From East to West – review by Fanfare
“A brilliantly recorded, brilliantly performed disc of music by Dan Locklair, a composer of huge talent in the liturgical sphere.”
19th June 2024
From East to West – review by Fanfare
“A brilliantly recorded, brilliantly performed disc of music by Dan Locklair, a composer of huge talent in the liturgical sphere.”
19th June 2024
Listen or buy this album:
The Choir of Royal Holloway College, University of London reveals itself as a force to be reckoned with in these fine performances of choral music by American composer Dan Locklair (b. 1949), professor of music at Wake Forest University in Western-Salem, North Carolina (where he is also composer in residence). Locklair’s music is nuanced and varies from the brightly inspirational to the touchingly personal.
The Christmas anthem From East to West was composed in 2003 and is a vivid celebration for choir, organ, and brass, well structured so that the climactic arrival of the broad theme on the opening words makes a force of Elgarian nobility. It would be the perfect opener to any holiday celebration. The moment of focus of the piece, an arrival after the original dichotomous juxtaposition of two keys a tritone apart, is most effective.
Four pieces specifically for Christmas follow: Love Came Down at Christmas (2009) and Three Christmas Motets (1993). The short Love Came Down at Christmas is an effective, deceptively simple setting of Christina Rossetti, and where in From East to West we heard virtuosity writ large from all concerned, now it is Locklair’s expressive side that comes to the fore. The choir is beautifully balanced under Rupert Gough’s guidance, and recorded superbly.
Fabulous diction and a phenomenal sense of rhythm characterize Royal Holloway’s performance of the first of the Three Christmas Motets of 1993, “Quem vidistis pastores?” (Whom did you see, shepherds?). Catchy in extremis, the motet revels in antiphonal interchanges between female and male voices. The famous text “O magnum mysterium” (O mystery profound) is a slow and beautiful reflection on holy matters, and (in slow motion) continues the antiphonal processes to fine effect. One cannot help wondering if this movement has existed or, indeed, will exist in a stand-alone capacity, such is its effectiveness. The performance is faultless, and words of praise are especially called for by the exquisite control of the choir’s upper voices. Finally, there comes “Hodie Christus natus est” (Today Christ is born), one of the most famous of Latin Christmas texts, which Locklair sets with real rhythmic exuberance.
There is skill in everything Locklear writes. The 1985 stand-alone motet Dona nobis pacem echoes “O magnum mysterium” from the Christmas Motets in its profound opening until a happy tune (not a million miles from Sumer is icumen in) explodes outwards, its spirits irrepressible before a return to the sheer beauty of the opening. Moving from motet to anthem, The Lord is My Light from 2017 is a work of contrasts, from the extrovert opening to the decided introversion of the third stanza, “Thou will keep him in perfect peace,” and thence back to the stalwart faith of “Trust ye in the Lord forever.” The contribution of organist David Goode here is inspirational in its confidence, and admirable in its total technical command and accuracy.
Contrasting that with the tender a cappella setting King of Glory, King of Peace (2016) is a fine idea; it is fascinating how the Choir of Royal Holloway controls the quiet dynamic so well while offering complete clarity. The text here is by the great poet George Herbert (1593–1633), which seems to inspire Locklair to great heights. The text of the next piece, the lovely O Trinity of Blessed Light for unaccompanied chorus (2021), is attributed to Saint Ambrose of Milan.
Scored for SSATTBB choir, the Brief Mass (1993) is fascinating in its concision, and not just of the durational variety. Each movement is based around limited pitch material; each tripartite movement takes its structure from the Trinity and the holy symbolism of the number three; the A1 section of the “Kyrie” is gilded by the purest soprano solo. The bi-choral “Gloria” (based on the Phrygian mode) features soloists from the choir effectively and introduces firm rhythm against the more nebulous “Kyrie,” and all credit is due to the sopranos for nailing their perilous entry at “Cum sancto spiritu.” Unisons form a vital part of the “Credo” (symbolizing unity in belief). One of the most effective passages in the Brief Mass is the passage around “Crucifixus etiam pro nobis sub Pontio Pilato; passus, et sepultus est”; the slowing at “etiam pro nobis,” and how that passage is prolonged as almost a chant over a sustained, dissonant chord functioning as a drone, is most effective. Another movement featuring a double choir, the “Sanctus” is full of beauty (and the two choirs are beautifully rendered in the recording, which also replicates the soprano’s high-range “Hosanna in excelsis” superbly). Interestingly, the final “Agnus Dei” is a metrical mirroring of the “Kyrie,” while a 16th-century Genevan psalm is freely quoted in the lower voices. Although clearly carefully constructed, the effect of the Brief Mass is more emotional than intellectual; it is a thing of beauty and should surely be enjoyed as such.
The stirring Thy Goodness, Lord, a Joyful Theme of 2019 is both bracing and inspiring (and achieved with no sense of tiring in the sopranos: no easy feat), as is the Ascension anthem The Lord Ascendeth up on High (2011), balanced by Locklair’s quieter but internally glowing setting of Sir John Bowring’s In the Cross of Christ I Glory (2005). Here, Locklair uses descending tonal centers to depict the descent of the Holy Spirit onto Christ’s disciples. It is a setting of great beauty, and great richness (scored for divisi choir).
The two largest works in terms of personnel frame the entire program; Locklair adds timpani to the forces of From East to West for the concluding The Texture of Creation (1983). This final piece is grand and ceremonial, as befits its gestation (it was composed for an inauguration). In this instance, there is an instrumental aspect to Locklair’s antiphonal writing. Brass and organ work brilliantly in both timbral imitation and contrastive alternation, and there is a lovely depiction of the line “We are constantly weaving new fabric” in the choir-and-organ-only central section via contrapuntal means.
