The Eternal Ecstasy - Music of Visionary
Transcendence
The Chapel Choir of Selwyn College, Cambridge/Sarah MacDonald
rec. 24-26 June 2013, Lady Chapel, Ely Cathedral
Texts and English translations included
REGENT REGCD427 [72:48]
When I received this disc with its rather florid title and
saw that the programme included such oft-recorded pieces as those by Whitacre
and Lauridsen I wondered whether we actually needed another disc
of this nature. However, further scrutiny of the musical menu indicated that
this was an unfair judgement because there are quite a number of pieces here
that are unfamiliar. Indeed, five pieces – those by Iain Quinn, Phillip
Cooke, David Bednall, Alan Bullard and John Duggan – have not previously
been recorded.
As Gary Cole explains in the booklet note, the idea behind this album is to
“[trace] the development of the so-called ‘Ecstatic’ style,
epitomised by the choral works of … Morten Lauridsen and Eric Whitacre.”
Within that remit the music has been discerningly chosen.
The choir numbers 33 singers (10/8/7/8) and they acquit themselves well in
a demanding programme. The sound of the choir is fresh and focused. Occasionally
I felt that the soprano line was a little too prominent; this seemed particularly
noticeable in the Lauridsen where the soprano sound was rather too bright
for my taste, putting slightly too much edge onto what was otherwise an admirable
performance. For the most part, though, the sound of the choir is pleasing
and it suits the chosen repertoire.
I’ve heard quite a bit of music by Cecilia McDowall and I’ve formed
a very favourable impression. She writes imaginatively for voices and this
is true of Regina Caeli where the alternation of slow music and passages
that are more swiftly paced works very well. I don’t believe I’ve
previously heard any music by Iain Quinn but if Adoremus in aeternam
is typical of his output then I should like to hear more. In this piece the
writing is mostly homophonic and it sounds very well, especially in the warm,
nicely resonant acoustic of the Lady Chapel of Ely Cathedral.
I also liked very much Phillip Cooke’s The eternal ecstasy.
This is a setting of some lines, in English translation, from the Autobiography
of Saint Teresa of Ávila. Much of the writing is darkly intense, which befits
the mysticism of the words. Part way through there’s an important alto
solo during which the soloist is gently accompanied by soft, luminous writing
for the sopranos. It’s a pity that the soloist, who sings very attractively,
isn’t credited. I’ve come across quite a lot of choral music by
David Bednall and I’ve admired what I’ve heard to date. The
law of the Lord is another impressive piece and I agree with Gary Cole’s
identification of “a rich, post-Howells chromaticism” in the harmonic
language.
Alan Bullard’s The spacious firmament contains some of the
most texturally complex music on the programme – I understand that the
choir is divided into as many as eight parts. It’s done well by the
Selwyn choir. They also make a good job of the four short pieces that comprise
Paul Mealor’s Now sleeps the crimson petal. The last of these,
A spotless Rose, is the most memorable of the set; here the music
is slow and rapt, making a fine impression.
I have heard several of the pieces before. I enjoyed the fluent account of
Randall Thompson’s Alleluia. MacMillan’s Christus
vincit is an interesting response to a text that is more usually set
to music that is celebratory, if not downright triumphal. MacMillan, always
his own man, produces a surprisingly subdued setting. There’s no hint
of triumphalism here; instead the piece is a very imaginative meditation on
the majesty of Christ. The writing for the sopranos is especially demanding
at times and once or twice it sounds as if the Selwyn sopranos are under a
bit of pressure. Eric Whitacre’s radiant Lux aurumque is justly
popular and the choir gives a good account of it. They impress just as much
in Sir William Harris’ wonderful John Donne setting, Bring us, O
Lord God. I’m not sure I agree with Gary Cole’s statement
that the piece “introduces to English choral music a new expression
of spiritual intensity”: what about the choral music of Herbert Howells,
much of which preceded the Harris piece?
Overall the Selwyn College choir does very well in this challenging programme.
I’ve heard several of their previous discs and while those have all
been good I think the present offering is their best to date. I enjoyed the
performances and the selection of music is rewarding. The recording, made
in the wonderful acoustics of Ely Cathedral’s Lady Chapel, is very good.
John
Quinn
Track-listing
Randall THOMPSON (1899–1984) Alleluia (1940) [5:55]
Sir John TAVENER (1944–2013) A Hymn to the Mother of
God (1985) [2:55]
Cecilia McDOWALL (b. 1951) Regina Caeli (2004) [3:23]
Eric WHITACRE (b. 1970) Lux aurumque [4:10]
Iain QUINN (b. 1973) Adoremus in aeternum [3:24]
Phillip COOKE (b. 1980) The eternal ecstasy (2013) [5:33]
David BEDNALL (b. 1979) The law of the Lord (2008)[3:29]
Alan BULLARD (b. 1947) The spacious firmament (1989) [7:00]
Sir James MacMILLAN (b. 1959) Christus vincit (1994) [6:50]
John DUGGAN (b. 1963) Nunc autem manet (2010) [3:31]
Morten LAURIDSEN (b. 1943) O magnum mysterium (1994) [6:47]
Paul MEALOR (b. 1975) Now sleeps the crimson petal (2010):-
i. Now sleeps the crimson petal [3:46]
ii. Lady, when I behold the roses sprouting [3:04]
iii. Upon a bank with roses set about [1:57]
iv. A spotless Rose [6:02]
Sir William HARRIS (1883–1973) Bring us, O Lord God (1959)
[4:56]
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