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Fanfare

“We all need grace”: so begins composer James Woodhall’s written introduction to this wonderful album, itself entitled Full of Grace. The angel’s greeting to Mary in Luke 1:28 finds the Mother of God described as “full of grace” (as is Jesus of Nazareth himself in John 1:14). Warmth characterises the outer sections, beautifully rendered here by the Cantores Lucis chamber choir. The phrasing is so, so tender, particularly at “He is the Son of God”; a more bracing middle section adds contrast. Details about Cantores Lucis can be found in the interview above; but suffice it to say this is a top-notch ensemble.

More dramatic is The Damascus Road (the second piece heard), an account of Saul’s conversion on that thoroughfare. It begins with gritty piano, highly rhythmic. The text mixes Acts 9 with Paul’s Letters to the Galatians and the Colossians. The choir’s cries of “Saul” in the opening “Murderous Threats” is echoed by solo tenor (Hugh Legg) in the very next movement, “I am Jesus”; Will Haughton is the baritone voice here. Both are superb; Legg is strong (“I am the Way, the Truth, and the Light”; this is a highly beautiful movement, particularly when the voices overlap. Herds of sound open “Blinded”; perhaps a little more definition from the choir would have been good here, but the end result is undeniably exciting. As the music relaxes in “Ananias’s Vision,” the choir’s tenors take on an almost rhythmic line. Woodhall shapes the lines perfectly; “Ananias Answers” flows on through the use of similar material, but enters more jazzy space (perhaps a reflection of Woodhall’s wok with his own Cold Light Ensemble). Joy infuses “A Chosen Vessel,” a solo tenor celebration of God’s gifting us a “chosen vessel” for his message. Legg is superb here; the music softens beautifully for “Saul Sees and is Saved” before his preaching leads to a more robust approach, the music replete with syncopations. Most lovely is the final, 10th movement, “The Grace.”

The disc concludes with four shorter works. First, The Shepherd’s Carol, which like Full of Grace links to the Christmas myth. Making a parallel via his own text between the shepherds’ sheep caring and God’s care for mankind, this unaccompanied choral wok speaks with gentleness and a warm, carol-like feel. The famous texts of Ave Verum Corpusand Ave Maria follow, the first with unaccompanied male lines invoking plainchant before the music blossoms out, expertly. The difference is size between these two here: the first with chamber choir, the second with full choir (with piano). Finally, the relatively extended (7:10) Light form Light is Woodhall’s “reflection of the light in the darkness, the star that led the Magi and Jesus, ‘Light of the World’.” The Cantores Lucis chamber choir, a group with consistently true tuning and ensemble, is positively radiant here. Warm yet now shining harmonies close the disc memorably.

This is music born of true devotion; there is not the slightest doubt of Woodhall’s sincerity. The singers’ diction is good throughout, which is just as well; texts would have been useful in the booklet (there are a lot of photos, though). The recordings, spread over two venues (St Cuthbert’s, Earls Court, and St John’s, Harpenden) reveal fine work by engineers Isa Khan (London) and Daniel Tigg (Hertfordshire). And a final word of praise (pun kind of intended): this time to the artist of the painting that adorns the front and back covers: Vicky Goldsobel and her remarkable And Everything. A glance at Goldsobel’s Instagram (@vickygoldsobel) reveals a true artist whose awareness and use of color consistently speaks to the soul. The brightness, vivacity, and dynamic lines of And Everything form the perfect complement to James Woodhall’s music; rarely have I seen a cover so in congruence with what we hear. They are almost knitted together in an act of sincerest praise.