Ex Cathedra
Jeffrey Skidmore director
Métier MEX 77125
Liz Dilnot Johnson has been composer-in-residence with Ex Cathedra since 2021. As well as choral music, her activities have included writing for film, dance, opera, vocal and orchestral works. This recording collects nine of her choral works. A majority of the pieces are of less than four minutes duration. The exceptions are her settings of Gerard Manley Hopkin’s words, The Windhover (2021) and When a Child is a Witness – A Requiem for Refugees (2022).
As with many recordings of contemporary music, this is probably not one to listen to at a single sitting. Much of the music in the earlier tracks seems to be slow; however, if they are taken in their order on the disc, the vigour of Magi (2021) followed by the splendid folk-carol A Wild Midwinter Carol (2022) are a most welcome contrast. The latter sounds like an authentic folk melody which perfectly complements the words. Both of these pieces have texts written by the composer.
The most substantial work is When a Child is a Witness – Requiem for Refugees (2022). This work appears to have evolved from a commission by the composer’s local church for a piece for its choir. The result was a work for a much-expanded 8-part choir (and sometimes there are more than 8 parts). There are also important parts for a solo mezzo-soprano, piano and organ.
In this extended work the composer takes the opportunity to display her stylistic versatility; the larger canvass as well as the global concerns of the various texts demand such an approach. Together with the sections of the Requiem Mass, there are words from the Psalms and the Book of Common Prayer. For some, this patchwork approach to assembling a text for a choral work may seem unwise, but here the result is most effective. The composer acknowledges the influence of Britten’s A War Requiem, but this no crude imitation or slavish copy, and the scale is, of course, quite different. However, on its own terms it succeeds in conveying not only the pain of war, but, in the words of the composer, ‘my Requiem aims to look forward to vision of unity and peace.’
It hardly needs to be stated that Ex Cathedra’s performances of these pieces under Jeffrey Skidmore are beyond reproach. The recorded sound too is very pleasing, if a little ‘backward’. I could have done with a more forward placing of the forces and had to increase the volume to hear the textual detail. Having done this, I found that the words are admirably clear. This recording represents a significant achievement, and I shall seek out other recordings of this composer’s music.
Review by Martyn Strachan