Previously released
in 1997 on their Marco Polo sister label,
Naxos have made available this premier
recording of Stanford’s Requiem
op. 63 at super budget price. Also included
on this Naxos double-set are excerpts
from Stanford’s first opera, The
Veiled Prophet (of Khorassan).
Clearly the Dublin-born
Stanford was attracted to England as
the composer adopted England as his
home country and there he spent the
vast majority of his life. Owing to
the number of prestigious appointments
Stanford held and the many eminent awards
he received the English music establishment
was delighted to accommodate him.
Described as the ‘father
of English Choral Music’ Stanford is
principally remembered for his contribution
to Anglican Church music. He is frequently
at his very best in his liturgical works
and his settings of the Canticles, Hymns,
Anthems, Services and organ works composed
for the Anglican Church are amongst
the finest of their type and are still
today frequently performed in Anglican
Cathedrals around the world.
Stanford’s choral works
for church services, almost symphonic
in design and including substantial
organ parts, resuscitated the English
Choral Tradition that had become almost
extinct. Subsequently Stanford was to
write works specifically for the up-surge
of amateur choirs born of the Industrial
Revolution, who united together for
large ‘festivals’. Stanford was a prolific
composer of over thirty works for the
genre of (soli), chorus and orchestra,
both sacred and secular. These include
the: Oratorio ‘The Three Holy Children’
op.22; ‘The Voyage of Maeldune’
op.34; Oratorio ‘Eden’ op.40;
the Mass in G op.46; Stabat
Mater op.96; Te Deum op.66
and the late Mass Via Victrix
op.173.
Stanford composed his
Requiem in 1896, in memory of
his friend the esteemed painter Lord
Frederick Leighton who had died earlier
that year. Leighton, who had enormous
stature by the last decade of the century,
had strong musical skills and connections.
Utilising a central text of the Roman
Catholic Missa de profunctis (Mass
for the Dead) the Requiem
is a core work in Stanford’s output,
blending his love of opera and song
with his subtle skills as a symphonist.
Conceived on a grand scale this is strong
and vital writing and contains some
extremely moving music. There are numerous
episodes of spirited drama, as well
as an abundance of striking lyrical
passages. The use of individual accompanying
instruments at various stages was considered
both apt and original. Stanford makes
considerable use of the four soloists,
singly and in ensemble in vocal writing
of Italianate eloquence. In some places
the choral writing is of almost operatic
sweep and elsewhere of song-like simplicity.
Another feature of the score is the
skilled, subtle and economic use of
a small number of thematic cells.
The combined RTE forces
offer a persuasive interpretation of
this powerful and ambitious Requiem
and are particularly convincing
in interpreting the haunting atmosphere
that pervades the score. Leaper is appropriately
reverent throughout and ensures that
this sacred work never drips with incense
or exudes pity. The quartet of soloists
have been skilfully selected and provide
fine performances. Soprano Frances Lucey
is fresh and radiant and the bass Nigel
Leeson-Williams is rich and characterful.
Tenor Peter Kerr displays a pleasing
lyrical flow and the mezzo-soprano Colette
McMahon has an expressive and attractive
timbre. There are too many highlights
to mention individually throughout the
Requiem and I would just recommend
the listener to sit back and enjoy.
Unable to fit the Requiem
on a single disc this Naxos double release
is rounded off with four attractive
and substantial excerpts from Stanford’s
first opera The Veiled Prophet (of
Khorassan). Composed to a libretto
by friend W. Barclay Squire after Thomas
Moore’s oriental romance Lalla Rookh
it is almost a mini Arabian Nights.
In Lalla Rookh Stanford used
a fashionable subject in keeping with
the passion of the time for things exotic
and oriental. The Veiled Prophet
is a Romantic opera in three acts
and contains dramatic and tragic moods.
Incidentally I have been informed that
the complete opera lasts for around
three hours. Stanford completed the
score in 1879 and the first performance
was given in February 1881 at Hanover
under Ernst Frank. The choir and orchestra
this time under the baton of Colman
Pearce are in fine form and I should
single out the soprano Virginia Kerr
for her rather excellent performance
of Fatima’s Song of Happiness, ‘There’s
a bower of Roses’.
The sound quality is
one of the best that I have experienced
on any disc this year. Stanford’s Requiem
is strongly recommended and will prove
to be a revelation for many. A superbly
presented double set from Naxos that
is difficult to find fault with.
Michael Cookson
RTE Philharmonic Choir/Mark Duley 
