Rubbra: Missa in honorem Sancti Dominici, Op. 66

“How good it is to have these deeply sympathetic performances (which were recorded in the presence of the grateful composer at St Alban's Church, Holborn, over one December day in 1975) restored to the catalogue. Richard Hickox and the St Margaret's Westminster Singers bring to both these rapt and timeless Mass settings an unhurried, intuitive understanding and devotional glow. The two unaccompanied carols are special too, in particular the ravishing Dormi Jesu (Rubbra's first published work, written in 1924 when he was a student of Holst).
With the mastertape sadly damaged beyond repair, Chandos had no option but to turn to a pristine copy of the original 1976 RCA LP. In the circumstances, the transfer to CD is remarkably successful, for the sound remains rich, clear and atmospheric. Detailed notes by the composer and Timothy Storey enhance the appeal of a mid-price reissue that long-standing Rubbrarians will surely want to own.” Gramophone Classical Music Guide, 2010

“These Masses were recorded in the presence of the composer and are given with the greatest eloquence and finesse...A must for all collectors of choral music, even those who do not normally respond to Rubbra.” Penguin Guide, 2011 edition

"Another winner from the Naxos/St. John's Cambridge stable-nourishing repertoire, captivated and captivating performances. Throw in Naxos' praiseworthy production-values and helpful presentation, and you have both a notably rewarding collection as well as a bargain of the first order." - Gramophone (Andrew Achenbach) April 2001

“Christopher Robinson and his St John's College Choir prove especially eloquent, humane advocates of the eight-part Missa Cantuariensis. We've long needed a top-notch digital recording of this, the first of Rubbra's five Mass settings. Robinson and company rise to the challenge admirably, not least in the exuberant concluding Gloria with its lung-burstingly high tessitura. We also get a thoroughly idiomatic rendering of the taut and imposing Magnificat and Nunc dimittis in A flat that Rubbra wrote two years later.
In the glorious Missa in honorem Sancti Dominici from 1949 (inspired by Rubbra's own conversion to Roman Catholicism the previous year, on the feast day of St Dominic) our Cambridge group doesn't quite match the sumptuous blend, miraculous unanimity or spine-tingling fervour displayed by James O'Donnell's Westminster Cathedral Choir (to quote the composer: '…this is not austere music…red blood runs through its veins!'). On the other hand, these newcomers sound wholly captivated by the nine motets that make up the remarkable Op-72 Tenebrae. Boasting an infinitely subtle harmonic and contrapuntal resource, these timeless, wonderfully compassionate settings of the responsories used during Matins on Maundy Thursday show Rubbra very much at the height of his powers, encompassing an extraordinarily wide dramatic and expressive range. Robinson also gives us two instrumental bonuses in the rapt Meditation for organ, Op 79, and Bernard Rose's transcription of the more substantial Prelude and Fugue on aTheme of Cyril Scott (originally written for piano in 1950 to celebrate Scott's 70th birthday).
Throw in Naxos's praiseworthy production, and you've a bargain of the first order.” Gramophone Classical Music Guide, 2010