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The two settings: O mistress mine and Come away, death are from Twelfth Night, the former being words of Feste, the jester. The normality of O mistress mine echoes the conventions of Gerald Finzi. The final cadence has a remarkable eyebrowraiser for the upper sopranos, just when all seemed plain sailing, whereas the harmonic language of Come away, death comes as quite a surprise. Whilst Murrill shares a free, homophonic word-setting with many of this era, where the speech-flow has an effortless precedence over the tyrannies of conventional bar-groupings, the slightly tortuous chromatic lines tend towards the multi-tonal. Moments such as a somewhat stunning ‘Weep’ at the close of Come away, death possess a Gallic richesse and there is a hint of a Walton-esque blues flavour in this example.
from notes by Greg Murray © 2016