Reviewed by Steven Whitehead

Just a brief glance at the credits tells us where we are going when we see that the two choirs have been supplemented by three guests singing the low bass part so vital in Orthodox singing. However, there is a break from the tradition of Orthodox worship being sung unaccompanied as Rodion Shchedrin has written a part for a solo oboe, here played exquisitely well by Clare Wills. In a fascinating interview with the composer included within the informative CD booklet the composer explains that he wanted to use a traditional Russian folk instrument but found that this would create pitch problems for the choir. The oboe works well and reminds us of the clarinet part in Tavener's 'Penitent Thief'. Ah, yes, the inevitable Tavener comparison. For many of us in the West our introduction to Orthodox music came not from Russia but from John Tavener and, in general, he has been an interesting guide. Shchedrin came to prominence in the early days of perestroika when it was still potentially dangerous to profess faith (echoes of Arvo Part in Estonia at the same time). 'The Sealed Angel' was written as a 'Russian Liturgy' but this was deemed to be an unsuitable title in 1988. It is based on a story by Nickolai Leskov that tells of a group of peasant craftsmen and a wonderful painted icon (that again rings bells with admirers of Tavener). The music moves from the intimate to the grand and the combined choirs of Gonville and Caius from Cambridge and King's from London under the respective direction of Geoffrey Webber and David Trendell give a splendid performance. Listeners with any interest in contemporary Orthodox music and choral singing that does not follow the same old path will find much to enjoy in this outstanding release.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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