Passiontide – A Lenten Cantata
Simon Mold’s new setting is a triumph drawing deeply on the traditions of baroque Passion settings as well as such works as Stainer’s ‘The Crucifixion’ and Maunder’s ‘Olivet to Calvary’. This work is a masterpiece which, if there is any justice in the world, will be widely sung, to be appreciated by choirs, audiences and congregations.
A strikingly accessible work that explores a range of emotions with a sure feel for word-setting and an irrepressible tunefulness, while nonetheless capable of many passages of gravitas, poignancy and lingering beauty.
Highlights include dramatic moments in the Garden of Gethsemane and before Pilate, a searching setting of the Reproaches for choir and soloist, the heart-rending farewell duet for Mary and Jesus and a final scene that taps into the feelings of believer and non-believer alike.
Track Listing
- I. Antiphon: Have mercy, O Lord (0:36)
- II. Hymn: O God of unexampled grace (2:41)
- III. Organ Interlude (0:42)
- IV. Sentence: Christ Himself bore our sins (3:58)
- V. Gospel Narrative: ANd when the time (at evening) came (3:40)
- VI. Motet: Hail true body (2:05)
- VII. Gospel Narrative: By this He was to Kedron River come (5:06)
- VIII. Gospel Narrative: Behold there came (1:23)
- IX. Chorus: And thus the scriptures are accomplished (1:44)
- X. The Reproaches (7:39)
- XI. Gospel Narrative: Then they arose (2:18)
- XII. Gospel Narrative: When Pilate saw he could effect no good (1:27)
- XIII. Hymn: Weep not for Him (3:43)
- XIV. Soprano Solo: When I waxed fair (3:15)
- XV. Gospel Narrative: Our Lord refused a grief-augmenting cup (1:11)
- XVI. Bass Solo: From Golgotha (5:07)
- XVII. Psalm 22 (excerpts) (3:48)
- XVIII.Hymn: Forgive them O my father (2:37)
- XIX. Gospel Narrative: Amongst those friends (1:15)
- XX. Duet: Must my Son my treasure die (4:12)
- XXI. Gospel Narrative: No sooner on the cross was Jesus nailed (2:52)
- XXII. Tenor solo: O perfect life of love (5:05)
- XXIII. Hymn: Long did I toil (4:09)
- XXIV. Envoi: Take up thy cross (3:11)
- XXV. Hymn: It is finshed (4:22)
Passiontide (Simon Mold):
Reviews
“Simon Mold’s ‘Passiontide’ is a masterpiece. It’s a strikingly accessible work that explores a range of emotions with a sure feel for word-setting and an irrepressible tunefulness capable of gravitas, poignancy and lingering beauty.
” —Keith Bramich
“Mold takes the performers and listeners on a moving Passiontide journey, The music is accessible and would make a lovely alternative to the Stainer and Maunder pieces… The real stars of the show are the nine singers of the Knighton Consort who gave performances of maturity and sensitivity.
” —Un-named reviewer
“The music is steeped in the British choral and vocal tradition as it was before Benjamin Britten… beautifully sung by the nine-voice Knighton Consort.
” —Henry Fogel
“Carefully calculated to be within the reach of amateur performers – none of it unduly challenging. There’s a pleasing succinctness in the way the story unfolds a competently constructed tunefulness that will please many a chorus.
” —Michael White
“What makes this recording unique isn’t the music or the performances (both fine). It’s the seamless textual garment that [Simon] Mold has woven from Scripture.
” —Arsenio Ortega
“Passiontide was conceived as an alternative to Stainer’s Crucifixion, telling the story of Holy Week in the manner of a small oratorio. The sound is reverential, gentle and respectful – sincere and honest, and calming too. Anyone who likes choral music and / or church music should have a listen; it’s reverent without being overwhelming and is nicely traditional.
” —Jeremy Condliffe
“This is a work worth hearing both for true believers and for those interested in English music. I certainly cannot think of anything else quite like it. The principal part goes to tenor, Philip Leech. His voice comes across as earthy and emotionally involved, which in this work I thought was right. Baritone Stephen Cooper as Jesus is particularly good, as is Jeremy Leaman’s deep voiced Pilate. Soprano Helen Bailey is excellent in a number of parts. The Knighton Consort are brilliant. There are many different style changes in Mold’s writing. Overall, lavish romantic English song is to the fore in many pieces alongside more traditional church choral writing.
” —Alan Cooper
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