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What is particularly attractive about this new disc is that
it avoids the usual selection of Christmas carols and, instead, brings us some
of the finest sacred Christmas choral works from the 16th to the 20th
century.
This new disc opens with William Byrd’s (1543-1623) A
solis ortus cardine (The sun rises) a plainsong hymn which transports us back over 400 years with the Christ Church
Cathedral Choir providing some lovely individual voices in the various
passages, building in texture and power before
the end.
The Welsh composer William
Mathias ((1934-1992) wrote much choral music, his Ave Rex – A Carol Sequence, Op.45 being one of the longer pieces on
this disc.
Ave Rex (Hail King)
opens with an organ flourish before the choristers sing a repeated Ave, Ave. The adult voices and organ continue in this
thoroughly contemporary yet strikingly attractive setting before all the choir
come together blending beautifully in Mathias’ harmonies.
The choir rise up beautifully in the joyful Alleluya A new work is come on hand with many little subtleties and some
terrific weaving and overlaying of texts. The choristers open There is no rose of such virtue against
a hushed organ chord before the adult voices take over. After the choristers return
the whole choir then leads on with a beautiful flow and texture, so exquisitely
gentle. The music rises up passionately before calming with a solo treble and
choir leading to a very fine coda.
Staccato organ chords open Sir Christèmas before the choir sound out in this joyful concluding
section. There is a central organ section before the choir rejoin bringing some
exceptionally fine, powerful singing.
We go right back to the 16th century with John Taverner’s (1490-1545) Mater Christi sanctissima (Mother of Christ
most holy). How this choir seem to excel in such diverse repertoire. Here
they bring a transparency and brilliance to this fine piece, an antiphon on
which the composer built his Mass of the same name; some absolutely splendid
weaving of contrapuntal lines before rising to a final amen.
This recording continues with three more pieces by William Byrd, firstly his Hodie Christus natus est (Christ is born
today), a fast flowing celebratory motet with this choir in full flow. Byrd’s O magnum misterium (Oh Great mystery) is a more measured setting,
as befits the text, with some beautifully controlled singing. Puer natus est nobis (For is born to us)
brings more of Byrd’s weaving of contrapuntal lines superbly handled by this
choir.
John Sheppard
(c.1515-c.1559) is still much undervalued yet he surely deserves to be
recognised as one of the finest of 16th century English
composers. Here his Gaude, gaude, gaude Maria (Rejoice,
rejoice, rejoice Mary) provides a substantial example of just how fine he
was. Stephen Darlington paces the choir perfectly with Sheppard’s rather
melancholic setting sounding so fine. There is a lovely restraint in the
slower, reflective passages and beautifully soaring passages elsewhere, bringing
out Sheppard’s little harmonies and with some fine individual groups of voices.
Returning to the 20th century we come to Francis Poulenc (1889-1963). He wrote
many very fine choral works of which Salve
Regina (Hail Queen) is a fine example with this choir finding much beauty
in the composer’s lovely harmonies.
Giovanni Pierluigi da
Palestrina’s (c. 1525-1594) Magnificat
(Sexti Toni à 6) is built on a plainchant melody that opens this work. Soon
Palestrina’s genius suddenly allows the music to soar and what a sound the
choir produces. They are magnificent. in this fine work with some lovely
individual contributions including a fine treble. This is a particularly fine
performance full of power, control, lovely weaving of musical lines and a
glorious Amen.
The Portuguese composer
João Rodrigues Esteves (1700–1751) is not a name that will be known to
many. He has a link to Palestrina in that he studied in Rome with Ottavio
Pitoni (1657-1743) a disciple of Palestrina and the writer of some 3,000 masses,
psalms and hymns in the contrapuntal style of the earlier composer.
Esteves’ Beata Dei Genitrix (Mother of God) has a
lovely swaying gait to it before it pushes ahead rhythmically. There is an odd
little middle section for a smaller group of voices before the choir all join
to lead to the coda.
Verbum caro factum est
(The Word became flesh) has a gentle opening before Esteves pushes the music
forward, again with a central section for a small group of soloists, very
finely sung here. The choir rejoin and move forward but Esteves includes
another section for the small vocal group before the choir lead to the fine
coda.
There’s nothing like an English Cathedral or Collegiate
Choir at Christmas and here is one of the finest we have. There are informative
notes by Stephen Darlington but no texts. With singing as fine as this it
hardly matters. This should be at the top of your Christmas music list.
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