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Hyperion Records

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Tree by Charlie Baird (b1955)
Track(s) taken from CDA67818
Recording details: January 2010
St Alban's Church, Holborn, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2010
Total duration: 19 minutes 2 seconds

'His music has a timeless and highly atmospheric quality. Textures and nuances are used with great perception … the effect on the listener is best summed up as being one of 'contemplative meditation'. Rupert Gough has wrought wonders with his Egham choristers. Their tone glows warmly, with a firm bass-line and bell-like top soprano and tenor lines. Pitching is spot-on and climaxes are beautifully controlled  … the sumptuous swimming acoustic of St Alban's, Holborn, is perfect for this delicious music' (Gramophone)

'Vytautas Miškinis might be the best thing to happen to choral societies since Morten Lauridsen … the Choir of Royal Holloway sing with excellent intonation and blend' (International Record Review)

'The clarity and translucence of Royal Holloway's young voices, expertly trained and throroughly prepared for this demanding job, ideally suits Miškinis' infinitely subtle art. Gough and his choristers are outstanding … exquisite in their hypnotic contrasts and folk-like purity' (Classic FM Magazine)

Seven O Antiphons
composer
Nos 1 & 3: 26 March 1995 Vilnius; No 2: 2 December 2003 Vilnius; No 4 & 7: 3 December 2003 Vilnius; double choir, apart fro No 5
author of text

Introduction  EnglishFrançaisDeutsch
Miškinis began setting some of the Seven O Antiphons in 1995 but did not complete the set until 2003. Their uniformity lies in the consistent use of double choir with considerable use of overlaid harmonies. In O Adonai and O Rex gentium the second choir merely provides a harmonic backdrop to the more narrative first choir. By contrast, in O Radix Jesse the first choir simply repeats the phrase ‘O Radix Jesse’ as an echo at the end of each phrase from the second choir. The final section of this antiphon makes clever use of ostinatos with each phrase of slightly different lengths so that the resulting texture alters subtly as the pieces subsides ‘al niente’. Different from the other antiphons is O Oriens, which uses a single choir but with the addition of soprano and tenor soloists singing in octaves for a recapitulation of the opening theme.

from notes by Rupert Gough © 2010

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