Howells’ Choral Masterworks: King’s College Choir’s Majestic Celebration of Faith and Tradition

Composer: Herbert Howells
Works: Collegium Regale Te Deum and Jubilate (1944), Collegium Regale Office of Holy Communion (1956), Collegium Regale Magnificat and Nunc Dimittis (1945), Preces and Responses 1 and 2 (1967), Take Him, Earth for Cherishing (1964), Psalm 121, Psalm 122, Psalm Prelude Op.32 No.2 (1916), Rhapsody for Organ Op.17 No.3 (1918)
Performers: Choir of King’s College, Cambridge; Gregory Moore (cantor); Simon Williams (tenor); Peter Barley (organ); Stephen Cleobury (director and organ)
Recording: 1989 (presumably in King’s College Chapel)
Label: DECCA 470 194-2 [78:28]

Herbert Howells, a luminary of English choral music, has left an indelible mark on the repertoire with his exquisite settings that blend Anglican tradition with emotive depth. This recording of his Collegium Regale services and other sacred works encapsulates his rich harmonic language and profound lyricism, which resonate with the spiritual ethos of the 20th century. The Collegium Regale, written for King’s College, Cambridge, is among his most substantial contributions to choral literature, and the present collection provides a comprehensive survey of his ecclesiastical output, further illuminating the evolution of his style over decades.

The performance by the Choir of King’s College, under the esteemed direction of Stephen Cleobury, exhibits the ensemble’s hallmark clarity and blend. The Te Deum and Jubilate sparkle with an effervescent energy, the choir navigating the intricate counterpoint with both precision and warmth. A notable interpretative choice in Cleobury’s direction is in the dynamic shaping; the swell of the choral sound during the “Gloria” sections evokes a sense of transcendence that is both exhilarating and reverent. The Magnificat and Nunc Dimittis, meanwhile, showcase Howells’ masterful use of textural contrast, with moments of serene introspection juxtaposed against climactic outbursts, all executed with a keen sense of phrasing and articulation.

The recording quality is exemplary, capturing the resonant acoustics of King’s College Chapel, which enhances the ethereal quality of the choir’s sound. The organ, played adeptly by Peter Barley, supports the choral texture beautifully without overshadowing it. Particularly effective is the Rhapsody for Organ, which, written during the tumult of World War I, embodies both a lyrical and tumultuous character. Barley’s interpretation imbues the piece with a sense of urgency, especially in the more dramatic passages, yet balances this with moments of poignant reflection.

Howells’ Take Him, Earth for Cherishing, composed in the wake of President Kennedy’s assassination, is a deeply personal work in which the composer channels his grief for his own son. The haunting text, set to a lush harmonic backdrop, finds poignant expression through the solo tenor of Simon Williams, who brings a heartfelt sincerity to the performance. The choir’s accompanying harmonies weave a tapestry of sound that resonates with both sorrow and hope, reflecting the duality of the work’s inspiration.

While the inclusion of the two psalm settings may lack thorough documentation, their stylistic coherence with Howells’ broader oeuvre is evident. The performance of Psalm 121 and Psalm 122 is marked by a supple vocal line, and the choir’s attention to textual clarity elevates these lesser-known works to notable heights.

The only drawback of this release lies in the rather sparse liner notes, which omit the texts of the choral works, potentially disadvantaging listeners unfamiliar with them. However, this minor oversight does not detract from the overall impact of the recording.

This collection stands as a vital contribution to the discography of Howells’ choral music, showcasing the technical prowess and emotional depth of the Choir of King’s College, Cambridge. The combination of well-considered interpretation and high-quality engineering confirms its place as an essential listen for both aficionados of English choral music and newcomers eager to explore Howells’ profound legacy.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.