MORRISON & CO TRUST - NEW ZEALAND

The members of the New Zealand Youth Choir range between the ages of 16 and 25. The Choir has been in existence for 20 years, and it has been conducted by Karen Grylls since 1988. The members meet only a few times each year, and so their high level of achievement is even more impressive. On the occasion of the 1999 tour that took them to the Eisteddfod, there were 41 singers in the group: 10 sopranos, 10 altos, 9 tenors, and 12 basses.

The CD opens with a Maori welcome song. In spite of the Europeanized harmonies, the song's roots are made clear by the colorful performance style, which involves shouting and synchronized movement. It is a grand jump from this to unaccompanied sacred works by Mendelssohn, Rossini, and Charles Theodore Pachelbel (a son of the famous Canon composer). Three of the Quatres petites pri*res de Saint François d'Assise are then sung by the Choir's men, and the women respond with a kinetic and rather Minimalist Ave Maria by Canadian composer David McIntyre. A brief but musically eventful Requiem aeternam by Czech composer Zden k Lukáš leads to the disc's most substantial work: Five Mystical Songs by Ralph Vaughan Williams. Usually performed by choir, baritone soloist, and orchestra, it is presented here with organ accompaniment, and with baritone Paul Whelan, a veteran of the New Zealand Youth Choir.

The music-making on this CD is extremely impressive. The members acquit themselves with professionalism and maturity which belie their years. Several of the works performed here are so difficult that they must have been composed as test-pieces. Rapid shifts in harmony, key, rhythm, and time signature challenge even the most seasoned choirs; they don't seem to ruffle the New Zealand Youth Choir very much. Those of us who sing in amateur choirs of our own could feel very discouraged after hearing this CD. (Then again, my choir will never go to the Eisteddfod.) I have two caveats, though -- one specific, and one general. Vaughan Williams's Five Mystical Songs is not effective with an organ accompaniment. Music that usually sends me over the edge of spiritual excitement seems merely pleasant under these circumstances. The general caveat concerns the interpretations. Could it be that the Choir's technical prowess gets in the way of their natural innocence? Something is missing here: a few drops of sweat, a spontaneous gesture, an adolescent impulse? I think I am on very subjective territory here.

The sound is very good, but better in London than at the Eisteddfod. The booklet is good too, although the disc's playing-time is mistakenly given as 60:16.

Here's something for New Zealand to feel proud of and for the rest of us to enjoy.

Brittens Music Eastbourne