How well these two composers complement each other in this programme of some of their choicest word settings. Parry's richly emotional harmonies belong to a disturbed spirit. Stanford seems to stand off rather further from his musical sentiments; even in ''Eternal Father'', where he comes closest to Parry, we don't seem to have discovered his heart. So it seems to me, at any rate. Parry appears more at home marinating texts in highly personal chordal mixtures and less happy when constructing counterpoint. Stanford's process strikes one as rather more impersonal, clothing texts with harmonies which add vigour, radiance, solemnity—and it may be at the drop of a hat, turn into confident counterpoint. I look no further than this record for my examples.
Richard Marlow understands the differing strengths of the two men and has manipulated his choir to respond to the heart-searching introspection of the one composer and the forceful, disciplined decency of the other. Parry's Songs of Farewell are strongly charged with feeling (though always perfectly balanced)—whereas Stanford's Three Motets in turn comfort, exhilarate and modestly moralize, dry-eyed throughout. Parry's counterpoint is allowed to feel around for friendship, whereas Stanford's strands challenge each other, especially in the antiphonal glories of the double-choir Latin Magnificat. This latter will be a revelation of those who are steeped in his Prayer Book settings of the same canticle. There is a special quality about the Trinity College Choir which seems absolutely right for this music. It is a rich, creamy balance, with wonderfully discreet sopranos who can kiss an isolated high note in the middle without advertising the fact. There are many lovely occasions when this unobtrusive miracle occurs. And throughout all the convolutions, surprise focusing and athletic demands, never once does the trim of this balance shift, never once does that homongeneous tone-quality separate.
Stanford was one of Marlow's predecessors and Trinity, in difficult days, and with an all-male choir. He would undoubtedly be astonished by the present choir and I feel sure he would approve of their performance on this disc. Parry was used ot his music being sung by a mixed group—but I doubt whether he ever heard it sung so well as it is here. The two men in real life did not get on and would hardly have been likely to collaborate in such a venture as this. All the more moving to find them commemorated together—and with such perception. The sound is excellent.'