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Track(s) taken from CDA67867

The Lamb has come for us from the House of David

composer
1979; SATB + organ; first performed by the Schola Sancti Alberti of Edinburgh University in 1979; written for the ordination of Allan White OP
author of text

Wells Cathedral Choir, Matthew Owens (conductor)
Recording details: June 2010
Wells Cathedral, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: June 2011
Total duration: 4 minutes 35 seconds

Cover artwork: Angel by William Morris (1834-1896)
Courtesy of Peter Nahum at The Leicester Galleries, London
 
1

Reviews

'Wells Cathedral Choir gives a compelling survey of choral pieces by one of Britain's most important composers … MacMillan's musical voice remains breathtakingly distinctive and true. This disc is a worthy recorded tribute to a truly significant figure in contemporary music. Highly recommended' (Choir & Organ)

'The Wells singing is of a consistently high standard (MacMillan's trademark use of melisma is particularly well assimilated) and organist Jonathan Vaughn delivers a scintillating account of Le tombeau de Georges Rouault, the magnificent solo piece which ends this absorbing programme' (BBC Music Magazine)

'Here is another splendid release of recent British choral music from the choir of Wells Cathedral and its superb director Matthew Owens … the choir is, in a word, magnificent. Singing with impressive self-assurance and clearly revelling in MacMillan's uncanny ability to make everything sound perfectly natural even when the technical skills involved are extraordinarily demanding' (International Record Review)
Of The Lamb has come for us from the House of David MacMillan writes that it was ‘written for an ordination of a young Dominican who went on to be the Head of an order in England, Allan White OP. My schola of student choristers (Schola Sancti Alberti) at Edinburgh University’s Catholic Chaplaincy sang it first in 1979.’ The twenty-year-old composer knew then how to write practically for the forces at his disposal and he makes the most of a supportive organ part. The voices begin in unison and move to four-part harmony. A method he came to use often in future compositions—the strong organ interlude antiphonally juxtaposed with unaccompanied voices—is found here at the climax, and is followed by a treble solo and a return to the unison voice of the opening.

from notes by Paul Spicer © 2011

À propos de The Lamb has come for us from the House of David, MacMillan écrit qu’il l’a «écrit pour l’ordination d’un jeune dominicain qui a ensuite pris la tête d’un ordre en Angleterre, Allan White OP. Ma schola d’élèves choristes (Schola Sancti Alberti) à l’aumônerie catholique de l’Université d’Édimbourg l’a chanté pour la première fois en 1979». Le compositeur, âgé de vingt ans, savait alors comment composer d’une manière pratique pour l’effectif dont il disposait et il tire le meilleur parti d’une partie d’orgue d’un grand secours. Les voix commencent à l’unisson et passent à une harmonie à quatre parties. On trouve ici, au point culminant, une méthode qu’il allait souvent utiliser dans ses compositions à venir—le fort interlude de l’orgue juxtaposé de manière antiphonale à des voix sans accompagnement; viennent ensuite un solo de soprano et un retour à l’unisson initial.

extrait des notes rédigées par Paul Spicer © 2011
Français: Marie-Stella Pâris

Über The Lamb has come for us from the House of David schreibt MacMillan, es sei „zur Ordination eines jungen Dominikaners entstanden, der später Oberhaupt eines Ordens in England wurde: Allan White OP. Meine Schola aus studentischen Chormitgliedern (Schola Sancti Alberti) in der katholischen Hochschulgemeinde der Universität Edinburgh sang es 1979 zum ersten Mal.“ Der zwanzigjährige Komponist wusste damals schon, wie er zweckmäßig für das ihm zur Verfügung stehende Ensemble schreiben konnte, und den unterstützenden Orgelpart nutzt er dabei voll aus. Der Gesang setzt im Unisono ein und entwickelt sich dann zu einen vierstimmigen Satz. Ein Mittel, das er in vielen späteren Kompositionen verwenden sollte—das kraftvolle Orgelzwischenspiel, das antiphonal neben unbegleitetem Gesang steht—, findet sich hier am Höhepunkt; es folgen ein (Knaben-)Sopransolo und eine Rückkehr zum Unisono-Gesang des Anfangs.

aus dem Begleittext von Paul Spicer © 2011
Deutsch: Arne Muus

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