(An) Eternal Harmony
A new work by James MacMillan is the main attraction on this mixed collection
View record and artist detailsRecord and Artist Details
Composer or Director: William Cornysh, Robert Ramsey, Anonymous, James MacMillan, Robert Carver
Genre:
Vocal
Label: Coro
Magazine Review Date: 1/2003
Media Format: CD or Download
Media Runtime: 67
Mastering:
Stereo
DDD
Catalogue Number: COR16010
Tracks:
Composition | Artist Credit |
---|---|
When David heard |
Robert Ramsey, Composer
(The) Sixteen Harry Christophers, Conductor Robert Ramsey, Composer |
In Monte Oliveti |
Robert Ramsey, Composer
(The) Sixteen Harry Christophers, Conductor Robert Ramsey, Composer |
O vos omnes |
Robert Ramsey, Composer
(The) Sixteen Harry Christophers, Conductor Robert Ramsey, Composer |
How are the mighty fallen |
Robert Ramsey, Composer
(The) Sixteen Harry Christophers, Conductor Robert Ramsey, Composer |
Salve regina |
William Cornysh, Composer
(The) Sixteen Harry Christophers, Conductor William Cornysh, Composer |
Ave Maria, mater Dei |
William Cornysh, Composer
(The) Sixteen Harry Christophers, Conductor William Cornysh, Composer |
O bone Jesu |
Robert Carver, Composer
(The) Sixteen Harry Christophers, Conductor Robert Carver, Composer |
Missa Dum sacrum mysterium, Movement: Credo |
Robert Carver, Composer
(The) Sixteen Harry Christophers, Conductor Robert Carver, Composer |
Dum sacrum mysterium |
Anonymous, Composer
(The) Sixteen Anonymous, Composer Harry Christophers, Conductor |
Author: Fabrice Fitch
I suspect that this last feature will be the principal attraction, both to The Sixteen’s devoted following and to the admirers of Scotland’s most prominent living composer. The new work wears its allegiance to its model plainly enough – almost too plainly, one might say. Some gestures are rather perfunctory nods in the general direction of Carver’s idiom; others, like the ‘sighing’ glissandi after the 4'00" mark, seem strangely out of place, as though an ‘extended technique’ had been pressed into service to mark the piece out as contemporary. I must also admit that the work’s structure continues to elude me (the ending in particular) even after repeated listening. That said, MacMillan’s handling of choral writing is undeniably skilful, and The Sixteen clearly relish the ensemble and solo effects that he has contrived. It will probably become a mainstay of the choral repertoire, at least in the UK.
The performance of the new work is on a par with that of the earlier repertory. It is all most fluently handled, but in nearly every other instance there are rival readings that cut just that little bit deeper. But even if comparisons are not exactly in The Sixteen’s favour, the general level of musicianship is obviously very high and this disc has its ‘target audience’ well in its sights: not quite a bullseye for this reviewer, but a clear success for all that.
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