Hail, gladdening Light – Sacred Choral Music of David Bednall (Regent Records)
“I have just listened to all your wonderful compositions. Beautiful, inspired, meditative and contrasted, with excellent balances to serve a clear and immaculate melodic and harmonic control. Thank you for your tactfulness in mentioning my name as your teacher and for your kind manuscript words on the CD. Now you are the Maître and I am the student. Congratulations Maestro from the bottom of my heart.” Dr Naji Hakim
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“There are some organ-loft composers who should remain firmly closeted with their diapasons. On the other hand, there are some who understand the choral medium much better than a few big-name composers I could think of. David Bednall, assistant organist at Wells Cathedral and only midway through his twenties, is just at the threshold of the latter group, and looks set to do some really interesting things. The harmonic style is a couple of miles offshore of France, with Cochereau, Dupré and Langlais providing the prevailing wind…this pungent, turbulent style; it is music in a perpetual state of climax…” (4 stars) William Whitehead BBC Music Magazine, March 2007
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"They must think highly of David Bednall at Wells Cathedral, and it’s easy to see why. This CD devoted to his compositions (how many other cathedral assistant organists have been honoured in this way?) is a handsome tribute. Bednall also appears as accompanist, and in the well-constructed and emotionally charged Adagio for Organ combines his ability to express and develop musical ideas with that of an assured soloist. The singing of Wells Cathedral Choir – its fine eighteen-voice girl choristers on the top line – is immaculate and Matthew Owens, for whom several of the works were written, directs with flair and obvious enthusiasm for Bednall’s music. Bednall admits to being influenced by several other composers, including the usual suspects Finzi, Vaughan Williams and Howells. He also pays stylistic tributes to Duruflé and Messiaen, and in his rhythmic muscularity one can detect elements of his teacher Naji Hakim. The most substantial items are two canticle settings, the 2005 Wells Service, which enterprisingly includes all four matins texts, and the evening Gloucester Service from 2001, the earliest work on the disc. To my mind the Wells set is superior, especially in the original touches Bednall brings to the Te Deum – some lovely quiet close-harmonies at “Also the Holy Ghost” and a definite air of supplicants’ torment in “We believe that thou shalt come to be our Judge” – and in the Jubilate, when a skittering soprano quartet reprises the opening words while the rest of the choir sings “For the Lord is gracious”. Even more unusual is the Benedicite. Here Bednall’s approach is more about diversity than celebration, drawing on the sounds and images of Eastern worship that Messiaen found so fruitful. The anthem Hail, gladdening Light is particularly interesting, combining traditional male-voice plainsong – a latin Nunc Dimittis set to the proper chant for Candlemas – with upper voices singing Keble’s translation of the Greek hymn, with a tantalising aleatoric Amen at the end. Gregorian chant features in two other works. Come, Holy Ghost is an original setting of the Pentecostal hymn for men’s voices, which refers obliquely to the original melody with a tuneful directness that has instant appeal; and Lux et Origo is an unaccompanied “alternatim” Mass setting, where single-line chant alternates with harmonised and polyphonic sections. It works very well, too, Bednall’s 21 st century harmonies offering a logical progression from the traditional plainsong. Given the accessibility and imaginative thrust of Bednall’s music he should now consider extending his range further, into instrumental and larger works perhaps. Who knows, with his facility and undoubted flair he might well hit the big time – and this excellent CD could become a collector’s item!" DH, The Organ Magazine No. 339, February 2007
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"Echoes of Messiaen, Finzi and Howells blend with original gestures in Bednall's potent choral works." (4 stars) Classic FM Magazine, April 2007
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"In his interesting notes that accompany this CD David Bednall expresses his agreement with Herbert Howell's desire to "make nice sounds" in his compositions. Bednall lists his influences for us: Howells, Finzi, Vaughan Williams and others who use tonality as a compositional force. ….this is
still a forward-looking collection. Bednall is not writing pastiche but is trying and generally succeeding in finding his own voice. An "Easter Alleluia" opens up the proceedings with some splendid singing by the bass Christopher Sheldrake. Also we get music written for Wells Cathedral,
Gloucester Cathedral and Douai Abbey as well as an interesting "Adagio For Organ" played by the composer….On this CD [Wells Cathedral Choir] do themselves and their conductor Matthew Owens proud. Those who have an interest in contemporary choral music will appreciate this CD." (8/10) Steven Whitehead on www.crossrhythms.co.uk
