The large, choral-orchestral works by Charles Villiers Stanford recorded here are not commonly performed or recorded, even in Britain, but they were fine candidates for resurrection, one might say, in Naxos' deliberate series devoted to English choral music. The Resurrection, published in 1875, was a student work written in Leipzig under the tutelage of Carl Reinecke, who was understandably impressed. For a text it takes a poem by Friedrich Gottlieb Klopstock that was later used by Mahler in the Symphony No. 2 ( ...
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The large, choral-orchestral works by Charles Villiers Stanford recorded here are not commonly performed or recorded, even in Britain, but they were fine candidates for resurrection, one might say, in Naxos' deliberate series devoted to English choral music. The Resurrection, published in 1875, was a student work written in Leipzig under the tutelage of Carl Reinecke, who was understandably impressed. For a text it takes a poem by Friedrich Gottlieb Klopstock that was later used by Mahler in the Symphony No. 2 ("Resurrection"), and in general it breathes the Germanic air that Stanford was to develop in his later works. The Stabat Mater, Op. 96, designated a "symphonic cantata," is a splendid example. With a lengthy instrumental prelude and two big vocal quartets, it applies the style of Wagner to English sacred music. Once you suspend the disbelief that comes from imagining how Wagner himself would have reacted to such a thing, it's gorgeous. Sample the quartet in the first part of the fourth movement,...
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