first recording of
Paul Spicer's Easter Oratorio
The Gramophone April 2006
Editor's Choice comments:
John Steane was very excited about this one, convinced it is a major new
work. He could be right. Paul Spicer's deeply impressive oratorio is firmly
in the school of Vaughan Williams and Elgar but assimilates an edgy unpredictability
learnt from the music of Britten and Tippett. I'd love to hear this live.
James Inverne
Full review:
A major new work in the line of Howells and Elgar Paul Spicer will be
known to readers firstly as director of the Finzi Singers, then as author
of an admired book on his teacher, Herbert Howells, and only thirdly,
I suspect, as a composer in his own right. This new recording should go
far to promote that last qualification from third place to first. The
Easter Oratorio is a major work and the best of its kind to have appeared,
certainly since the death of Howells, probably since Howells's Hymnus
Paradisi.
It impresses as music written thus not because of any doctrinal purpose
(meaning, principally, musical doctrine) but because this is the kind
of music out of which its composer is made.
Collectors of half-remembered bits and pieces of everything from Elgar
to Tippett will have a field day but they will be engaged in a trivial
diversion. Spread generously before them are two hours of music which
is beautiful with no suggestion of (the similarly expert) John Rutter's
indulgent sweetness of the brassy-twitchy 'modernity' of others. Neither
does it offer to take us, as so many serious composers now feel almost
duty-bound to do, into regions which are new and strange to the traditions
of English church music. Yet, without specially striving to be so, it
is significantly new, and all the fresher, I would say, for starting up
in the tracks of Finzi, Howells, Vaughan Williams and Elgar, so long shunned
as out of fashion and irrelevant to our time.
The text is similarly strong and untrendy. Tom Wright, now Bishop of Durham,
was Dean of Lichfield when the work was conceived for the Festival there
(the first performance took place in Ely cathedral on 2000). He writes
in a way which encourages intelligent engagement. Based closely on St
John's Gospel, it is without unction or willed mysticism or portentous
symbolism; if it has an amiable weakness to indulge it is a taste for
Chestertonian paradox (as in 'the brooding of the Spirit, in the darkness
of the spring'). The formal layout (narrative, arias, chorus, chorale,
Easter Hymn) ensures clarity while exercising originality in the adaptation
of old traditions. And the new work is given the fine performance (and
recording) it deserves. Expert orchestral playing from all sections (especially
woodwind) of the ESO, richly ample choral singing (with notable contributions
from the Lichfield boys) and unfailingly musical work by all four soloists;
all reflecting the conviction of its composer conductor.
John Steane
Paul Spicer's excellent work as a conductor and producer are well known, but until I received this disc for review I hadn't realised he was a composer too. After listening to his Easter Oratorio one concludes that Spicer's abilities as a composer should really come at the top of his CV. He has created something wonderful here, something which people are going to want to hear again and again. Here's a modern religious choral work which pulls no expressive punches, yet is clearly designed to be manageable by good amateur forces. Spicer himself is the conductor here and also, I suspect, had a hand in the producing. The results - musical, technical and sonic - are absolutely terrific.
The oratorio was conceived in 1998 to mark the 1,300th anniversary of the founding of Lichfield Cathedral, and it had its first performance on July 15th, 2000. (The simultaneous celebration that year of the 250th anniversary of Bach's death also left its mark on the score.) The focus of the oratorio is the Resurrection story as told by St John, beginning, where Passions end, with Christ entombed. The text by Tom Wright (Bishop of Durham) is a model of poetic concision and dramatic lucidity. He divides the work into a regular succession of choruses, recitatives, arias, chorales and a sequence of six Easter hymns.
Spicer responds to this Passion-Oratorio libretto with pithy, urgent, uplifting, memorable music which is rich in allusion. He has his own subtle style, but it's one which proudly acknowledges its roots in the music of Howells (Spicer's composition teacher), Finzi, Walton, Britten and others too. But Spicer is no eclectic splicer. This is music which breathes fresh air and responds personally, immediately and movingly to the text in hand, and if it sometimes espouses an earnest kind of Anglicanism the that's certainly preferable to the terrible curse of sentimentality which hangs over so much modern church music (mentioning no names). Some of the things I enjoyed most were the simplest yet most telling touches: the sweep of emotion that leads to each of the six Easter hymns, the glowing, euphonious major key cadences at ends of numbers (especially recitatives), and time and again a bold, direct tunefulness which I feel sure is going to result in some of these hymns enjoying a life outside the parent work. Spicer is also a deft orchestrator. The mysterious string-writing of the aria which conjures up the raised Jesus ('The same, and yet renewed') is most effective. Overall there's a bit too much tambourine-rattling for my taste, but I love the uses to which he puts the organ - best of all, the long deep pedal note that underlies the middle of the chorus 'Where have they laid my Jesus?'.
