Divine Art Records MEX77125
72’56
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We are thrilled to present this CD of music by Liz Dilnot Johnson in her 60th birthday year. We have loved working closely with Liz for several years, as she explains in the booklet:
“This album celebrates my creative relationship with Ex Cathedra over the last nine years and as [a] composer-in-residence since 2021. The recording was made in three intense days at the Bradshaw Hall (Royal Birmingham Conservatoire), the warm but clearly defined acoustic revealing the choir’s exceptional vocal skills.
“The first eight tracks span nearly forty years of my composing life, up to A Wild Midwinter Carol [2022] – the first of my new set of ‘eco-songs’. The second half of the album presents When A Child Is A Witness – requiem for refugees – one of the largest and most ambitious collaborations with Ex Cathedra so far, and winner of an Ivors Composer Award 2022.”
Read a Q&A with Liz Dilnot Johnson about the CD.
REVIEWS:
“an artistically ambitious and emotionally compelling work that is firmly rooted in the contributions of the participants … evocative music with a purpose and meaningful sense of engagement.” (Ivor Composer Award – jury citation)
“Im Verlauf der Requiem-Abschnitte entfaltet Johnson große stilistische Vielfalt. Eine Art Gospel nach dem Call-and-response-Prinzip leitet den Satz Requiem aeternam ein, der Solo-Sopran singt die später wiederkehrende Melodie des «When a Child is a Witness» in Korrespondenz mit dem Chor. Im zweiten Satz tritt überraschend das Klavier hinzu für ein wildes, virtuoses Dies irae. Am faszinierendsten ist das Kyrie eleison mit Orgelbegleitung, hier zieht Johnson alle chorischen Register: Flüstern und Schreie, die im Glissando verebben, dynamische Brüche, atonale Cluster, Akkorde mit acht und mehr Stimmen lassen den Zuhörer erschauern. Im Mittelteil Christe eleison beruhigt Johnson die Musik mit einem zart begleiteten Sopran-Duett, bevor wieder das erschütternde Kyrie eleison losbricht und im Flüstern verendet. Die rockige Keimzelle des Requiems «When a Child is a Witness» steht dazu in totalem Gegensatz, hier wird geschnipst und geklatscht und aus voller Seele gegospelt. Einen schönen kompositorischen Weg findet Johnson für das abschließende Lux aeterna. Hier baut sie ein weit ausgespanntes Improvisationsmodell für Sänger:innen und Instrumente. Über einem Pedalton der Orgel werden für die einzelnen Register rhythmische und melodische Patterns zur Verfügung gestellt, die sich auf einer Tonskala zu einem dicht verwobenen Klangbild zusammenfügen. Es entsteht die Assoziation von Licht.” (ChorZeit – Ensembleklang ***** Interpretation *****)
“Showcasing Liz Dilnot Johnson’s diverse choral music, the disc celebrates her relationship with Ex Cathedra who are powerful advocates for her highly effective music… We begin with Gentle Flame (2018) written for Ex Cathedra’s candlelit Christmas concert, a gentle piece where multiple diverse lines coalesce into something special. For Hester (1990) was written after her mother died and features an evocative soprano solo floating over a choral texture full of close harmony and rhythm. The ethereal O Vos (2000) uses just three sopranos to magical effect… The setting of Gerard Manly Hopkins’ The Windhover (2021) features a robust baritone solo over a gently evocative choral texture where, again, Johnson uses multiple layers of different motifs. This multi-layered multiplicity is most notable in Blake Reimagined (2020), which fuses English, Indian classical and jazz improvisation, with three improvising soloists from diverse vocal traditions: Indian Classical (Debipriya Sircar, singing in Hindi), gospel/soul (Gabriella Liandu) and jazz (Margaret Lingas). Rather impressively, this track was recorded live in a single take, with no multitracking. When A Child Is A Witness – Requiem for Refugees is a diverse piece, the 12 movements encompass the ordinary of the Requiem Mass, along with words from the psalms… The music moves from the gospel-like call and response of the Introit, through more complex serious organ-based movements such as the rather dark Kyrie and the Durufle-inspired Agnus Dei, and a lovely, rather romantic setting of words from Psalm 139, If I Take the Wings. The bluesy-jazzy piano weaves its way through the movements like the brightly uplifting Sanctus and the bluesy Lacrimosa that his hints of Bernstein in his Chichester Psalms. The work ends with quietly internal yet complex choral Lux Aeterna. The work benefits from the skill and enthusiasm of the performers, and their clear belief in the work carries this intriguingly diverse piece off. Throughout the disc, made in three intense days at the Bradshaw Hall (Royal Birmingham Conservatoire), this intense belief in, enthusiasm for and enjoyment of Liz Dilnot Johnson’s music shines forth.” (www.planethugill.com)
“The most substantial work is When a Child is a Witness – Requiem for Refugees (2022)… 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… the result is most effective… 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 words are admirably clear. This recording represents a significant achievement, and I shall seek out other recordings of this composer’s music.” (British Music Society) – read the full review…
“a commission from Malvern-based Liz Dilnot Johnson, The Windover, depicts a soaring falcon riding the thermals… in the English choral tradition but with interesting choral wind rustling effects and some memorable high voice writing which builds to a stirring vocal climax as the sun breaks over the horizon.” (www.midlandmusicreviews.co.uk review of our 2021 performance)