O Maria, virgo pia – Review by Cathedral Music Magazine

“Many congratulations to Oriel College on its significant milestone and to its musicians, who are clearly going from strength to strength.”

5th May 2026

O Maria, virgo pia – Review by Cathedral Music Magazine

Listen or buy this album:

O Maria, virgo pia – Review by Cathedral Music Magazine

“Many congratulations to Oriel College on its significant milestone and to its musicians, who are clearly going from strength to strength.”

5th May 2026

Listen or buy this album:

King Edward II founded Oriel College, Oxford in 1326 and this is a very attractive celebration of its 700th anniversary from its choir conducted by Director of Music, Professor David Maw, recorded in the generous acoustic of Keble College Chapel. The enterprising programme features works connected with the college, either via texts or music, and there is nothing which might be called standard repertoire, but the choir sounds first rate throughout, particularly the sopranos who have a wonderful, vibrant tone.

One notable alumnus was the musicologist Edmund Fellowes (1870–1951) who was at the forefront of revivers of all-but-forgotten Tudor composers, but I found it difficult to warm to either his Benedictus in D or his BMus ‘exercise’ Hymn of the Third Choir of Angelicals (1895), a cantata in four movements for choir, organ and strings (the Tippett Quartet – fine), to words by John Henry Newman, one of the best-known figures associated with Oriel where he was Chaplain from 1826–31 and 1833–1835. Though admittedly, the second of the cantata’s four movements, a long solo, is quite beautifully sung by guest soprano Grace Davidson.

Indeed all the ‘guests’ on this recording are quite outstanding: for instance in Solitude (2019), a most effective setting of a poem by Newman (again) for choir and guitar by James Whitbourn (1963–2024), we have the luxury of one of our finest guitarists, Craig Ogden, resulting in a predictably excellent collaboration with this impressive choir. Other enjoyable items are David Briggs’s 2013 setting of Hail Gladdening Light (trans. John Keble – an Oriel Fellow) – an unaccompanied double choir homage to the famous Wood setting, though significantly more complex – very well sung. And Judith Bingham’s rewarding Oriel Service (2017) is always involving and very musically realised by both choir and organ (Alexander Pott – excellent throughout).

Finally, Maw’s own Magnificat features a highly florid soprano part throughout, stunningly sung by Davidson, contrasting with the choir’s insistent chanting – a fascinating, dramatic and haunting setting. Many congratulations to Oriel College on its significant milestone and to its musicians, who are clearly going from strength to strength.

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King Edward II founded Oriel College, Oxford in 1326 and this is a very attractive celebration of its 700th anniversary from its choir conducted by Director of Music, Professor David Maw, recorded in the generous acoustic of Keble College Chapel. The enterprising programme features works connected with the college, either via texts or music, and there is nothing which might be called standard repertoire, but the choir sounds first rate throughout, particularly the sopranos who have a wonderful, vibrant tone.

One notable alumnus was the musicologist Edmund Fellowes (1870–1951) who was at the forefront of revivers of all-but-forgotten Tudor composers, but I found it difficult to warm to either his Benedictus in D or his BMus ‘exercise’ Hymn of the Third Choir of Angelicals (1895), a cantata in four movements for choir, organ and strings (the Tippett Quartet – fine), to words by John Henry Newman, one of the best-known figures associated with Oriel where he was Chaplain from 1826–31 and 1833–1835. Though admittedly, the second of the cantata’s four movements, a long solo, is quite beautifully sung by guest soprano Grace Davidson.

Indeed all the ‘guests’ on this recording are quite outstanding: for instance in Solitude (2019), a most effective setting of a poem by Newman (again) for choir and guitar by James Whitbourn (1963–2024), we have the luxury of one of our finest guitarists, Craig Ogden, resulting in a predictably excellent collaboration with this impressive choir. Other enjoyable items are David Briggs’s 2013 setting of Hail Gladdening Light (trans. John Keble – an Oriel Fellow) – an unaccompanied double choir homage to the famous Wood setting, though significantly more complex – very well sung. And Judith Bingham’s rewarding Oriel Service (2017) is always involving and very musically realised by both choir and organ (Alexander Pott – excellent throughout).

Finally, Maw’s own Magnificat features a highly florid soprano part throughout, stunningly sung by Davidson, contrasting with the choir’s insistent chanting – a fascinating, dramatic and haunting setting. Many congratulations to Oriel College on its significant milestone and to its musicians, who are clearly going from strength to strength.

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