The setting of Richard Crashaw’s ‘Come Love, come Lord’ breathes that spirit of mystical remoteness later to inform (on a wider canvas) A Pastoral Symphony—a perception of
The silence that is in the starry sky,
The sleep that is among the lonely hills.
The finale, ‘Evening Hymn’ (a translation from the Greek by the then Poet Laureate, Robert Bridges), is a brilliant contrapuntal tour de force whose not least remarkable feature is its pre-echoes (in its seven-note bell-like basso ostinato) of Holst’s Hymn of Jesus, composed in 1917. There are two themes—the ‘bells’ and a viola tune, soon taken up by the tenor—but the distinctions between them quickly become blurred as the hymn gains in warmth, intensity and complexity. In a long-drawn fade-out it is the bells that have the last word.
from notes by Christopher Palmer © 1993
|Vaughan Williams: Choral Works|
Issued to mark the fiftieth anniversary of Vaughan Williams’s death, this collection is tantalizing: it starts with one of the best-selling discs in the catalogue, the Serenade to Music, and includes such favourites as the Five Mystical Songs and The ...» More
|Vaughan Williams: Dona nobis pacem & other works|
'An enticing VW collection whose attractions are enhanced by Christopher Palmer's typically illuminating booklet notes' (Gramophone)
'Sit back and enjoy this VW concert of uncommon power and beauty … another luscious plum in the Hyperion catalogue' (Soundscapes, Australia)» More