Finzi: Choral Music
Choir of St. John's College, Cambridge
Christopher Robinson, director
Naxos 8.555792

Ravishing Music, Ravishingly Sung

As a choral singer myself, I was particularly drawn to this new Naxos
release of sacred and secular choral music, some of it familiar but
much of it quite unfamiliar (at least on this side of the Atlantic).

The disc leads off with what is probably Finzi's most popular sacred
choral work, 'God is gone up with a triumphal shout,' set to a text by
Edward Taylor.  The opening organ fanfare is followed by sung fanfares
with men's voices echoing those of the trebles.  [The choir in this
recording is that of St. John's College, Cambridge, and as such follows
the Anglican tradition of choirs consisting of boy sopranos, male altos,
tenors and basses.  There are some who dislike this sound but I find it
very attractive, and of course it is the sound that Finzi surely heard
in his mind's ear as he was writing these pieces.] The piece has colorful
choral and organ writing that mirrors such words as 'Methinks I see
Heaven's sparkling couriers fly.'

This is followed by 'Magnificat,' Op. 36 (Finzi's only American commission,
written for the choirs of Smith and Amherst Colleges), a moving setting
without the usual concluding 'Gloria', that begins with an exulting 'My
soul doth magnify the Lord' and ends on the words 'for ever and ever'
gradually dying away to the final 'Amen.'

'God is gone up' is the second of three sacred pieces in Opus 27.  The
other two are included (although not in consecutive order).  They are
'My lovely one,' and 'Welcome sweet and sacred feast.' The latter is a
setting of Henry Vaughan's poem celebrating the poet's redemption through
religious conversion ('Dead was I, and deep in trouble').  It contains
a meltingly beautiful passage on the words 'O rose of Sharon!  O the
Lily of the Valley!'

There are two part-songs for male voices, the a cappella 'Thou didst
delight my eyes,' Op. 32, and one set to the famous passage from
Ecclesiastes, 'Let us now praise famous men,' Op. 35.  The latter, in
two-part harmony, is notable for its Elgarian treading bass in the organ.

'Seven Unaccompanied Partsongs,' Op. 17, are set to texts by Robert
Bridges.  They are lyrical and tender and the part-writing is especially
grateful to sing.  The joyous 'My Spirit Sang All Day' is a particular
favorite of small choirs.  (For American readers/singers I will add that
this set of songs remind me harmonically and in tone of those in Randall
Thompson's 'Frostiana.')

The final and longest piece here is 'Lo, the Full, Final Sacrifice,' Op.
26, a 14-minute festival anthem set to Crashaw's elegant translation of
Aquinas's 'Adoro te' and 'Lauda Sion.' It starts with a longish organ
introduction and features a cappella and accompanied passages and short
solos following the poetry's verse structure.  There are some ecstatically
lovely melodies, particularly at the words 'Jesu, Master, just and true'
and at the final 'Amen.'

The singing here is impeccable and stylish.  The recorded sound is all
one could ask.  Another triumph for St. John's, Cambridge, its conductor,
Christopher Robinson, and for Naxos.

A hearty recommendation.

Scott Morrison