Andrew Palmer, Group Editor

Classical Music: Hymns From Merton

Hymns from Merton

Drop, Drop, Slow Tears Gibbons; All My Hope On God Is Founded (Michael), Be Still, My Soul (Finlandia); Love Divine, All Loves Excelling (Blaenwern) Before the Ending of the Day (Plainsong); Praise, My Soul, the King of Heaven; I Heard the Voice of Jesus Say (Kingsfold); O Worship the Lord in the Beauty of Holiness (Was lebet); Christ Is Made the Sure Foundation (Westminster Abbey); Dear Lord and Father of Mankind (Repton); The Day Thou Gavest, Lord Is Ended (St Celement); Abide With Me (Eventide); Be Thou My Vision, O Lord of My Heart (Slane); And Did Those Feet in Ancient Time (Jerusalem); Creator of the Stars of Night (Plainsong); Sweet Sacrament Divine (Divine Mysteries); In the Hour of My Distress (Litany to the Holy Spirit) All People That On Earth Do Dwell (Old Hundredth).

The Girl Choristers and Lower Voices of Merton
College, Oxford
Director Benjamin Nicholas
Organists: Owen Chan and François Cloete
Merton Brass
Delphian DCD3432


https://www.delphianrecords.com/


There’s a generation of adults that only know two hymns, thanks to the schools they attended. It is a terrible indictment of the education system. All things bright and beautiful, and the ubiquitous One more step, - thankfully not represented on this album - have usurped the place of gems like Dear Lord and Father of Mankind, which used to be a firm wedding favourite alongside Praise My Soul, both included from Merton with delightful descants. That is not to denigrate modern hymns. There have been some incredible examples added to the canon over the decades.

Peter Moger’s notes, which I fully recommend, end by summing up that the map of English congregational song changed dramatically in the final 30 years of the twentieth century, largely because of a charismatic revival across all mainstream denominations. Moger highlights the polarisation of styles and the ongoing development of the worship song as a genre, which he perceives as more akin to a performance song than something intrinsically congregational.

Therefore, discs like this one from Merton College's Girl Choristers, that celebrate a tradition that has enhanced Christian worship for hundreds of years, are to be welcomed.

Benjamin Nicholas has put together a lovely selection that will be thoroughly enjoyed. Of course, there are the pot boilers you would expect, and it is not all loud organs, brass, descants, and last verse harmonies, although there are plenty to savour.

The disc opens with Drop Drop Slow Tears, where Gibbons’ simple tune is attractively communicated, and there is also the plainsong Creator of the Stars of Night. Peter Hurford’s anthem Litany to the Holy Spirit is given a polished performance.

There is so much to appreciate in the arrangements. Nicholas has made sure there is plenty of variation. The blend of the voices is superb, whether it is the treble lines singing on their own as in the beautiful O worship the Lord, with that wonderful line ‘Mornings of joy give for evenings of tearfulness’, or the tenors and basses and an excellent bass solo from Joseph Rhee in Vaughan Williams’ I heard the voice of Jesus, in a terrific arrangement by Robert Quinney. 

Nicholas’ choir is in fine fettle; the girl choristers perform with distinction; the blend between the different parts is lovely; and the diction is excellent. 

The organists Owen Chan and François Cloete create the perfect cushion, demonstrating what excellent accompaniment sounds like. Cloete plays Jerusalem after Elgar's orchestral score, which is great.

Merton Brass provides fantastic fanfares, particularly in Christopher Palmer's arrangement of Howells' Michael to All My Hope, and it's impossible not to feel goosebumps when listening to RVW's magnificent Old 100th with that opening timpani and trumpet sound.

There will be another generation for whom this disc will undoubtedly warm the cockles of their hearts and bring back many wonderful memories.

Photo: Ben Tomlin
Photo: Ben Tomlin