Published: 26th March 2020
Join us as we delve a little deeper into the world of clandestine Catholic celebrations of the Elizabethan era. Rory also talks about his favourite moments on the album, what goes into making a recording, and our future plans.
Click here to listen.
Published: 25th March 2020
The first reviews are in for Singing in Secret.
Robert Hugill gives it ★★★★½, saying ‘the result is vibrant and finely musical, but at the same time rather evocative of the period of performance.’ Read the full piece here.
Classical Music Daily calls the album an ‘absolute joy from beginning to end’, and adds ‘McCleery and his Marian Consort deliver intensely charged renditions full of warmth and expressive involvement in text and phrase, coupled with singing that is consistently illuminating and sure-footed.’ Full piece here.
Order the album here.
Published: 2nd January 2019
To celebrate the New Year, we’re delighted to share a roundup of some of the fantastic reviews that our tenth anniversary recording, In Sorrow’s Footsteps. We’re so pleased that the disc has been well received, and in particular the fabulous and deeply-moving new setting of the Stabat Mater that we commissioned from our friend Gabriel Jackson to form one of the pillars of the programme, alongside music by Palestrina, Allegri and James MacMillan.
Read on to find out what the critics said…
Tradition rears its head in many forms in this exquisite a cappella recording by the compact but wholesomely radiant Marian Consort. There is the tradition of centuries-old liturgical texts, refreshed by successive generations of composers, such as the Stabat Mater, Miserere or Ave Maria, the first two of which appear in modern settings by Gabriel Jackson and James MacMillan alongside the perennial favourites of Palestrina and Allegri. Both modern settings pay homage to the earlier models in the liquidity of texture and harmony, yet speak for today in the more open emotive language that modernity permits. Combined with the Renaissance examples, there is an alluring, sometimes intoxicating equilibrium about this disc, regulated by the pure-toned intimacy and blend of Rory McCleery’s fine ensemble. The British sacred choral tradition at its best.
The sharp, jabbing gestures at the opening of Gabriel Jackson’s new setting of the Stabat Mater…announce that wilting introspection is by no means the composer’s default position in his response to the sorrowful vision of Mary witnessing her son’s crucifixion…The ten singers of The Marian Consort buy fully into Jackson’s immersive setting, their interactions at times possessing the immediacy of chamber opera.
êThe past and the present move hand-in-hand in this well-devised programme. Gabriel Jackson’s setting of the Stabat Mater is startling in its concept. The declamatory opening starkly sets the horrifying scene, but the mother’s grief, which is beautifully expressed, is paramount. James MacMillan’s passionate interpretation is very much of the 21st century, although deeply rooted in the past: with this composer you get the best of both worlds. The Marian Consort is an exceptional group. Here you can savour beautiful vocal lines that are given wonderfully controlled, electrifying performances.
The Marian Consort’s singing is never less than polished and beautifully crafted … the opening account of Gabriel Jackson’s declamatory Stabat Mater was enough to make this Renaissance-attuned reviewer spill his coffee!
The opening chords of Gabriel Jackson’s Stabat mater, their dissonant points hammered like nails into the ear, make for an arresting opening to The Marian Consort’s ‘In Sorrow’s Footsteps’. Commissioned by the ensemble and recorded here for the first time, this 20-minute setting is a major new work from Jackson and an unsettlingly powerful one.
Two musical modes tussle here over this emotive text. The listener is tugged between peremptory collective utterances that brush tragedy aside with brisk violence, and keening strands of individual lyricism (beautifully shaped by the consort’s sopranos) that wind themselves like a silk shroud around this beautiful hymn. Portamentos trickle down from upper voices – tears running down the face of melody – and Monteverdi-style trills set the music trembling; but the voices find consolation in radiant moments of chant-like certainty. Carefully paced and shaped by the group’s director Rory McCleery, this feels like a modern classic in the making, sensitive and endlessly responsive to the text.
Recording of the Month
Jackson’s setting of the great medieval poem is a very fine one indeed. As I’ve come to expect with this composer, he writes most imaginatively and sympathetically for the voices – ten singers are used here – and at every turn his music seems to complement and enhance the words marvellously. I’ve listened several times now to Gabriel Jackson’s Stabat mater and I’m in no doubt that it’s an eloquent and musically very fine setting of the poem. The Marian Consort sing this challenging piece with complete assurance and great commitment. It’s hard to imagine that the work could have had a better first recording. I hope I’ll get a chance to hear it live before too long.
