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Track(s) taken from CDA68440

Set me as a seal

composer
2011; SATB divisi, unaccompanied
author of text
Song of Solomon 8: 6-7

The Choir of Trinity College Cambridge, Stephen Layton (conductor)
Studio Master FLAC & ALAC downloads available
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Recording details: July 2022
Saint-Eustache, Paris, France
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: January 2024
Total duration: 2 minutes 54 seconds

Cover artwork: For love of us, Christ gave Himself up for us, to pay our debt (2001). Elizabeth Wang (1942-2016)
© Radiant Light / Bridgeman Images
 

Reviews

‘This album can be savoured on so many levels: as a masterclass in organ improvisation or for the radiance of Stephen Layton’s choristers and the rare opportunity to wallow in the marvel of an English choir in tip-top condition bathed in the vastness of Saint-Eustache. Nor should we ignore Trinity’s organ scholars, Jonathan Lee and Harrison Cole, who display their total mastery of the 101 stops and five manuals of the mighty 1989 Van den Heuvel organ’ (Gramophone)

‘Layton has given Briggs a disc to treasure, and anyone who buys it will enjoy it as well. This is highly recommended’ (Fanfare, USA)

‘This is a splendid album. As was the case in the previous collaboration between David Briggs and the Trinity College choir, Briggs is confirmed as an exciting composer for voices and for voices and organ. And his music is exciting not just when all the stops are pulled out (apologies for the pun!) but also in the quiet, reflective pieces. Here. he also treats us to several examples of his skill and flair as a virtuoso improvisor on the organ (I shan’t forget in a hurry the way in which he improvises on Surrexit Dominus). His music clearly sets considerable challenges to the singers but the Choir of Trinity College is equal to every demand and, energised by Stephen Layton, produces superb performances. Nor are the College’s Organ Scholars, Harrison Cole and Jonathan Lee, overawed by the presence of one of the world’s leading organists; both of them play marvellously, seizing opportunities to display virtuosity but, at other times, playing with great sensitivity. Recording in the spacious acoustic of the Church of Saint-Eustache must have presented significant challenges to engineer David Hinitt but he has been thrillingly successful. The sound of the organ has terrific presence and impact and the choir comes across clearly even when the mighty organ is at full tilt. As I’ve commented earlier, the acoustic has been used expertly to impart an aura yet never at the expense of clarity. Joseph Fort’s booklet essay is ideal; he’s an expert guide to the music. This is a memorable disc’ (MusicWeb International)
Set me as a seal was written in a morning in 2011, as a wedding gift for two close friends. The text, from the Song of Solomon, is at once tender and forceful, and the music conveys this. At the start, as one lover asks the other to ‘Set me as a seal upon thine heart’, the unaccompanied choral parts start within close range of one another, before fanning outwards gradually. The voices all move together, in homophonic confidentiality. Briggs marks the final section ‘vision de l’éternité’ and sets it in the bright key of F sharp major—reminiscent of Messiaen’s O sacrum convivium and conveying a heavenly glow.

from notes by Joseph Fort © 2024

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