O Holy Night
Choir of St John’s College, Cambridge/Christopher Gray
Alexander Robson (organ)
rec. 2024/25, Chapel of St John’s College, Cambridge, UK
Texts included
Signum SIGCD913 [72]
Earlier this year I reviewed the first disc that the Choir of St John’s College, Cambridge had released since Christopher Gray became their Director of Music. I was very impressed by the performances of challenging pieces but towards the end of my review I said “I would be interested to evaluate [Gray’s] work with the choir in more mainstream repertoire also; perhaps on their next CD?”. It will be entirely a coincidence – albums such as this take months of preparation – but this follow-up disc does indeed include a generous helping of mainstream repertoire, albeit there are a few less familiar pieces dotted here and there.
I don’t by any means take for granted such Christmas ‘standards’ as Philip Ledger’s excellent arrangement of the Sussex Carol, Stille Nacht, in a nice arrangement by the organist Simon Morley, or Pearsall’s eight-part In dulci jubilo but I imagine that collectors won’t make those pieces the reason why they decide to purchase this disc. So, I’ll content myself with saying that all are very well performed indeed, as is Adolphe Adam’s O Holy Night. However, it would be wrong to move on without saying that O Holy Night features a very fine treble solo by Montague Tatnell, who sings with tonal purity and admirable assurance. Incidentally, nowadays the St John’s choir includes a number of girl choristers – though boys are, for the moment, still in the majority. The boys and girls sing together as a single unit; so, if I use the term ‘treble’ in this review to refer to them collectively it is simply for convenience.
I referred a moment ago to Christmas ‘standards’ and John Rutter has composed more than his fair share of those over the years. There is a flower is perhaps not as well known as some of his other seasonal pieces, though I believe it’s one of his very best. This was a St John’s commission, back in 1985, and its inclusion here, in the year that Rutter turned 80, is highly appropriate. The piece has a very touching melody, winningly harmonised. I enjoyed this performance very much indeed, not least the outstanding solo work of chorister Bryony Macleod-Jones. I can imagine that Sally Beamish’s In the stillness (2007) might soon become a Christmas ‘standard’ too. The words by Katrina Shepherd are very good indeed and Beamish has set them most sensitively. Here, the piece receives a flawless performance.
Saly Beamish isn’t the only female composer represented here. Errolyn Wallen’s Peace on Earth is a hauntingly original setting of her own words. It’s scored for unison trebles who are accompanied very discreetly by an organ part which always suggests to me falling snowflakes. In complete contrast, Tamsin Jones’ Noel: verbum caro factum est, which I’d not previously heard, features robust rhythmical writing. The music is a completely successful modern updating of the medieval musical idiom. The other female composer is Becky McGlade. I wonder if the inclusion of her In the Bleak Midwinter is a nod by Christopher Gray to Cornwall, and in particular to Truro Cathedral where he spent some twenty-two years from 2000, first as Assistant Director of Music and then, from 2008, as Director of Music. I recall that he included this very piece on a 2013 CD recorded to mark the 125th anniversary of the consecration of Truro Cathedral (review). If the inclusion of McGlade’s setting of Christina Rossetti’s poem is a ‘nod’ to Truro then it is well merited. I liked the piece when I first heard it on that Truro album and reacquaintance with it now conforms that favourable first impression. Rebecca Franks says in her notes on the music that Becky McGlade has produced “a vision of peaceful winter stillness rather than cold bleakness, with soft dissonances conjuring an ethereal snowy atmosphere”. I agree.
The twin cornerstones of the programme are Howells’ Three Carol Anthems (1918-1920) and Poulenc’s Quatre motets pour le temps de Noël (1951-1952). The former includes ‘A Spotless Rose’, which has become ubiquitous. The music flows wonderfully and the harmonies are gorgeous; Rebecca Franks is right to refer to the setting’s “mellifluous grace”. This performance is ideal and Alexander Semple’s baritone solo is beautifully judged. Actually, much though I love this exquisite little gem, I’m almost inclined to suggest ‘A Spotless Rose’ has become a bit too ubiquitous; are we in danger of taking it for granted? It does unfairly overshadow its two companion carols. ‘Sing Lullaby’ is a setting of lines by Howells’ great friend, F W ‘Will’ Harvey. The music is just as lovely and just as flowing as is the case with ‘A Spotless Rose’, though the music for the second of the three stanzas has slightly stiffer sinews. ‘Here is The Little Door’ is, arguably, the finest of the set of three. This has a text about the visit of the Magi by Frances Chesterton, the wife of G K Chesterton. Howells’ music is acutely responsive to every image in the poem; the St John’s choir is alive to every nuance in the piece.
Poulenc’s Quatre motets pour le temps de Noël are masterly in all respects. The sense of mystery in ‘O magnum mysterium’ is very well conveyed in this performance, as is Poulenc’s bittersweet lyricism. I admire the absolute unanimity of ensemble in ‘Quem vidistis pastores dicite’ and also the expert internal balance achieved between the voices. ‘Videntes stellam’ is ideally judged. The closing motet, ‘Hodie Christus natus est’ is jubilantly delivered; the choir’s articulation is very impressive.
So, this album has given me the opportunity to assess the partnership of this choir and Christopher Gray in more mainstream repertoire in addition to the challenging contemporary repertoire that formed their debut album together. Unsurprisingly, the results confirm that the choir is in expert hands. This is a most enjoyable programme, superbly performed.
The recordings were made in two sets of studio sessions at the end of the 2024 and 2025 academic years. (The booklet includes a number of session photos, showing the choir very much in summer casual dress; nonetheless, even in July they managed to get into the ‘Christmas spirit’.) The recordings were the work of an expert team, producer Adrian Peacock and engineer David Hinitt. They’ve worked with this choir and in this venue on many previous occasions and it shows. The sound is excellent. The choir is very well balanced and can be heard with great clarity while the St John’s Chapel acoustic imparts a pleasing resonance. The St John’s releases are always well documented and this latest CD is no exception. There’s a good, short essay by Christopher Gray in which he introduces the overall programme. Rebecca Franks’ more detailed notes on the individual items are excellent,
John Quinn
Previous review: Simon Thompson (October 2025)
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Contents:
Adolphe Adam – O Holy Night
Sally Beamish – In the stillness
Tamsin Jones – Noel: verbum caro factum est
Traditional arr. Philip Ledger – Sussex Carol
Sir John Rutter – There is a flower
Anonymous – There is no rose
Herbert Howells – Three Carol-Anthems
Robert Lucas Pearsall – In dulci jubilo
Errolyn Wallen – Peace on Earth
Felix Mendelssohn – When Jesus our lord was born in Bethlehem…Say, where is he born…There shall a star from Jacob come forth (from Christus, Op 97)
Franz Xaver Gruber arr. Simon Morley – Stille Nacht
Francis Poulenc – Quatre motets pour le temps de Noël
Becky McGlade – In the Bleak Midwinter
Jonathan Dove – The Three Kings
