The four hymns which open this recital cause one to marvel afresh at this creativity which made everything new and individual yet totally of the composer’s unmistakable substance. Each is a small masterpiece, not least the Hymn of St Columba (1962), less than three minutes long, and the Hymn to the Virgin (1930) written with unfaltering taste and clarity of purpose at the age of 16. Of the other works included here, Rejoice in the Lamb (1943) must be the most often recorded, and A.M.D.G. the least. A set of seven poems by Gerard Manley Hopkins, it dates from 1939 when the outbreak of war prevented the scheduled premiere. Shortly afterwards Britten withdrew it, still unpublished, and it remained unheard till 1984, eight years after his death. Nothing is said in the notes concerning editorial work or the ordering of the items, which appears to have been left unfinalized. One cannot in such an instance presume to judge, only to report a reaction (which I do find supports the initial one on hearing the first recording in 1988); it commands attention and gains an admiration that I can’t quite see growing into affection. By contrast, the remaining work here, the Choral Dances from “Gloriana”, inspired love on first meeting and have continued to move and delight ever since.
This, it appears, is the first volume of a projected series, a Britten Choral Edition, with the Finzi Singers taking part throughout. How complete it is to be I do not know, but its obvious rival at present is the three-volume series by The Sixteen. With two such expert choirs, both of them so successfully directed, the listener is unlikely to experience any great loss whichever is chosen, but, so far, comparisons encourage a marginal preference for this new recording. In the Hymn to St Peter, the Finzis, taking a slightly quicker pace, have a more impulsive feeling, where The Sixteen are just slightly ‘square’. In the Hymn to the Virgin the difference is greater, with The Sixteen almost dull by comparison. On the other hand, when it comes to the Gloriana suite, advantage lies with The Sixteen, who achieve greater clarity and use the arrangement for choir, tenor solo and harp, richer in sound and atmosphere, more cohesive in form.
On the merits of performance, then, there is no clear-cut decision. Balance differs somewhat in the two recordings, The Sixteen having a fuller, more sonorous presence, the Finzis giving more prominence to the organ in accompanied items. Andrew Lumsden’s contribution may indeed help to tip the balance further in the Finzis’ favour for he is constantly bringing out something in colour or rhythm that adds flavour and distinction.'