Reductions in recording
and production costs associated with
the compact disc have brought recording
projects within the reach of most church
choirs. The discs serve as visiting
card for choir and choral director,
as memento of concerts and as a source
of income at the church door.
Christopher Cotton’s
understated Requiem for choir, chamber
orchestra (eleven strings and one French
Horn) and organ is in eight segments.
The music is clearly from the English
mainstream. There’s a touch of Delian
dreaminess and Howells’ reverence without
quite the ecstasy of either but pleasingly
avoiding Victorian fustian. The contours
of Cotton’s writing loosely link his
style with that of Rutter and Fauré
(it even has a Pie Jesu and an
In Paradisum) but without quite
their gift for memorable invention.
I am not that taken with the Hymn
movement which seems very ordinary
beside the other seven sections. On
the other hand his ’twas a Star-lit
Night has what it takes - a lovely
setting. The calypso style Ding Dong
Merrily on High is another winner
for Mr Cotton. The words of this Requiem
are very helpfully printed in the
insert leaflet.
On the other hand the
irresistibly lilting celticisms of Tir
n’a Oir is one of those items you
want to replay straight away. While
the choir does not seem as polished
or as finely blended they are in the
Requiem they handle this piece
touchingly. Other choral directors need
to track this piece down. Richard Powell
is also responsible for the lively arrangement
of the spiritual Didn’t My Lord Deliver
Daniel which is another highlight
of the disc alongside the Warlockian
fragility of To us in Bethlem City.
Prelude for
solo piano Mark J Almond (the sound
engineer for this disc) is a study in
tremulous liquidly romantic sentiment
pushed forward with urgency. It is rather
good and delightfully played by the
composer.
Dashing Away is
cleverly arranged and is a good showcase
for the virtuoso choir but what an irritating
piece of music. I have never liked it.
David of the White Rock starts
well but in this arrangement is not
all that special although the blending
of the choir is excellent and the Patrick
Hadley vocalise at the start is impressive.
Impressive skill registers strongly
with the other Eric Gregory perennial
but again this is a plain setting -
a delight to sing, I am sure, but for
the listener (well, this one, anyway)
it fails to move. The Norfolk Folksong
Suite is a cheery two-movement piece
for organ alone. The finale, Jenny
Lind, is dispatched with rapid-fire
style.
There’s no shortage
of choral CDs but this one has attractive
and unusual repertoire to commend it
and good performances.
Rob Barnett
Papovian Ensemble/Christopher Cotton 
