Sweet was the Song – Christmas Music from Tewkesbury Abbey
Tewkesbury Abbey Schola Cantorum of Dean Close Preparatory School/Simon Bell
Carleton Etherington (organ)
rec. 2023, Tewkesbury Abbey, UK
Texts included
Regent REGCD577 [64]
The market for Christmas discs is pretty saturated. In order to stand out from the crowd a new CD must either contain excellent performances or unusual and attractive repertoire – preferably both. This new offering from Tewkesbury Abbey Schola Cantorum succeeds on both fronts.
This choir consists of choristers and lay clerks who sing the weekday services in the large, glorious church which is all that is left of the monastic foundation at Tewkesbury. When the monastery was dissolved by King Henry VIII the townspeople of Tewkesbury petitioned the monarch to allow them to buy back the church. Happily, the king consented and this magnificent example of medieval ecclesiastical architecture has stayed in continuous use. Not only is the church stunning to the eye, it is also a wonderful place in which to sing, as I’ve experienced myself on a number of occasions. It also boasts the Milton Organ, a fine instrument, originally built for Magdalen College, Oxford in the seventeenth century. The organ was sold to Tewkesbury Abbey in 1736, since when it has been rebuilt and extended on a number of occasions, most recently in 1997.
The Schola was founded in 1973 when the Abbey School was established. The school closed its doors in 2006, since when the choristers have been educated at the Dean Close Schools in nearby Cheltenham. Simon Bell has been the Schola’s Director since 2012, succeeding Benjamin Nicholas when he moved to Merton College, Oxford. Dean Close School has established a fine tradition of annual commissions of Christmas pieces for the choir – and pieces for other times of the year; we hear a number of these commissions on this CD, including a few which date from Benjamin Nicholas’s time with the Schola.
Whether by design or by a pleasing coincidence, there are several Gloucestershire connections to be found in the programme. Carleton Etherington has been Organist and Director of Music at Tewkesbury Abbey since 1997. Kerensa Briggs grew up in Gloucester and had significant exposure to the musical life of the city’s Cathedral where her father, David Briggs was Organist and Master of the Choristers (1994-2002). David Bednall was Organ Scholar at Gloucester Cathedral early in his career. Matthew Martin attended Dean Close School, and Neil Cox, who was previously the Director of Chapel Music at Lancing College in Sussex, retired to Gloucester. Nor must we forget that Vaughan Williams was born in the county.
Simon Bell has chosen a diverse and fascinating programme. I like to think that I’ve had a fair degree of exposure to Christmas music over the years but, so far as I can remember, I’ve only previously encountered three of the pieces here recorded: Philip Ledger’s deservedly popular arrangement of the Sussex Carol; Carl Rütti’s jazzy little I wonder as I wander; and, of course, the haunting This is the truth sent from above, here offered in an excellent arrangement by Christopher Robinson. All the remaining pieces were discoveries. If I don’t mention specifically one of the pieces this should not be taken to imply that either music or performance is below par; quite the reverse.
In his succinct notes, Simon Bell uses the word “spacious” as part of his description of Philip Stopford’s Adam lay ybounden. That’s right on the money; I like it very much. I’ve been impressed with all the music by Kerensa Briggs that I’ve heard and I can now add Sweet was the song the Virgin sang to the list. It’s a setting for choir and organ and I find the harmonies – which maybe have a bit of a French accent – very interesting. Though I’ve encountered Kerensa Briggs’ music previously I don’t recall hearing anything by Ben Ponniah. His O little one sweet is a gem, rightly described in the notes as “tender”. This a cappella setting is lovely. Several pieces by Neil Cox have been performed and recorded by the choir of Gloucester Cathedral. Three are the precious gifts was written for the Tewkesbury Abbey Schola, however. It’s an Epiphany piece for choir and organ and Simon Bell is right to draw attention to its atmospheric nature. I think the music is very original and I was impressed by both music and performance. I’m familiar with the work of Carleton Etherington as an organist but I sing of a maiden is the first of his compositions that I’ve heard. It’s a homophonic setting of the well-known medieval text for unaccompanied choir. I agree with Simon Bell’s verdict that it is “elegant”; Etherington’s music is an excellent response to the words and I enjoyed his piece very much.
