Album Review: Keys To Heaven/ Australian Chamber Choir/ Move Records
Album Review: Keys to Heaven/ Australian Chamber Choir/ Move Records
The Australian Chamber Choir’s new album release Keys to Heaven has as its highlight, a charming, newly discovered cantata which had languished in a Venetian library for three centuries. Alongside classics by Palestrina and Allegri, this is an appealing collection of choral music spanning three centuries, expertly performed by the ACC under the direction of its founder, Douglas Lawrence AM.
Ecce Nunc is the cantata in question, composed by the little known, Agata della Pietà, reconstructed from fragments by the ACC’s harpsichordist and contralto Elizabeth Anderson. Now in six movements and lasting slightly over 15 minutes, it sets the words of Psalm 134 and was written for the liturgical service of Compline (the final prayers for the day). Agata (b 1712) was a resident at the Ospedale della Pietà in Venice, who entered the institution as an infant, presumably because she was born without the fingers of her left hand. She spent her life there training as a vocalist, performing in the choir and later becoming a teacher and administrator until her death in 1769. There is little literature about her and her family name is not known, but she does appear in the Oxford Dictionary of Music affording her some recognition as a composer and performer.
Anderson gives us a comprehensive account in the CD booklet, of her journey rediscovering and reconstructing this gem. Now configured for SATB choir, soprano and contralto soloists and string ensemble with organ, it is an engaging piece, lyrical and richly harmonised. Soprano Amelia Jones has a crystal-clear straight-toned delivery with just a hint of vibrato blossoming at the end of phrases. Her solos present beautifully with nimble accompaniment from violinist Jennifer Kirsner.
The Gloria Patri is a well-matched, imitative duet which Jones shares with fellow soprano Kristina Lang. There is considerable imitative writing and gentle ornamentation reminiscent of Vivaldi’s style. It is hard to image that Agata did not come under the influence of Vivaldi as their time at the Pietà must surely have overlapped, Agata’s from some time after her birth in 1712 to her death in 1759 and Vivaldi’s from 1703 to 1733.
The reconstructed cantata received its world premiere performed by the ACC in the Australian Western Victorian town of Terang in 2022.
Sitting alongside the Agata-Anderson cantata are two 16th century classics from Palestrina, Tu es Petrus and Missa Aeterna Christi munera, and two 17th century classics from Allegri, the Miserere and the splendid Easter hymn for double choir, Christus resurgens. Soprano Elspeth Bawden flawlessly floats the top Cs in a resplendent account of the Miserere for which the Christus resurgens is an admirable companion piece.
The recording was made in a studio (church) setting as well as in concert. In addition to Anderson’s account of reconstructing Ecce nunc, the CD booklet contains informative historical notes and the full text and translations of the lyrics.
The ACC projects a beguiling serenity in Keys to Heaven which shows them at their best. They create a celestial sound, interpreting early polyphony with seamless blend, long melismatic phrasing, careful articulation and well delineated part singing. Calm, meditative and healing.
Shamistha de Soysa for SoundsLikeSydney©
Read our review of the ACC’s previous album A Baroque Christmas.
