If there are some in addition to myself to whom the choir of Edinburgh’s Episcopal Cathedral are introducing themselves in this recital, they are likely to be impressed and want to hear more. They might also want me to slip in a little petition that a few raw edges be sandpapered, sometimes a matter of tone (for instance, among the exceptionally powerful altos), sometimes of balance (rather too much bass in Christe, qui lux es), sometimes of style (as in that same anthem, where the treatment is dully syllabic). But generally great pleasure prevails. This is a choir that can sustain long phrases (fine ones in the marvellous motet by Taverner), lengthy and concentrated works too (as with Walton’s The twelve), finding plentiful resources of energy in matters of attack and rhythm. The trebles (14 plus four girls) are bright-toned and sing some formidably challenging music with well-founded confidence. The choir also possess useful soloists, most notably the baritone who so effectively opens The twelve. The organist proves his merit from the start with an exciting performance of the virtuosic solo which introduces O, how glorious is the Kingdom, and skilfully manages the accompaniment (not as easy as it may sound) to “How lovely are Thy dwellings”.
It is an enterprising programme, finding room for cherished old acquaintances such as Charles I’s evening prayer in its graceful setting by Henry Ley. The acoustic is helpful, neither dry nor excessively reverberant, and the balance between choir and organ is judiciously established. We look forward to the recording, announced for later in the year, devoted to Bliss, a composer rarely favoured by the cathedral choirs.'