With their debut CD last year earning them widespread critical praise, Oxford’s most recent choral foundation has a lot riding on their shoulders. The Choir of Merton College proves that this reputation is deserved with a range of repertoire spanning between the fourteenth-century and some of today’s leading composers.
From the opening Matthew Martin setting Ecce concipies, Merton demonstrate their characteristic clarity of sound. The rhythmic vitality and energy which is present for the rest of the CD is established from this very first track. The opening soprano idea gradually broadens both texturally and registrally, building to a tumultuous apotheosis before fading back to nothing. The blend is impressive for such a young ensemble (particularly in Howard Skempton’s O Sapientia), although some prominent vibrato within the soprano section occasionally disturbs this.
Benjamin Nicholas’ conducting invites dramatic realisations from the choir, elucidating a range of moods, dynamics and tone colours from the singers. A particular highlight was James MacMillan’s Advent Antiphon. As in the later Ä’riks Ešenvalds, the soloist is drawn from within the choir: in this case, tenor Christopher Watson. The Delphian recording allows Watson’s voice to catch the resonant acoustics of Merton Chapel to poignant effect, lingering over the portamenti which ornament the elegiac melody. This resonance suits the spacious soundworld created by Peter Phillips. This is particularly effective in Ecce Virgo Concipiet, with the legato sound in contrast with the earlier piece of Byrd (Rorate caeli desuper).
The central part of the CD is the Seven Magnificat Antiphons commissioned for the Merton Choirbook (part of the college’s impending 750th anniversary). Uniting such names as Gabriel Jackson, John Tavener and Cecilia McDowall, each anthem celebrates a different aspect of the coming Christ. These 7 pieces test the choir to their limits, but they rise to the challenge: the angular soprano lines of the Tavener are bridged smoothly and the synchronised ornaments in Gabriel Jackson’s O Clavis David brought off with ease. The choir seem to be more comfortable with the forte end of the dynamic spectrum: points in Cecilia McDowall’s O Oriens could benefit from a touch more support.
Anna Steppler’s two interludes bookmark these Seven Magnificat Anthems, showcasing the chapel’s neo-classical Walker organ. The Praetorius sees ornaments seamlessly integrated into the flowing chorale, while Heiller’s adaptation of the Advent chorale Es ist ein Ros’ entsprungen sees her explore the instrument’s different registral colours.
Such a selection of repertoire allows the Choir of Merton College to demonstrate their technical and expressive capabilities. With impressive blend and range of tones, Merton shows that their relative youth is no barrier to top-class performances. As their 750th anniversary approaches, the choir is definitely going from strength to strength.
