This is the second instalment of Priory’s new complete
recording of the Psalms of David. I reviewed
the previous volume, from Exeter Cathedral, not long ago. Now
we are in the hands of the choir of Salisbury Cathedral who
pick up where their Exeter colleagues left off, with the second
psalm for Morning Prayer on Day 4 of the month, Psalm 20, and
going through to the psalms appointed for Morning Prayer on
Day 7, Psalms 35 and 36.
Only one composer, James Turle, is represented here as well
as in Volume 1. Like Andrew Millington at Exeter, David Halls
has included several chants composed by musicians with connections
to the cathedral. So, in addition to a chant by Halls himself
there are chants by two of his predecessors in the organ loft
at Salisbury, Charles South, who served from 1883 to 1916 and
Walter Alcock (1817-1947). Henry Carpenter, whose chant is used
for part of Psalm 33, was Precentor of the cathedral between
1896 and 1936 and Richard Shephard was an alto lay vicar (1970-1985)
before becoming Headmaster of the Minster School in York.
The chants are well chosen. Philip Taylor’s strong chant
in the solidly positive key of D major, for example, is a good
one to convey the message of Psalm 21. Equally, William Harris’s
chant in the much more remote key of D flat major, is used to
impart suitable grandeur to Psalm 24. Perhaps most striking
of all is Thomas Attwood’s chant for Psalm 29. The chant
ranges widely, from the depths of the trebles’ register
right up to the top and it’s a fine companion to the words
of the psalm. It’s sung and played with a good sense of
drama too, the boys singing with evident relish.
Psalm 21could be described as a “Salisbury Psalm”
here. It’s lengthy and, wisely, David Halls has selected
no less than three chants to vary the delivery and, of course,
to complement the changing moods of the text. The chants by
Richard Shephard, Charles South and Walter Alcock, which follow
each other, fit well together and each one suits well the sentiments
of the verses with which it is coupled. David Halls’ own
chant, which is used for roughly the first half of Psalm 28
is effective also and when we reach Psalm 33 we find that though
Rev. Henry Carpenter was presumably not a professional musician
he was sufficiently versed in psalmody that he could pen a good
chant.
Some of the composers are very obscure figures nowadays. It
will be noted that it hasn’t been possible to establish
properly the dates of birth and death of the delightfully named
Henry Bellringer and the names of one or two others, such as
Edward Higgins and Edmund Chipp, retain only the most precarious
repute today, even ‘in quires and places where they sing’.
In 1991 Salisbury famously became the first English cathedral
to establish a foundation for girl choristers and now the girls
and boys share the responsibility for the choir’s treble
line. On this occasion, however, we don’t hear the girls;
it’s an all-male choir on this disc. The choir sings well
throughout. Their diction is consistently good so that the rich
imagery of the verses comes through well. Thus, even without
following the texts in the booklet the listener can savour lines
such as:-
“Let a sudden destruction come upon him unawares, and
his net, that he hath laid privily, catch himself, that he may
fall into his own mischief.” (Psalm 35, v 8)
David Halls has been Director of Music at Salisbury since 2005.
It is clear from this recording that he has trained his choir
very well indeed, not just in singing but also in putting across
the imagery and spirit of the psalms. Since this recording was
made Daniel Cook, then the Assistant Director of Music, has
moved on after six years at Salisbury; he became Organist and
Master of the Choristers at St. David’s Cathedral in November
2011. Here he provides thoughtful, supportive accompaniments
to the chants, using the range of colours available on the Salisbury
organ very imaginatively. The recording catches the choir and
organ very well and reports a good balance between the two.
This disc builds on the strong start to the new series that
was made in Exeter. Further volumes are awaited eagerly. One
final word. Not long ago BBC television made an excellent programme,
Angelic Voices. The Choristers of Salisbury Cathedral.
The programme follows the boy and girl choristers through the
course of a year and presents a most interesting and involving
picture of what it’s like - and what it means - to be
a chorister at one of England’s great cathedrals. If you
haven’t yet seen it I heartily recommend it and I see
from the names listed in Priory’s booklet that some of
the young, able and enthusiastic singers who featured in that
programme were also on duty for this excellent recording.
John Quinn
Track listing
Samuel Sebastian WESLEY (1810-1876)
Psalm 20 [2:37]
Philip TAYLOR (1892-1988)
Psalm 21 [3:27]
Samuel Sebastian WESLEY/Herbert OAKELEY (1830-1903)
Psalm 22 [7:32]
John STAINER (1840-1901)
Psalm 23 [2:20]
William HARRIS (1883-1973)
Psalm 24 [2:50]
Cyril MUSGROVE (1860-1920)/ James DEAR
(1872-1953)
Psalm 25 [5:15]
Charles NAYLOR (1869-1965)
Psalm 26 [2:57]
James TURLE (1802-1882)/ Edmund CHIPP (1823-1886)
Psalm 27 [4:47]
David HALLS (b. 1963)/ Frederick OUSELEY
(1825-1889)
Psalm 28 [3:09]
Thomas ATTWOOD (1765-1838)
Psalm 29 [2:57]
Francis JACKSON (b. 1917)/ William MORLEY
(c1680-1731)/ Edward HIGGINS (d. 1769)
Psalm 30 [3:32]
Richard SHEPHARD (b. 1949)/ Chares SOUTH
(1850-1916)/ Walter ALCOCK (1861-1947)
Psalm 31 [7:22]
George MARTIN (1844-1916)
Psalm 32 [3:31]
Henry CARPENTER (1854-1936)/ Walter ALCOCK/
Thomas ATTWOOD
Psalm 33 [5:23]
Henry BELLRINGER (circa 19th century)/ John
CAMIDGE (1790-1859)
Psalm 34 [5:00]
George GARRETT (1834-1897)/ Edward BAIRSTOW
(1874-1936)
Psalm 35 [7:30]
William CROTCH (1775-1847)/ William MARSH
(1757-1818)
Psalm 36 [3:42]
Choir of Salisbury Cathedral/David Halls 