St Albans Cathedral Choir
Tom Winpenny and Oliver Morrell organ
Sinfonia Verdi Brass Ensemble
Andrew Lucas Director
FIRST HAND RECORDS FHR 170
Philip Moore succeeded Francis Jackson as Organist and Master of the Music at York Minster in 1983, on the latter’s retirement. He, in his turn, had been appointed to the post on the death of Sir Edward Bairstow in 1946. Church music in York, therefore, has been dominated by three outstanding church musicians who were as noted as composers as they were as executants.
Both Jackson and Moore have been prolific and their catalogues of compositions both run into three figures, although understandably, choral music has dominated. The St Albans Cathedral Choir under Andrew Lucas has recorded a representative selection of Moore’s choral music, favouring some longer pieces such as All wisdom cometh from the Lord, Benedicite omnia opera, Miserere mei and Lo! God is here. All four of these works are of about ten minutes duration and amply demonstrate Moore’s ability to sustain interest and momentum over a longer time span.
The quality of invention is high with sensitive word setting which makes the progress of each piece sound inevitable; nothing sounds forced or contrived, qualities that his music shares with that of his distinguished predecessor. Variety is introduced by the inclusion of Dialogues for organ and a work that features the Girl Choristers prominently, Emmanuel. Commissioned by the Chapter of St Albans for the installation of Dr John as Dean. The words are by Eric Milner-White, a former Dean of York, and are set for four-part choir as a three-part girls’ choir. Intriguingly Moore bases the work on the Christmas Hymn tune Divinum mysterium, usually sung to the words, ‘Of the Father’s sole begotten’.
Two of the works are enlivened by the inclusion of brass provided by the Sinfonia Verdi Brass Ensemble, who make an excellent contribution to Benedicite omnia opera and We praise and glorify thee. The organ accompaniments are in the capable hands of Tom Winpenny and Oliver Morrell, and the balance is very good, although there are one or two moments where the brass seem a little too prominent.
As a demonstration of Philip Moore’s expressive range as a composer, this could hardly be bettered. Andrew Lucas shapes the performances expertly and the recording can be enjoyed at one sitting. The results reflect great credit on all concerned.
Review by Martyn Strachan