Nelson’s was one 
                  of the last full heraldic state funerals to be held in Britain; 
                  this meant that it was full of arcane detail which sounds quite 
                  curious to us today. In his informative essay Colin White informs 
                  us that Nelson’s coffin was accompanied, on its journey from 
                  Greenwich to St. Paul’s, by Nelson’s helmet, surcoat, shield 
                  and gauntlets. Not that Nelson had worn any of them; they had 
                  been made especially for the occasion, as if the hero really 
                  were a medieval knight going to his rest.
                The centre piece 
                  of the ceremonial, reconstructed here at Portsmouth Cathedral, 
                  was the service at St. Paul’s Cathedral. Here the Burial Service 
                  was performed in the context of the Office of Evensong. The 
                  music was selected by John Page, one of the Vicars Choral at 
                  St. Paul’s. The organist at the service was Mozart’s pupil Thomas 
                  Attwood. Attwood contributed the setting of the canticles and 
                  a dirge for organ. The choir was made up of singers from St. 
                  Paul’s Cathedral, Westminster Abbey, the Chapel Royal and St. 
                  George’s Chapel, Windsor. 
                This brings me to 
                  a small point where this splendid reconstruction falls down. 
                  The original choir numbered one hundred men and boys whereas 
                  Portsmouth Cathedral choir number twenty-two boys and twelve 
                  men, though they do make a splendid sound.
                It must be confessed 
                  that not all the music for the service is of the first water 
                  and the totality is as much of historical as musical interest. 
                  The service starts with the Dead March from Handel’s ‘Saul’, 
                  sounding a little bereft played on the organ without any of 
                  Handel’s orchestral textures; then follows William Croft’s lovely 
                  funeral sentences, originally sung as the body was carried up 
                  the nave by twelve seamen. The next four tracks are taken up 
                  with spoken sections of the service. This disc is most definitely 
                  not a concert; even though the spoken section is trimmed slightly 
                  there is quite a substantial amount of speaking.
                The Preces and Responses 
                  are by the 17th century composer, Richard Ayleward, 
                  a composer who features more often on Church and Cathedral music 
                  lists than on CDs. Only one Psalm is sung - the second was cut 
                  for the recording - to a setting by Purcell. 
                Both lessons are 
                  read expertly by Colin White who also wrote the essay in the 
                  CD booklet. Attwood’s Canticles, specially written for the occasion 
                  are charming, which is not perhaps the ideal word to describe 
                  Magnificat and Nunc Dimittis settings.
                The Anthem is Maurice 
                  Greene’s lovely ‘Lord, let me know mine end’. Greene had been 
                  Attwood’s predecessor as Organist of St. Paul’s.
                As the coffin was 
                  carried out of the chancel, Attwood played his newly composed 
                  grand Dirge; this is a fine, evocative piece. This is followed 
                  by Purcell’s lovely ‘Thou knowest, Lord, the secrets of our 
                  hearts’, which is beautifully sung by the choir. The final anthem 
                  is an adaptation of a Handel chorus, ‘His body is buried in 
                  peace’. On the recording the balance with the organ is not ideal, 
                  the organ being rather too discreet; I missed having an instrumental 
                  accompaniment here.
                A final poignant 
                  moment is the proclamation of Nelson’s title. Then the service 
                  concludes, remarkably, with an organ version of Arne’s ‘Rule 
                  Britannia’.
                As if they realised 
                  that the musical content of the CD needed a boost, the disc 
                  concludes with a performance of Handel’s ‘Te Deum’, a work which 
                  Nelson had heard in Vienna in 1800. Again I missed the instrumental 
                  accompaniment but the performance is lively and creditable.
                The programme of 
                  this disc has a great deal of historical interest and it is 
                  fascinating to hear the reconstruction of such a major state 
                  service. Unfortunately the service dates from a time when English 
                  church music was in the doldrums and musically this disc is 
                  a little thin. But Portsmouth Cathedral choir, under David Price, 
                  along with organist David Thorne turn in a creditable and involving 
                  performance.
                This is not a disc 
                  to be dipped into, but listened to carefully with Colin White’s 
                  involving essay as companion; the result is to transport you 
                  to an earlier era.
                Robert Hugill
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