Walton: Jubilate Deo

“Solti's Belshazzar's Feast is more symphonic than dramatic but monumentally impressive. Preston directs a useful anthology of short choral works.” BBC Music Magazine, Christmas 2012 ****

“Decca have done it again, transferring this highly spectacular choral work [Belshazzar’s Feast] with incredible aplomb. The Coronation Te Deum is hardly less impressive, the choral sound richer textured to suit the occasion, and there is a great bass pedal effect near the end. … Solti has come to Belshazzar's Feast, a great British masterpiece, and in his refreshing way has given it a crisp, international look … It is certainly a most distinctive performance, sharply focused and helped by a recording of superb clarity and brilliance … Indeed the range and bite of the sound here is little short of miraculous” Gramophone Magazine (Belshazzar’s Feast, Coronation Te Deum)

“The disc thus gives a panorama of the composer's choral development over five decades … Preston has welded the choir into a most expressive and flexible instrument … The disc does credit to all concerned and will add lustre to the already high standard of Argo recordings in this field.” Gramophone Magazine (CD2: Choral works)

“Heather Harper’s singing … is a constant pleasure. Paul Hamburger, a first-rate accompanist who has appeared far too little on records, plays the quite demanding piano parts with great skill and sensitivity” Gramophone Magazine (Songs)

‘I’m so taken with this program that I frankly rebel at the notion of spending one sentence, much less a paragraph, on the topic of alternative recordings’ (Fanfare, USA)

“James O'Donnell proves himself master of two Westminster traditions: the Collegiate Abbey style is as assured as his former 'continental' Cathedral persona. Best of the persuasively-layered Britten Te Deum, and conspicuously bouncy Walton Jubilate.” BBC Music Magazine, November 2005 *****

“This latest addition to Naxos's English Church Music series isn't just a first-rate bargain but provides a distinctive alternative to the Finzi Singers in the Chandos Walton Edition, in its use of boy trebles. The presence of boys' voices consistently brings extra freshness to the St John's Choir's performances, giving them the sort of bite one can imagine the composer having in mind, with Waltonian syncopations wonderfully idiomatic in their crisp articulation.
Smaller in scale, with the organ set behind the choir, these more intimate readings also convey more clearly the impression of church performances, a clear advantage in the liturgical items above all, not just the delightful Missa brevis, but the Jubilate, and the Magnificat and Nunc dimittis.
You might argue that this collegiate choir is on the small side for the big ceremonial Te Deum written for the Queen's Coronation in 1953, but there, more than ever, the freshness and bite make for extra clarity hard to achieve with bigger forces. With Robinson and the St John's Choir the words aren't just sharply defined but are given life, with subtle rubato and fine shading of dynamic.” Gramophone Classical Music Guide, 2010

“[the Minster choir] just lack the final degree of polish with the placing of notes at the beginning of phrases, plus the odd moment of ensemble. However, there's a pleasing equality of tone between upper and lower voices, and their expressive singing encompasses with ease the wide spectrum of musical styles...A rewarding CD” Gramophone Magazine, April 2013

“This disc has important bonuses that all Walton devotees will value. The inclusion of The Wallace Collection brings an immediate advantage in the first choral item, the Coronation Te Deum, when the extra bite of brass adds greatly to the impact of a piece originally designed for very large forces in Westminster Abbey. Brass also adds to the impact of the final item, Antiphon, one of Walton's very last works, setting George Herbert's hymn Let all the world in every cornersing. The new disc also includes Walton's four carols, which makes this as comprehensive a collection of Walton's shorter choral pieces as could be imagined. As for the performances and recording, the professional group, Polyphony, with sopranos very boyish, have many of the advantages that the St John's Choir offer on Naxos in bright choral sound set in an ecclesiastical atmosphere. The acoustic of Hereford Cathedral is a little washy in places, and the balance of some of the solo voices is odd at times, yet the merits of these performances far outweigh any slight reservations, with the professional singers a degree more warmly expressive than the all-male St John's Choir.” Gramophone Classical Music Guide, 2010