I was particularly impressed by Philip Wilby’s Moonless darkness stands between. This is a setting for choir and organ of introspective lines by Gerard Manley Hopkins. The first couple of phrases sung by the choir suggest that something a bit special is in prospect, and so it proves. Simon Bell rightly describes Wilby’s piece as “luminous”, to which I’d add that it is serious in tone. The music is thoughtful and eloquent and the Schola give a committed performance. For me, this is a stand-out item on the disc.
So far, I’ve referenced the more tranquil pieces but there’s also plenty of spirited music to enjoy. Matthew Martin’s Nowell sing we, for choir and organ, is explosively joyful. The choir sings it with terrific attack – while not neglecting the dynamic contrasts – and the Abbey’s Milton organ gets a thorough work-out too. Malcolm Archer’s As I sat on a sunny bank is a vivacious piece. I gather that he mixes 6/8- and 7/8-time signatures and the invigorating rhythms certainly keep singers and organist on their toes. In Susanni Grayston Ives ingeniously uses the old German chorale Von Himmel hoch as his melodic basis but he writes elaborately around the tune. The piece begins slowly but soon bursts into jubilant life. I like the version of The holly and the ivy by the Australian organist and composer, June Nixon. She doesn’t use the wearily familiar English tune but instead sets the words to a traditional French melody. The music bounces along most attractively and for most of the time the singers are accompanied by a deliciously light and bubbling organ part. However, in the last verse, Nixon causes the organ – and the choir – to let rip in full-throated fashion.
Carleton Etherington, who provides magnificent support to the choir in many of the pieces also contributes two organ solos. David Bednall’sWie schön leuchtet (Meditation) is, effectively, a Chorale Prelude, albeit one with a French rather than a German accent – to my ears, at least. The piece is tranquil and Etherington gives a most atmospheric performance, not least in the hushed closing pages. In complete contrast is the piece by the American George Baker. Apparently, Baker studied extensively in France in the 1970s and his Toccata-Gigue on the Sussex Carol is a terrific sortie. Carleton Etherington really puts the Milton organ through its paces. The piece is festive and exciting, although the mysterious brief reference to ‘O Come, O come, Emmanuel’ just before the close is wholly unexpected and something of a coup. Both piece and performance conclude the programme in fine style.
The Tewkesbury Abbey Schola Cantorum has thirteen singers, a mix of boy and girl chorister, on the top line; they are joined by three each of altos, tenors and basses. The choir sings a difficult and challenging programme not only with skill but also with relish. Clearly, Simon Bell has trained them very well and has moulded his singers into a responsive ensemble. Producer/engineer Gary Cole has recorded the music expertly. The choir is clearly heard and well balanced internally. Also, the singers are successfully balanced with the organ; the instrument is recorded with fine presence. Simon Bell’s notes about the music are succinct and very helpful.
This is an excellent CD. I found the music very rewarding and the performances are excellent. This is indeed a Christmas disc that deserves to stand out from the crowd.
John Quinn
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Contents
Philip Stopford (b 1977) – Adam lay ybounden
Alexander L’Estrange (b 1974) – Isaiah’s Prophecy (2019) (a, b)
Trad, arr Ralph Vaughan Williams (1872-1958) and Christopher Robinson (b 1936) – This is the truth sent from above
French trad, arr June Nixon (b 1942) – The holly and the ivy
Owain Park (b 1993) – Lullay my liking (2022) (a, b)
Grayston Ives (b 1948) – Susanni (2011) (a)
Kerensa Briggs (b 1991) – Sweet was the song the Virgin sang (2019) (a, b)
Trad, arr Philip Ledger (1937-2012) – Sussex Carol
Ben Ponniah (b 1984) – O little one sweet (2021) (a, b)
Malcolm Archer (b 1952) – As I sat on a sunny bank (2017) (a, b)
Philip Wilby (b 1949) – Moonless darkness stands between (2008) (a)
Carl Rütti (b 1949) – I wonder as I wander
David Bednall (b 1979) – Wie schön leuchtet (Meditation) (Organ solo)
Carleton Etherington (b 1966) – I sing of a maiden (2022) (b)
16th century French melody, arr Stuart Nicholson (b 1975) – Ding dong! merrily on high
Neil Cox (b 1955) – Three are the precious gifts (2015) (a, b)
James Lavino (b 1973) – Before the paling of the stars (2009) (a)
Matthew Martin (b 1976) – Nowell sing we (2014)
George Baker (b 1951) – Toccata-Gigue on the Sussex Carol (Organ solo)
(a) Piece commissioned for the choir
(b) First recordings
