Customer Reviews

Ode for St Cecilia's Day

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I think the other reviewer got this one mixed up with another recording by similar forces--"The Secular Masque". This recording is of a genre that many composers, including notably Handel and Purcell wrote--a celebration of music itself. Purcell's and Handel's compositions are well-known and fairly often recorded. This is the world premiere recording of the Boyce, and it has some of the best "HIP" (historically informed performance) features on records today--original instruments, "authentic" vocal forces, etc.

The soloists are outstanding, as is the choir. If you like Handel or Purcell, or ceremonial music in general, you will be very pleased with this. Boyce's music should be much better known--only his "overtures" are performed or recorded often.

If for some bizarre reason, you don't like countertenors--who seem to be all the rage these days--stay away. If you love them, as so many do, grab this now before it goes out of print. The young boy soprano, Patrick Burrowes, is also very good, and in keeping with the "authentic" style, apparently the original performances featured a boy soloist. Excellent informative notes and texts as well.

IS THIS HANDEL? AND IF NOT, WHAT?
In 1939 William Boyce (1711-1779) composed his 'Ode for St. Cecelia's Day' to a text by his friend, the amateur poet, John Lockman. In writing this ode Boyce followed in the footsteps of his two chief teachers, Maurice Greene and Johann Pepusch who also wrote music in St. Cecelia's honor. However, his music is more reminiscent of Handel which is not surprising, since while the much younger Boyce was becoming prominent in London's lively music scene, Handel was the most celebrated composer of the time anywhere. In fact, the very same year that Boyce wrote the work on this recording, Handel wrote and premiered his own setting of the 'Ode' to a Dryden text.

Interestingly, Boyce was invited the next year to present his 'Ode' in Dublin, at which time he revised his original score that is performed on this disc. Handel, a few years later performed his 'Messiah' triumph in Dublin and made use of the same soloists that Boyce used for his 'Ode'.

The work is divided into two parts with thirty selections in all, and each part begins with an Overture. In all there are four choruses, two duets(Wilson and Purefoy, Wilson and Watts), two tenor solos(Wilson), four bass solos(George), four alto solos(Purefoy), four countertenor solos(Watts) and five soprano solos(Burrowes). The first half of the 'Ode' deals with normal 18th century fare-gods, nymphs, love heroes, the power of love and song; in essence the pastorelle, with its traditional deities. In this part of the 'ode' there is no structure to be found. In the second part the poet invokes the sacred and dismisses the profane. Boyce responds with music of audibly greater intensity, imagination and beauty. When St. Cecelia finally sings, her music is given to a boy's voice. At this point in my review, I would like to suggest that the 'liner notes' are excellent and I found it best after listening to to this once, to go back and read them; most informative, clear and interesting.

This work deserves plenty of respect as do the performers, for it is not an easy piece, and rarely has a better matched set of soloists been gathered to perform music of this genre. Patrick Burrowes, the twelve year old boy soprano, is outstanding both in his technical facility, but also in his interpretive abilities and sensitivities to the text. His renditions are memorable, expecially in his final aria and recitative. Both falsetto voices are superb: alto, William Purefoy and countertenor Andrew Watts are possessed of that warm and mellow sounding, but strong sound that only the GREAT falsettos develop. Tenor, Richard Edgar-Wilson, blends well with the other voices, especially in the Duet with Andrew Watts. He is sonorous with a clear vibrant tone quality. Michael George, bass-baritone, provides us with a change of timbre and range with his resonant low frequency quality.

As per usual, the New College Choir sings melodiously, dictionally clear and in this work delivers some of their lovliest singing, especially at the close of the composition. Graham Lea-Cox gives a spirited direction showing an effective understanding of style and chooses his tempi discerningly. The Orchestral accompaniment is well-done and indeed enhances the entire work. Lea-Cox draws some splendidly confident and energetic singing from the boys and men of the New College Choir.

This is 68 minutes of pleasant early-music listening entertainment.