This is a brilliantly recorded, brilliantly performed disc of music by Dan Locklair, a composer of huge talent in the liturgical sphere. Booklet annotations are all one could ask for.
Review written by:
Review published in:
Other reviews by this author:
Featured artists:
Featured composers:
The Choir of Royal Holloway College, University of London reveals itself as a force to be reckoned with in these fine performances of choral music by American composer Dan Locklair (b. 1949), professor of music at Wake Forest University in Western-Salem, North Carolina (where he is also composer in residence). Locklair’s music is nuanced and varies from the brightly inspirational to the touchingly personal.
The Christmas anthem From East to West was composed in 2003 and is a vivid celebration for choir, organ, and brass, well structured so that the climactic arrival of the broad theme on the opening words makes a force of Elgarian nobility. It would be the perfect opener to any holiday celebration. The moment of focus of the piece, an arrival after the original dichotomous juxtaposition of two keys a tritone apart, is most effective.
Four pieces specifically for Christmas follow: Love Came Down at Christmas (2009) and Three Christmas Motets (1993). The short Love Came Down at Christmas is an effective, deceptively simple setting of Christina Rossetti, and where in From East to West we heard virtuosity writ large from all concerned, now it is Locklair’s expressive side that comes to the fore. The choir is beautifully balanced under Rupert Gough’s guidance, and recorded superbly.
Fabulous diction and a phenomenal sense of rhythm characterize Royal Holloway’s performance of the first of the Three Christmas Motets of 1993, “Quem vidistis pastores?” (Whom did you see, shepherds?). Catchy in extremis, the motet revels in antiphonal interchanges between female and male voices. The famous text “O magnum mysterium” (O mystery profound) is a slow and beautiful reflection on holy matters, and (in slow motion) continues the antiphonal processes to fine effect. One cannot help wondering if this movement has existed or, indeed, will exist in a stand-alone capacity, such is its effectiveness. The performance is faultless, and words of praise are especially called for by the exquisite control of the choir’s upper voices. Finally, there comes “Hodie Christus natus est” (Today Christ is born), one of the most famous of Latin Christmas texts, which Locklair sets with real rhythmic exuberance.
There is skill in everything Locklear writes. The 1985 stand-alone motet Dona nobis pacem echoes “O magnum mysterium” from the Christmas Motets in its profound opening until a happy tune (not a million miles from Sumer is icumen in) explodes outwards, its spirits irrepressible before a return to the sheer beauty of the opening. Moving from motet to anthem, The Lord is My Light from 2017 is a work of contrasts, from the extrovert opening to the decided introversion of the third stanza, “Thou will keep him in perfect peace,” and thence back to the stalwart faith of “Trust ye in the Lord forever.” The contribution of organist David Goode here is inspirational in its confidence, and admirable in its total technical command and accuracy.
Contrasting that with the tender a cappella setting King of Glory, King of Peace (2016) is a fine idea; it is fascinating how the Choir of Royal Holloway controls the quiet dynamic so well while offering complete clarity. The text here is by the great poet George Herbert (1593–1633), which seems to inspire Locklair to great heights. The text of the next piece, the lovely O Trinity of Blessed Light for unaccompanied chorus (2021), is attributed to Saint Ambrose of Milan.
Scored for SSATTBB choir, the Brief Mass (1993) is fascinating in its concision, and not just of the durational variety. Each movement is based around limited pitch material; each tripartite movement takes its structure from the Trinity and the holy symbolism of the number three; the A1 section of the “Kyrie” is gilded by the purest soprano solo. The bi-choral “Gloria” (based on the Phrygian mode) features soloists from the choir effectively and introduces firm rhythm against the more nebulous “Kyrie,” and all credit is due to the sopranos for nailing their perilous entry at “Cum sancto spiritu.” Unisons form a vital part of the “Credo” (symbolizing unity in belief). One of the most effective passages in the Brief Mass is the passage around “Crucifixus etiam pro nobis sub Pontio Pilato; passus, et sepultus est”; the slowing at “etiam pro nobis,” and how that passage is prolonged as almost a chant over a sustained, dissonant chord functioning as a drone, is most effective. Another movement featuring a double choir, the “Sanctus” is full of beauty (and the two choirs are beautifully rendered in the recording, which also replicates the soprano’s high-range “Hosanna in excelsis” superbly). Interestingly, the final “Agnus Dei” is a metrical mirroring of the “Kyrie,” while a 16th-century Genevan psalm is freely quoted in the lower voices. Although clearly carefully constructed, the effect of the Brief Mass is more emotional than intellectual; it is a thing of beauty and should surely be enjoyed as such.
The stirring Thy Goodness, Lord, a Joyful Theme of 2019 is both bracing and inspiring (and achieved with no sense of tiring in the sopranos: no easy feat), as is the Ascension anthem The Lord Ascendeth up on High (2011), balanced by Locklair’s quieter but internally glowing setting of Sir John Bowring’s In the Cross of Christ I Glory (2005). Here, Locklair uses descending tonal centers to depict the descent of the Holy Spirit onto Christ’s disciples. It is a setting of great beauty, and great richness (scored for divisi choir).
The two largest works in terms of personnel frame the entire program; Locklair adds timpani to the forces of From East to West for the concluding The Texture of Creation (1983). This final piece is grand and ceremonial, as befits its gestation (it was composed for an inauguration). In this instance, there is an instrumental aspect to Locklair’s antiphonal writing. Brass and organ work brilliantly in both timbral imitation and contrastive alternation, and there is a lovely depiction of the line “We are constantly weaving new fabric” in the choir-and-organ-only central section via contrapuntal means.
This is a brilliantly recorded, brilliantly performed disc of music by Dan Locklair, a composer of huge talent in the liturgical sphere. Booklet annotations are all one could ask for.
