Requiem (2018).
This work reflects the gentle character of the composer's style, steeped through nearly thirty years of singing in English Cathedrals.
Performer: Louise Hardy (Soprano), Timothy Parsons (Organ), Julian Rippon (Baritone),
Ellen Williams (Soprano)
Conductor: Matthew Cann
Orchestra/Ensemble: Antiphon, Antiphon Players
However, the main work here is the Requiem for two soprano soloists, baritone solo, organ and SATB, written for the Bournemouth International Church Music Festival. In his very brief composer’s notes, Walsh comments that the work has “compact dimensions” and was “deliberately conceived… to be an homage to other great Requiems…Fauré, Duruflé and even Mozart”. Well, at forty-two minutes I don’t think it is particularly compact; indeed, the ‘Offertorium’ and ‘Pie Jesu’ seem rather prolix given the musical material employed. Fauré’s influence is clear in the way that the ‘Agnus Dei’ begins with the men’s voices, and in the rhythm of ‘Libera Me’ for the bass soloist. A nod to Mozart can be heard in the somewhat contrived fugal writing especially in the ‘Offertorium’ and the baroque opening of the ‘Rex tremendae’; Duruflé is less apparent, but the melodic lines often tend towards a plainchant-like modality. There are also passages of almost Edwardian grandeur which would have pleased Stanford and Parry.
So where is the real Michael Walsh? Perhaps it is in the calm, heart-easing of ‘In Paradisum’ and the unpretentious, very English setting of the opening ‘Kyrie,’ but overall I found this stylistic disparity unsatisfactory. The soloists are committed and the sopranos have a transparent, rounded tone quality, but the vibrato of bass Julian Rippon can sometimes be obtrusive. Organist Timothy Parsons supports perfectly and is well balanced in the recording.