Vaughan Williams: Sacred Choral Music

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Vaughan Williams: Sacred Choral Music



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Vaughan Williams: Sacred Choral Music

Vaughan Williams:

Mass in G minor

Lord, Thou has been our refuge

Prayer to the Father of Heaven

O vos omnes

O Clap Your Hands (Psalm 47)

O Taste and See

O how amiable

Come down, O Love divine (Down Ampney)

Thomas Fitches (organ)

Elora Festival Singers, Noel Edison


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Ralph Vaughan Williams: Lord, Thou hast been our refuge

Lord, Thou hast been our refuge

Ralph Vaughan Williams: Prayer to the Father of Heaven

Prayer to the Father of Heaven

Ralph Vaughan Williams: O vos omnes

O vos omnes

Ralph Vaughan Williams: Mass in G minor


Gloria in excelsis


Sanctus - Osanna I

Benedictus - Osanna II

Agnus Dei

Ralph Vaughan Williams: O clap your hands

O clap your hands

Ralph Vaughan Williams: O Taste and See

O taste and see

Ralph Vaughan Williams: O how amiable (arr. J. Brubaker)

O how amiable

Ralph Vaughan Williams: Come down, O Love Divine

Come down, O Love divine

Gramophone Classical Music Guide


“This fine Canadian choir perform very beautifully in a style which seems natural and right.
The Elora Festival Singers have much in common with King's College, Cambridge under Willcocks; relaxed and habituated, they offer the welcome loveliness of a choral tone where the blend and match of voices produce a sound that's eminently 'at unity with itself'. There's no shortage of good recordings of the Mass in G minor, the one that stands out as being openeyed and adventurous in spirit being the version on Meridian by the Choir of New College, Oxford. They favour a sharper tone, a quicker tempo in the Credo and a brighter acoustic. The choice between women's and boys' voices may prove the deciding factor when it comes to which version; the Elora Singers' female voices seem to give this music precisely what's required.
Yet more decisive may be the coupling. The two recordings by the college choirs couple music by other composers. The Canadians stay with Vaughan Williams, in a mood which assorts well with the Mass. Particularly apt is O vos omnes, also written for Sir Richard Terry and the Choir of Westminster Cathedral. The Skelton setting, Prayer to the Father of Heaven, from 1948 – a comparative rarity and sensitively performed – has a chill which is partly medieval, partly perhaps from the Antarctica of VW's Seventh Symphony. Down Ampney ('Come down, O Love divine') brings the warmth and cheer of a settled major tonality at the close.”

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