This sequence of 14 pieces (in two books) was premiered by David Titterington at King’s College Chapel, Cambridge, on 18th November 2006, and has since been performed by other acclaimed organists, including Kevin Bowyer & Simon Nieminski.
- The women of Jerusalem
- The third fall
- Jesus is stripped of his clothes
- Jesus is nailed to the Cross
- Jesus dies on the Cross
- Jesus’ body is laid in his mother’s arms
- Jesus’ body is laid in the tomb
The piece itself is highly organised. Each movement is based around a key-note and these rise by a semitone between movements, giving the work some sort of harmonic progress but also mirroring Christ’s own journey. Within the movements Swayne has used a pair of eight-note modes, the first in the introduction and the second in the main body of the piece. The result could be rather dry, but certainly isn’t. You do not need to know about his construction methods, but they give the work as sense of harmonic stability whilst allowing dynamic flow and change.
Swayne’s music is tonal only in the loosest possible sense of the word, but his construction techniques ensure that the harmonic movement is always away from a base, you feel that the music is coming from somewhere and going to somewhere; this is important. Stations of the Cross is a long work, some 60 minutes, far too long to be anchored in some sort of a-tonal stasis.
Within each movement there is a strong sense of drama, though the result is not quite as theatrical as I expected. To describe the music as contemplative is wrong, but it is certainly thoughtful and rather austere, despite the wide tonal range and virtuoso feel. Swayne was clearly influenced both by the meditative nature of the Roman Catholic Station of the Cross, but also the highly dramatic and passionate sense of the crucifixion story itself.
The work is further organised into two books, two groups of seven pieces. The second group concludes with Jesus Body is Laid in the Tomb, a full scale prelude and fugue which takes Bach and extends his structures into the 21st century, a three-part trio sonata prelude leads to a five-part fugue which concludes this amazing piece.