WILLIAM BOYCE
	David's Lamentation over Saul and Jonathan. Ode for St Cecilia's Day
	The Charms of Harmony Display.- first version.
	
	 Patrick Burrowes (boy soprano),
	William Purefoy (alto), Andrew Watts (counter-tenor), Richard Edgar-Wilson
	(tenor), Michael George (bass-baritone), Choir of New College Oxford, The
	Hanover Band/Graham Lea-Cox.
 Patrick Burrowes (boy soprano),
	William Purefoy (alto), Andrew Watts (counter-tenor), Richard Edgar-Wilson
	(tenor), Michael George (bass-baritone), Choir of New College Oxford, The
	Hanover Band/Graham Lea-Cox.
	
	 ASV GAUDEAMUS CD GAU
	208.
 ASV GAUDEAMUS CD GAU
	208.
	Crotchet  
	Amazon
	UK   
	
	
	 
	
	
	This is the third in Graham Lea-Cox's excellent series of hitherto neglected
	Boyce choral works. Boyce's oratorio David's Lamentation is recorded
	in its Dublin version of 1744, having been premiered in London in 1736. As
	a taste of the (not too radical) revisions for Dublin, an appendix to the
	CD furnishes the London version of two arias, which show slight changes in
	instrumentation and, in one case, a change of singer, from London's tenor
	to Dublin's counter-tenor. The invention is impressive, while showing, as
	one would expect (though Mr. Lea-Cox's booklet note professes to find pre-echoes
	of Gluck) the influence, then in his pomp as an oratorio composer, but not
	slavishly so. The arias are memorable, as are the choruses, four of them,
	which underpin the tragedy much as Handel's oratorio choruses do. The
	performance, by the New College Choir, Messrs. Purefoy, Watts and Edgar-Wilson
	and the Hanover Band, are again admirably stylish and committed. 
	
	For the St. Cecilia's day ode (words by the Rev. Vidal and dating maybe from
	1737, at the time when Handel made his own contribution to the St. Cecilia
	literature) only Purefoy is retained of the Lamentations soloists
	but he is joined by the boy soprano Patrick Burrowes and strongly resonant
	bass-baritone Michael George for the ingratiating trio "Where Peace Prevails",
	which for me pre-echoes the duet "O Lovely Peace" from Handel's Judas
	Maccabeus and is a prelude to a rousing martial air from Mr. George,
	with trumpets resplendent in its middle section. 
	
	Another fine release, which enhances Boyce's reputation far above the modest
	level insisted on by one-time academic historians who had their own agenda
	and who should have known better. Thank heavens for people like Graham Lea-Cox
	(and many others in present age) for their more conscientious scholarship
	and less blinkered outlook.
	
	Philip Scowroft