For Hyperion, the Choir of St Paul's Cathedral under John Scott have recorded an excellent series of anthems and another of canticles. It might seem a logical step for them now to record the Psalms. But no: the requirements are different. Moreover, the opportunity was very great, for this is not just a single disc but the first volume in an edition that will comprise at least ten CDs, taking us through the ecclesiastical month, morning and evening, and thus including all the psalms, in order, Nos. 1 to 150. The enterprising series on the Priory label jumped about, following no particular plan and involved the participation of several choirs; this new edition provides more in the way of system and unity, but not (to judge from this first issue) a new enlightenment.
They have chosen the wrong building, and that effectively means the wrong choir. It is not merely that the words need to be clear (which they are, just about, if you follow the printed text), but that they must be sung on the assumption that they mean what they say. And they say some vigorous things: ''Up, Lord, disappoint him and cast him down'', for instance, or ''Arise, O Lord God, and lift up Thine hand'' which really means ''Up, Lord, and at 'em''. There has to be some fresh impulse at such points, and some real vigour stirring in the delivery. In the first instance, a change of chant (such as we have in Psalm 10) certainly helps, but the fruity, faintly neurasthenic harmonies of Stainer won't do: in operatic terms it is like singing the words of ''Di quella pira'' to the tune of ''Vissi d'arte''. More importantly, if you are to go on the assumption that the words mean what they say and that the choir is here to perform them, then there must be appropriate pace. Again in Psalm 10, a choir that means business could not so placidly recite the derisive stuff of ''He hath said in his heart 'Tush, I shall never be cast down''' (this is the macho mugger who ''sitteth lurking in the thievish corners of the streets, and privily in his lurking dens doth he murder the innocent'').
It may be difficult to chant this clearly and purposefully in St Paul's; but of its kind there are manifold instances, permeating the whole book of Psalms, and that is one of the things to which a new recorded edition ought to be turning its attention. With it goes the need for real speech-rhythm rather than the present compromise, which still gives unintelligent weight to ''of the'' (Psalm 1), isolates ''a'' on the high note of the chant (Psalm 16) and performs ''countenance'' as an even triplet (Psalm 4). The Anglican chant has limitations no doubt (John Scott tells a good story of Dvorak bemused on his first visit to St Paul's and enquiring ''Why do they sing such a bad tune over and over again?''). But it can make much better and more interesting sense than it does here.
For those who will not share these views and disappointments of mine it should be added that the famous choir sings with fine tone, blend and unanimity; that Andrew Lucas colours the accompaniments skilfully; that recorded sound is rich; and that the booklet is excellent apart from the apparently random omission of a verse or two in Psalms 3 and 5.'