on Armistice Day (November 11), the 90th anniversary of the end of World War I.

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Eternal Light: A Requiem is also distinguished by the inclusion of English poetry, mixed with fragments of Latin, sung simultaneously or antiphonally between the soloists and the choir. Goodall explains, “One section of Latin text comes not from the Requiem mass but from the Book of Revelation, with its description of the coming of the Angels of the Apocalypse. The Recordare movement combines with Phineas Fletcher’s early-17th century sacred verse Drop, drop, slow tears. Other texts are drawn from John McCrae, Francis Quarles, Mary Elizabeth Frye and Ann Thorp.” And, as the composer said recently, “although it was not deliberately conceived thus, it is powerfully appropriate that the central Dies Irae movement takes as its vision of hell the horror of armed conflict. Alongside the Latin text phrases I have juxtaposed John McCrae’s haunting war poem In Flanders Fields. McCrae, a Canadian military doctor of great distinction, died on the Western Front in January 1918.”

Deinde quartus angelus clanxit, et percussa est tertia pars solis, et tertia pars lunæ, et tertia pars stellarum: ita ut obscuraretur tertia pars eorum, et diei non luceret pars tertia, et noctis similiter.And the second angel blew: and as it were a great mountain burning with fire was cast in to the sea, and the third part of the sea turned to blood, and the third part of the creatures which had life, died, and the third part of ships were destroyed. Dies Irae (That terrible day): In Flanders Fields the poppies blow, Between the crosses row on row…’