It's difficult to decide what is more extraordinary about British composer David Bednall's (born in 1979) Requiem: its complete effectiveness as a musically successful, contemporary, liturgically functional Requiem, or the fact that although Bednall's musical language is unabashedly conservative, it sounds entirely fresh and free of cliché. His harmonic language is close to that of his predecessors in the British Cathedral Choral tradition, but unlike most of those who adopt that language, he is able to avoid the haunting ...
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It's difficult to decide what is more extraordinary about British composer David Bednall's (born in 1979) Requiem: its complete effectiveness as a musically successful, contemporary, liturgically functional Requiem, or the fact that although Bednall's musical language is unabashedly conservative, it sounds entirely fresh and free of cliché. His harmonic language is close to that of his predecessors in the British Cathedral Choral tradition, but unlike most of those who adopt that language, he is able to avoid the haunting influence of Howells, Vaughan Williams, Britten, and Rutter, and develop a voice of his own. Economically scored for viola, organ, and women's voices, the Requiem is notable for Bednall's sensitivity to the meanings of the texts of each of the movements, which he conveys not only in ways that fulfill the listener's expectations (i.e., In Paradisium is appropriately radiant and serene), but with an insightful creativity that brings out new levels of nuance in the texts. There are no...
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