Richard Allain's works encompass a wide range of styles, including music theatre, sacred choral music, song-writing and works for children. He has been commissioned to write music for BBC Radio 2, 3 and 4. He has worked with many of the country’s leading choirs and musicians (including BBC Singers, King's College, Cambridge, St Paul's Cathedral, Commotio, The Bach Choir, etc). His music has appeared at the BBC Proms, and his work is regularly performed and broadcast within the UK and in countries throughout the world. Ubi Caritas has been a core item on Classic FM for nearly a decade. Cana's Guest was selected to form part of The Queen's Choir Book, a collection of contemporary choral music published to celebrate the Diamond Jubilee of Queen Elizabeth II. Choral music is at the heart of his output; he was, for many years, Composer in Association for the National Youth Choirs of Great Britain.
Deeply committed to music education, together with his brother Thomas, Allain has written several cantatas for young voices. One such collaboration, Jake and the Right Genie was commissioned by the Surrey Millennium Youth Festival. It has since been performed by over 10,000 school children and, in 2005, an entire Yorkshire village!
He is published principally by Novello, and he has titles with OUP, Faber, RSCM and Stainer & Bell.
Read an interview with Richard Allain here
Richard Allain – Videte Miraculum
I found the task of writing a reflection on Tallis’s masterpiece a daunting one: even putting aside Tallis’s undisputed genius, writing eleven minutes of a cappella music is quite a task for a composer, not to mention the demands it would place on the singers. My inspiration for the falling figure heard in the first few bars is derived from a suspension at the opening of the original, only I have extended it by sharing it antiphonally between parts, diffused into harmonic clusters in the first section although it appears more consonant in the last. The idea for the second section is derived from the original plainsong, with its prominent interval of a fourth, which I have used in the rocking accompaniment figure. The whole piece is built, as is Tallis’s, on a cantus firmus – a melody that runs throughout the work creating its tonal and structural framework. In the first and last sections the cantus firmus is shared among the lower voices; in the second, it is heard liberated in the high soprano line. Plainsong separates the three main sections of the work. The harmonic language of the piece reflects the modality of the original, and includes use of false relations, a typically piquant feature of Tallis’s own harmonic language. Elements of polychoral writing also pay homage to Tallis. My intention was to create waves of sound that aid contemplation of the text, so that the piece might either be performed in a liturgical setting, or simply connect with the listener purely as a meditation on the original’s imagery of redemption, the celestial, and eternity itself.
This commission will be released on ORA’s third album in February 2017.