Gesualdo Six: There is no rose

There is no rose
The Gesualdo Six, Owain Park
St John’s, Smith Square, 14 December 2018

Although only formed four years ago, The Gesualdo Six have gained an impressive following, not least at St John’s, Smith Square where they were one of the four members of the second Young Artists Scheme in 2015/16. They used that residency to launch their Composition Competition at SJSS, with the second following in 2019. For their concert in this year’s SJSS Christmas Festival, they gave a mixed programme of Christmas music ranging from plainchant and the early 15th century Trinity Carol Roll and music by Taverner and Tallis, through to living composers, including their own director Owain Park. Continue reading

Path of Miracles

Owain Park: Footsteps & Joby Talbot: Path of Miracles
Tenebrae, Nigel Short
Signum Classics. SIGCD471. 79’22

This release combines the re-release of a 2005 recording of Joby Talbot’s Path of Miracles with Footsteps, a companion work composed by Owain Park, recorded in 2016. Both are commissions by Tenebrae, the Park piece apparently in answer to requests from amateur singers for a less complex piece than the Talbot. Continue reading

Gabrieli Consort: A Rose Magnificat

A Rose Magnificat
The Gabrieli Consort, Paul McCreesh
St John’s, Smith Square. 8 June 2017

Leighton Of a Rose  /  Tallis Videte Miraculum á 6
Warlock As dew in Aprylle  /  White Magnificat á 6
Macmillan  /  Sheppard  /  Park Ave maris stella
Wylkynson Salve Regina á 9  /  Howells Salve Regina
Lane There is no rose  /  Matthew Martin Rose Magnificat (world premiere)

This fascinating concert collected together a seemingly random selection of pieces from old to very new, all dedicated to the Virgin Mary. Grouping the pieces in twos or three enhanced the experience of contrast, starting with the pairing of Kenneth Leighton’s setting of the 15th century text Of a Rose with Tallis’s magnificent 6-part Videte Miraculum. Soprano Ruth Provost was the soloist in the Leighton, weaving the refrain Of a Rose around and through the rhythmically homophonic choir texture. The contrasting tight-knit and multi-stranded polyphony of Tallis, with his distinctive ‘false relations’ provided a perfect contrast. This pair was followed by the slithering close harmonies of Warlock’s short and rhythmically complex double choir As dew in Aprylle, contrasted with White flamboyant and expansive six-plus part Magnificat, the continuous inner movement and long melismas of the latter giving the piece a timeless quality. Continue reading