Sir Charles Hubert Hastings Parry (1848 – 1918) may only be known by some outside the UK as the composer of the hymn “Jerusalem”. Some may possibly be familiar with “Blessed Pair of Sirens” and “I Was Glad”. Yet there is far more to Parry than these; his symphonies and concertos are particularly fine and are unduly neglected. His oratorio ‘Judith’ or ‘The Regeneration of Manasseh’ is another such item. Composed in 1888, this is its premiere recording, following a successful 2019 London performance.
Judith is not as profound as Elgar’s “The Apostles”, “The Kingdom” and “The Dream of Gerontius”, or as a dramatic as Vaughan Williams’ “A Sea Symphony”, but the echoes of these pillars of British choral music can be heard all the way through. Parry’s musical language is grandly Elgarian. The harmonic language is rich throughout. The arias and choruses are pleasing to listen to, but on the whole lack the drama of works by other composers mentioned above. Cast in two acts made up of a number of scenes, conductor William Vann clearly understands the shape of the music, pacing it in a convincing and persuasive performance.
The two acts consist of contrasting scenes, and are scored for chorus and four soloists. Tenor Toby Spence as Manasseh — King of Israel; Meshullemeth — mezzo-soprano Kathryn Rudge; Soprano Sarah Fox as Judith, and in dual roles bass-baritone Henry Waddington is both Messenger of Holofernes and the High Priest of Moloch. A Children’s Chorus takes the role of Manasseh’s children. The Crouch End Festival Chorus has various roles, including the Chorus of Worshippers and Priests of Moloch, inhabitants of Jerusalem and Assyrian Soldiers.
The soloists have contrasting voices and very different colors. Together they understand the different nature of opera and oratorio, meaning the arias have a certain restraint, more as storytellers than character actors. Rudge and Waddington have rich, sonorous voices. Rudge is very much forging a career as a singer in English repertoire and excels here, with a superb diction throughout. Those familiar with Dame Janet Baker will appreciate the same mellowness, projection and warmth. And it falls to Rudge to deliver the most memorable melody “Long Since in Egypt’s Plenteous Land”, known better in its reworking as the hymn “Dear Lord and Father of Mankind”. Waddington is dramatic with a uniform tone across his range. He makes his presence felt exceptionally well in “Hail, Moloch Hail”. Fox and Spence have lighter voices; Fox has a purity and Spence a lyricism. The work’s opening aria “Draw Near and Worship” is delivered with authority from Spence, his diction matching Rudge’s for its clarity. There is very little ensemble work, but when the voices come together in the final of Act 2, scene 1 — which is a highlight, the casting of voices becomes apparent; Fox, Rudge and Spence blend together beautifully, each voice clearly distinctive.
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Conductor William Vann’s overall approach is straightforward, which creates an attractively honest performance, with is well-executed in terms of expressive details and is free from over-sentimentality. The London Mozart Players are in fine form (take note of the Intermezzo preceding act 2, which shows especially fine playing from the woodwind). The children’s choir are well-drilled, though their sound sadly lacks the polish and purity that many similar groups have. The Crouch End Festival Chorus is commendable, with balanced sound and clear diction. The tone of the choir is good overall, but momentary lapses in exposed tenor and bass lines detract from the mostly strong choral sound, as in the final chorus (“Put off Jerusalem”), which is exceptionally strong, sopranos provide clarity with secure intonation.
The recording, made in the Church of St Jude-on-the-Hill, Hampstead Garden Suburb, London, has an ideal acoustic for this repertoire. The engineers have captured all the parts with clarity, and the balancing throughout is intrinsic to Parry’s compositional style, which enhances the overall enjoyment of both the work and performance.
Chandos is commendable for committing British choral rarities such as this to record. This recording is as significant as Ethel Smyth’s Mass in D from late 2019 (reviewed here). Vann ensures “Judith” is approachable, and whilst the music is not as instantly recognizable as in Elgar’s oratorios, Vann’s vision brings a worthwhile, rewarding, and recommended listen.
Parry – “Judith, or The Regeneration of Manasseh“
Toby Spence – Tenor
Kathryn Rudge – Mezzo-Soprano
Sarah Fox – Soprano
Henry Waddington – Bass-Baritone
Crouch End Festival Chorus
London Mozart Players
William Vann – Conductor
Chandos Records, 2 Hybrid SACD CHSA 5268(2)
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