Here’s an interesting idea. The cathedral at Sheffield
is dedicated to Saints Peter and Paul so the programme for this
CD has been put together, according to the notes, as “a
good representation of a liturgical choir’s core repertoire;
settings of the propers of the mass and anthems and motets,
in this case in honour of St. Peter and St. Paul.” If
this programme is indeed representative of the staple musical
fare at Sheffield Cathedral then it’s exceptionally enterprising.
There are three fairly short Mass settings here. I was especially
keen to hear the one by Jonathan Dove, since the vocal music
of his that I’ve heard has impressed me. HisMissa
Brevis doesn’t disappoint. I love the driving, propulsive
music in the outer sections of the Gloria, the more so since
the choir sings the music with fine spirit and energy. The Sanctus
and Benedictus, combined in one movement, are enterprising too
while the Agnus Dei starts in a subdued tone and builds to an
impassioned climax before the music subsides back to achieve
a quiet end. I can see this becoming a popular setting with
good choirs.
I’m not sure that will be the fate of the Grande Messe
Solenelle of Thierry Escaich. For those to whom, like me, his
name was new, he is a composer and organist who has been Organist
of the church of St. Etienne-du-Mont in Paris since 1996 - the
same church where Duruflé served as organist from 1930
until his death. Anthony Gowing, the organist here - and author
of the useful notes - has studied with him and I wonder if that’s
how the work came to the attention of Sheffield Cathedral. The
choir gave the first liturgical performance in the UK in 2010
- previously The BBC Singers had sung it in concert - and this
is its first recording by a UK choir. I have to say that, even
after listening a few times it’s a work to which, while
I may respect it, I find it hard to warm and more than once
I wondered what the Sheffield Cathedral congregation made of
it. Like several other French Masses, such as the Vierne Messe
solenelle in C sharp minor, it is written for two organs - the
Grand Orgue and a smaller choir organ; Anthony Gowing
reduces these parts to be played on a single instrument.
Gowing, who is clearly an enthusiast, describes the music in
the Kyrie as “at once aggressive and lyrical”. To
be honest, I get more of the former than the latter - throughout
much of the work. In the Kyrie the choral writing is often jagged
in style and I completely agree with Gowing that it’s
“uncompromising”. There’s a huge organ part.
For a lot of the time the music in the Gloria is vigorous and
strongly rhythmical. Though the mass is sung in French, during
the latter stages of the Gloria the Latin words “Gloria
in Excelsis Deo” are repeated over and over by one section
or another of the choir. The frantic, driving conclusion of
the movement veers towards the aggressive but it’s undeniably
exciting. The Sanctus starts menacingly and achieves an imposing
climax at the Hosanna. The Agnus Dei begins in dissonant darkness
though it does achieve a gentle, luminous close. Escaich packs
a lot into each short movement. The music sounds very challenging
to perform but the Sheffield choir acquits itself well.
The Duruflé is the most familiar of the Mass settings
here recorded. Like so much else of this composer’s quite
limited output it’s securely founded on plainchant. It’s
scored for a chorus of unison baritones - here I imagine the
tenors and basses unite - with organ accompaniment. The Sheffield
men make a good sound and deliver Duruflé’s flowing
lines securely. The middle of the Gloria and the Benedictus
feature a solo baritone. Here the singer is Jeremy Dawson, who’s
listed among the choir’s tenors. He sounds a bit strained
in his solo in the Gloria though he fares rather better in the
more reflective music of the Benedictus. I admired particularly
the way the Agnus Dei is delivered: the choir, splendidly accompanied
by Anthony Gowing, give a most atmospheric account of this gentle
movement.
Among the shorter works I much prefer Duruflé’s
fluid setting of Tu es Petrus to the grander - indeed,
grandiose - setting by Widor. I also prefer the performance
of the Duruflé. In the Widor it sounds to me as if the
men in particular rather over sing in the louder music; the
Westminster Cathedral Choir (Hyperion CDA66898) show how it
should be done and I also prefer the slightly quicker tempo
on that recording. The pieces by Britten and Carl Rütti
are well done. The latter, which may be unfamiliar to many,
is an impressive and very dramatic composition in which a variety
of scriptural passages relating ether to St Peter or St Paul
are convincingly knitted together.
Neil Taylor is to be congratulated in putting together such
an adventurous and stimulating programme. His choir may not
quite match the very best British cathedral choirs but they
acquit themselves very well in music before which many choirs
would quail. Anthony Gowing, whose appointment as Assistant
Director of Music at Gloucester Cathedral has just been announced
plays the organ parts, all of which are challenging albeit in
different ways, with great virtuosity: I wonder, in passing,
how soon Gloucester will hear the music of Thierry Escaich.
This imaginatively planned and well executed programme of liturgical
music is well worth investigating.
John Quinn
The Choir of Sheffield Cathedral//Neil Taylor 