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Track(s) taken from CDA67483

Behold, O God our defender

composer
4 June 2002
author of text
Psalm 84: 9-10

St Paul's Cathedral Choir, John Scott (conductor)
Recording details: March 2004
St Paul's Cathedral, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: January 2005
Total duration: 2 minutes 46 seconds
 
1
Behold, O God our defender  [2'46]

Reviews

'The performances are excellent, as are William McVicker's booklet-notes, and the great echo's presence is felt as friend, not foe' (Gramophone)

'If this is Scott's swan song with the St Paul's Choir, it is a brilliant one. The choral tone and discipline are outstanding … The Hyperion engineers demonstrate that they know how to record a choir in a highly reverberant setting. The tone is always clear but sumptuous, giving the listener a feel for the immense space involved yet never obscuring the musical textures. The audible reverberation at the pauses in Parry's Lord, let me know mine end is nothing short of breathtaking' (American Record Guide)

'Each piece in this collection—those considered first-rate, those considered perhaps less than first-rate, and those perhaps scarcely considered at all—is given added quality through the pedigree of the performers and the performances; thus many find a stature which would surprise the cynic. If this CD enables some standard works to receive reference performances, and some lesser works to receive a fresh popularity, then it will have done more than most such collections. Warmly recommended' (Organists' Review)
John Scott (b1956) began his musical career as a chorister at Wakefield Cathedral. While still at school he gained the diplomas of the Royal College of Organists, winning the major prizes. He was organ scholar of St John’s College Cambridge, acting as assistant to Dr George Guest, and during this time, continued his studies with Gillian Weir. On leaving Cambridge he became assistant organist at both St Paul’s and Southwark cathedrals, later becoming sub-organist of St Paul’s, and in 1990 succeeded Christopher Dearnley as organist and director of music. Under his direction, the St Paul’s Choir toured three continents, made many recordings and performed with most of the London orchestras.

As an organist, John Scott has performed in five continents, premiered many new works written for him, and worked with various specialist ensembles. He is a first-prize winner from the Manchester International Organ Competition (1978) and the Leipzig J S Bach Competition (1984). In 1998 he was nominated International Performer of the Year by the American Guild of Organists, and he is a past president of the Incorporated Association of Organists. In the summer of 2004 he was translated to the post of organist and director of music at St Thomas Church Fifth Avenue, New York, but not before he had given concerts in Switzerland, the USA, South Africa, Holland, Notre Dame in Paris, Passau Dom in Germany, the Hereford Three Choirs Festival, and Birmingham’s Symphony Hall; he participated in the Gala Concert to celebrate the Royal Festival Hall organ’s fiftieth birthday and in the triumphant opening of the restored and rebuilt organ at the Royal Albert Hall. He also gave two memorable recitals at St Paul’s and Westminster Abbey, and conducted an outstanding performance of Verdi’s Requiem. John Scott was appointed a Lieutenant of the Royal Victorian Order (LVO) in the 2004 New Year’s Honours List.

Of the anthem Behold, O God our defender, the composer writes: ‘I was invited to compose an anthem for the Golden Jubilee Service of HM The Queen held in St Paul’s on 4 June 2002. In a service characterized by pageantry, rejoicing and high celebration, the opportunity was taken to contribute something of a more gentle and reflective nature. As a devotee of the music of Herbert Howells, I was drawn to set these beautiful words from Psalm 84, which shamelessly evokes Howells’s choral palette. Howells set these words for the Coronation Service in 1953, and I’ve always felt his little masterpiece has been unduly neglected. My Royal tribute also ends in homage to Howells; the final tenor phrase, with its Lydian inflection, draws directly on Howells’s setting.’

from notes by William McVicker 2005

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