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Recorded Sound Reviews
Recorded Sound Reviews

2 and 6 (L’abbé Agathon and Stabat articulation to mark the weary steps the Magnifi cat was not as secure as
Mater, respectively) feature two sep- of Agathon. The disc concludes in other tracks on the disc (though
arate string groups—both of which with “Stabat Mater,” hailed as a this impression faded after repeated
are exceptional in their rhythmic musical landmark in Pärt’s career. listening), and the sound of the tre-
articulation, lyricism, and ensem- Pärt’s own words in the liner notes ble voices at the soft beginning of
ble balance. Salve Regina (Track 3) bring insight to the contrasts per- the Nunc dimittis is tighter and thin-
features the organ of the Church formed vividly by Gloriae Dei Can- ner than in other moments of pia-
of the Transfi guration (Orleans, tores and the strings: “It is just like no dynamics on the disc. The liner
MA), the home parish of the choir. the opposing elements, for instance notes (written with clarity and can-
Here, the instrument seems to melt lava erupting from a volcano, fl ow- did enthusiasm by James E. Jordan,
into the acoustically welcoming sur- ing into the water…the text pres- a member of the choir and also the
roundings of the church, providing ents us the simultaneous existence organist for Salve Regina) are an es-
a tranquil backdrop for the serene of immeasurable pain of the event sential part of the listening experi-
singing of the choir. Overall, the and potential consolation.” The ence, but buyer beware: not all digi-

balance between sections in the choir begins with the word “Amen,” tal platforms offer the liner notes as
choir is good in all dynamic ranges sung with anguished, rich harmo- part of the download. The record-
and instrumentations. The soprano nies; it concludes with contempla- ing is enjoyable on its own, but the
section deserves special recognition tive, unison “Amen” statements perspective of the notes (particular-
for their skill in extreme registers, sung with poignant refl ection. The ly for L’abbé Agathon and Stabat Ma-
singing high notes with an ease that string ensemble also participates in ter) is critical to fully appreciate this
betrays their diffi culty (including a this juxtaposition of pain and con- recording. It is a welcome addition
sustained B5 in “Salve Regina”). solation, shimmering in moments to the Pärt discography, and a wor-
The standout performances on of meditation common in many thy representation of the high mu-
this recording are L’abbé Agathon works of Pärt, while also dancing in sicianship that followers of Gloriae
(Track 2) and Stabat Mater (Track 6). ecstatic and virtuosic jubilation (es- Dei Cantores have come to expect.
The story of “L’abbé Agathon” and pecially at 17:09 in Track 6 after the
his encounter with the leper outside text, “make me a sharer of his Pas- Nathan Windt
the city walls is brought to life by sion and remember his wounds.”). Davenport, Iowa
the strings which march along with There are rare blemishes: the
marked, almost heavy rhythm and soprano blend at the beginning of
Here I Stand
iSing Silicon Valley girlchoir
Jennah Delp-Somers and
Shane Troll, conductors
Innova (2020; 49:26)

Very few things are as stunningly
beautiful as the voices of children,
and the iSing Silicon Valley album,
Here I Stand, achieves perfection.
iSing Artistic Directors Jennah
Delp-Somers and Shane Troll have
taken 300 young women, all ages 7
through 12, and developed a highly
esteemed choral program in Silicon

80 CHORAL JOURNAL June/July 2021 Volume 61 Number 11