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Sanctum est Verum Lumen -
Multi-part Music for Choir Gabriel JACKSON (b.
1962)
Sanctum est verum lumen (2005) [10:49] Robert WYLKYNSON (c.1450–c.1515)
Jesus
autem transiens/Credo in Deum [5:10] Francisco GUERRERO (1528-1599)
Duo
Seraphim [3:33] Josquin des PREZ (attrib.) (c.1450–1521)
Qui
habitat [5:11] Tomás Luis de VICTORIA (1548-1611)
Magnificat
sexti toni [7:53] Tarik O’REGAN (b.
1978)
I sleep, but my heart waketh (2006) [8:01] Felice ANERIO (c.1560–1614)
Stabat
Mater [9:19] Johannes OCKEGHEM (attrib.) (c.1410–1497)
Deo
gratia a 36 [3:42] Bo HOLTEN (b. 1948)
In
nomine (1999) [6:35] Thomas TALLIS (1505–1585)
Spem in alium (1567) [10:01]
National
Youth Choir of Great Britain/Mike Brewer
rec. 17 September 2006, 12-13 April 2007, St. Alban the
Martyr, Holborn; 4-5 August 2007, 8 April, Chapel of Merton
College Oxford. DDD
Original texts and English translations included DELPHIAN
DCD34045 [70:21]
Founded in 1983 and conducted ever since then by Mike Brewer,
the National Youth Choir of Great Britain consists of 140
singers, aged between 16 and 22. Though it doesn’t say
specifically in the booklet that the release of this disc
celebrates the choir’s twenty-fifth anniversary, this sumptuous
CD is the best possible way to mark that milestone.
The programme has been intelligently devised to showcase
the choir in several examples of multi-part polyphony and
the three modern equivalent pieces complement the older music superbly. The music,
therefore, is on an elaborate scale, even if the longest
piece only lasts for just under eleven minutes.
We
are accustomed these days to hearing polyphonic music sung
by small expert chamber choirs, often one to a part. But
just as it would be a pity if the orchestral music of,
say, Haydn or Mozart were to disappear from the repertoire
of modern symphony orchestras, so this recital proves conclusively
that a well-balanced and well prepared large choir can
still be completely effective in polyphonic music. Indeed,
the very size of the choir adds significantly to the effect
produced by much of the music.
The
pieces are all remarkable in their different ways. In his
exceptionally interesting booklet note composer Gabriel
Jackson describes the piece by Robert Wylkynson as “a simple
13-part round”. What a masterly understatement! The texture
is hugely rich and complex. Wylkynson adds each of his
thirteen voices in turn and then takes them away again
so that the piece describes a kind of arch form, building
up and then back down again, until eventually it unravels
into the single strand with which it began. I don’t know
if all 140 singers were used for this piece – which would
mean about 11 singers to a part – but it sounds as if they
were and at it’s height the piece seems like the musical
equivalent of a beehive. It’s a real tour de force and
I would imagine it requires huge concentration on the part
of the performers. Here the effect is simply stunning.
The
Josquin piece is written in a “mere” twenty-four parts – four
6-voiced canons. Like the Wylkynson this is another teeming
choral tapestry. The music makes much use of repetitive
patterns but far from that being a limitation the technique
invests the music with life and energy. The young singers
surmount its challenges superbly. They’re just as successful
in the Ockeghem piece, which consists of nine overlapping
canons, Gabriel Jackson tells us. That sounds quite simple
but the piece is like an aural kaleidoscope and makes a
thrilling and intricate effect.
Amidst
all this glorious polyphony how do the modern pieces fit
in? Well, in a word, they fit in wonderfully. Bo Holten’s
piece is very directly related to Tudor polyphony. He wrote
it in 1999 for the 75th anniversary of the BBC
Singers, whose Chief Guest Conductor he was at the time.
The piece is cast in twenty-four parts and is inspired
by John Taverner’s Missa Gloria tibi trinitas. A
solo quartet sings material from the Benedictus of that
Mass setting while the remaining twenty vocal parts weave
complex textures derived from that material. Gabriel Jackson
felicitously describes Holten’s music as being “suffused
with a gentle luminosity: quiet, static and ecstatic.” For
the most part that’s true but there’s a radiant burst of
sound at the word “Sanctus” (4:19) which is the aural equivalent
of blinding light. This is an absolutely fascinating piece,
superbly performed, which is, in Jackson’s words, “a kind
of dream of the sixteenth century refracted through the
lens of a late 20th-century sensibility and
technique.”
Tarik
O’Regan’s piece is not so overtly inspired by sixteenth-century
polyphony. Indeed, to hear it you’d think it owes far more
to the school of American minimalism. It was commissioned
by the National Youth Choir and it’s a setting of words
from the Old Testament Song of Solomon. In the context
of the rest of this programme it’s quite modest, being
cast in only eight parts, but it sounds infinitely more
complex. In fact, to quote Gabriel Jackson again, it’s “a
mosaic of polychoral effusions and tributes.” Though clearly
indebted in part to minimalism I think it was an inspired
piece of programme planning to juxtapose it with works
such as those by Wylkynson, Josquin and Ockeghem. By so
doing Mike Brewer demonstrates clearly just how “modern” some
of those old masters were and also the lineage of music
when contemporary composers are sensitive to tradition,
building on it and renewing it through their own work. I
suspect – I haven’t seen a score – that O’Regan’s musical
material is relatively modest in dimensions yet he weaves
it into an intricate whole – a case of multum in parvo.
I’ve previously expressed my admiration for pieces by him
that I’ve heard and this is another intriguing and effective
composition, which is expertly performed so far as I can
judge.
The third contemporary
piece is by Gabriel Jackson himself and its placement at
the head of the programme is highly significant since his
piece is a conscious homage to Tallis’s great forty-part
motet with which the recital concludes. So, like his Tudor
exemplar, Jackson scores his piece for eight 5-part choirs
and, as he explains in his notes, there are further parallels.
The piece begins arrestingly and then unfolds as a superb
exploration of the possibilities afforded by multi-layered
choral textures and also by the exploitation of the physical
performance space and the resonance of suitable acoustics.
Jackson states that he wanted to write a piece “that was
essentially about light.” If I may say so, the result is
a luminous success. I’ve heard a number of Jackson’s choral
works in the last couple of years and I’ve been greatly
impressed by them but this piece strikes me as the finest
example of his work that I’ve heard to date.
And
so to Spem in Alium, which one might almost call
the fons et origo of this whole programme. I mean
no disrespect to the marvellous music that precedes it
on this disc when I say that one senses that everything
has been leading up to this pinnacle. Of course, it’s one
of the towering achievements of Tudor polyphony, indeed
of all polyphony, and Brewer’s young singers seem to be
inspired by it to give of their very best. They give a
wonderful account of it. The purity of the top soprano
lines is especially arresting. In performance the piece
can often come across just as a wall of sound. That doesn’t
happen here, thanks to the grip that Brewer has on the
score. I admire greatly the clarity he brings to the performance
and especially I like the way he ensures that in passages
such as that between 3:07 and 4:48, where Tallis thins
out the textures, the singers observe this accurately,
thereby achieving some superb contrasts. The engineers
play their part too, reporting the separate choirs splendidly.
Quite simply, this is one of the finest accounts of Spem
in Alium that I’ve encountered on disc and it crowns
this recital as, surely, it was meant to.
Everything
about this disc is of the highest quality. The standard
of performance is superb, as is the recorded sound. Gabriel
Jackson’s notes are exemplary and the music is quite wonderful.
This magnificent CD ravishes and stimulates the ear in
equal measure. Bravo!
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