Until his untimely death in 1992, William Mathias consistently
and prolifically wrote choral music, sacred and profane, small and large,
displaying – from early on – a number of hallmarks : sensitivity to
words, idiomatic and eminently singable choral writing, memorable melodies,
dancing and capricious rhythms and often brilliant organ writing. His
choral output culminates in his large-scale choral-orchestral trilogy
(This Worlde’s Joie, Lux Aeterna and World’s Fire),
but also includes several small-scale masterpieces, some of which are
featured in this superb survey of some of his shorter choral works.
The Missa Brevis Op.64 of 1973 is one of them. This comparatively
early work already displays most Mathias hallmarks. Mathias’s superbly
crafted choral music often demanding is always rewarding to sing and
to listen to. Most importantly it communicates directly and without
fuss which is its most endearing quality. Rex Gloriae Op.83
for unaccompanied chorus is unquestionably a minor masterpiece. It consists
of four contrasted motets that together make a short choral symphony.
The first motet Laetantur Coeli is appropriately brilliant and
festive with much florid writing whereas the deeply moving Victimae
Paschali makes a telling use of subtle dissonance (another typical
Mathias fingerprint) and has a beautiful second section with a marvellous
part for solo soprano dialoguing with the chorus. The third motet O
Nata Lux opens with high-lying soprano voices and progressively
descends to the lowest range with basses ending on low C. The last motet
O Rex Gloriae is again appropriately brilliant ending with jubilant
Alleluias. This again is a real minor masterpiece and a very taxing
virtuoso work but - above all - a marvellous piece of music. Both Except
the Lord Build the House Op.89 No.2 and Veni Sancte Spiritus
Op.96 are somewhat more ambitious in scope and are scored for
larger forces calling for trumpets and percussion as well as organ,
thus imparting these celebratory works with further brilliance. Except
the Lord, however, is more complex in structure. The declamatory
opening is offset by a middle section of great beauty in which sopranos
sing a unison air above the quietly humming chorus. The piece ends with
a powerful restatement of the opening material capped by exultant final
blessings. This is another minor masterpiece as is the equally successful
anthem Veni Sancte Spiritus Op.96 (first performed by
the combined cathedral choirs of Hereford, Gloucester and Worcester
conducted by Roy Massey). Significantly enough, though, the music is
comparatively restrained in mood and expression although it appropriately
includes several sections in which great choral outbursts powerfully
and imaginatively suggest dazzling light through subtle dissonant voice
layering (such as can be found in many choral works by Howells).
The rest of this attractive selection of Mathias’s
shorter choral works consists of finely crafted shorter anthems composed
for various occasions. Angelus for female voices and piano
is one such little gem in which chant-like passages are answered by
Hail Mary sung as a refrain. The brilliant Alleluia
also features two trumpets to telling effect. Also worth mentioning
is the setting of The Lord is my Shepherd for male voices
and piano, sung in Welsh as well as Ad Majorem Dei Gloriam,
one of his very last pieces.
This wonderful release went largely unnoticed at the
time of its release in 1998; unaccountably so, I must say, for it is
a most welcome anthology, superbly performed and well recorded. A must
for all Mathias fans. Others will find much to allure and admire. Now,
we eagerly await a recording of Mathias’s last large-scale choral work
World’s Fire.
Hubert Culot
see Mathias biography