Holst includes a short footnote which states that ‘there should be no variation from sempre pp until near the end’, thereby ensuring that the music sustains a detached purity throughout. However, despite this apparently cool exterior, the composer consistently succeeds in illuminating the text in a manner that readily demonstrates his considerable musical insights and enviable technical skill. When, at the very end, the music gradually rises towards a final, emphatic fortissimo chord, the effect is one of a blaze of colour transforming a world of monochrome half-light. Throughout the motet the music representing the ‘body’ is unbarred and marked senza mesura, indicating that it is to be sung in a rhythmically free style.
from notes by Julian Haylock © 1989
|The Evening Hour|
The choir of Jesus College Cambridge contemplates the hours that take us from day into night in a programme of works by English composers from the sixteenth and twentieth centuries.» More
|Holst: The Evening Watch & other choral works|
'The performances here are wonderfully responsive. The individual voices seem perfectly attuned to the special colouring of Holst's music' (Gramophone)» More
|Parry: Songs of Farewell|
Composed towards the end of Parry’s life, the Songs of Farewell have taken on something of an epithetical interpretation; they are almost a musical summation of his compositional life, reflecting Parry’s love of English renaissance madrigals and p ...» More