The subtitle of this disc is A Celebration of Women’s Voices and a celebration it undoubtedly is, not just of the women’s voices who sing on the record, but of the voices of the women composers who make up the lion’s share of the music. Room is found for Gustav Holst, who was a champion of women’s voices and taught at several girls’ schools, most famously at St Paul’s Girls School, where he taught for almost thirty years.

Its centrepiece, and the longest work on the disc, is Elizabeth Poston’s An English Day-Book, which here receives its première recording of this edition. If it is reminiscent of Britten’s A Ceremony of Carols, then that is because it was conceived to complement it by providing a work suitable for use throughout the year. The Day-Book was unpublished at he time of Poston’s death in 1987, but has since been published by the Arts and Education charity, Multitude of Voyces, which specialises in publishing and promoting works by communities historically or currently underrepresented or marginalised. The charity also published the works here by Hilary Campbell, Olivia Sparkhall, Judith Weir and Gemma McGregor. I was particularly taken by Sparkhall’s Lux Aeterna, which is for two choruses, solo soprano and harp and McGregor’s Love was his meaning with its lovely falling harp introduction.

“Welcome Joy”, sing the Corvus Consort at the beginning of this recital and indeed what a joy it is. Imogen Holst’s commission for the 1951 Aldeburgh Festival is a setting of six poems by John Keats, described by Britten as ‘six little treasures’ when he first received them, and, in this joyful performance, it is easy to see why.

This piece, like most of the music on this CD was completely new to me, but I did know Gustav Holst’s Choral Hymns from the Rig Veda (Third Group) from Imogen Holst’s 1968 recording with the Purcell Singers and Ossian Ellis. I am bound to say that I found that recording a mite more atmospheric, especially in the opening Hymn to the Dawn, which has a mystery and magic that is not quite captured in the clearer, more analytical Chandos digital recording.

Nevertheless, I enjoyed this disc of choral music for women’s voices. The work of the Corvus Consort under their conductor, Freddie Crowley can hardly be faulted, with a superb contribution from harpist, Louise Thomson.

Full texts are provided, and the exemplary notes are extensive. A thoroughly enjoyable disc.

Contents

Imogen Holst (1907 – 1984)  Welcome Joy and Welcome Sorrow (1950)

Gustav Holst (1874 – 1934) Two Eastern Pictures (1911)

Choral Hymns from the Rig Veda (Third Group) (1910)

Dirge and Hymneal (1915)

Judith Weir (b.1954) We sekyn here rest (2019)

Hilary Campbell (b. 1983) Our Endless Day (2017)

Elizabeth Poston (1905 – 1987) An English Day-Book  (1966 – 67)

Olivia M. Sparkhall (b. 1976) Lux Aeterna (2018)

Gemma McGregor (b. 1965) Love was his meaning (2018)

Shruti Rajasekar (b. 1996) Ushãs – Goddess of Dawn (2024)

Priestess (2024)

 

Corvus Consort: Welcome Joy (Chandos)