Review: Valentin Silvestrov, Sacred works

Under a cloudy sky with sleet and freezing rain in the forecast, I am listening to a CD of Russian choral music. Almost cliche in its symbolism! I had not heard of Silvestrov before reading about this CD in Choir and Organ magazine. He has, before this CD, been known mostly for instrumental/secular works. But the present album takes us into his spiritual side with a collection of 23 works for unaccompanied choir. I wish the CD came with texts and translations. The wonderful article (in German and English) on Silvestrov's musical style doesn't make up for not having the songs' lyrics at hand. Aside from that oversight, this is an incredible undertaking. The Kiev Chamber Choir under the direction of Mykola Hobdych sings with remarkable clarity, subtlety and precision. The recording (ECM 2117) was made 2006/7 in the Cathedral of the Dormition, Perchersk Lavra, Kiev, Ukraine.

It's obvious one is listening to Russian choral music: the is plenty of stereotypical basso profundo present. But it's also readily apparent that this is distinctly modern music. The music is at once tuneful, dissonant and atmospheric, sung with pathos and conviction by the choir with Orthodox priests serving as soloists in some instances. It is equally at home in church and on stage. A couple of the musical riffs became a little too familiar upon listening to the whole CD without interruption. But aside from that, this is a recording well-worth securing. Study it for the vocal technique; use it to accompany meditation or reading. But anyone interested in choral music, especially as it is finding expression in modern Russia (is that an oxymoron?) will enjoy this. + + + +

Review: JG Hymns, Lots

This weekend I have been listening to Lots, from Jonathan Green. Green is based in Edinburgh, Scotland. He describes himself as working "with old hymns, writ(ing) new songs, and play(ing) loads of acoustic and electronic instruments." This album includes several familiar hymn texts paired new tunes along with new texts and tunes. The album is available only by digital download from the artist's website, but it's well-worth tracking down. These are not arrangements of hymns that will find congregational use. They are presented as music for reflection on "9 different ways in which people from past and present times have responded to significant events in their lives." While Green sings on several of the tracks, there is plenty of instrumental music. Green's reedy voice reminded me a bit of the current pop artist, Alex Clare. I would heartily recommend this album for folks who like singer-songwriters, and would like music to assist in reflection and prayer. The songs aren't universally soft and contemplative, but they will provoke thinking and curiosity. The album booklet which comes with the digital download, includes a neat picture for each song, kind of like an icon for the songs.
+ + +

Review: Jonathan Rundman, self-titled album

I've been listening to Jonathan Rundman's 2011 self-titled release with a goofy grin on my face.  The music is very upbeat and you're going along just fine until you realize he's singing about a handbell ringer, or Ash Wednesday or a committee meeting.  Thus the grin.  Several of the songs on this album are from earlier releases, but there's plenty of new material.    I found myself comparing Rundman to NC balladeer Mike Cross, only with rock instead of bluegrass or folk as his musical style.  Like Mike Cross, Rundman casts a poet's eye on the mundane and earnestly reflects on the basics of life.  And more specifically in the case of several songs here, the life of church-y folks.  Other surprises include the homage to librarians and Rundman's request for a "bright funeral."  This is a great album to keep in the car.  The music is fun and the messages contain a delightful mix of silly and sublime with a subtle zing here and there. + + + +

Review: The Christian west and its singers, C. Page

I recently read a very favorable review of this book by Christopher Page, on the development of music notation and the advancement of organized singing in Christian churches to the Middle Ages. I wanted to read the book and then review it here for obvious reasons. Yet, as one can see on the publisher's site, the book is out of print. Which explains, I suppose why this is what I find for the book at Amazon.com. Yeah, that's a used copy for $711! Things were no better over at Barnes & Noble. New copies top out at about $3900!! Reckon I'll check it out from the library. It's kind of sad, though: the book is not quite 2 years from its publication date. And it's already out-of-print? What a rip!

+ + + (but dream on)

Review: Glory, by Michael W. Smith

I bought the MP3 based on a favorable review in a recent issue of Christianity Today.

