CHILCOTT Circlesong

Record and Artist Details

Genre:

Vocal

Label: Signum Classics

Media Format: CD or Download

Media Runtime: 56

Mastering:

DDD

Catalogue Number: SIGCD703

SIGCD703. CHILCOTT Circlesong

Tracks:

Composition Artist Credit
Circlesong Robert Chilcott, Composer
Andrea Mut, Piano
Houston Chamber Choir
Jessica Myers, Piano
Leonardo Soto, Percussion
Mark Stein, Percussion
Matt Richards, Percussion
Richard Brown, Percussion
Robert Simpson, Conductor
Treble Choir of Houston
All Things Pass Robert Chilcott, Composer
Andrea Mut, Piano
Marianna Parnas-Simpson, Conductor
Treble Choir of Houston
Circles of Motion Robert Chilcott, Composer
Andrea Mut, Piano
Marianna Parnas-Simpson, Conductor
Treble Choir of Houston
Like a Rainbow Robert Chilcott, Composer
Andrea Mut, Piano
Marianna Parnas-Simpson, Conductor
Treble Choir of Houston
Walking the red road Robert Chilcott, Composer
Houston Chamber Choir
Robert Simpson, Conductor

Circlesong is an extended cantata for upper voices, mixed choir, two pianos and percussion, and is a revision dating from 2019 of an earlier work originally composed in 2003 for the Birmingham Festival Chorus and City of Birmingham Young Voices. This work is itself a development from his experience of writing three earlier songs for upper voices (Like a rainbow, Circles of motion and All things pass, all recorded here), taking texts from a variety of North American First Nation poets, moulded into what the composer terms a ‘life-cycle’ piece. Its 17 movements run as a sequence loosely modelled on the Seven Ages of Man: birth, childhood, lover, adulthood, middle age, old age and death.

As with much of Chilcott’s work, the writing for voices is exquisitely handled, equally satisfying for both singer and listener. The greatest technical challenges occur in the a cappella 11th movement, ‘In the house made of dawn’, a Navajo setting, with its shimmering hypnotising clusters in the upper voices – a moment of transcendent beauty. In the 10th movement, ‘O great spirit’, the Pärt-like opening stillness builds into a luscious arch shape, with long pedal notes gently rolling beneath two-against-three accompaniment patterns in the upper piano part. It should be noted that the writing for the two pianists is another highlight of this deeply impressive work. Equally breathtaking are infectious, fast-moving numbers such as the ‘Chinook songs’ (track 7) – a popular ‘hit’ if ever there was one – and ‘Summer song’ (track 9), where the percussion adds sparkle and pizzazz aplenty. Praise also to the young soprano Ella Theurer, whose short solos in two movements are affecting and unforced. Robert Simpson handles his well-drilled forces with aplomb, aided by superb support from his sextet of pianists and percussionists. To highlight the flawless choral blend, try track 3, the unaccompanied ‘Newborn’.

How I should love to hear these forces in Chilcott’s Songs and Cries of London Town, an 18-minute ‘capital cantata’, which would have made a perfect complement. There is room on the physical disc. Still, Circlesong makes for a stimulating and highly enjoyable hour’s music just as it is.

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