It should be little surprise to Willan and Elora-Edison
watchers that this is so conspicuously successful a disc.
A previous Naxos disc from the Elora forces, one of Canada’s
very finest, was Faire is the Heaven which brought
us Willan’s Marian motets as well as rare things from the
pens of Gordon Slater, Imant Raminsh, Bryan Kelly and Sydney
Campbell among others (see reviews
by GH, JP and JQ).
And that was a splendid conspectus, sung with great warmth
yet clarity. If appetites
were whetted
for more Willan they have been handsomely met with this
release.
Taking in the important Missa Brevis and Willan’s “greatest
hit”, Rise up, my love, my fair one, we find
in between these twin poles hymn-anthems and motets of
varying sizes. In the heavenly kingdom opens and
closes with grand and expressive power. The performance
throughout demonstrates the strengths of the choir - clean,
clear with a certain purity about it and with a fine blend.
Willan’s music always sounds graceful and even when it
makes powerful demands, as it certainly does with its high
tessitura in Sun of righteousness, it possesses
the great gift of unselfconscious melodic distinction -
as in his hymn St Osmund.
There are impressionistic moments here and there, passing
phrases which may remind one of, say, Delius. And there
are some moments but much briefer in which one feels the
weight of the Russian tradition - that’s certainly my feeling
as I listened to the basses in the Hymn-Anthem Ye watchers
and ye holy ones, a performance notable for the well
calibrated weight of choral tone and the highly secure
intonation of all voice types.
There are times when Willan consciously evokes earlier
sonorities - he does so in O King all glorious -
but such moments are relatively rare. Throughout we hear
how expertly he judges the climax of a piece, how supremely
he sculpts lines and there can surely be no finer example
of this than the Anthem on Picardy, which grows
with inexorable directness. That he can end with beatitude
is shown in Christ hath a garden. And his capacity
to be all embracing in these settings - archaic, yet timeless
- is best invoked by his O praise the Lord, which
builds to a joyful climax through the most acute and perceptive
word setting and control of vocal nuances.
There’s really not a negative word to be said about
either performances or works. The notes by Giles Bryant
- who was responsible for the Willan B numbers listed next
to the opus numbers - tell you all you need to know. And
with first-rate sound in St John’s Church in Elora you
have a first-call Willan collection.
Jonathan Woolf
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