I thought the music would take one direction based on the title of the album. But it went another, and checking through the track names (Heroes, Glory Battle, The Tribute) I was struck by a very militaristic sound to most of the tracks. Those that weren't as military-sounding sounded very much like, well, tributes to fallen soldiers (and at least one part that sounded alarmingly like variations on a tune reminiscent of "Yankee Doodle Dandy.)

It's fine film music, sort of like music looking for a movie to go with. I could hear it paired with a Mel Gibson film quite easily.

Smith, being a pianist, features the piano quite a bit in his writing. There is little motific development in the symphonic writing. Mostly nice melodies begun in one instrument and then tossed around to others, the orchestra serving to punctuate and create transitions between iterations of the theme.

Nice music, but not a whole lot of substance; good background music for studying or reading.

+ +

Review: A sacred place (CD)

Rufino Zaragoza has written a very nice set of music that makes for a deeply contemplative album, "A sacred place" published by Oregon Catholic Press. The pieces feature primarily piano and flute, with 'cello, guitar and percussion (including handbells) on various of the songs. Most of the pieces are idiomatic, but one set is based on "historic melodies." With titles in Spanish, one assumes they are Hispanic in origin, though the liner notes don't provide details. The music doesn't range too far in it's harmonic language nor its technical demands of the performers. As such it is well-suited as contemplative music. + + +

Review: music by Rob Clearfield

I value very much Louis R. Carlozo's reviews of music for The Christian Century. I've culled his lists before to make my own to-listen-to list. So based on a review of several releases by a single musician, I brought three recordings by Rob Clearfield. (To read the whole review you'll have to register and log on online, or subscribe to CC, find it at a library, or borrow my copy; sorry.)

Paisajes de Sudamerica ( + + + ) is music for guitar quartet hearkening from South America. (Clearfield is one of the players, a student of Alfonso Chaco'n.) I was reminded somewhat of Grete Dollitz' guitar program on the Public Broadcasting station in Richmond; for folks already into guitar music, this will no doubt be a great recording to have. For the rest of us, eh, a little goes a long way. Each of the 10 tracks seems to be a medley of sorts of music from a particular South American country. It's fine as far as it goes, but I could have used a little more help from the liner notes.

This is not the ending ( + + + ) is a recording by Information Superhighway, a "jazz-inflected" group Clearfield leads. Jazz really isn't my realm, so I won't say too much. I didn't find anything impossible to listen to for my taste, but by the same token nothing called out to me to want to hear more.

I was intrigued by an album of worship songs by Clearfield, The beauty that we live in ( + + + ), with vocalist Bethany Hamilton. The lyrics are fine in all the songs (perhaps the best thing going for this album is the poetry), but I got rather weary of a similar melodic contour in several of the songs. Tracks 1, 2 and 4 all use a scale-like pattern as the core of the melody. Track 4, All that you have made, does take an adventuresome harmonic journey in its coda. I found myself wishing for something more substantial musically from these songs though. Track 3, This water, could prove quite useful for baptism services in either a traditional/formal or contemporary/informal setting. I haven't searched for the chart, but hope it's available. The last track, Hands and feet, is very much a jazz sounding song; my teen aged son noticed it right-away. It could find a place in a traditional service in which the jazz idiom is welcomed and has already found a niche, but probably not in a more contemporary service, that being the implication of my son's raised eyebrow and smirk.

Review: New Irish Hymns: The Complete Works (Keith Getty)

All the contemporary Irish hymn-writing one could hope for!

Keith Getty is an important writer of hymn texts and music for our generation. This collection (Kingsway Music KMCD2858, 3 CDs) of 44 songs represents a significant cross-section of Getty's work over the past several years. Those who are familiar with Getty solely as partner with Stuart Townend on the text "In Christ Alone" will find here a more complete representation of what Getty is about. The texts are good, in some cases quite good. They reflect a classic spirituality with vibrant images that speak to a new generation of persons seeking to grow in faith. The tunes are often good, sometimes only so-so. There are plenty of effects which make one think, "Irish music," but they grow ever so slightly predictable after 40+ songs.


