...an intricate and ambitious score, full of contrasts in timbre and style, ranging from the flickering radiance of 'O Adonai' and the brilliant fluency of 'O Clavis David' (O Key of David') to the lilting undulations of 'O Radix Jesse' ('O Root of Jesse') and the veiled introspection of 'O Oriens'. The serene closing antiphon, 'O Emmanuel' is haunted by a bell-like motif and takes the form of a meditation upon the popular Advent hymn, 'O come, O come, Emmanuel'. The recurring, bell-like motif has the last word, leaving the sequence suspended in mid-air on an appropriately expectant note. This richly rewarding set of pieces repays repeated listening. * Paul Conway, Musical Opinion, July-September 2021 *
This suite is a nice contribution to the literature. Its movements, all of them idiomatic and within the abilities of many organists, offer a wide-ranging meditation on these ancient liturgical texts. They challenge us with a variety of textures, from chordal meditations to flights of passage-work . . . It would be a nice project to include a few of them as voluntaries during Advent, where their variegated colors and fresh vision of the season might bring something new and exciting. Of course, they could also be presented in their entirety in recital. Either way, they come recommended. * Jonathan B. Hall, The American Organist, May 2019 *
This fine and substantial work was commissioned by the American Guild of Organists earlier this year and is a fresh and welcome addition to the Advent organ repertory. McDowall bases each of the seven aOa antiphon settings on its plainsong melody, save for the last, O Emmanuel, into which she weaves the famous aO come, O come Emmanuela melody. Each antiphon is strongly characterized, from the fiery flashes of O Adonai to the luminous, mysterious harmonies of O Oriens: there is much scope for colourful registration throughout. It is a strong piece that can be performed as a whole sequence or creatively woven into an Advent liturgy. * Huw Morgan, Sunday by Sunday (RSCM), December 18 *
Textures are varied and thoughtfully crafted, and technical difficulties are not extravagant (although the faster, more minimalist movements will need careful preparation for full effect). Registration suggestions are provided for a two-manual and pedal instrument. The whole piece makes a valuable and atmospheric addition to seasonal repertoire, but there's no reason at all why it shouldn't be played at other times of year as well. * Stephen Farr, Choir & Organ, January 2019 *
Her writing is naturally fluent and idiomatically expressive, and her technical demands are not excessive, although they demand an experienced player . . . But overall this is an impressive and very effective work, none of which movements outstays its welcome, and should prove a fascinating contribution to recital programmes. It most certainly demands a recording. * Robert Matthew-Walker, The Organ, Autumn 2018 *
