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Ave Maria
The Ave Maria, the second of the triptych, is sparer, a little faster, and slightly shorter. Writing for SSA only, McDowall makes a virtue of carefully placed repetitions. In the Ave Regina it is the appoggiaturas that recur; here it is a pair of laddering motifs, the one rising in close harmony quavers, the other cascading down in chains of suspensions. Once again, sensitivity to the words - their passion, their dignity, and their metrical quantities - is faultless.
Choir and Organ 2006
Ave Maris Stella
"Ave maris stella is a splendidly original (because it is so obviously meant as a composition) setting for solo soprano, chorus and string orchestra ... a Britten influence may be found here but only in passing and I mention this to try to urge McDowall's 'Englishness' upon you - I love it, and I think you will, also."
International Record Review March 2005
"a lovely new setting of Ave maris stella, tender in unaffected simplicity."
The Spectator 2004
'Other agreeable Presteigne memories? Cecilia McDowall's moving motet Ave Maris Stella, written in 9/11's shadow. And the sun, every day.' The Times 2007
Ave Regina
In 55 bars the compression and economy of Cecilia McDwall's Ave Regina are impressive, but so too is the sense of spaciousness. The structure is underwritten by recurring appoggiaturas - bitter-sweets - supplying also a particularly characteristic flavour. being slightly polytonal, tuning would have to be very accurate, but it would be well worth the effort in this sumptuous music where expressive highlighting of key words gleams like episodes in a Chagall window.
Choir and Organ 2006
'Cecilia McDowall may not be a familiar name to everyone, but several of her quietly accomplished choral works have now appeared in print, including here a SATB Ave Regina and an SSA Ave Maria, both from 2004, each made with the same clarity of structure and judicious, expressive use of dissonance.' Matthew Greenall, The Singer Oct 06
Cavatina at Midnight
Those threads are tied together in spellbindingly evocative writing for clarinet and cello, exquistely realized by Catriona Scott and Gemma Rosefield, ably accompanied by Michael Dussek at the piano.
Evening Standard 2008
Christus Natus Est
Christmas Cantata
"The Christmas cantata Christus natus est is a hit: an absolute delight from start to finish, scored for children's choir, solo soprano, mixed chorus and small orchestra. The performance here under the admirable George Vass is splendid as, indeed, are those of the other works throughout this disc."
International Record Review, March 2005
Cradle Song
Pianists will enjoy the idiomatic writing of Cecilia McDowall. [Her] delightful two part setting of William Blake's Cradle Song could be sung at any time of year as it is not specifically a Christmas text.
Sheet Music Review 2006
A Fancy of Folksongs
"A Fancy of Folksongs is an utterly charming settings of four familiar English folk-songs for mixed voices, soprano solo and harp. Try to find the time to hear this disc (of choral music CDLX 4176) I am sure you will not be disappointed."
International Record Review, March 2005
If there are angels
[This] volume saves the best till last. Cecilia McDowall's If there are angels, genuinely of today both in music and in the poem by Caroline Natzler, deserves to be in every singer's repertoire. This is a beautiful song exquistely written... this volume is worth getting for McDowall's song alone.
David Owen Norris, Sheet Music Review September 2006
King Leo
"the music was atmospheric, humorous and heart lifting ... this musical should go on living as other companies should find it fun and rewarding to perform."
Lloyds Bank Challenge Review
Magnificat
"This graceful, reflective work adorned with deft, Baroque flourishes, has already been recorded by the Canterbury Chamber Choir with Rachel Nicholls as soloist, conductor George Vass (Dutton CDLX7146) and their assured singing radiated with the confidence of a team with this elegant choral piece in their blood."
Tempo 2006
"Her setting of the Magnificat is quite splendid, in that it 'grows' in intensity as the text progresses; by the time of the concluding chorus, Deposuit potentes, a genuine sense of exultation (without exaggeration) has been achieved."
International Record Review, March 2005
"McDowall is inordinately good at writing for specific combinations of instruments and here she serves the choir particularly well in a work that has her hallmarks of a rich tonal palette and melodic motifs that never stifle. Her harmonies are contemporary and here they seem to hark back in an ingenious way to plainchant."
Ham and High 2003
Radnor Songs
"The composer's genuine gift for illuminating and embellishing texts was instantly in evidence. 'The Buzzard', which opened the cycle, used liberating, outspread intervals to illustrate the awesome, swooping bird. The brooklet in 'Summergil', which 'ingratiates the birds', was laced with filigree ornithological ornamentation, whilst the final, spacious setting of 'Radnor (Old), Church and Harp' created a movingly nostalgic, but valiantly unsentimental evocation of the area's lost glories. Unostentatious and refined, McDowall's vocal lines and accompaniments were alert to the meaning and nuance of the poems, so that musical ideas grew naturally from them. 'Radnor Songs' was a model of how to give insight into words through music, as opposed to paraphrasing or merely adorning them."
Tempo 2006
Regina Caeli
Its alternating Alleluia and verses give the whole a secure structure, and there is harmonic sensitivity in the way contrasting variants of both homophonic and polyphonic sections are built. Throughout the piece is that linear logic so much needed to make any music - but especially choral music - satisfying to perform. Choir & Organ Jan 06
The harmonic language is always approachable and the composer has judged delightfully the contrast between the majestic Alleluias and the main text of this Easter hymn, which dances along spiritedly. Of moderate difficulty, this should be within the capabilities of experienced school and parish church choirs. Music Teacher December 05
Song and Dance
Fans of Cecilia McDowall, of which there are many, will welcome this delightful collection of pieces which evoke different moods and lands in song and dance. Our favourites were 'Mango Tango' and 'Jigging'. Beautifully crafted little pieces, just as you would expect from this distinguished composer. Players of Grade 5 + ABRSM standard would enjoy these.
Flutewise 2007
String Quartet
The case of the unanswered wire
'Its (The case of the unanswered wire) bold rhythmic drive was reminiscent of the Bartókian protean energy of Elizabeth Maconchy's quartets whilst the moving final bars, dying away to nothing, made a delicately poignant ending to an intensely personal work that betrayed an acutely responsive creative sensibility.' Tempo 2005
Y Deryn Pur
Cecilia McDowall's Y Deryn Pur, scored for the same forces as Britten's Phantasy Quartet (Virginia Shaw the expressively plangent oboist in both) was substantial, elegiac and evocative of landscape and birdsong, in an unaffected style that charmingly spoke from the heart
The Birmingham Post, 2007
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