In addition to his own hymn texts, Getty adds a couple of older hymn texts (adapted), a nice homage to the history of hymn-writing. Upon first hearing a song like "In Christ Alone" or "Speak, O Lord," folks are struck often by the contemporary sound of the tune and the lyric. I try to remind folks that Getty writes in a very traditional hymn-text format: very often straightforward verse forms, or verse/refrain. Folks seem to get drawn in by the often soaring melodic lines and effective orchestration, in addition to vivid imagery. There are here the essential tin whistle, bodhrans, and Uilleann pipes, but also well orchestrated strings and other percussion. Couple that with standard harmonies and simple bridges and you've got a pattern that obviously speaks to the listener and conveys the message of faith well. Folks who loves Irish music will get a kick out of this collection. Listening to all three CDs in one sitting is only for the most stalwart listener! + + +

Review: Galli, Beyond smells and bells

I just finished reading Mark Galli's very approachable book, "Beyond smells and bells." With this book Galli is trying to provide a means for folks unfamiliar with the form and language of traditional liturgy a means to begin to understand it. The book is not for people of have lived with and who enjoy formal liturgy, but rather for those (new members or folks with questions perhaps) who find themselves wondering what all the liturgy is about. And in that narrow focus the book succeeds wonderfully. Galli makes reference to notions and language that Catholics, Episcopalians, Lutherans Methodists and Presbyterians use all the time. But he explains them in language that folks from non-liturgical traditions will find helpful.

For example, Galli includes a discussion of what we in liturgical churches understand happens when we gather, notions of assembly and community of faith, and the unique character that we take on as we gather to worship. Galli deals with the concept in 4-5 pages (which is the average length of all the chapters). Concurrently I am reading a book (Holy People) by Gordon Lathrop who takes 20 pages (and ultimately the entire book) to lay out the same concept. Geared for different markets, both are helpful in their niche.

I would recommend Galli's book for folks who are curious about the meaning imparted to elements of our liturgy, in language for folks not accustomed to such topics. It would be a good resource for a new member of a church that engages in such liturgical practices, but who comes from a non-liturgical tradition, say as part of a bibliography for new members. It's not really for musicians, let alone musicians in traditional-liturgical congregations. But it would be a good go-to book when such a musician is asked about the liturgy by someone who is earnestly curious about what we do and why. I would suggest that every (liturgical) church library have a copy on hand. I would give it more pluses if it were more targeted toward this blog's usual audience, but it's for a different crowd I think. It's a fine book for its target audience. ++

Review: Ikon, The Sixteen

If you haven't encountered The Sixteen before, suffice it to say anything they have released is well worth listening to. They are a choral ensemble par excellence and I would not presume to review them as an ensemble. They are a stellar ensemble, and anything they produce is going to be top notch.

I picked up Ikon because it seemed to contain musical material similar to the previously reviewed Lux Aurumque from the Dale Warland Singers. Indeed there are interesting programming similarities. Listening to the two CD's side-by-side allows one to hear the difference, much touted and much misunderstood, between an "American" choral sound and a "British" choral sound and determine for oneself the validity of the distinction.

The music on Ikon is intensely atmospheric, devotional or introspective. Choose your own adjective. Mystical-style composers of the last century and the 19th are represented. Among them are the familiar Rachmaninoff and Chesnokov. But also present are intriguing works by Igor Stravinsky and Gustav Holst. These are characters not usually associated with this style of (choral) music. Also included are works by Arvo Part and John Tavener. Tavener especially finds his compositional voice among the mystics. He is intensely drawn to Orthodox pathos and liturgy.

The new voice on the recording is that of James MacMillan (b. 1959). A Brit, he is represented by his achingly prayerful "A Child's Prayer," written in response to the 1996 Dunblane, Scotland children's massacre, and "A New Song," with text from Psalm 96, in this setting a plaintive cry for praise, even in the midst of suffering.

Recorded 25-27 October 2005 at the Church of St. Giles, Cripplegate, London, Decca has produced another fine offering from The Sixteen. The booklet includes lyrics and translations; publication information for the music is also included. ++++

Review: Lux Aurumque, Dale Warland Singers

The final concert performance by the Dale Warland Singers took place on May 30, 2004, ending a 31 year tradition of choral excellence. The 40-voice choir (based in Minneapolis-St. Paul, MN) was renowned for their clarity, precision and breadth of expressive capabilities. Dale Warland continues to guest conduct and lead clinics for singers around the world. Lux Aurumque ("golden light") is the last album the group made before their disbandment. The album pulls together a seemingly disparate range of composers and music, yet the total effect is one of absolute cohesion in expressing a musical statement.

