A fine inaugural record in a series that promises well. The Queen's College Choir comprises an excellent body of singers, clearly under good direction, and the Chapel lends itself admirably. The organ impresses as an instrument with ample resources, very effectively drawn on here and placed in well-judged balance with the singers. The accompanying booklet is attractively produced, with clear texts and an informative essay on the composers; one point that must be noted for future issues, however, is that some detailed commentary on the compositions themselves (their date, for instance, and any special circumstances concerning their origin) is best regarded as essential.
The selection challenges comparison with St Paul's recent Leighton record (Hyperion), where the Crucifixus pro nobis is given, as at the first performance, with tenor solo by Neil Mackie. He is so totally identified with this music that it is hard at first to adjust to the soprano voice; and indeed, well as Katey Tansey sings the difficult part, it is better suited in several respects to the tenor. But the new record compares well in the more dramatic effect of the choir's entry and the greater urgency and intensity from then onwards. Curiously, in the Second Evening Service, where a grimness of idiom overshadows rejoicing in the St Paul's recording, the Queen's has more excitement in the dance-rhythm of the organ part (perhaps because of sharper articulation) and almost transforms the compound-time so that it has a more consoling, tenderly feminine feeling (to which no doubt the girl's voices contribute). Among the works by Howells it is good to find this premiere recording of the Chichester Service, its characteristic exaltation coloured by the faintly oriental melisma. A final word of praise for all the soloists.'