Lent at Ephesus (CD review)

Benedictines of Mary, Queen of Apostles. Decca B0019859-02.

They're back.

Lent at Ephesus is the fourth or fifth recording from the Benedictines of Mary, Queen of Apostles, each of them a best-seller. A press release I read about the present album said that it had sold more copies than any piece of music in the history of the planet about eight months before Decca released the disc. Or something like that. I believe it reached the top spots on the record charts its first week of circulation. The Benediction sisters are very, very popular.

And well they should be. Their voices project a purity and innocence that would be the envy of any professional ensemble. What's more, this time out they provide a more-varied program than ever, still highly spiritual but with a greater diversity of composers, from fourteenth-century hermits to Gregorian Chants to traditional hymns, sung in English and Latin and whatever. Better yet, their new disc delivers more material than ever, this one providing twenty-three tracks and clocking in at over seventy-eight minutes, very nearly the limit for a compact disc. That's almost twice the music of their previous albums and a very generous offering, indeed.

Anyway, you'll recall that, as they note in the booklet insert, "the Benedictines of Mary, Queen of Apostles is a monastic community located in rural Missouri. Consecrated to the Queen of Apostles, their lives are dedicated to contemplative prayer especially for priests. They support themselves primarily by making priestly vestments. Professing full obedience to the Church's teaching, the community upholds a loving commitment to preserving the liturgical heritage of the Church in the Extraordinary Form of the Mass and traditional monastic Office."

As I said about them in a past review, they "possess voices of the sweetest purity. While there may be no obvious virtuosos among them (or if there are, they would be too modest to admit it), as a group they continue to sing like angels, their voices harmonizing with celestial precision." They continue in this manner throughout Lent at Ephesus (Lent being the annual season of fasting and penitence in preparation for Easter). The Sisters further tell us that "St. Benedict reminds us that the life of a monk ought to be a continuous Lent; a life centered around the Cross of Christ. Lent is the season in which we are invited to give our lives to the Lord as He gave His own for us." Nevertheless, whether you are a religious person or not, the Sisters present the songs on the album in such movingly passionate a manner, they would be hard even for even the most-unrepentant sinner to resist.

While individual listeners will have their own favorite numbers among the nearly two dozen offerings found here, of course, I couldn't help pick out a few of my own to share. The first few tracks, "Jesus, My Love," "Christus factus est," and "God of Mercy and Compassion," all reflect the kind of purity and innocence the Sisters' voices convey. There is a simple grace about their presentation that is quite affecting. "Hosanna to the Son of David" is more ambitious, and the harmonies are heavenly.

And so it goes, each track as lovely as the others. The choir's articulation and intonation sound spot on, yet they never appear stuffy or pedantic in their approach. Their voices always float gracefully, and they gently caress the ear. This may be the best album the Sisters have yet made.

Blanton Alspaugh produced and edited the music and Mark Donahue engineered, mixed, and mastered it for De Montfort Music and Decca Classics. They recorded it at the Priory of Our Lady of Ephesus in November, 2013. Maybe it's the miking, but the Sisters sound as though they're in a much bigger hall than they probably really are in. In any case, the room resonance complements their voices, helping them sound rich and smooth while doing nothing to impair their definition. Indeed, the sound is quite flattering, a welcome treat from some vocal recordings that can sound bright and forward. Here, the voices are natural and lifelike, with a touch of depth and dimensionality to put the listener further into the acoustic environment.

JJP

To listen to a brief excerpt from this album, click here:


No comments:

Post a Comment

Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com.

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa