Please wait...

Hyperion Records

Click cover art to view larger version
Angel by William Morris (1834-1896)
Courtesy of Peter Nahum at The Leicester Galleries, London
Track(s) taken from CDA67867
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

'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)

The Lamb has come for us from the House of David
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

Introduction  EnglishFrançaisDeutsch
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

   English   Français   Deutsch