This is an extremely well planned and executed
programme. All the music featured relates to commissions from
St.Matthews, Northampton, mainly at the behest of the famous Canon
Walter Hussey, an influential figure in the arts and responsible
for some of our best choral music. Though much of it is available
in fine alternative recordings, this disc makes for a good ‘straight
through’ listen and some, like me, may make real discoveries along
the way.
The best of those discoveries was the marvellous
Berkeley Festival Anthem. From its exciting and substantial
organ introduction, this is choral writing in the best Anglican
tradition. One senses the presence of Britten (hardly surprising),
as well as Howells and Stanford, particularly in the glorious
treble solo around 6’16, but this is individual writing, using
slightly jazzy inflections to spice up the sumptuous harmonies
and give the piece real variety and contrast.
Britten’s Rejoice in the Lamb is an inspired
setting of words by Christopher Smart, and receives a performance
at once tender and bold. From the hushed opening unison through
to the memorable close, the choir and conductor show great understanding
of Britten’s unique sound-world, giving a rendition as good as
any I’ve come across. Separate banding for the individual sections
would have been useful, but the absence of this layout does not
spoil the enjoyment.
The Finzi setting that gives the CD its title
is also a substantial 15-minute work. Again we have a composer
inspired by the commission to write individually but with a great
tradition in mind. The choir and conductor respond superbly, giving
a performance full of vitality and colour. The same goes for the
Bennett settings, quirky and original little gems. Kenneth Leighton’s
gloriously exuberant setting of ‘Let all the World’ is
one of his best known short pieces, and the choir cope well with
its not inconsiderable difficulties, particularly the jazzy syncopations
which became such a stylistic thumbprint. A special word of praise
here, too, for organist James McVinnie, who takes the tricky organ
part in his stride.
The recording is well judged, with a difficult
acoustic suitably tamed by the engineers without losing bloom
or detail. The conductor supplies the very personal but illuminating
notes, and my only real cavil in an otherwise very recommendable
issue, is a lack of texts, so crucial in the less well-known items.
Tony Haywood
Simon Johnson (conductor)