I’m not sure but
this may be Malcolm Archer’s first
recording since he moved from Wells
Cathedral in 2004 to become Director
of Music at St. Paul’s Cathedral.
This is a pleasant
programme, consisting almost entirely
of familiar and much-loved carols
and mainly in well-known arrangements.
And it is the very familiarity, which
may influence some prospective purchasers.
Without exception
the music is well performed. The choir
sings extremely well. The organ accompaniments
are so played - and recorded - as
not to overwhelm the singers. Instead,
Huw Williams gives just the right
degree of support. The engineers have
managed the cavernous acoustic of
St Paul’s well; there’s a nice halo
around the choir, which is yet recorded
clearly and at just a pleasing distance
from the microphones. I find that
the choir is nicely focused within
the acoustic.
Among many points
to enjoy there’s a good bass soloist
in The Three Kings – and solo
work throughout the disc is consistently
well executed. John Gardner’s catchy
carol may seem just a bit steady in
tempo at first hearing. However, this
marginal steadiness serves the music
well - and may have been dictated
by the acoustics - for the choir achieves
excellent clarity both in respect
of the words and the part writing.
I’ve always thought The Shepherd’s
Cradle-song a fine setting. Here
it flows beautifully at a nicely-chosen
tempo and it’s very well sung.
The arrangements
by Sir David Willcocks are too familiar
to call for comment other than to
say that they’re nicely complementd
here. Malcolm Archer’s arrangement
of Silent Night is pleasing
without being anything special. However,
his last verse descant to Once
in Royal David’s city is effective.
It was no doubt a nice idea to include
See amid the winter’s snow
since the tune is by one of Archer’s
predecessors at St. Paul’s, John Goss,
and the arrangement used is by another
former incumbent of the St. Paul’s
organ loft, Barry Rose. I’m afraid
this is one of those seemingly interminable
carols – The First Nowell is
another – that just goes on and on
but is so structured that one can’t
omit any verses. It’s definitely not
one of my favourites. However, if
I had to listen to it then it would
definitely be in this excellent arrangement.
Barry Rose varies the verses and refrains
most effectively and, in so doing,
makes a dull carol much more interesting.
There are two unfamiliar
carols here. Archer himself contributes
Love came down at Christmas.
This short a capella setting
is a real charmer. It may not break
any new ground but it makes an impression
through the simplicity and evident
sincerity of the music. Jan Sandström’s
version of Es ist ein Ros is
described as an arrangement of the
original Praetorius setting. However,
to me it goes some way beyond being
an arrangement. Like the Archer it’s
another a capella setting.
The Praetorius melody, sung very slowly,
is very definitely the foundation
for the piece but Sandström surrounds
the tune with a halo of intriguing
choral harmonies. In his good liner
note Malcolm Archer describes the
piece as "hauntingly beautiful
and [it] suits the famous acoustics
of St. Paul’s." I’m not sure
when the piece was written but it’s
evidently contemporary, both on account
of the musical language and because
the composer was born in 1954.
This, then, is a
most enjoyable disc on one level.
The singing is excellent and will
give much pleasure. Having said that
I was very disappointed by the safe
choice of music. Out of nineteen tracks
only two, the Archer and the Sandström
are remotely novel. For the rest I’m
afraid it’s the tried and trusted
carols, mostly in tried and trusted
arrangements that one has heard (and
sung) so often before. If you are
content with just a staple diet of
Christmas fayre then you won’t go
far wrong with this recital. However,
given the high artistic standards
it’s hard not to think that if more
imagination and enterprise had gone
into the planning of the programme
the disc could have been a winner.
As it is I can only recommend it with
modified rapture.
John Quinn
St. Paul’s Cathedral Choir/Malcolm Archer
