Great Music from Great Occasions at Westminster Abbey

Record and Artist Details

Composer or Director: Anonymous, (Charles) Hubert (Hastings) Parry, William (Neil) McKie, Samuel Sebastian Wesley, Charles-Marie(-Jean-Albert) Widor, Ralph Vaughan Williams, David Grant, Walter (Galpin) Alcock, Arthur (Drummond) Bliss, William Walton, Charles Villiers Stanford

Label: Classics

Media Format: CD or Download

Media Runtime: 61

Mastering:

DDD

Catalogue Number: PCD919

Tracks:

Composition Artist Credit
(6) Royal Fanfares, Movement: Royal Fanfare Arthur (Drummond) Bliss, Composer
Arthur (Drummond) Bliss, Composer
London Brass
(6) Royal Fanfares, Movement: Wedding Fanfare Arthur (Drummond) Bliss, Composer
Arthur (Drummond) Bliss, Composer
London Brass
I was glad (Charles) Hubert (Hastings) Parry, Composer
(Charles) Hubert (Hastings) Parry, Composer
London Brass
Martin Neary, Conductor
Westminster Abbey Choir
Set me as a seal upon thine heart William Walton, Composer
Martin Neary, Conductor
Westminster Abbey Choir
William Walton, Composer
Wash me throughly from my wickedness Samuel Sebastian Wesley, Composer
Iain Simcock, Organ
Martin Neary, Conductor
Samuel Sebastian Wesley, Composer
Westminster Abbey Choir
Thou wilt keep him in perfect peace Samuel Sebastian Wesley, Composer
Iain Simcock, Organ
Martin Neary, Conductor
Samuel Sebastian Wesley, Composer
Westminster Abbey Choir
Services, Movement: MORNING SERVICE: Charles Villiers Stanford, Composer
Charles Villiers Stanford, Composer
Iain Simcock, Organ
London Brass
Martin Neary, Conductor
Westminster Abbey Choir
Rejoice in the Lord alway Anonymous, Composer
Anonymous, Composer
Martin Neary, Conductor
Westminster Abbey Choir
Psalm 23, '(The) Lord's my Shepherd' David Grant, Composer
David Grant, Composer
Martin Neary, Conductor
Westminster Abbey Choir
O clap your hands Ralph Vaughan Williams, Composer
Iain Simcock, Organ
London Brass
Martin Neary, Conductor
Ralph Vaughan Williams, Composer
Westminster Abbey Choir
(The) Old Hundredth Psalm Tune - 'All People that on Earth do Dwell' Ralph Vaughan Williams, Composer
Iain Simcock, Organ
London Brass
Martin Neary, Conductor
Ralph Vaughan Williams, Composer
Westminster Abbey Choir
Psalm 121 I will lift up mine eyes William (Neil) McKie, Composer
Iain Simcock, Organ
Martin Neary, Conductor
Westminster Abbey Choir
William (Neil) McKie, Composer
Lord, for Thy tender mercy's sake Anonymous, Composer
Anonymous, Composer
Martin Neary, Conductor
Westminster Abbey Choir
Psalm 90 Whoso dwelleth under the defence of the A Walter (Galpin) Alcock, Composer
Iain Simcock, Organ
Martin Neary, Conductor
Walter (Galpin) Alcock, Composer
Westminster Abbey Choir
Symphony No. 5, Movement: Toccata Charles-Marie(-Jean-Albert) Widor, Composer
Charles-Marie(-Jean-Albert) Widor, Composer
Martin Neary, Organ
Much pleasure, here, not least in the entertaining notes which though unattributed are far from anonymous in style and content. The selection of music includes a high proportion of Anglican pops: none the worse for that, especially as their merits are still not sufficiently well recognized (everyone 'knows' that a Te Deum by Berlioz or Bruckner must be better than Stanford, whether in B flat or C, and that an In pace by Victoria or Palestrina would be certain to reduce Wesley's Thou wilt keep him in perfect peace to insignificance, so they don't listen to judge for themselves). The variety of material is welcome too. There are the grand coronation pieces, the fanfares, the festival arrangements, but also modest, simple compositions like Vaughan Williams's O taste and see and Lord, for Thy tender mercy's sake now thought to be by John Hilton, senior. Two psalms are included, one of them a special setting the other sung to the traditional type of Anglican chant. Each item has a particular association with the Abbey, though perhaps Widor's celebrated Toccata stretches a point in this respect as indeed it does in most others.
The choir are in fine form under Martin Neary the trebles rejoicing in the top B flats of I was glad like a decani of Domingos, a cantoris of Pavarottis, in the making. Taking care over the hymns as over the anthems, they phrase the first verse of The Lord's my shepherd with scrupulous care, showing in the process just how awkward and tiresome the versification is. An inspired setting is the ''O enter then His gates with praise'' verse of The Old Hundredth with Vaughan Williams's solo trumpet obbligato, that, and the quartet ''O pray for the peace of Jerusalem'' in I was glad, were for me the two most lovely things in an entirely delightful record. If a more critical note has to be added it is that I could do with slightly more forward recording of the choir throughout: a more considerate treatment by the balance engineers of the singers, who tend to be overwhelmed by the splendours of full organ and London Brass.'

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