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Vasari Singers, Jeremy Backhouse - Will Todd: Mass in Blue (2006)

Vasari Singers, Jeremy Backhouse - Will Todd: Mass in Blue (2006)
  • Title: Will Todd: Mass in Blue
  • Year Of Release: 2006
  • Label: Signum Records
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 01:03:45
  • Total Size: 301 Mb
  • WebSite:
Tracklist:

1 Mass In Blue, Op. 28: I. Kyrie 06:36
2 Mass In Blue, Op. 28: II. Gloria 03:46
3 Mass In Blue, Op. 28: III. Credo 08:29
4 Mass In Blue, Op. 28: IV. Sanctus 05:06
5 Mass In Blue, Op. 28: V. Benedictus 04:07
6 Mass In Blue, Op. 28: VI. Agnus Dei 08:50
7 Christus est stella 03:42
8 The Christ-Child 03:53
9 Ave verum corpus 03:32
10 None Other Lamb 02:12
11 The Rose 04:40
12 Lead Me Lord 03:14
13 Lighting The Way 03:10
14 Every Stone Shall Cry 02:28

Performers:
Vasari Singers
Jeremy Backhouse

British composer Will Todd's 2003 Mass in Blue follows in the tradition of Dave Brubeck's jazz-tinged oratorios, but is even more uncompromising in its use of "pure" jazz, with very little influence from the classical tradition. If it were not for the use of a chorus, any of the movements would be indistinguishable from the vocal blues that could be heard in the best clubs. In fact, the chorus often sings in unison, as if standing in for a soloist. The Mass also uses a soloist, soprano Bethany Halliday, whose creamy voice shines especially in the Agnus Dei, and she more than holds her own in her improvisatory expertise. The Vasari Singers, led by Jeremy Backhouse, are known primarily for their virtuosic performances of some of the most challenging contemporary music, but they are perfectly at ease in this idiom; they make choral jazz sound like it ought to be an established tradition. Todd's setting is imaginative, unpredictable, and full of irrepressible energy. The CD also contains eight of his settings of English and Latin liturgical and religious texts, some a cappella and some accompanied, in the contemporary classical tradition. The richness of his harmonies and his idiomatic choral writing show Todd's mastery of this style, but his compositional voice here is less distinctive and compelling than in the Mass.




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