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As to be expected,
Moeran's nine songs were most successful in practice when they depended
most upon play of rhythm and word among diatonic harmonies; that
is, when their Elizabethan dress had the most reality in its texture.
Modern madriganlianism has nothing happier to its credit than 'Phyllis
inamorata,' 'I said that Amaryllis,' and 'Corydon, arise'. Other
parts of the Suite involved the choir in a tussle that could not
always be watched in comfort; the case is an extreme on when Mr
Lawrence's choir drops a whole tone. The music of these pages may
be of the best, and embody all the virtues of free part-writing
and harmonic and melodic thought; but in giving rein to his gifts
as a composer Mr. Moeran has called for a high degree of specialist
talent on the part of his singers, a technique that is no more prevalent
in Fleet Street than in Kensington or a cotton-mill.
...The concert was a seasonable example of courage
and determination on the part of the choir.
Music Times, June 1940
review: The Fleet Street Choir, Wigmore Hall, May 27th 1940
This series continues to
offer attractive programmes to the promoter's patrons. On
February 13 the Fleet Street Choir conducted by T. B. Lawrence sand
Benjamin Britten's 'Ceremony of Carols' and 'Hymn to St. Cecilia'
together with E J Moeran's three movement [sic] "Phyllida and
Corydon" and 'Alleluia' by Randall Thompson. Britten's 'Ceremony'
is now familiar. His 'Hymn to St. Cecilia', if less striking, has
the same richness and resource. Moeran is not afraid of showing
his indebtedness to great masters of the English choral age, which
he does, not because of a lack of musical ideas, but because he
knows their art intimately and appreciates their genius...
Musical Times, April 1943
review: Gerald Cooper Concerts
The most enjoyable programme
this month was provided by the B.B.C. Chorus, in Moeran's
suite 'Phyllida and Corydon', the first being pronounced with a
redundtant 'r'. This very subtle harmony beat the choir once or
twice, but not badly. I am apt to be lost in admiration of the B.B.C.
Singers' intonation skill, even when I cannot feel that musical
intuition keeps pace with it. Moeran's suite is a glorious test
for both powers. The composer has the craftsmanship of a Parry,
a Stanford, a Delius, and a beautifully refined creative spirit.
We have now no finer songsmith for the choir.
Round about Radio by W R Anderson
Musical Times, August 1944
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