and The Corpus Christi Carol
date from 2001 and show the aptness of the composer’s writing for choir. Each of the four voice lines of The Assumption
, for example, is eminently singable, although their combined effect greatly exceeds the sum of the work’s parts. The Corpus Christi Carol
’s early sixteenth-century text does not lack strong choral settings. Burgon’s version establishes its distinct individuality from the off with an imaginatively crafted treble solo, complete with an augmented fourth interval; likewise, the harmonies employed for the carol’s ‘Lully, lulley’ refrain sound freshly minted and novel. Once again, the composer raises simplicity of texture to a virtue that allows the compelling narrative of his chosen text to flow unimpeded.
from notes by Andrew Stewart © 2006