As a child beginning piano study I remember discovering a copy of "Salvation is created" (Chesnokov, track 5) amongst my parents community chorus music. As I played through it I remember being struck by the incredible tonality and the surprising but imminently gratifying changes in tonal color. The chorus gives a wonderful rendition, taking me back many years, but further bringing to mind immediately the distinctive pathos of Russian choral music.

Herbert Howells suffered an unbelievable loss in the death of his young son Nicholas in 1935. In 1964 he composed "Take him, earth, for cherishing" for the funeral of President John F. Kennedy in the US. Reflective of his personal loss, and sensitive to the loss suffered by the American people, this anthem is a powerful tapestry of grief and faith, innately bound in sonorities stark and lush.

In addition to some standard choral writers (Gretchaninoff, Rachmaninoff), Lux Aurumque includes a couple of important contemporary composers in Morten Lauridsen and Eric Whitacre. Beyond the capabilities of many average church choirs, the present recording makes their music worth listening to for the sake of hearing and studying excellent choral style. Blend, expressive range and communication of sentiment are hallmarks of the best choirs, and can be achieved in even simple song. Here the Dale Warland Singers accomplish it with incredibly difficult music (sometimes in 16 distinct vocal parts, compared to the standard 4).

The album was recorded in stages in 2001, 2002 and 2004 at the Chapel of Saint Thomas Aquinas at the University of Saint Thomas, St. Paul Minnesota. The room has just the right balance of acoustic zing to let the music ring in the space, while allowing for the singers' precision to be utterly plain. The album notes include the pieces' lyrics in the original languages and in translation where needed. Also included are publication information for each work. Gothic Recordings has produced an admirable recording for an estimable choral ensemble.

Hymns of praise, music for communion, for funerals, for Christmas and for Lent all combine to make this an album for any season, and any moment one might wish to plumb the depths of one's appreciation of the choral art. + + + +

Review: Leeland: Sound of Melodies

This is the debut album by Leeland, a band of five from Texas. The lyrics are well-developed and surely in a Christian mode, without being preach-y. The band has a nice sound. Rock-and-roll, without too much punch. The band has been gaining accolades all year for this album; lots of buzz in music-land about Leeland. The music sounds great on CD, but can be performed at church by the in-house praise team just as easily. Leeland has made charts available, in addition to the album itself. It's hard to say if the gush is going to be worth it; it will take more than one album to make a case. But this group is absolutely worth a listen, and worth keeping an eye on. The best bands in any genre take the sounds they are exposed to and which they hear in their heads and meld those into something unique which pushes in a new direction. Could this be a first nudge from Leeland? ++++

Review: Big Daddy Weave: Every Time I Breathe

Big Daddy Weave has a powerful message to share, and they do it overtly and enthusiastically. This, their fourth album, is a balanced mix of praise and worship songs, hymns and original material. The band definitely sees the album as an outreach, not just a musical product. And their efforts are not mere musicianship, but ministry. "It's not the greatness of our songs, but it is the greatness of the God behind the songs." Admirable sentiments, backed up by a nice full sound. The music is generally middle-of-the-road rock, not as raucous as previous albums, but no less joy-filled and heart-felt. +++

Review: Jessie Daniels: Jessie Daniels

Jessie's self-titled first major release has a really nice, richly orchestrated, sound. Her lyrics have nice depth for someone so young (19 years old). Sure, there are some cliches, but in many places some really meaningful and helpful sentiments. Jessie has worked in print media advertising and has had some early experience on Broadway and with MTV and the Lifetime cable network. So she brings a little bit of life to bear on her song-writing. She made the move to Nashville in 2005. She is the first "faith-based" artist on the roster of Midas Records. There is nothing explicitly religious in her lyrics: no God-talk. But deep, faithful sentiments. For those who want to know more, there is a statement in the lyric sheet, before each song, in which Jessie offers some explanation of the poetry. That's a nice touch. The sound is definitely rock-and-roll, not too pop-py and not too hard. ++++