This new recording brings together for the first time on a single disc all but one of Judith Weir’s compositions for unaccompanied choir and for choir with accompaniment by a single instrument. Missing are only two pieces, the
Missa Del Cid (1988), which I have not heard, and
All the Ends of the Earth (1999) for chorus, harp and percussion, which the Gonville and Caius choir has already recorded (SIGCD070).
The music spans the period 1983-2009. The earliest, those dating from 1983-1985, show influences of medieval music, not least in the spare textures.
Illuminare Jerusalem is perhaps Judith Weir’s best-known work thanks to the exposure it received through the Festival of Nine Lessons and Carols at King’s College, Cambridge, for which it was written. It’s a very good piece and the present performance, dynamic and energetic, is one of the best I’ve heard. The vocal writing displays quite a kinship with that in
Ascending into Heaven, the composer’s first major commission for choir. The vocal writing here is consistently interesting. However, whereas in
Illuminare Jerusalem the organ part is very small, though telling, the organ plays a key role in
Ascending into Heaven. It’s very much an independent part and the influence of Messiaen, which is wholly beneficial, is very apparent.
One regularly hears a choir accompanied by an organ but how often
does one come across a piece scored for choir and marimba?
little
tree is the result of an American commission and, given the
use of lower case in the title, you may not be surprised to learn
that the three poems which are set came from the pen of e. e.
cummings. These brief pieces are scored for high voices only,
which produces fresh clean textures and the addition of a marimba
is as effective as it’s unusual. The subtle and quiet tones of
the marimba and the stentorian sound of the trombone are poles
apart. A solo trombone joins the choir in the setting of Psalm
148 and mighty effective it is too. This piece was one of a number
of psalm settings written to mark the 800
th anniversary
of Cambridge University. Once again, the unusual combination of
instrument and choir works extremely well; the arresting music
given to the trombone – it sounds to be a most demanding part
– complements the choir’s paean of praise very well.
Throughout this programme the music is very varied and it shows that Judith Weir is an imaginative and inventive composer for voices. The music is, I should imagine, demanding on the singers yet the demands are never outlandish in the way that some contemporary choral writing is. And whether she’s setting George Herbert or e. e. cummings Miss Weir is always responsive to the texts.
I’ve been impressed with the singing of the Gonville and Caius choir on earlier discs and this new programme maintains that favourable impression. This music can’t be easy to sing but Geoffrey Webber has clearly prepared them scrupulously and everything is delivered with splendid assurance. Diction is excellent and the choir sounds well balanced and committed. Their singing gives consistent pleasure and the various solos within individual pieces are all very capably taken. I’m not sure which of the two organists accompanies each of the pieces involving organ but all these parts are done very well indeed.
Matthew Fletcher is credited as the soloist in the two pieces for organ. Both of these pieces involve very imaginative sonorities. The writing in the second piece,
Ettrick Banks, strikes me as particularly ingenious, not least the cheeky pay off at the end.
As usual with a Delphian release production values are high. Paul Baxter’s engineering is excellent; the recording is clear, truthful and puts just the right amount of ambience round the performers. The very interesting and thorough booklet note is by the conductor, Geoffrey Webber.
This disc offers an excellent survey of Judith Weir’s shorter choral music. The pieces really grab the listener’s attention and are well worth hearing. I wonder if Geoffrey Webber and his expert choir might now add a recording of the
Missa Del Cid, perhaps utilising the arrangement, which I understand has the composer’s blessing, for four-part choir and small instrumental ensemble made by Andrew Parrott.
John Quinn
Choir of Gonville & Caius College, Cambridge/Geoffrey Webber/Matthew
Fletcher and Annie Lydford (organ)/Jude Carlton (marimba)/Matthew
Knight (trombone) 
