THE MADRIGAL
CHOIR OF BINGHAMTON

Bhajans: An Evolution of Music

In October, 2007, The Madrigal Choir of Binghamton premiered Bhajans, a work the group commissioned from the esteemed UK composer Barry Seaman. The choir, composer and the composition found one another in a unique way, and we'd like to share the story with you.

In March of 2005, composer Barry Seaman learned that The Madrigal Choir of Binghamton had performed and recorded his piece, Gabriel's Greeting. Anxious to hear the recording for himself, he emailed the choir and soon had a copy of Joy in the Morning. Shortly after listening to the recording, he emailed the choir back: "She sings like an angel," he said of Christina Salasny's crystalline interpretation of his composition.

In a later message, Seaman wrote:

I am just listening to your choral CD which you kindly sent me.  I like the warmth, expression and clarity of the singing (not just on my piece!).   ...I would be very interested to write something for (your choir) - also for your wonderful soprano soloist.

The Madrigal Choir's Board of Directors had a large and exciting task before it: to raise money for a commissioned work by an esteemed composer. Barry Seaman had a task as well: what would he compose? In July he had an inspiration. He wrote:

A few years ago the Brighton Singers commissioned a choral work from me, and it has had successful performances. I think it is one of the best pieces I have written. It is called The Consoling Song, and is a setting of Sanskrit texts from the holy Bhagavad Gita, for SATB chorus and piano trio. ...It's very tranquil and spiritually intense. I would like to write a companion piece called Bhajans. The title refers to an Indian devotional song form. The work will have several languages, and its structure is based on the OM symbol \ and its meanings.

In August, a working structure of the work was shared:

SATB chorus, piano, violin, cello

Soprano soloist, 2 acolytes (female voices), flute, clarinet, viola, harp, vibraphone

The structure of the piece is based on the OM symbol and its meaning. The work will have two movements: the first of which has ten interlinked sections which alternate and overlap between the two groups, and simultaneously the sound of A-U-M is performed. Music for the choir and piano trio will be rich and contemplative all the way through, and music for the soprano and her group will have shimmering, sparkling sounds. The acolytes provide shadowing for her voice. The second movement will be a single section: a contemplation of the infinite, the top part of the OM symbol.

The texts will be partly in Sanskrit and partly in English, and they will consist of verses written as reflections of the states of consciousness depicted by the curves of the OM, and lines from holy Sanskrit scripture including the Vedas, Upanishads and Bhagavad Gita. The overall sound of the piece will be radiant.

Note: While writing, Barry made a few changes to this initial plan, following the spirit of the music. The completed Bhajans has 4 rather than 2 movements; also the OM sound is omnipresent in a different way from how it was first envisaged. The original idea was to have it always there in the background, but eventually he decided against that, choosing instead to punctuate the movements with it.

By October, the concept and challenge was accepted by the Madrigal Choir Board and a goal was set: The concert would be held in the fall of 2007 as a world premier at Binghamton University in conjunction with an Asian studies conference.

To learn more about Bhajans, please read our interview with Barry Seaman and lyricist Nimisha Patel HERE.