Despite being recorded over several days, as is the usual way, this feels like a living, vital, spontaneous performance. The amalgamated choral forces unite singers from school age up to retirement - and they produce a wonderfully heterogeneous, disciplined, full-bodied choral sound. They are partnered by orchestral playing of exceptional sensitivity. The brass are unashamedly forthright, the percussion punchy and crisp, and the strings warmly British. The four soloists are powerful advocates (Evangelist Philip Salmon a fraction insecure in his upper reaches), their voices striking and radiant in the spacious acoustic of Hawksyard Priory. Here's a work which should be taken up by choral societies and orchestras up and down the country. Uplifting.
Simon Heighes
Easter Oratorio - Paul Spicer
Rating: Five stars
Reviewing the première of Paul Spicer's Easter Oratorio at the Lichfield Festival in July 2000, I wrote of the 'terse expressiveness' of this 'fluent score which holds no terror for those who love the English choral tradition'. I also paid tribute to its memorable melodiousness, its 'warm and consolatory' key-feeling and the clarity and vividness of its orchestral writing.
Nearly six years on from that Festival millennium commission my impressions of the music's conviction, integrity and warm-hearted approachability are reinforced by this marvellous release from Spicer's own Birmingham Bach Choir under his baton, and joined by Lichfield Cathedral Choristers and Special Choir, the English Symphony Orchestra, organist Alexander Mason and an impressive roster of soloists headed by one of the country's most exciting young sopranos, Rachel Nicholls.
Producing this double-CD has been a true labour of love from so many dedicated people, and they should be justifiably proud of the result. Performances have a palpable sense of commitment and excitement, the recording made a Hawksyard Priory, Armitage, is enfoldingly atmospheric, and the presentation of this meticulously documented package can only be described as beautiful. All that we miss from a live performance is the opportunity to join in the singing of the congregational Easter hymns.
Christopher Morley
Performance 4 stars
Sound 5 stars
It's a brave thing to deliberately follow in the footsteps of greatness, and that is what Paul Spicer has done in writing his Easter Oratorio for 'choirs seeking an alternative the Bach passions'. The basic ingredients of the work - an Evangelist narrator, chorales, solo bass, soprano and tenor commentators - derive from Bach's towering masterpieces. So, too, does the biblically based text, which 'begins where the Passions end', with Jesus crucified and dead in the tomb.
The outstanding musical performance is that of Philip Salmon as the Evangelist, whose supple lyric tenor is a constant source of story-telling enlightenment. It helps that he has most of the best music to sing - Spicer's setting of the Evangelist's narrations are much more interesting harmonically and alluring melodically than his writing for the choral forces, which is blander and much more generalised in impact. There is also occasionally simply too much of it: eight verses of choir as Part 1 lumbers to its conclusion is killing the thing you love by most standards of measurement.
The choral singing itself - by the combined forces of the Birmingham Bach Choir with Lichfield Cathedral Choristers and 'Special Choir' - is superbly committed. Structural unwieldiness and musical unevenness notwithstanding, Spicer's oratorio may well prove an attractive proposition to the 'good choral societies' for which it was written.
Terry Blain
RSCM Church Music
Quarterly March 2006
EASTER ORATORIO Birmingham Bach Choir/Lichfield Cathedral Choristers/Lichfield
Cathedral Special Choir/English Symphony Orchestra/Paul Spicer
Birmingham Bach Choir BBC CD 006
ORATORIO: AN EASTER AND RESURRECTION ORATORIO Three Spires Singers & Orchestra/Truro
Cathedral Choristers/Robert Sharpe
Pasticcio Past0401
To avoid any confusion: these two releases are recordings of the same
piece. Recorded in 2005, the Birmingham Bach Choir's version presents
the complete work. Their performance lasts approximately 1 hour 50 minutes
and is spread over two discs. The Three Spires Singers and Orchestra gives
a cut-down performance that occupies just one CD and lasts a little under
80 minutes. It was recorded in 2004.
Easter Oratorio comes from the pen of the conductor, producer, composer
and biographer of Howells, Paul Spicer. The libretto is by theologian,
columnist, lecturer and broadcaster Tom Wright, i.e. the Very Revd Dr
N.T.Wright, Bishop of Durham. Thus, it ought to come as no surprise that
this is a work of quality.
The narrative picks up where Bach's St John Passion leaves off and, following
that great tradition, Oratorio includes well-known Easter hymns in which
the congregation or audience can join. An Evangelist acts as narrator,
soloists play various biblical characters and the chorus reacts to and
comments on the action and themes. Paul Spicer readily admits that his
music contains 'echoes of Howells (my composition teacher), Walton and
Finzi, and many others'. Yet he manages to fuse these influences and add
enough of himself to create a sound world that is ultimately more original
than derivative, colourfully orchestrated and full of a sinuous (Howellsian)
counterpoint that is sure to appeal to many.
