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Hyperion Records

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Sunset Flock by Charlie Baird (b1955)
Private Collection / By kind permission of Alistair Groom
Track(s) taken from CDA67881
Recording details: January 2011
Douai Abbey, Upper Woolhampton, Berkshire, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: March 2012
Total duration: 5 minutes 6 seconds

'Hansson's music shows off the choir's strengths to great advantage … it is their confident and committed performance that warrants a recommendation from the objective listener' (Gramophone)

'There's some lovely five-part canonic writing for women's voices in the Benedictus … the glowingly expressive Som när handen, the brightly rippling Salve regina and the mellifluous, resonantly multi-part Endless border are particularly impressive' (BBC Music Magazine)

'This marvellous disc … not only pays tribute to the Swedish composer's fresh, melodic, choral writing but also to the uniformly excellent vocal ensemble at Royal Holloway under their inspirational director, Rupert Gough. On the basis of this disc, these performers are wholly inside Hansson's sonic world … highly recommended' (Choir & Organ)

'The music on this disc is consistently good; Hansson’s beginnings as an arranger of folk and popular song have helped him develop gifts as a writer of contemporary choral music that really does exert a grip … the musical processes are sophisticated but always easy to follow. Endless border is a compact, seven-minute marvel … Rupert Gough’s young choir make a glowing sound, recorded in an acoustic which gives them plenty of air but never clouds the detail' (

Som när handen 'As when day dawns'
First line:
Som när dagen gryr
1993; SATB divisi unaccompanied
author of text

Introduction  EnglishFrançaisDeutsch
Som när handen represents Hansson’s first major choral work. Composed in 1993, it was awarded first prize in the national Swedish composition competition. Hansson approached the piece very much as a personal musical exercise, a working out of harmonic ideas. The resultant colourful harmonies are constructed with particular use of seconds and fourths. The harmonic language emerging from this piece permeates later works and establishes the composer’s distinctive musical voice. Annika Hultman Löfvendahl’s text begins at daybreak and Hansson uses middle C almost like the point on the horizon from where the breaking sun will appear. The sound quickly expands into an exultant C major. Following this, ‘A journey is begun’ with repetitions in all parts like deliberate footsteps. The use of such ostinatos is to become another fingerprint of the composer’s style. To conclude, Hansson recalls the opening ‘As when the day dawns’ with pianissimo unison Cs from all voices.

from notes by Rupert Gough © 2012

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