Composer: Ricky Ian Gordon, Charles Ives, Samuel Barber, Ned Rorem, John Carter, Traditional Spirituals
Works: Angel’s Wings, White Haired Woman, Will There Really Be a Morning?, God’s World, Air, Stars and Luck (from Only Heaven), Down East, Serenity, When I Lay My Burden Down, Fix Me Jesus, Hold On, Deep River, Good News, Simple Gifts, At the River, Sure on This Shining Night, St Ita’s Vision, Alleluia, Cantata
Performers: Clare Gormley (soprano), Kevin Murphy (piano)
Recording: Recorded 11-16 August 2000, Eugene Goossens Hall, ABC Centre, Ultimo, Sydney
Label: ABC Classics 461 766-2
Ricky Ian Gordon’s “Where Morning Goes – Spiritual Songs” emerges as a poignant tapestry of American song, interweaving the familiar strains of spirituals and art songs with contemporary sensibilities. The disc showcases a thoughtful selection of works that span a range of emotional landscapes, from the reflective to the exuberant. Gordon’s contributions, alongside those from revered composers like Charles Ives and Samuel Barber, create a dialogue that speaks to the enduring power of song as a vehicle for both personal and collective expression.
Clare Gormley’s voice shines throughout this collection, characterized by a bright timbre and her ability to convey nuanced emotions. In Gordon’s “Stars,” her melismatic lines flow with an ethereal quality that captures the listener’s attention. This track exemplifies Gordon’s melodic gifts, reminiscent of Stephen Sondheim’s lyrical style, where simplicity meets depth. However, Gormley’s vibrato occasionally veers toward the theatrical, particularly in more subdued passages, which can distract from the inherent poignancy of the material. This is notably addressed in the Carter cantata, where her restraint allows for a clearer connection to the text.
The interpretative choices made by Gormley and pianist Kevin Murphy merit commendation. Murphy’s accompaniment is deft, offering both support and independence, particularly in Ives’s “Serenity,” where the interplay between voice and piano creates an intimate atmosphere. The nuances of Ives’s harmonic language are deftly captured, with Murphy navigating the complexities with aplomb. Barber’s “Sure on This Shining Night” is another highlight; here, Gormley’s phrasing is elongated beautifully, imbuing the text with a sense of wonder and introspection.
Technical aspects of the recording are commendable, with a well-balanced mix that allows Gormley’s voice to resonate clearly against Murphy’s piano. The engineering captures the warmth of the hall while providing clarity to the intricate textures of the arrangements, particularly in the traditional spirituals. The arrangements by Michael Ching of “Fix Me Jesus” and “Hold On” inject a lively energy that contrasts with the reflective nature of the preceding songs, showcasing the versatility of the performers. Yet, the pacing of “At the River” and “Deep River” feels overly measured, lacking the natural flow that might enhance their spiritual urgency.
The decision to include both well-known and lesser-known works enriches the listening experience, drawing attention to the breadth of the American song tradition. Gormley’s willingness to explore beyond the expected repertoire demonstrates both courage and a deep understanding of the genre. While the vibrato may occasionally detract from the purity of the musical lines, the overall performance is imbued with sincerity and skill.
This collection stands out as one of the more compelling offerings in the realm of spiritual song recordings. The combination of Gormley’s expressive singing and Murphy’s sensitive playing, together with the thoughtful programming, makes for a captivating experience that resonates with both emotional depth and technical proficiency. Ultimately, “Where Morning Goes – Spiritual Songs” affirms the enduring relevance of these works, inviting listeners to reflect on the spiritual dimensions of the human experience through the power of song.
