This is a seasonal 
                follow-up to the CD entitled Once 
                were Angels – a disc celebrating 
                the boy treble voice, which Griffin 
                released a little while ago. review 
                Once again the source is the many albums 
                originally released on the Alpha and 
                Abbey labels. The moving spirit behind 
                these recordings, and countless others 
                of British church choirs, was Harry 
                Mudd, MBE, the founder of Alpha Records. 
              
 
              
Several very gifted 
                young musicians are featured here and 
                few allowances, if any, need to be made 
                for their ages. For the most part the 
                recorded sound is pretty satisfactory, 
                especially when one remembers that Mudd 
                and his colleagues were not exactly 
                using state-of-the-art recording equipment. 
                Only a few of the Chichester Cathedral 
                tracks disappoint in terms of sound. 
                Some, but not all, of the recordings 
                of that choir sound to have been made 
                in a very confined, boxy acoustic, perhaps 
                a rehearsal hall? 
              
 
              
The two soloists of 
                whom we hear most are Paul Dutton of 
                Leeds Parish Church and Andrew Wicks 
                of Chichester Cathedral. Paul Dutton 
                is unfairly taxed, I think, by the ponderously 
                slow speed set by Donald Hunt for Once 
                in Royal David’s City. Since Dutton 
                is scrupulous over diction – and rightly 
                so – the result sounds mannered at this 
                speed. However, matters improve in Michael 
                Head’s charming song, The Little 
                Road to Bethlehem, where 
                Dutton’s singing is quite disarming. 
                He conveys a genuine – and appropriate 
                - sense of wonder in his solos in I 
                Wonder as I Wander but I was less 
                happy with O Little Town of Bethlehem 
                where he seems to have trouble with 
                his breathing and, as a result, chops 
                up the phrases rather noticeably. 
              
 
              
I was mightily impressed 
                by Andrew Wicks’ haunting solo work 
                in Leighton’s Lullay Lulla. 
                Indeed, I can’t recall hearing a better 
                account of this; his colleagues in the 
                Chichester choir are pretty good as 
                well. It’s good to hear Peter Hurford’s 
                exuberant Sunny Bank again and 
                here as well Wicks makes a splendid 
                contribution. I was rather puzzled, 
                however, by the inclusion of certain 
                other Chichester tracks. I can’t for 
                the life of me see what All God’s 
                Chillun’/I Got a Robe has to do 
                with Christmas. There are, moreover, 
                one or two of their items, such as Ding 
                Dong Merrily, where I couldn’t readily 
                pick out a treble solo. 
              
 
              
Michael Criswell catches 
                the ear with his nice round voice and 
                good control. Arguably Little Jesus 
                Sweetly Sleep is taken a bit too 
                slowly, but that’s not his fault. He 
                also sings the perennial favourite Away 
                in a Manger very nicely indeed though 
                I could have done without the organ 
                introduction, which is rather at odds 
                with the essential simplicity of this 
                carol. 
              
 
              
Robin Walker only features 
                on one track, Bairstow’s delightful 
                The Blessed Virgin’s Cradle 
                Song. I love the way that at times 
                his solo voice emerges so naturally 
                and effortlessly from the texture of 
                his treble colleagues. Daniel Ludford-Thomas 
                of Northampton does well in the Howard 
                Blake item, though I feel the organ 
                accompaniment, at least as recorded, 
                is a bit on the hefty side. He also 
                features as soloist in the first two 
                verses of Rutter’s Candlelight Carol. 
                These verses aren’t actually meant to 
                be sung as solos but I feel sure that 
                the composer wouldn’t object in the 
                face of such quality singing. 
              
 
              
I admired the breath 
                control and tone of David Elias in Tomorrow 
                Shall Be my Dancing Day Incidentally, 
                pace the track listing I think 
                the arrangement used is solely by Sir 
                David Willcocks. Elias has a strong 
                clear tone, which he uses to excellent 
                advantage. In King Jesus Hath a Garden 
                we have to wait until the penultimate 
                verse to hear David Rees-Williams sing 
                his solo but it’s worth the wait for 
                his is one of the most natural and pleasing 
                deliveries on the whole disc. 
              
 
              
Another item that doesn’t 
                seem to me to qualify as a Christmas 
                item is Rejoice the Lord is 
                King. I associate this with Easter 
                and Ascensiontide. However, its inclusion 
                is welcome since it allows us to hear 
                the boy who, for me, possesses the most 
                individual and characterful voice in 
                this anthology. Jeremy Bowyer is excellent. 
                In reviewing the companion disc my colleague, 
                Jonathan Woolf, referred to Bowyer’s 
                "slightly darker" voice and 
                drew attention to his clarity and confidence. 
                I hadn’t read Jonathan’s comments before 
                listening to the present disc but I 
                concur wholeheartedly with his view. 
                Bowyer’s voice has just the right amount 
                of edge but in achieving that he doesn’t 
                lose any roundness of tone. 
              
 
              
I’m afraid Peter Davey’s 
                tone is too fruity for my taste in Britten’s 
                New Year Carol By contrast. the 
                disarmingly innocent enthusiasm of Michael 
                Mace in Myn Liking is a delight. 
              
 
              
Griffin’s documentation 
                includes "where are they now" 
                notes about most of the soloists. It’s 
                noticeable how many of them have remained 
                active in music, often professionally, 
                and those that haven’t seem to have 
                prospered in other fields. This confirms 
                a view I’ve long held that membership 
                of the choir of a cathedral or comparable 
                ecclesiastical foundation is one of 
                the greatest privileges a young boy 
                can have for it offers not just the 
                prospect of an incomparable musical 
                grounding but also an opportunity at 
                a very early age to experience such 
                invaluable things as teamwork and - 
                dare one say it without sounding pompous 
                and old-fashioned? – discipline and 
                self-discipline. The boys heard here 
                are, of course, among the vocal crème 
                de la crème but is it any 
                wonder that they all sing with such 
                commitment and confidence? I only wish 
                such an opportunity had been available 
                to me at their age and I do hope that 
                the tradition which these young musicians 
                represent can not just be kept alive 
                but that it will prosper. 
              
 
              
This is probably not 
                a disc to play through at one sitting. 
                However, it will give a great deal of 
                pleasure, I’m sure, and not just to 
                aficionados of the treble voice. 
              
John Quinn