The subtitle of
                  this disc “new music from Norwich” would be even more appropriate
                  if the word "cathedral" was added after “Norwich”.
                  Of the eight new or recent pieces here recorded all have a
                  Norwich connection as do several of the more famous ones also
                  performed. Few cathedrals anywhere could boast of having so
                  much creative talent among their own personnel. 
                 
                
                
                The first of the “new” works
                  to appear is a setting by David Cooper - one-time organist
                  at Norwich - of George Herbert’s Come My Way, which
                  has been set by numerous composers in the 20th Century.
                  The best known of these settings is by Vaughan Williams in
                  the Five Mystical Songs, but Cooper’s is different in
                  both layout and mood. It is unaccompanied for the first two
                  verses and is rather sad in tone, almost like a plea. This
                  is followed by Norwich’s former organist Michael Nicholas’ Song
                  of Hosea, a premiere, which struck me as old-fashioned
                  and harmonically undistinguished. Very different in style is
                  the little cantata St. Peter and St. Paul by the well-known
                  Carl Rutti.  This work is convincing dramatically, but not
                  as much musically. The choir works hard to put it across. Another
                  premiere recording is by composer, teacher and Norwich lay
                  clerk, Peter Aston, If you love me (John 14). While
                  conservative I found this quite touching as was another Aston
                  piece How lovely is thy dwelling place; indeed I found
                  this more moving than the first Aston piece. 
                
 
                
                Perhaps the most
                  impressive of the newer pieces is Mathew Cann’s setting of
                  Psalm 121, I will lift up my eyes, which Cann wrote
                  for his own wedding ceremony. He has a real ability to set
                  words to effective music. The choristers seemed to like the
                  piece as it is extremely well performed. One of Cann’s colleagues
                  at Norwich, Spencer Mitchell, has become increasingly well
                  known recently. His gentle setting of O Sacrum Convivium has
                  plainsong injected into its bloodstream, somewhat as in the
                  music of Duruflé and is the more effective for it. The entire
                  disc ends with Andrew Simpson’s Dixit Dominus, written
                  for the enthronement of Graham James as Bishop of Norwich in
                  2000. This is an exciting piece, with echoes from the 18th Century
                  and has an especially impressive middle section beginning with
                  the words Sacerdotes eius. I’m sure the Bishop was pleased. 
 
                
                The more standard
                  works on this disc start off with one of Stanford’s liveliest
                  short works Ye Choirs of New Jerusalem. David Dunnett
                  adopts a lighter and more restrained approach than is usual
                  - compare Winchester Cathedral Choir on Hyperion - and lacking
                  in stateliness, at least to me. The high voices on this work
                  are in very good form, as they are in the following Prevent
                  us, O Lord by Byrd. However, in both these pieces it is
                  difficult to make out the lower voices and this problem recurs
                  periodically on the disc so that it is frequently difficult
                  to hear them.  Hadley’s My beloved spake is more successful
                  sonically, although I prefer the old recording by Hadley’s
                  own Choir of Caius and Gonville College. Another problem comes
                  up in the performance of Howells’ O pray for the peace of
                  Jerusalem: the choir’s intonation is very indistinct. This
                  applies to several of the newer pieces too. By contrast, the
                  Bairstow, Bainton and Statham works (all well known) as well
                  as the Cann have excellent intonation and demonstrate what
                  I think is David Dunnett’s strong point-firm control of the
                  interweaving of voices. This is especially evident in the Bairstow,
                  a wonderful rendition. The performance of Martin Lauridsen’s O
                  magnum mysterium is well thought out and merits the great
                  compliment of sounding authentically American. In all this
                  Julian Thomas provides excellent organ accompaniment, indeed
                  he is the most consistent performer on the disc.
                
 
                
                This record cannot
                  be considered one of Norwich Cathedral Choir’s best efforts
                  - the quality of performance is too variable and the recalcitrant
                  acoustic of the Cathedral frequently defeats the engineers’ efforts,
                  as it has done before. For its new and interesting church music
                  it can be recommended highly and the quality of its recent
                  music alone justifies its purchase. 
 
                
                William Kreindler
                
 
                
                
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