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"Still in his mid-twenties, organist and composer David Bednall is announced as an important and individual voice on this more-than promising Regent release. The Wells Cathedral Choir are in world-class form here, making the most persuasive case possible for the composer. Watch this space, as they say." Editor’s Choice, Gramophone May 2007
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"David Bednall (b1979) is an accomplished organist – a fact underlined by a fine display of virtuosity in the extended Adagio – who has already appeared as soloist and accompanist on a number of discs. This latest release also shows him to be a thoroughly assured composer, the many influences on his style generously acknowledged in his own booklet-note. Most obvious of these is Duruflé, not least in the expansion of the plainchant melodies on which both the deliciously luminous Hail, gladdening light and the unaccompanied setting of the Mass Lux et origo are based. Other French composers (with Messiaen leading the pack) have flavoured the writing in the wonderfully spacious canticles of the Wells Service, and the influence of English composers may be rather more subtle (if Bednall hadn’t mentioned him, I would never have identified Finzi as an influence). However, it’s not the influences themselves but how they coalesce into a distinctive compositional voice which matters, and this is immensely inspired writing producing an effect which is never less than deeply attractive, musically rewarding and utterly coherent. It is, of course, greatly to Bednall’s benefit that he has been able to call on the services of Matthew Owens and the marvellous Wells Cathedral Choir. They are at the very top of their form, one of the most impressive of today’s British cathedral choirs. They sing this music with great assurance and clearly relish Bednall’s sometimes very heady musical language. Their luxurious tone and impressive dynamic range, magnificently captured in this superlative recording, give a real edge to music which stands out vividly as much for its musical as for its communicative qualities. New kid on the block or not, David Bednall is clearly a composer with something very worthwhile to say." Marc Rochester, Editor’s Choice, Gramophone May 2007
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"David Bednall’s music has been unfamiliar to me until now. On the basis of this recording I can say that he is a very resourceful and imaginative composer of liturgical music in the Anglican tradition. (He is, I should add, an accomplished organist, currently Assistant Organist at Wells.) He writes in his accompanying notes that ‘the main ingredients in my own compositions are colour and texture. I believe these to be the essential elements in establishing mood and atmosphere, and critical in any successful and reflective setting of a text’, and these two elements are certainly those on which the greatest attention is lavished in this selection of works. The descriptive quality of the ‘Te Deum’ from The Wells Service, for example, is quite remarkable. There is certainly something of Howells there, in the piling up of meandering polyphonic lines (Bednall readily acknowledges his influence), but also a grasp of the atmospheric possibilities of a simple sequence of chords, a crescendo or the alternation of a group of soloists with the full choir. This is even more the case with the dramatic ‘Jubilate’, which makes particularly effective use of the organ (played by the composer) and has some lovely moments for the four soprano soloists. ……this is a challenging and inspiring disc (and the fine quality of the recording should not go unmentioned) which should be welcomed by all enthusiasts of choral music." Ivan Moody, International Record Review March 2007
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"David Bednall’s talents as a composer and organist have been nurtured and shaped by Anglican cathedral music and by the music of an eclectic group of composers beyond the tradition. He lays his cards on the table, citing Cochereau as well as Vaughan Williams, Finzi and, above all, Herbert Howells. Thus, to a certain extent, listening to this CD is a ‘spot the composer’ exercise. The improvisatory excitement of Cochereau is well to the fore in the exuberant Jubilate and Benedicite of The Wells Service; the spirit of Howells hovers over several settings of familiar texts and the one organ piece in the programme, Adagio for Organ, is the best slow movement Mahler never wrote. Out of all this, however, David Bednall handles his own musical language with a sure touch, displaying great ingenuity in his use of melody, colour, texture and structure, fully justifying his own belief that ‘the tonal, or at least the polytonal world is far from exhausted.’ The Lux et Origo Mass alternates the Easter plainchant with polyphony in a refined and restrained setting of the Ordinary with its roots deep in the long traditions of liturgical music. Hail, gladdening Light also uses plainsong in an ingenious combination of a Latin Nunc Dimittis alongside the words of the ancient hymn sung in English. Bednall avoids the temptation to use plainchant in Come, Holy Ghost but treats the inspirational text to a broad setting for men’s voices with a colourful organ accompaniment. All the pieces on the disc were written for specific performers and situations. Thus, each has been carefully fashioned and this accounts for the great variety in moods and expression among individual items. There is so much to enjoy on this excellent CD and the composer is well served by the splendid Wells Cathedral Choir. The interpretations gain in authenticity by having the organ accompaniments played by the composer and the performers are all on home ground. The climaxes are beautifully gauged and built and there are moments of grandeur and excitement balanced by others of peaceful serenity. The choir uses only the cathedral girls who sing with freshness and control of line. The soloists, all drawn from the choir, are excellent. The whole enterprise is directed by Matthew Owens who is to be commended for his espousal of contemporary church music not only with this enjoyable CD but also for at least four others currently available." Alan Spedding Organist’s Review, June 2007
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"....here we meet a brilliant newvoice in composition. Track after track on this enjoyable disc reveals and then confirms that Bednall is blessed with invention and technique. His solo organ music is assured, but his choral writing simply takes your breath away. Those of us who love choral music, and who are always searching for the ‘next great thing,’ will feel that they have found it in Bednall. His style shows a multiplicity of influences, from Messiaen and Langlais to Howells and Arthur Wills, but already it is truly his own.The opening “Easter Alleluia”... as a composition it borders on the ecstatic, as a recording it is powerful testimony to the excellent engineering and production by Regent’s Gary Cole... So, all in all, Wells is to be praised for this pioneering work, introducingus to a vibrant new composer who has set about invigorating the Anglican repertoire. The veracity of this claim may be judged by hearing Bednall’s wholly original and gripping setting of texts as familiar as “Come, Holy Ghost” and the title track for this recording, “Hail, Gladdening Light.” And anyone who finds tedious some choral “Benedicites” will be simply bowled over by Bednall’s version. The rest of the disc includes an alternatim Mass for Douai Abbey, and canticles for the cathedral choirs at both Wells and Gloucester. Those who purchase this CD .... will find themselves longing for an American commission to bring his music this side of the Atlantic. For now, though, this disc serves as a potent and engaging introduction to a brilliant new talent, and showcases one of England’s finest cathedral choirs. Home-grown music has rarely sounded so good!" Philip Barnes, Choral Journal, USA
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“The Cathedral at Wells has been extraordinarily lucky to have a fresh and keen composer amongst its musical staff. Bednall quotes in the booklet: ‘One of the challenges for any contemporary composer is to discover a compositional style and language which has a distinct nature’. Bednall creates music that feels as though it has come out of St Sulpice, rather than Somerset – not entirely surprising when you realize he counts Naji Hakim amongst his teachers. The disc comprises a vast amount of liturgical music (one each of Te Deum, Jubilate, Mass, Benedicite, Benedictus, Magnificat and Nunc dimittis) as well as a majestic anthem for men’s voices (Come Holy Ghost), an enchanting setting of Hail, gladdening Light, and a ‘dark and anguished’ Adagio for Organ. Nearly all of the music was written for singers, buildings and organs known to the composer and that shows – it is all very well suited. Bednall is not afraid to make the most of louder dynamics which is no bad thing; indeed, I think it is a phenomenal blazing sound that the Wells organ creates. However, this does lead to occasions where the choir (clearly going at full pelt) can’t be heard as much as they should be. It is a Catch-22 situation though: and less organ and it wouldn’t have the same effect. His more reflective pieces are both beautifully written and sensitively performed. This is particularly the case in the title piece of the disc which is simply stunning, and Howells’s influence on Bednall is most apparent here. Still in his 20s, this is a composer who has the potential to be something very special indeed. Wells must be upset to lose not only a fine composer but an excellent organist. Watch out for him.” Rated ‘Essential Listening’, Church Music Quarterly, December 2007
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"The Jubilate to his Wells Service is nigh-on an organ concerto: the Wells boys skip lithely above Bednall’s adept accompaniment; while a marked French influence - Messiaen, Alain - shows in the preceding Te Deum. There is some finely controlled men’s singing in “Come, Holy Ghost”, a striking Mass for Douai Abbey, a terrific two-boy lead to yet another Benedictus, and a haunting mystery to a modal solo-tinged Benedicite, the last encompassed in totality in a mere eight minutes. Bednall’s Gloucester service rounds off." Church Times
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