Composer: Eastertide
Works: Traditional: Forty Days and Forty Nights; Richard Farrant: Call to Remembrance, O Lord; John Dykes Bower: Praise to the Holiest in the Height; Henry Purcell: Hear My Prayer; Henry Purcell: Remember Not, Lord, Our Offences; John Mudd: Let Thy Merciful Ears; Maurice Greene: Lord, Let Me Know Mine End; William Byrd: Bow Thine Ear, O Lord; John Ireland: My Song is Love Unknown; John Goss: O Saviour of the World; Orlando Gibbons: Drop, Drop, Slow Tears; Pablo Casals: O Vos Omnes; John Ireland: Ex Ore Innocentium; Edward Bairstow: Lamentation; Thomas Tallis: Salvator Mundi; Antonio Lotti: Crucifixus; Barry Rose: Easter Flourish; Traditional (arr. Wood): This Joyful Eastertide; William Byrd: Adora Te; Samuel Sebastian Wesley: Blessed Be the God and Father; Henry Gauntlett: Ye Choirs of New Jerusalem
Performers: Tewkesbury Abbey Choir/Andrew Sackett, Collegiate Church of St. Mary, Warwick/Simon Lole, Wells Cathedral Choir/Malcolm Archer, Worcester Cathedral Choir/Donald Hunt, Westminster Abbey Choir/Martin Neary
Recording: Various locations, date unspecified
Label: Griffin GCCD 4033
The anthology titled “Eastertide,” curated with a keen sense of liturgical progression, encompasses a rich tapestry of choral works spanning from the solemnity of Lent to the jubilance of Easter Sunday. It serves as a poignant reflection of the sacred traditions that have shaped Western choral music, drawing from a range of composers whose contributions resonate within the ecclesiastical calendar. Each piece encapsulates the thematic essence of the season, resulting in a compilation that, while cohesive, sometimes falters in variety due to the inherent nature of its subject matter.
The performances, primarily led by the Tewkesbury Abbey Choir under Andrew Sackett, exhibit commendable discipline and musicality. Notably, the choir’s execution of Purcell’s “Hear My Prayer” and “Remember Not, Lord, Our Offences” showcases their ability to convey both the fervent supplication and the quiet introspection that Purcell so masterfully composed. The clarity of diction and the blend of voices are particularly striking in these pieces, where the emotional weight is palpable. However, the rendering of John Ireland’s “My Song is Love Unknown” feels somewhat lackluster; the piece’s inherent lyricism demands a more nuanced interpretation that captures its tenderness—a quality that, regrettably, eludes this performance.
In contrast, the contributions from the Westminster Abbey Choir, particularly Wesley’s “Blessed Be the God and Father,” shine brightly with a robust sonority and a palpable sense of joy, effectively illustrating the celebratory spirit of the Eastertide. This performance stands in stark relief to the heavier congregational-style interpretation of Ireland’s work, which, although earnest, struggles under the weight of its own ambition. The technical challenges of certain pieces are met with proficiency, especially in works such as Lotti’s “Crucifixus,” where the choir navigates the intricate polyphony with commendable precision.
The sound quality throughout the recording is generally good, though not without its shortcomings. The engineering captures the choral forces well, yet at times, the balance between voices and organ accompaniment tends towards favoring the latter, particularly in more intimate settings like Byrd’s “Bow Thine Ear, O Lord.” The lush textures of the organ can overshadow the delicate nuances of the choir, diminishing the impact of the overall performance.
The chronological arrangement of the pieces serves the thematic flow well, allowing listeners to traverse the emotional landscape of the liturgical year. Starting with the somber tones of Lent and culminating in the joyous celebrations of Easter, the programming reflects a thoughtful consideration of pacing and mood. However, this structure does expose certain limitations in variety, as the overall feeling may become repetitive, especially for those who choose to listen to the entire disc in one sitting.
The collection includes several lovely works, alongside a few that may not hold the same level of interest—Bairstow’s “Lamentation,” for instance, seems to linger longer than necessary, straying into the territory of tedium. Yet, amidst these fluctuations, there are moments of sheer beauty that echo the spirit of the season, such as Gibbons’ “Drop, Drop, Slow Tears,” delivered with a delicate touch that evokes the profundity of the text.
An anthology like “Eastertide” serves not just as a collection of choral pieces but as a reflection of the rich heritage of ecclesiastical music. While the execution varies across the different choir contributions, the overall experience is one of reverence and celebration, effectively capturing the essence of the season. This recording merits attention, particularly for those drawn to the choral traditions of the Anglican church, revealing both the familiar and the sublime within its sacred offerings.
