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Hyperion Records

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The purified soul is like a bright, beautiful chamber by Elizabeth Wang (b1942)
Private Collection / © Radiant Light / Bridgeman Art Library, London
Track(s) taken from CDA67799
Recording details: January 2009
St Alban's Church, Holborn, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2009
Total duration: 16 minutes 19 seconds

'Sound moments of raptural texture (such as the word 'Christ' in Hail, Queen of Heaven, by the far the most substantial piece on this programme) … Dubra's natural home is a mood of controlled meditation and lyrical clarity … this style is well handled by the Choir of Royal Holloway, whose clean-edged sound, under Gough's sympathetic direction, warms to the generous acoustic of St Alban's, Holborn' (Gramophone)

'Royal Holloway's fabulous choristers and their inspired conductor convey the purity and spiritual fervour of Dubra's ear-catching output' (Classic FM Magazine)

Missa de Spiritu Sancto
September to October 2001; published in 2007; upper voices and organ; commissioned by the Lithuanian Academy of Music
author of text
Ordinary of the Mass

Kyrie  [3'04] GreekEnglish
Gloria  [4'42] LatinEnglish

Introduction  EnglishFrançaisDeutsch
The Missa de Spiritu Sancto for upper voices was the result of a commission from the Lithuanian Academy of Music in 2001. As Lithuania is a much more predominantly Catholic country, this Mass was clearly destined for liturgical as well as concert use. The Kyrie creates a timeless atmosphere imbued with elements of organum. The Gloria, by contrast, is suitably exuberant and here the choral writing is more homophonic. For the softer sections the melody moves in octaves with the other voices providing harmonic colour in the middle. This style of writing is exploited more in the Sanctus where the parallel octaves are part of six-part cluster chords. To this jubilant chant the organ provides an accompaniment akin to a peal of bells. The more reverential Agnus Dei utilizes a simple four-part harmonized melody as a refrain. Juxtaposed with this is a minimalist organ accompaniment. For the concluding ‘dona nobis pacem’ all the elements come together but slowly work outwards towards complete freedom of expression. The result is celebratory and yet, as in so many pieces, never conclusive.

from notes by Rupert Gough © 2009

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