The more of Parry's music one comes to know, the more apparent it becomes that the received opinion of him is askew. Take the 1882 settings of the Magnificat and Nunc dimittis, for instance.
These, amazingly, were not published until 1982. This recording – another example of Hyperion's courageous policy – shows how un- Victorian in the accepted sense they're. In other words, they're bold, unconventional and unsanctimonious – like quite a lot of Victorian church music, one may add. Perhaps the big anthem, Hear my words (1894) shows more signs of conventionality, but it has an attractive part for solo soprano (treble here) and ends with the hymn 'O praise ye the Lord'. The St George's Chapel Choir, conducted by Christopher Robinson, sings these works with more ease than it can muster for the famous and magnificent Coronation anthem I was glad, ceremonial music that not even Elgar surpassed. A sense of strain among the trebles is always evident. Although a wholly adult choir in the Songs of Farewell might be preferable, these are assured and often beautiful performances – excellent diction – of these extraordinarily affecting motets. English music doesn't possess much that's more perfect in the matching of words and music than the settings of 'There is an old belief' and 'Lord, let me know mine end', invidious as it is to select only two for mention. A stirring Jerusalem completes this enterprising recording, which brings the sound of a great building into our homes with absolute fidelity.