Rutter: Mass of the Children, etc.

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Choirs love to sing Rutter's music, audiences love to hear it and, if reviewers are lukewarm, the record/ticket-buying public compensates with effective demonstrations of its enthusiasm.
Rutter... — Gramophone Classical Music Guide, 2010 More…

Release Date: 3rd Apr 2006
Catalogue No: 8557922
Label: Naxos
Length: 66 minutes

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Rutter: Mass of the Children

Work length35:46

$7.00

$9.10

Angharad Gruffydd Jones, Jeremy Huw Williams, James McVinnie
Choir of Clare College Cambridge, Farnham Youth Choir, Clare Chamber Ensemble
Tim Brown

Kyrie

Track length6:41

$1.00

$1.30

Gloria

Track length7:17

$2.00

$2.60

Sanctus and Benedictus

Track length6:47

$1.00

$1.30

Agnus Dei

Track length5:58

$1.00

$1.30

Finale. Dona nobis pacem

Track length9:03

$2.00

$2.60

Rutter: Shadows

Work length25:05

$8.00

$10.40

Jeremy Huw Williams, Stewart French

I. Shadows

Track length4:20

$1.00

$1.30

II. Gather ye rosebuds

Track length1:35

$1.00

$1.30

III. Sonnet

Track length3:52

$1.00

$1.30

IV. The Epicure

Track length2:17

$1.00

$1.30

V. Sic vita

Track length2:00

$1.00

$1.30

VI. O Death, rock me asleep

Track length4:55

$1.00

$1.30

VII. In a goodly night

Track length3:19

$1.00

$1.30

VIII. Close thine eyes

Track length2:47

$1.00

$1.30

Rutter: Wedding Canticle

Work length5:46

$1.00

$1.30

Daniel Pailthorpe, Stewart French
Choir of Clare College Cambridge
Tim Brown

Reviews
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Reviews

2010

Choirs love to sing Rutter's music, audiences love to hear it and, if reviewers are lukewarm, the record/ticket-buying public compensates with effective demonstrations of its enthusiasm.
Rutter believes the seed of the Mass, premiered at Carnegie Hall in 2003, was planted when, as a member of the Highgate School choir, he performed on the original 1963 recording of Britten's War Requiem. This inspiration is nowhere more clear than in the introduction to the Gloria, which recalls Britten's use of brass, woodwind and percussion.
Rutter re-imagines Britten's brilliant juxtaposition of adult and children's voices in a joyful context. Like his model, he mixes Latin liturgy with poetry: here, the texts include poems by Archbishop Ken and William Blake. The Kyrie opens vividly with a sunny, breezy setting of Ken's 'Awake my soul', the Domine Deus begins effectively with a bassoon ostinato against mysterious long notes, but his openings often raise expectations which, for me, are seldom fulfilled.
The Sanctus evokes Fauré at best, Lloyd Webber at worst, and early in the Agnus Dei some phrases, startlingly, recall Penderecki's St Luke Passion.
But fear not, this is mostly unmistakably Rutter.
The shades of Britten and Pears hover over Shadows (1979), a cycle of pleasant settings of 16th- and 17th-century poems, paying tribute to the lute-song tradition. The Wedding Canticle is sweet, airy and graceful. Rutter's many fans will not be disappointed.

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