Composer: Herbert Howells
Works: Te Deum & Jubilate, Office of Holy Communion, Psalm Prelude, Opus 32 No. 2, Preces & Responses I & II, Psalm 121, Psalm 122, Magnificat & Nunc Dimittis, Take Him, Earth, for Cherishing, Rhapsody for organ, Opus 17 No. 3
Performers: Choir of King’s College, Cambridge (Stephen Cleobury, conductor), Simon Williams (tenor), Peter Barley (organ)
Recording: 1989, Decca DECCA 470 194 2 [78.28]
Label: Decca
Herbert Howells, a cornerstone of the English choral tradition, flourished in a milieu rich with ecclesiastical influences, yet his oeuvre extends well beyond the confines of sacred music. This recording encapsulates a selection of his liturgical works, many composed for the prestigious Choir of King’s College, Cambridge, illustrating not only his deep-rooted connections to this institution but also his ability to blend introspection with grandeur. The selected pieces demonstrate Howells’s mastery in setting the English choral idiom against a backdrop of modern harmonic language, creating a tapestry that is both accessible and profoundly moving.
The performance under Stephen Cleobury’s direction is characterized by a keen sensitivity to text and an acute awareness of the music’s emotional landscape. The choir’s sound is polished yet deeply resonant, capturing the intricacies of Howells’s choral writing. For instance, the “Te Deum” and “Jubilate” exhibit a deft balance between celebratory and contemplative passages, with the choir navigating the dynamic contrasts with aplomb. The moments of quiet introspection are particularly notable; the soft entries and delicate phrasing in “Save Him, Earth, for Cherishing” evoke a poignant response to the tragic context of its composition following the assassination of President Kennedy.
Peter Barley’s contributions on the organ enhance the choral textures, particularly in the “Rhapsody for organ,” where his interpretation reveals a deep understanding of Howells’s intentions. The organ’s timbre complements the vocal lines beautifully, with Barley exhibiting both technical finesse and expressive depth. The sound engineering captures the spatial dynamics of King’s College Chapel, allowing the music to bloom within its hallowed acoustic. This reverberation adds a layer of warmth to the performance, although at times it risks overshadowing the clarity of the text.
The disc presents an important opportunity to experience Howells’s liturgical works in a cohesive manner, allowing listeners to appreciate the thematic and stylistic continuity across the selected pieces. While some might yearn for a more robust choral sound in certain passages, the performances are sufficiently compelling to outweigh such reservations. The booklet notes, while informative, could benefit from greater depth, particularly given the blank pages left unutilized; a missed opportunity to provide richer context for Howells’s life and works.
This recording stands as a testament to Howells’s enduring legacy, capturing the essence of his liturgical music with sensitivity and insight. The combination of skilled performers, high-quality sound engineering, and the evocative nature of the chosen repertoire makes this a significant addition to any collection dedicated to British choral music. The artistry displayed not only honors Howells’s vision but also invites broader appreciation of his work beyond the ecclesiastical sphere.
