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Soprano Héloïse Werner joins the Manchester Collective for Freya Waley-Cohen's Spell Book | Photo: César Vásquez Altamirano

The rise of the mystic and explorations into the often demonised spirituality of the occult continues into 2024, as artists look to this ancient folklore for inspiration. In 2023 the Tate Modern exhibited the work of clairvoyant and mystic Hilma af Klint, whose abstract style predated Kandinsky. Now, the Tate prepares for another mystically-inspired exhibition of the work of Yoko Ono, opening in just a few weeks.

Music is maybe further behind with its focus on alternative spirituality, though Scriabin and Peter Warlock famously dabbled in such practices. Then the Russian composer, Sofia Gubaidulina, though a devout Russian-Orthodox Christian, has alluded many times to her mystical influences.

But few have explored the rise in the popularity of spells, tarot and 21st century occult within contemporary classical music. Composer Freya Waley-Cohen’s discovery in 2019 of Rebecca Tamás’s collection of poetry, WITCH, lead to what she terms as ‘witchy dreams’ which further inspired her now-completed song-cycle, Spell Book.

Lead by masters of programming, the Manchester Collective - in different formations of strings, harp, piano, flute and clarinet - the evening first presented the non-vocal work for chamber ensemble Naiad, in which Waley-Cohen invites each listener to find their own interpretation through her devotion to this combination and instrumental timbre.

Moving into the dark world of Spell Book, Waley-Cohen’s score immediately revealed her skill in writing for voice. Dramatic and captivating, the opening ‘spell for Lilith’, ‘spell for sex’ and ‘spell for women’s books’, were sung by mighty mezzo-soprano Katie Bray to great effect.

Upper string writing at times resembled a troubling, crackling bonfire - held together masterfully by violinist and Collective Director, Rakhi Singh. The sapphic undertones of the text of ‘spell for Lilith’ allowed Waley-Cohen to demonstrate a dexterous palate of both orchestral and vocal colour. The space created prior to ‘Lilith, take us back with you’ made use of a stillness often craved for. String harmonics brought out a new level of storytelling, with the piano protesting in bursts.

It was moments like this that set up Spell Book’s excitement, though they were rarely sustained. More continued in the humming and sparse atmosphere ahead of ‘spell for sex’ - where some clear Britten operatic influences felt very inviting. Other spells - ‘spell for logic’, ‘spell for reality’ and ‘spell for joy’ felt needlessly complex and dense, with a confused sense of direction. Many moments hinted at a much-desired climax though never quite reached it.

Direction was clear and exciting in ‘spell for joy’ with soprano Héloïse Werner inhabiting the text with a vocal tone that reflected the score and text's complexity. Its writing saw Waley-Cohen at her best, with folk-like violin melodies, syncopated rhythms and explosive pizzicato. The paradoxical colour of dark joy perfectly set the text with the mess towards the end of the song feeling distinctly ‘Michael Tippett on acid’.

Perhaps the evening’s highlight came from the vocal timbre of mezzo Fleur Barron, whose dark vocal colour drew us immediately in with her ‘spell for change’ accompanied by Céline Saout on harp. Her vocal cries and physical presence made her the perfect advocate for this new genre of ‘spell singing’ developed by Waley-Cohen.

The three voices combined in the final ‘spell for the witch’s hammer’ - again, Waley-Cohen’s understanding of the voice shone, with all three singers inhabiting the text with a dedication and storytelling finesse though wanting a more clear climax and resolution, instead focusing on a restricted harmonic interest.

It begged for the ability to follow the words, with surtitles replaced by a digital PDF programme. In a piece with text so central to its presentation and orchestration, it left the audience feeling lost at times as to the content, or even name, of each of the eight spells as they appeared.

The Manchester Collective continues to prioritise collaborations such as this one with Waley-Cohen. Daring to programme around the wild rise of mystic spirituality and in doing so, attracting a new and dedicated audience of the artistically-curious.

freyawaleycohen.com | manchestercollective.co.uk