Edward Elgar - The Apostoles Op.49

Edward ELGAR (1857-1934)

The Apostoles Op.49

Meditation from The Light of Life*

Sheila Armstrong (Soprano)

Helen Watts (Contralto)

Robert Tear (Tenor)

Benjamin Luxon (Bass)

Clifford Grant (Bass)

John Carol Case (Bass)

Choir of Downe House School

London Philharmonic Choir

London Philharmonic Orchestra

Sir Adrian Boult

Recorded in Kingsway Hall, London 23, 29 and 30 Oct, 5 and 7 Nov and 31 Dec 1973 and 2 July 1974, *No.1 Studio, Abbey Road, London, Feb 1974

'The Apostles' is a big work, for large orchestra, large choir and additional 'mystic chorus' (here the choir of Downe House School). It tells of the calling of the apostles, the beatitudes, Jesus's work, the betrayal of Jesus and its consequences - Judas's suicide, the uncertainty before the Resurrection, Jesus's reassuring promise that 'I am with you always, even unto the end of the world' and the reaction of the apostles to all of this before they begin their work, which Elgar portrayed in his next oratorio, 'The Kingdom'. The music is often very beautiful and sometimes very magnificent (particularly towards the end) and the apostles are turned into very human figures, particularly Judas, whose remorse after the betrayal is portrayed at some length, very vividly and even painfully.

First issued in 1974, this was the first complete recording. It is a marvellous achievement which reflects credit on all involved. The six soloists are all excellent. Perhaps special mention should be made of Clifford Grant (Judas), whose dark, powerful voice seems exactly right for the role he plays, and he does so with great passion and involvement. The choirs are very good and so is the recording, which is clean, clear and, when necessary, very powerful. Boult had a great affection for this work and its companion piece, 'The Kingdom', and it is difficult to imagine a more effectively paced account in which the music, which is not always the very best Elgar, never sags, with true, hushed beauty here and almost overwhelming climaxes there. Elgar said that he felt his reputation was secure with this conductor ; he would, I think, have been very pleased with this performance.