ANTHEM RECITAI.

Press, Volume LXXXV, Issue 25796, 6 May 1949, Page 9

ANTHEM RECITAI.

CHOIR OF CHRISTCHURCH CATHEDRAL

The first item in the recital of popular anthems given by the Christchurch Cathedral Choir in the Cathedral last evening was R. R. Terry’s arrangement of Richard de Castre’s Prayer Terry’s choir at Downside made history; so, later, did his choir at Westminster Cathedral. He used each in its turn to make known again the music of the great polyphonic period long forgotten in Britain: music much of which he himself salvaged from the apparently obliterated past. And. he made it popular; enormous congregations gathered to hear it. He made it news; Fuller Maitland in “The Times” and Robin Legge in the “Daily Telegraph” wrote regularly the articles which were “the nucleus of the snowball of press comment that rolled on with the years to gigantic proportions.” Last evening’s recital was a reminder that there is a similar work to be accomplished here. In present circumstances the choir to do it is that of the Christchurch Cathedral. Maintaining for many years the best traditions of Anglican Church music, it has gained for itself a fine reputation in this country and overseas: its repertoire is extensive and of high quality; and. as a choir, it has a technique comparable with that of almost any cathedral choir at Home. It was heard at its best in the unaccompanied anthems, notably the Terry arrangement mentioned and the Elizabethan, Lord, for Thy Tender Mercy’s Sake. Here there was a wellnigh perfect combination of beautiful. controlled tone, excellent blend and balance, and effective nuance. Thou Wilt Keep Him (Lee Williams) and Lord, it Belongs Not to My Care (Walford Davies) came near to the same standard. Of the accompanied anthems, Purcell’s Rejoice in the Lord, Bach’s Jesu. Joy of Man’s Desiring, and S. S. Wesley’s Lead me. Lord, were very well done. Some satisfying solo singing was heard in Mendelssohn’s Hear my Prayer; but it was towards the end of this work that the choir’s standard of intonation momentarily, and for the only time, sank below its usual level. Perhaps themost striking effect in Charles Burke’s arrangement of St. Patrick's Breast Plate was the treble entry after the long introduction for organ. Equally impressive was the ending of Charles Steggall’s Remember Now Thy Creator. The ether two items in the programme. Blessed Be the God and Father (S. S. Wesley) and Lift the Strain of High Thanksgiving (J. R. Watkinson) were finely sung. .The very large and, attentive congregation found its listening greatly helped by Mr C. Foster Browne’s descriptive programme notes which were read by the Precentor. Mr Foster Browne s high ability as trainer, conductor and organist was clearly manifested throughout the recital. He has a choir which, not only at public recitals but frequently each week at the various services, sings some of the finest music written for church use; and. from the-size and attention of last night's audience, it is obvious that Mr Foster Browne and his choir are making that music popular. V.G.