![]() Whatever his past, he now composes melancholic, piano-led songs with added electronics that are really spellbinding – “Triumph” in particular is a gem – but right at this moment the “Warning: strobe lights and smoke machines will be used during this performance” sign blu-tacked on the entrance door came back to mind, as well as the fact it was well past 10pm on a Friday night. You might have heard about Gwilym Gold through his solo work, or you may remember him fronting the not quite world-beating but subsequently almost cult concern indie pop band Golden Silvers. Fifty professionally-trained voices weaving harmonies together is a beautiful thing in and of itself, but the night got even more interesting when they went beyond what’s traditionally expected from a choir, even an alternative one, as LCV’s rendition of Eric Whitaker’s “Cloudburst” brought something different to the performance, with finger clicks sounding like raindrops and canons teetering on the brink of dissonance.Īfter a set by LCV-founder Anil Sebastian’s new band Hrim, headliner Gwilym Gold arrived on stage and played a set of songs from his debut album Paradise accompanied by the choir and string ensemble. Cloudburst deserves every bit of its considerable success.LCV’s offshoot Kin Choir opened the Mahogany Sessions night with an expected but nonetheless beautiful rendition of Kavinsky’s “Night Call” before London Contemporary Voices sang choral reworkings of contemporary tracks such as The Staves’ “Winter Trees” and Aurora’s “Runaway”. The sound environment, as usual with Polyphony, is perfectly suited to the music. Polyphony, an English choir with an ear for outstanding American choral music, delivers beautifully shaped lines, clear text articulation, and clean execution of Whitacre's little clusters of tones that resolve themselves into patterns as if an aural kaleidoscope were slowly turning. His work is more rigorous than Rutter's, less mystical than Pärt's, and choral singers and directors who haven't heard Whitacre yet need to make it their business to do so soon. ![]() ![]() Whitacre's sensitivity to these texts alone raises his music well above the norm, and his instinct for choral writing adds to the interest of these short works. cummings, Octavio Paz (in a mixture of Spanish and English), Federico García Lorca, Edmund Waller, and various contemporary writers. Other works set poems by Emily Dickinson, e.e. The longest work on the album is a setting of the Bible verse beginning "When David heard that Absalom was slain." with much of the duration given to crystalline, shifting, very moving repetition of the words "my son." All of the music on this disc is a cappella except for the title track. The music is accessible to any listener, consonant but not really tonal, and driven by close attention to a wide variety of poetic texts, for which Whitacre devises unique forms of declamation. His music is marked by unusual choral effects including, most characteristically, a fleeting, shimmering use of dissonance, with sequences of what might be called micro-resolutions. On his first day in the choir, which he joined because of some pretty girls in the soprano section, they rehearsed the Kyrie from Mozart's Requiem - and, says Whitacre, "My life was profoundly changed on that day, and I became a choir geek of the highest order." He began to write choral music that drew on the styles of the man who became his teacher, John Corigliano, and on the minimalist choral works of Arvo Pärt and John Tavener without sounding much like any of them. Eric Whitacre is a fifth-generation Nevadan who couldn't read music when he enrolled at the University of Nevada at Las Vegas. This disc was a bestseller straight out of the box, one of a precious few collections of new music by a contemporary composer of which that might be said.
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