The music is at one and the same time firmly rooted in the past yet also resolutely of the present day. It receives an outstanding performance from The Marian Consort. Whether in the Renaissance music or the two contemporary pieces these gifted musicians sing not just with poise and great accomplishment but also with sensitivity; they communicate the music expertly … this outstanding disc is the best thing they’ve yet done. As such, it’s a splendid celebration of ten years of music-making.
Published: 20th December 2018
We’re delighted with this review of our performance of The Christmas Oratorio with Ludus Baroque in Edinburgh last week: David Smythe writes that
The sixteen strong Marian Consort under Rory McCleery’s direction were uniformly excellent, blending perfectly with many taking individual solos providing us with a rich variety of voices … There were plenty of highlights and not a weak link from the many soloists, standout moments being the echo aria, “Flößt, mein Heiland” a delicate and seamless balance between soprano, her echo up in the organ loft and the oboe.
We’re looking forward to exploring another of Bach’s masterworks when we perform the 1725 version of the St John Passion at the Dunster Festival in May 2019: for more information and to book tickets, visit the festival website at www.dunsterfestival.co.uk
Published: 31st October 2018
A nice review of our concert in Cleveland, Ohio last week!
To speak of our era as one of unlimited access to global cultures is to imply — often inaccurately — that availability necessarily leads to familiarity. In the cases of art forms with deep roots in a particular place, no amount of streaming audio or video can stand in for the kind of live exposure that knocks one backward with the full force and physical presence of the new. How fortunate for Northeast Ohioans, then, that the Cathedral of St John the Evangelist invited the Marian Consort to Cleveland as the penultimate stop on their first North American tour. Their concert of music inspired by the Virgin Mary spanned centuries of sacred music in the English choral tradition.
Founded as a sextet, the Consort appeared on Friday, October 19 as a flexible ensemble: founder, director, and countertenor Rory McCleery conducted, and the remaining eight singers split into groups of three or more for each piece.
Tenors Guy Cutting and Edward Ross sang in sweet harmony in Byrd’s Salve Regina, and first alto Helen Charlston’s powerful yet velvety tone lent a distinctive richness to the group sound, as it would all evening.
In her Magnificat for sextet, Roxanna Panufnik’s compositional voice held as much appeal as the literal voices of the singers. The Cathedral’s long echo did the audience a favor by keeping first soprano Charlotte Ashley’s crystalline voice ringing several seconds after the piece ended. Despite the clarity and quality of her sound, Ashley sang with restraint throughout.
McCleery aimed for productive contrast in his program order. Cornysh’s Ave Maria, a low-quartet showcase in which Charlston served as a natural leader, paired well with the sad, beautiful Dormi Jesu for high-voice trio by Dodgson that followed. Octets by Tallis and Tavener gave bass Nick Ashby a chance to lay out warm blankets of sound.
Second alto Hannah Cooke led with confidence in Ludford’s Ave cuius conceptio, which also found second soprano Rachel Ambrose Evans soaring in a duet with Ashby. Gabriel Jackson’s Salve Regina began and ended with chilly harmonies, arrayed around a warm center.
After an intermission, Ross sang the Salve Regina chant unaccompanied from the far end of the space, setting up a breathtaking performance of Howells’s 1915 Salve Regina by the remaining septet. The four men of the group blended well in Parsons’s Ave Maria, with Charlston adding wonderfully resonant commentary above. MacMillan’s Ave Maris Stella, though well sung, paled in comparison to Britten’s A Hymn to the Virgin, for which McCleery placed a quartet singing in Latin thirty feet behind a group singing in English, yet kept the two groups coordinated.
After the faraway group sang Tallis’s Euge Caeli Porta, six singers came together for Cecilia McDowall’s thoughtfully arranged Alma Redemptoris Mater. Sheppard’s Ave Maris Stella offered textural variety, but it took a piece by current Master of the Queen’s Music Judith Weir, her Ave Regina Caelorum, to properly cap the program. Full of fluttering rhythms and leaping intervals, this smart, captivating setting reminded all in attendance that the British choral tradition remains fiercely alive.
