The scholarly conductor has injected new life ... by using his own editions. There is an air of celebration about Robert King's new CD of Stanford and Parry's choral music, recorded with his King's Consort as the first release on the group's new Vivat label. The glories of the late Victorian and Edwardian ages may not be for everyone, but King proves it was not all wan revisitings of Elgarian pomp and ceremony.
The scholarly conductor has injected new life here, not only using period instruments, but eliminating the crude misreadings of decades by using his own editions.
Stanford and Parry were progressive for their times, as you can hear in the first lines of the opening Stanford Magnificat, in which the spirit of Brahms is in abundance. Bearing in mind the reputation of these fine English musicians in the field of early music, one could be forgiven for hearing a viol-like delicacy in the muted and occasionally swooping strings that launch the ensuing Nunc Dimittis.
When it is time for grandeur, nothing is held back. After hearing Parry's coronation anthem I was glad: with full orchestra and blazing brass, it will be rather difficult to be content with just organ accompaniment.
As for the king of instruments, I am in awe of the technology that enables Hereford Cathedral's magnificent organ to be used on a recording made in the responsive acoustics of London's St Jude's church.
