Julian Marshall’s Chamber Cantata, Out of the Darkness,
has a mysterious tone from the outset. The opening Prologue alternates
between unison chant-style lines and open and dissonant harmonies
which rarely resolve, creating a sense of foreboding. The title
comes from a poem by Gertrud Kolmar, who lost her life in Auschwitz.
The music is scored for chamber choir, mezzo-soprano and a pair
of cellos. It uses a range of styles, from dissonant, twisting
melodic lines to lighter styles, including tango, which features
heavily in the second movement (entitled One). The accompanying
cellos are highly effective, giving a variety of textures and
a wonderful timbre. The style of singing on this recording verges
towards folk rather than classical. The sound is less blended
than choral music often is and gives a particular effect. This
seems less polished but more emotionally raw. There is a distinct
human element that comes through and this reaches out to the
listener. This is a work which has impact on an emotional level.
The Island Chapel by Gavin Bryars was composed for a performance
in St Nicholas Chapel in St Ives: a small chapel which is in
an isolated situation overlooking the sea. It makes reference
to the Tate St Ives, who commissioned the work, and to paintings
by James Hugonin which are hung in the chapel and in the gallery.
Exploring the relationships between these elements it is conceived
for a performance in a space which would accommodate six audience
members. This is an intimate work which combines a chamber-music
style closeness with a sense of space and of the outdoors including
the expansive distances of the sea reaching out to the horizon.
The small forces (keyboard, often holding long drones, cello
and mezzo) are highly effective, recorded here with musicians
who have a real affinity for the music. Melanie Pappenheim’s
uncomplicated voice is particularly effective, imparting purity,
and occupying its own acoustic space within the ensemble. The
richness of the Sophie Harris’s cello adds a hint of luxury,
while the keyboard provides a subtle backdrop for the action,
giving a gentle atmosphere with string-like held chords. This
is another emotionally strong piece, which sits well next to
Marshall’s cantata.
Pärt’s Spiegel im Spiegel was originally written
for violin and piano, but has since been performed in many versions,
including for bass clarinet, alto flute, horn, viola, percussion
and this version for cello. Its genius lies in its simplicity,
creating the effect of a meditation on sound, which transports
the listener into another realm. This recording is beautiful,
with just the right amount of vibrato in the cello to keep the
sound alive but without interrupting the line. Being ultra-critical,
the piano is a tiny bit too loud in the balance for my taste,
but that is a small point. I could listen to this for hours.
Carla Rees
Melanie Pappenheim (mezzo); Sophie
Harris (cello); Lucy Railton (cello); Ian
Belton (piano, keyboard) 