Published: 29th October 2018
After nearly two years of planning, on Friday 12 October nine members of The Marian Consort set off from Heathrow airport for the ensemble’s first ever tour of the USA. The tour had come about as a result of an invitation issued by the University of Dayton, Ohio, whose Marian Library was celebrating its 75th anniversary in 2018. In addition to workshops, masterclasses and a performance in Dayton, our tour schedule included concerts in Jackson Mississippi, Atlanta Georgia, Cleveland Ohio, and a short trip across the border into Canada for a concert in Oakville Ontario.
The Marian Consort performs in the chapel of the University of Dayton, Ohio
Our first stop (after nearly fourteen hours of travelling, and a very brief layover in Dallas Airport!) was Jackson, where we were met at the airport by representatives of the Mississippi Academy of Ancient Music, our hosts and the organisers of our concert the following evening. We were delighted to be driven to our hotel in two classic cars – the theme of luxurious transport was to continue the following day, when a limousine arrived to ferry us to our concert venue!
After a good rehearsal, which helped to shake off the cobwebs of the previous day’s travel, we headed out (again by limo!) for a healthy meal before our performance. Our programme for the tour was one based around our ‘Music for the Queen of Heaven’ CD, released in 2017 – the focus on specifically Marian repertoire by UK composers seemed entirely appropriate for our visit to Dayton, and allowed us to showcase a number of pieces which received their US and Canadian debuts in our concerts, among them the exquisite Dormi Jesu by Stephen Dodgson. These twentieth-century and contemporary works were juxtaposed with a selection of English Renaissance music by composers including Byrd, Tallis, Ludford, Parsons and Sheppard, providing both contrast and continuity for listeners.
Being met in style at Jackson Airport, and relaxing on the porch before breakfast
After Mississippi, our next concert was at the beautiful All Saints’ Episcopal Church in downtown Atlanta – we were wonderfully looked after over the two days that we were in Georgia, with the famous spirit of Southern hospitality very much alive and in evidence! This included dinner at a traditional, old fashioned Southern restaurant, where we were able to try a number of culinary specialities, and a visit to the Atlanta Aquarium, where a highlight was the choreographed performance by the resident team of acrobatic dolphins and dolphin trainers!
Following another internal flight (one of many on the trip!) we arrived in Dayton, the birthplace of aviation in the US! We were met at the airport by Eileen, the coordinator of the University’s performance series, and driven to our hotel on campus for a much-appreciated evening off, which gave the ensemble the opportunity to explore a little of downtown Dayton (including its excellent pizza!) and Rory time to finish off the lecture he was to present to the undergraduate music and religious history students the following morning.
The next day saw us up bright and early for the lecture, which included live performance excerpts from some of our Renaissance repertoire, taking the students on a whistle-stop tour through the music of the English Renaissance and tying the various changes in compositional style into the history of the Tudor Monarchs from Henry VIII to Elizabeth I. We then headed over to the University’s Marian Library, a fascinating collection of books, sheet music, works of art, and other assorted artefacts and objects (including an enormous number of nativity scenes from all across the world) related to the Virgin Mary, where Sarah Cahalan, the library’s director, and Samuel Dorf, lecturer and director of the University Early Music Ensemble, introduced invited guests to some of the musical items in the library’s collection. In the afternoon, we had an excellent workshop with the Dayton University Chorale, with Rory offering them some coaching on their Renaissance and contemporary repertoire before we sang two contrasting works from our concert programme. It was wonderful to see and hear such an energetic, committed group of young singers, and they had some fantastically insightful and interesting questions for us in the Q&A with which we finished our session. The concert we gave in Dayton was also very rewarding, as our venue, the college chapel, was filled to the brim with an enthusiastic audience of students, staff and local residents.
Our next concert in Cleveland was easier to reach by road than by plane, so we hired a people carrier for the three-hour drive, stopping off for lunch en-route: our chosen eatery turned out to be an authentic American diner inside an old train carriage! On arriving in Cleveland we were delighted to discover that our venue for that evening, The Cathedral of St John the Evangelist, was not only a beautiful building but also had an incredible (and very resonant!) acoustic. This allowed us to fully exploit the spatial possibilities offered by some of our repertoire, a fact commented on (favourably, we’re pleased to say!) in the review for ClevelandClassical.com. As with all of our performances on the tour, the audience was warm and welcoming, and it was lovely to chat to them after the concert, including a couple of familiar faces from early music singing workshops in the UK!
