It is, perhaps, a curious reflection in the face of so much godly doctrine, but I found myself wondering what form this series might have taken if Graham Johnson had been in charge. Hyperion’s Schubert Song Edition, through him and with the company’s backing, has become quite simply one of the great works of reference, in word as well as sound. Now, it may be that listeners to these performances of the Psalms feel they need nothing more than the printed texts at their right hand, but in this volume, especially, I wished for an introductory essay.
If curiosity is spurred on to resolution we can of course search the bookshelves, visit the library or phone the vicar, but here there arises an obvious question which every listener would like answered (if not too ashamed to ask): why is Psalm 119 so long ? Indeed, in formal terms, what constitutes a psalm when (for instance) in length it can vary from four verses to 176? Perhaps study would reveal a unity, and yet, if Psalm 119 were divided into 22 separate psalms (as here by change of chant), would study tell us that these 22 are really one? I don’t think Mr Johnson would have left us in the dark. He would have digested the works of half-a-dozen theologians, posed one exegesis against another, and in general have been, as the psalmist says, a lantern unto our feet. Here we are left to find our own way.
One thing: the booklet gives brief but telling information about the composers of the chants. They range in date of birth from 1715 (John Nares) to 1944 (Jonathan Leonard Bielby), and yet the continuity of style is unbroken. They also filled, between them, practically every musical post in the land except Director of Opera at Covent Garden. Even these minimal biographical notes are interesting. Lord Mornington (vv 161-168) was the father of the great Duke of Wellington; Highmore Skeats (vv 73-80) was organist of Ely Cathedral from 1778 to 1803 when Highmore Skeats (sic) succeeded him; John Jones (vv 49-56) was the great pluralist among organists, at the time of his death filling posts at St Paul’s, Charterhouse and the Temple. Collectively, they formed the backbone of English musical life.
They would a1so, surely, collectively nod in approval of John Scott’s work with the present choir of St Paul’s. The singing is of the same high standard maintained throughout the series; the organ accompaniments are distinguished even within the series – for which somebody, somewhere, should surely find a prize when, presumably with the next volume, it is completed.'