John Joubert: an appreciation

by Kenneth Birkin

If one were to attempt to sum up John Joubert as man and musician in a single word that word would probably be ‘integrity’. There is a clear line of development running from the thrilling Symphony No 1 and Piano Concerto of the ’50s through the gloriously innovative Pro Pace motets and Octet of 1961 to the powerful Symphony No 2 of 1970. This developmental process is one of encapsulation, of refinement of texture and economy of form and material. The post-’70s have seen a clutch of great chamber works — String Quartet No. 2 [1977], Chamber Music for Brass Quintet [1985], Piano Trio [1986] and the song-cycle Landscapes [1992].

These middle years, while producing significant large-scale symphonic, choral and dramatic works (the opera Jane Eyre for instance) have seen a blossoming of song and vocal chamber music, the latter exemplified by the charming Phoenix and the Turtle of 1984. Joubert’s literary taste is as exploratory as it is discerning - witness his settings of Emily Bronte (Six Songs of Emily Bronte), D.H. Lawrence (The Instant Moment), the Earl of Rochester (Rochester Triptych) and Thomas Hardy (South of the Line).

Joubert’s output is studded with works of rare communicative impact that leave their audience uplifted and fulfilled. His flexible, thoroughly individual melodic and harmonic language makes his music contemporary in the very best sense and meaning of the word. Above all, one admires the visionary power, the humanity and conviction — qualities demonstrated in the oratorio Wings of Faith which crowned the 80th birthday celebrations of 2007. No one doubts that there is more fine music to come, just as there is here, for the performer and listener, much fine music to explore and enjoy.

February 2008