Walter
Hussey (1909 – 1985), vicar of St.Matthew’s, Northampton from
1937 to 1955 and Dean of Chichester from 1956 to 1977, did much
to foster modern sacred art. Not only did he commission many new
works from British composers, he also commissioned Henry Moore
(Madonna and Child), John Piper and Graham Sutherland as
well as writers, among others, W.H. Auden. Some of you may remember
an earlier disc published in 1988 (The Hussey Legacy on
CANTUS CAN 301-2) which included Britten’s Rejoice in the
Lamb Op.30 and Gordon Crosse’s The Covenant of the
Rainbow as well as shorter works by Leighton, Howells,
Tavener and Finzi. Leonard Bernstein is, if I am not mistaken,
the only non-British composer commissioned by Hussey. Chichester
Psalms was written at the end of a sabbatical year spent
experimenting with various musical idioms with which Bernstein
was eventually dissatisfied. He once described Chichester
Psalms as his "most B-flat-majorish work". The
piece is scored for treble, chorus and orchestra. The composer,
however, made a second version for smaller forces (organ, harp
and percussion) which is the one heard here. I had never heard
this version before (although it is, I think, available in a Hyperion
disc released several years ago); but I may report that it is
quite effective and works quite well when performed this way,
though, I am sure, some will miss the bright orchestral colours
with which Bernstein wrapped his extrovert psalm setting. However,
the present recorded performance, good as it is (the sharp rhythms
of the opening may be wanting but the central slow section is
particularly beautifully done), is flawed by a chorus too few
in number (I suspect) and marred by a less than satisfying recorded
sound sometimes lacking in clarity. Anyone knowing Wells Cathedral’s
imposing nave will surely realise the enormous problems it may
pose in the matter of recording.
I
am glad to say that the smaller works generally sound much better,
although Britten’s Rejoice in the Lamb does not
certainly fit into this category. It was commissioned in 1943
by Walter Hussey, then vicar of St.Matthew’s, Northampton, to
celebrate the jubilee of the building, and was one of the first
works that Britten composed after returning to Suffolk from the
States. Britten’s masterly word setting owing much to Purcell
is clearly displayed in this setting of Smart’s curious text,
as it is in the near-contemporary Hymn to St Cecilia
and A Ceremony of Carols. Britten’s shorter Jubilate
Deo and Te Deum in C are none the less expertly
written though they are overtly occasional works.
The
prolific and versatile Alan Ridout also composed consistently
for voices. The third set of Sacred Songs (we are
not told when this was written) is for treble voice and organ.
It was written for Guildford Cathedral at the request of Barry
Rose. Since Guildford Cathedral is dedicated to the Holy Spirit,
Rose suggested that Ridout should write a Whitsuntide sequence,
that actually begins and ends with Creator Spirit, by whose
Aid framing a sequence of contrasted songs.
Two
short works complete this varied and most interesting selection,
Stanford’s A Song of Freedom for treble voice and
organ and Walton’s joyfully bouncing Jubilate Deo
written for the choir of Christ Church, Oxford.
On
the whole, this is a worthwhile release, notwithstanding the reservations
concerning Chichester Psalms, for its mix of familiar
and not-so-familiar music (the Ridout must be a first recording).
A last grumble, though, for no words are included, a pity particularly
in the case of Rejoice in the Lamb and Sacred
Songs.
Hubert
Culot
Robert Karlsson (treble)abcd;
Helen Tunstall (harp)a; Cameron Sinclair (percussion)a;
Wells Cathedral Choir; Rupert Gough (organ); Malcolm Archer (organ)bd;
Malcolm Archer (director)