Style, Tradition, and Innovation in the Sacred Choral Music of Rhona Clarke

Sacred choral music continues to hold a significant place in contemporary concert settings, with historical and newly composed works featuring in today’s choral programmes. Contemporary choral composers have continued to engage with the longstanding tradition of setting sacred texts to music, bringing fresh interpretations through their innovative compositional techniques and fusion of styles. Irish composer Rhona Clarke’s (b. 1958) expansive choral oeuvre includes a wealth of both sacred and secular compositions but reveals a notable propensity for the setting of sacred texts in Latin. Her synthesis of archaic and contemporary techniques within her work demonstrates both the solemn and visceral aspects of these texts, as well as a clear nod to tradition. This article focuses on Clarke’s choral work O Vis Aeternitatis (2020), a setting of a text by the medieval musician and saint Hildegard of Bingen (c. 1150). Through critical score analysis, we investigate the piece’s melodic, harmonic, and textural frameworks; the influence of Hildegard’s original chant; and the use of extended vocal techniques and contrasting vocal timbres as we articulate core characteristics of Clarke’s compositional style and underline her foregrounding of the more visceral aspects of Hildegard’s words. Clarke’s fusion of creative practices from past and present spotlights moments of dramatic escalation and spiritual importance, and exhibits the composer’s distinctive compositional voice as she reimagines Hildegard’s text for the twenty-first century.