“Separation” is Diana Guber’s interpretation of one of the most intriguing songs written by British composer and actress Madeleine Dring (1923-1977). Dring’s body of musical works encompasses pieces for solo piano or two pianos, for voice and piano, for small chamber ensembles, and art songs as well as occasional music and songs for plays and revues throughout her almost forty years of music writing in the 1940s through her untimely death in 1977.
“Separation” is part of the Four Night Songs that is a series of songs composed by Madeleine in 1976–1977 and completed in 1980 by Roger Lord (1924-2014). The poetic works are created by English poet and painter Michael Armstrong (1923–2000) who had formed a deep connection with Dring through their shared interests in spirituality. During their first encounter, Armstrong introduced himself as a poet, and shortly thereafter, Dring acquired a collection of poems directly from him. She carefully selected four of her favourite texts and these became the lyrics of the Four Night Songs, titled so by her husband Roger Lord who was the principal oboist with the London Symphony Orchestra for more than thirty years. The series’s central theme is one’s ultimate goal of physical and spiritual self-realisation through love. There are also allusions to the rebirth of the Soul as well as other themes revealing Dring’s beliefs in her later years.
Madeleine was working on “Separation” when she died in the presence of her husband Roger at a rehearsal. In his correspondence dated August 5, 2002, Lord reveals: “I didn’t think I would ever be able to finish it, but after a year or two of working on her songs (to do with publishing) I decided there was enough material for me to complete it.” Based on Lord’s recollection of his experience with this song, Madeleine died just after drafting the phrase “Of all things in the world, I love you most, but I cannot...” Lord continued writing “get near you, and you remain unknown.” It is perhaps difficult for us to comprehend the complexity of finishing the song for Roger Lord. He used a considerable amount of material pertaining to a musical recurring theme that had been drafted by Dring. He modestly says: “It’s not so good as it would have been if she had done it.” An author wrote back to Lord: “I thank you for finishing it. It is a perfect song.” The song is befitting medium high voices with an upper extension. As many of Dring’s songs, “Separation” demonstrates the demand for a wide range of vocal timbre, and almost without exception, requires an exquisite pianist.
As a great admirer of Madeleine Dring, Diana Guber hopes to raise awareness about this multi-talented and versatile composer, even though Dring, as a true Renaissance woman, might have preferred to be known in history as an actress. Diana’s unique rendition of “Separation” is an attempt to breathe modern life into Dring’s 1977 song, thus expanding the circles of performers, teachers, and students interested in this music, and ultimately, bringing it into the hearts of thoughtful listeners.