O nata lux

O nata lux started life as a piece written for a men’s voices Compline service at Pembroke College, Cambridge, where Lapwood (as Director of Music) was consciously trying to include music by women in every service. Upon finding there was very little music for lower voices, she decided to write something herself.

When writing the start and end of this piece, the composer had in mind the light of a candle, starting from nothing and steadily growing to a constant flame. The sound in these sections should be well-blended and smooth, and the notes should be held for their full values so that there is never any break in the sound. At ‘Jesu redemptor’, a crescendo is powered by the lower parts, specifically through their crotchets. There are moments when the writing is intentionally high for the basses, such as at ‘Qui carne quondam’ – this should begin off the voice and return to a full sound for ‘nos membra confer effici’.

Towards the end of the work, there is a little nod to Tallis’s setting of O nata lux, the very first choral piece Lapwood conducted! An approachable and rewarding motet from a rising star in the choral world.