When I was a lay clerk at Birmingham in the late
1950s to 1960s, this was the sort of music at which we figuratively
turned up our noses, but time does mellow one. Although by no
stretch of the imagination could one call this programme one of
inspired music, it does have a certain charm in its predictability
and Georgian atmosphere. This was admittedly a fallow period in
English music, which is why Sullivan was so enthusiastically acclaimed
as its saviour. Sung well these are items of church music which
anyone aspiring to know that genre should be acquainted with.
I question the appropriateness of using contraltos.
It was not common practice at the time of Wesley. There are also
other issues. There is one counter-tenor to sing the alto part,
at times a little too prominent. The choir give a good account
of themselves and are obviously very keen, but therein lies the
problem; they sound too keen, which again only emphasises the
somewhat immature voices. The other drawbacks are those common
to amateur choirs. Entries are uncertain and lack bite, the ensemble
work is often not as one (and this applies particularly to the
mens parts) and at times the inner parts are too intrusive. The
best part of the choir is undoubtedly the sopranos, who have nice
clear voices and reach top notes well, but the problem with entries
applies just as much here. Apart from the inner parts already
mentioned, the balance is good and the diction admirably clear.
There is also good balance with the organ, which is backward to
the choir.
The hymns are all well known, and all have words
by either John, Charles, Samuel or Samuel Sebastian Wesley. They
come over best, particularly given the enthusiasm in singing.
Several of the anthems have solo parts, and although the soloists
try hard, again they are obviously amateurs. There is of course
nothing wrong in this, but at a disc costing full price? This
will obviously appeal to the choir themselves and act as a memento
of their time at Oxford, and I am sure parents, friends and relatives
will purchase it, but all these pieces are recorded elsewhere
and by more skilled forces.
John Portwood