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Contents:
DDD Total time = 77.31 / Recorded in York Minster January 1999 The Carols: The words of the Coventry Carol are taken from the 15th. century Pageant of the Shearmen and Tailors, and are matched with a melody that first appeared in print in 1591. This four-part setting by Martin Shaw uses a modern version of the tune. Coleridge found the words of The Virgin’s Cradle Hymn in a German village and Edmund Rubbra used the original Latin text when he composed his setting in the 1920’s. He was a Latin scholar with a deep understanding of the music of the polyphonic era, and this is apparent in the deceptively simple music. Since John Tavener became converted to the Russian arm of the Orthodox Church in 1977 his mentor has been Mother Thekla of Whitby. Today the Virgin sets words by Mother Thekla and was first performed by the choir of Westminster Abbey in 1989. In the carol Lullay, lullay little child the baby Jesus is addressed not by his mother, but by the poet, who first takes on the guise of Eve and then of humankind. Although the music follows a verse structure none of them are quite the same. It was written in 1996 for Jane Sturmheit and the Chapter House Choir. Joseph was also written for the choir. The composer, Phil Redding, is married to one of the sopranos, and Malcolm Bell, who wrote the words, is one of the basses in the choir. It tells the Christmas story from the point of view of Joseph and looks forward to the Passion. Herbert Howells wrote Here is the little door in 1918, when he was in his mid-20’s. Described as a carol-anthem, it sets words by Frances Chesterton on the giving of gifts to the infant Jesus. It is quite dramatic with the dynamic contrasts. Vaughan Williams set the words of Wither’s Rocking Hymn to a lilting, folk-like melody. This in turn has been arranged sympathetically by Antony Baldwin for soloists, four-part chorus and organ. Hodie Christus natus est was written by Andrew Carter in 1993 for the British Federation of Young Choirs and first performed in Durham Cathedral. The composer describes it as having "a great deal of go," which is due to the extensive use of 7/8 rhythm and unison and homophonic passages. Andrew Carter’s lovely arrangement of the Appalachian folk carol, I wonder as I wander, dates from 1977. The arranger keeps the harmonies quite simple and varies the texture of each verse to create a beautiful piece of music. The modern setting of the traditional words to The Holly and the Ivy by Jonathan Willcocks is a celebratory piece, as it was written for seventieth birthday of his father, Sir David, and was first performed by the Bach Choir in 1990. It is rhythmic and very jolly, as one would expect. By way of contrast, the next piece is a gentle setting of the German traditional carol, Still, Still, Still by Brian Longthorne. The scene is the manger with the angels and Mary looking down on the Infant Jesus. The tranquil mood continues with Harold Darke’s famous setting of In the bleak midwinter by Christina Rossetti. The harmonies underlying the simple melody, especially in the choral verses, give enough momentum to avoid a feeling of sentimentality. There is a danger that The Twelve Days of Christmas could become to Andrew Carter what ‘The Carnival of Animals’ was to Saint-Saëns: his most popular piece but not representative of his output. Somehow this seems appropriate as ‘The Swan’ is one of several famous works quoted in the arrangement. The listener is left to discover the rest for themselves. It is outrageous and great fun. We return to the crib once more for Andrew Carter’s Mary’s Magnificat. The choir gently sets the scene whilst the soprano soloist sings the words of Mary above and lulls the baby to sleep. John Rutter’s What sweeter music is a setting of words by Robert Herrick. Like all of his music it gives enormous enjoyment to sing, not least because he knows how to write a tune. It was written for Stephen Cleobury and the choir of King’s College, Cambridge. The final piece is an arrangement of Have yourself a merry little Christmas and is the sort of indulgence the choir keeps in reserve as an encore. Wonderful! © Andrew Bunney 1999 Herbert Howells; Siciliano for a High Ceremony 1953 Page revised 26.06.03 |
