Sir John STAINER (1840-1901)
The Crucifixion (1887)
Andrew Kennedy (tenor); Neal Davies (bass); Darius Battiwalla (organ)
Huddersfield Choral Society/Joseph Cullen
rec. 13-15 June 2009, Huddersfield Town Hall. DDD
English text included
SIGNUM CLASSICS SIGCD176 [62:09]
Sir John Stainer’s compositions have rather fallen out of fashion nowadays
though The Crucifixion retains a place in the English choral repertoire
and some of his church music is still sung by cathedral and parish church choirs.
However, as the good booklet essay that accompanies this CD reminds us, he
was a very significant and influential figure in Victorian musical circles.
I was aware of some of his accomplishments but I’d not realised that
he was sufficiently talented to secure an appointment as the organist of a
London parish church at the age of just fourteen. A series of further appointments
followed until in 1872 he reached what was then the pinnacle of his profession,
securing the post of organist at St. Paul’s Cathedral, London. Obliged
by failing eyesight to relinquish that post in 1888 after a very successful
tenure, he then became Professor of Music at Oxford University in 1889, occupying
that position until 1899.
The Crucifixion. A Meditation on the Sacred Passion of the Holy Redeemer,
to give the work its full title, was composed in 1886-7 at the prompting of
a friend who was organist of St. Marylebone Parish Church in London. The
Crucifixion was first sung in that church on Good Friday 1887 and I understand
it is still performed there on Good Friday every year. It’s worth bearing
in mind the full title of the piece and the circumstances in which it was composed
for Stainer never intended The Crucifixion to be a concert work. Rather
it was designed for liturgical use to aid congregational recollection of the
Passion and Death of Christ. As such it fulfils a similar function to the Passion
settings of Bach. In particular, the interpolation of several hymns, intended
for congregational participation, fulfils a similar function to the chorales
used by Bach. To listeners today the work may sound a little old-fashioned
- not least the very Victorian words - but we should pay Stainer the compliment
of taking the work on its own terms; if we do it’s actually a rather
successful achievement.
Stainer deliberately designed the chorus parts to be within the compass of
a decent parish church choir. The Huddersfield Choral Society is much more
than that. It is, perhaps, a rather larger body than one might expect to hear
singing the work but the choir never sounds unwieldy. On the contrary, they
sing very well indeed and their rendition of ‘God so loved the world’ is
exceptionally fine. They do the two other set-piece choruses well too. However,
as a matter of personal taste I find that these passages - the Processional
to Calvary, ‘Fling wide the gates’, and The Appeal of the Crucified
- are much the weakest in the whole work. Both have seemed absolutely interminable
to me whenever I’ve sung or heard them, with Stainer making thin musical
material - and poor words - go a very long way indeed. Even the excellent singing
on offer here fails to persuade me to change my mind.
The hymns fulfil an important function, as I’ve said. They’re prime
examples of Victorian hymnody, which may be an obstacle for some, but Joseph
Cullen very sensibly ensures that the music keeps moving forward and he varies
the textures, for example by giving one verse to unison male voices and another
to the ladies of the chorus.
The two main soloists have important roles. Andrew Kennedy sings the tenor
solos very well and in particular he discharges the big aria, ‘King ever
glorious’ with fine feeling, building it to a ringing conclusion. Kennedy
presents his solos with taste and conviction and is careful not to step over
the line into sentimentality. About the contribution of Neal Davies I’m
not quite so sure. He has a fine, sonorous voice and good vocal presence. However,
to my ears he sometimes strives too much for expressive effect and, as a result,
sounds slightly portentous. His singing of the short passage beginning ‘And
one of the malefactors’ offer such an example and another occurs with
his very first entry - ‘Couldst ye not watch with me’. I prefer
a more straightforward, less overtly expressive approach and therefore find
Kennedy the more convincing soloist.
The score includes a few small male voice solos, which are to be taken from
the chorus. The chosen singers are recognisably amateurs - as Stainer would
have expected - but they deliver these passages adequately.
Joseph Cullen has clearly prepared his choir very well indeed and he directs
the whole performance very well. His tempi are well chosen and he conveys the
sentiments of The Crucifixion convincingly while avoiding and suspicion
of sentimentality.
I remember from my schooldays in Huddersfield that the organ in the Town Hall
was an imposing instrument and it’s good to be reminded after all these
years what a fine sound it can produce. Under the expert hands - and feet -
of Darius Battiwalla the organ makes a telling contribution to the performance.
He uses appropriate and imaginative registrations for the quiet passages while
the full organ is deployed to telling effect elsewhere. I was particularly
impressed by the thrilling pedal sounds at times in ‘Fling wide the gates’ and
at very end of ‘King ever Glorious’. Happily, the organ and the
singers are presented in an excellent and clear sound.
One or two slight reservations apart - and others may not share them - this
is a fine and convincing account of Stainer’s sincere and durable Passion
piece.
John Quinn