With the release of the complete oratorio, directed by the composer, the
Three Spires recording directed by Robert Sharpe is virtually rendered
obsolete. There is nevertheless much to commend the Three Spires performance,
such as some characterful solo singing from Robert Murray (Evangelist),
Natalie Clifton Griffith, Ed Lyon and Jonathan Gunthorpe. They are ably
supported by the chorus and the orchestra. The problem is, while one might
(possibly) be satisfied with a recording of, say, Elijah, that omits a
small number of movements, in the case of a new work one wants to have
the whole thing - and certainly not one that is half an hour shorter than
it should be. Happily the performance directed by the composer is splendid.
The choirs create a massive sound that matches the monumental ambitions
of the choral writing. The orchestra not only shines in the passages where
there is no singing, but also accompanies with a great sensitivity. Jonathan
Gunthorpe (baritone) is a rich-voiced and deeply expressive Jesus, Rachel
Nicholls (soprano) is a passionate Mary, and Philip Salmon (tenor) is
a clear and engaging Evangelist. The roles of Thomas and Simon Peter are
sung lyrically by the young tenor, Nathan Vale.
It may seem superfluous to say that Spicer's performance is 'just right',
but not all composers make the best of their own pieces when conducting
them. Spicer's tempos are spot on, luxuriating in moments of drama, and
then moving on when that is what is required. The speed of the sumptuously
arranged Easter hymns, for instance, are perfect. The Sharpe version will
suffice if you want a flavour of the piece, but to experience its architecture
and its full impact, only the Spicer will do.
Rating: 4 stars
Paul Spicer's Easter Oratorio draws inspiration from Howells, Finzi and, less overtly, Delius and neo-classical Stravinsky, but stands out as much more than a crafty pastiche. The composer and his librettist Tom Wright, now Bishop of Durham, capture the drama of Christ's passion as told by St John. They also project Easter messages of resurrection and salvation in a conservative language, both musical and verbal, which speaks sincerely and powerfully. An excellent solo team and Spicer's strong direction ensure that the piece soars in its admirable premiere recording.
Andrew Stewart
Paul Spicer's Easter Oratorio is based on the story of the Resurrection from John 20 and 21. Starting where the Bach St John Passion leaves off, it opens with Jesus's body lying in the tomb. The text is by Tom Wright, the then Dean of Lichfield. In two parts, the first is 'The New Day', about new creation. Spicer has included 'newly composed' chorales and six congregational Easter hymns in this work. The soloists also take the part of different characters and like Bach the Evangelist narrates the story. Of his style, Spicer says that it musically 'breaks no new ground'. He comes from a long line of English composers exemplified by Vaughan Williams, Finzi, Walton and Howells. The latter two are prevalent in this work, particularly Howells, who was his composition tutor. Spicer's writing is skilful and competent but lacking the distinctive touch that turns good into genius. The music is lyrical, flowing and adeptly orchestrated. The second part, 'The New Calling', was somewhat of an anticlimax and lacked tension. There are good performances from choir, soloists and orchestra under the able hand of the composer.
Paul Spicer's Easter Oratorio (BBC CD 006) is a masterpiece in the English choral tradition. An examination of the Apostles' hesitant reaction to and delight in encountering the risen Christ, the work benefits from a wisely planned, beautifully worded libretto, devised by Dr Tom Wright, now the Bishop of Durham, when, in his previous post but one as Dean of Lichfield, he was a close neighbour of the composer.
Time and again, one is swept away by the sheer assurance and vitality of both the choral and the orchestral writing. Spicer has a gift for wrapping the music around words, and a feeling for the sensual beauty of sound which one associates with Gerald Finzi; at the same time, the powerful rapture of his cavorting and cartwheeling counterpoint suggests the unbridled enthusiasm of operatic Tippett, most notably The Midsummer Marriage.
The role of the tenor Evangelist (first performed by Andrew Kennedy) is sung here with a plangent tenderness and affecting articulation by Philip Salmon; another tenor, Nathan Vale, is the appealing soloist in the powerful Doubting Thomas sequence, and also sings Simon Peter. Spicer's Birmingham Bach Choir rise handsomely to the challenge.
There is some vital writing for the Lichfield boys. Perhaps most affecting of all are the soprano arias sung by Rachel Nicholls, which lend a different, Baroque feel to both text and music. For me, the many incorporated chorales and hymns have a tendency to slow the action, and might better have been used more sparingly; but for many listeners they will be a high point.
Spicer's unfailing invention and the sheer lovingness with which the whole work is conceived fill one with admiration.
Roderic Dunnett