Reviewed by Steven Whitehead

The word that comes to mind to describe this new Requiem is interesting which is, of course, one of those words reviewers like to use when they cannot come up with anything more meaningful. However, I stand by my choice and will try to explain why I think this is indeed an interesting release. Alex Woolf (born in 1995 - 1995!) both composed the score and conducts the choir Vox Luna which suggests a generous amount of talent. The booklet notes by Wolfgang Marx from University College Dublin are interesting in the usual sense of imparting information that I had not previously considered about what a Requiem is and how it can be used. In brief, the definition of Requiem is now so loose that if a composer says he has written a Requiem, then that is what it is. The traditional liturgical requirements are now pretty much all optional and the most famous of Requiems (Mozart is probably the best known) are now more likely to be performed in a concert hall than a cathedral. 'Woolf's Requiem' as it may come to be known, sounds more like a concert piece to me. The Introit is very atmospheric leading into the traditional Latin "Requiem aeternam". I imagine a darkened stage with the music building and then a spotlight on the choir but you can put in your own pictures. The use of the cello, here played by Philip Higham, is interesting, adding greatly to the mysterious, numinous atmosphere. Inevitably it brings to mind John Tavener's 'Protecting Veil' and I think the comparison is valid and, like Tavener, Woolf is able to link the ancient and the modern (post modern even) and make it work. The 'Kyrie' follows as expected and then we get the first of three settings of poems by Gillian Clarke (born 1937). These are in English and are worth reading but when combined with Woolf's music they shine out like beacons. "The Fall" looks back to a particular 'day of wrath' on 11th September 2001 which combines the dreadful drama of that grim event with some inspiring religious imagery. This is sung very well indeed by the tenor Nicky Spence accompanied by the ever-reliable Iain Burnside on piano. The other two Clarke poems, "A Crowd of Cares" and "The Year's Midnight" also stand out and would be good additions to any tenor's repertoire, whether within the context of a Requiem or as solo pieces. There is, to my ears, a clear echo of some of Britten's settings which is no bad thing at all as Woolf, like Britten, lets the words speak. I am aware that I have given more attention to these three songs that to the Requiem as a whole. They do show Woolf at his compositional best although the a cappella choral "Pie Jesus" is also admirable in both composition and performance and the concluding "In Paradisum" with soprano solo from Gwendolen Martin brings the work to a satisfying conclusion. Audio quality, courtesy of producer Paul Baxter, is excellent and the Requiem as a whole is most satisfying. I hope these few words have whetted your interest and any who enjoy contemporary choral music will appreciate this new and invigorating setting of the venerable Latin texts and the thought-provoking poems of Gillian Clarke.

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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