St John the Evangelist, Cleveland
Our final concert of the tour involved two flights and a border crossing as we ventured out of the US and into Canada: Oakville was, as we had expected, much colder than Mississippi, Atlanta or even Dayton, but more than made up for this with its handsome setting and scenic views across Lake Ontario to Toronto. Our venue was St Jude’s, a charming Victorian church built in 1883 which, with its stained glass portrait of Queen Victoria, was somehow more British than Britain! Here too, we were made to feel very welcome, and we were delighted to retire after the concert to the local Queen’s Head Pub for a well-deserved drink with our hosts. The following day saw us heading into Toronto for a spot of brunch and a little retail therapy before making our way to Pearson International Airport to start the long journey home. After ten days, seven flights, five concerts, two countries and one limousine, our first-ever North American tour had come to an end: we had a fantastic time performing brilliant music for some really lovely audiences across the US and Canada, and getting to know some wonderful people, and we hope to be back before too long!
Published: 3rd March 2016
We were invited to give a sneak preview of our exciting ‘Breaking the Rules’ project at the launch of this year’s Newbury Spring Festival this week: the launch took place in the Royal Box at Newbury Racecourse (fitting for music written by a Prince and heard by Dukes and ladies!), and was a wonderful opportunity to also launch our Breaking the Rules tour, which will begin at the Festival on May 19th, and run until November 2016.
Here’s The Marian Consort post-performance, along with Clare Norburn, the writer of Breaking the Rules, and representatives of Newbury Spring Festival (excellent reception cake and coffee out of shot!)
Published: 27th February 2016
We were delighted to be the featured artists on this Sunday’s ‘Early Music Late’ on BBC Radio 3: our concert of music by William Byrd and his contemporaries, recorded at last June’s Rheinvokal Festival, was broadcast and is now available on Iplayer.
If you’d like to listen again, just click on the link below!
Published: 9th January 2016
Looking back to the end of 2015, we undertook our first major UK tour, bringing our ‘Christmas with the Shepherds’ programme to audiences in Perthshire, Edinburgh, York, Oxford, Canterbury, West Somerset and London over the course of just under two weeks in December. Despite the best efforts of the weather and ensuing road and rail difficulties (not to mention a plastic bag on an overhead line!), we managed to make it to all of our intended destinations, and were met with wonderfully warm responses from friendly and welcoming audiences (some a little too warm, as an audience member fainted during one performance due to the heat of having so many people packed into the church!).
The Sunday Times’s Paul Driver attended our final concert of the tour, our debut at the Spitalfields Winter Festival in St Leonard’s Shoreditch, and had the following to say:
‘McCleery, a countertenor and academic as well as conductor, introduced the items with a lucidity combining boyish geniality with quite startling erudition … I felt a door was being opened on this historical period, and it was the very door of St Leonard’s. The singers were marvellous. Highlights were the opening Marian antiphon by Victoria, and his six-part Quem vidistis, pastores?, its imitative structure emerging with the most sublime clarity.’
"Singing one person to a part, the Marian Consort give sublimely refined, spacious and impeccably tuned performances."
"The performances are models of discretion and musical taste, every texture clear, every phrase beautifully shaped."
"'performances are always vibrant and perfectly tuned’"
"There is an alluring, sometimes intoxicating equilibrium about this disc, regulated by the pure-toned intimacy and blend of Rory McCleery’s fine ensemble."
"The singers perform with a yearning intensity which is just exquisite."
"Exemplary one-to-a-part performances ... the singing is as impassioned as it is effortlessly elegant."
"This is no-nonsense musicianship, but for all that thoroughly musical ... The unfussy performance helps the music enormously."
"The Marian Consort has built an enviable reputation for coolly poised and precisely balanced performances and indeed there are times here when the listener can only sit back and admire, seduced by the sheer beauty of sound."
"The Marian Consort’s performances deliver full value in terms of expressive range and sophistication. Pitch-perfect tuning and immaculately clean ensemble … add further to the attractions of this eminently listenable recital."