Britain's Finzi Singers, under the direction of Paul Spicer, specialize in twentieth-century British choral music. This CD, the third in a series featuring an all-Britten program, includes one of his earliest works, written while he was at the Royal College of Music and experimenting with serial procedures: 'A Boy Was Born.' One of his last compositions, 'Sacred and Profane,' written the year before his death in 1976, is a cyclic setting of verse from the 12th and 14th centuries. Also included are 'Five Flower Songs' (1942) and 'Advanced Democracy' (1938, reflecting the political unrest in Europe). As is typical of contemporary classical, the sound can be tonally ambigious, stylistically discordant and disturbing, though expertly realized.

As directed by Paul Spicer, this English mixed ensemble has devoted themselves to the promulgation of British choral works. The relatively obscure Gustav Holst composed during the turn of the century, whereas Vaughan Williams began his career slightly later, by collecting English folk songs, ultimately accumulating over eight hundred! Later, Williams wrote various pieces for royal occasions and the like, such as 'The Souls Of The Righteous' to dedicate the Battle Of Britain chapel. Sometimes dark and mournful ('Valiant For Truth'), hearty and powerful ('Sing Me The Men'), eerie and captivating ('Full Fathom Five') or gentle and pure ('O Lady, Leave That Silken Thread'), this collection is always uncompromised in excellence.

Given performances as openly sincere and sensitive as these, few could remain unmoved. Bethlehem Down with its haunting, desolate air is the best-known work here but it only hints at the emotional intensity of such wonderful carols as The full heart with its exotic harmonies and complex part-writing and the ravishingly beautiful Corpus Christi. The relationship between Warlock and Moeran can be overworked: musically the connections seem largely superficial. Not for Moeran the pained utterances of a twisted soul, but in these two matchless madrigal suites there is an indefinable Englishness-the result of a deep awareness of tradition and love of the countryside. Again the innate musicality of the Finzi Singers pays handsome dividends; these warm-toned, richly expressive voices (not least Andrea Gray and Andrew Carwood, magnificent soloists in Warlock's Corpus Christi) seem to capture the very essence of this uniquely lovely music.

In a series focusing on sacred 20th century choral works of British composers, the 20-strong mixed choral group The Finzi Singers, founded and directed by Paul Spicer, have presented some brilliant works by relatively unknown composers. Herbert Howells, described as 'the central composer for the 20th century Anglican liturgy,' is hardly unknown, but here are early works for the church that were believed lost up until very recently. Included are 15 of Howells' songs, including the 8 soaring movements of 'Mass in the Dorian Mode, 'Salve Regina,' 'O salutaris Hostia,' 'Sweetest of Sweets,' 'Come My Soul,' 'Antiphon,' Nunc dimittis' and Regina caili,' Following are works by Bernard Stevens, like Howells, closely associated with the Royal College of Music. The 5 movements of his 1939 'Mass for Double Choir,' 'Kyrie eleison,' 'Gloria,' 'Sanctus,' 'Benedictus' and 'Agnus Dei' are striking works by a brilliant composer whose works are under-performed and under-recognized today. The Finzi Singers are one of the best church choirs we've heard, and they have recorded a very special CD. The extensive liner notes have all lyrics and information about the composers.

This is the first volume of the Britten Choral Edition series. The recital opens with four masterful hymns that exhibit Britten's creativity, including the Hymn of St Columba (1962) and the Hymn to the Virgin (1930), which serve as testaments to the skill he possessed at age 16. The recording continues on to the frequently-recorded Rejoice in the Lamb (1943), the delightful Choral Dances from 'Gloriana' and concludes with A.M.D.G. The Finzi Singers' Britten Choral Edition cannot escape comparrison to (if not competition with) the three-disc Britten set previously released by The Sixteen. In regard to the two series, as weighed in a review by Gramophone (August, 1998), 'there is no clear-cut decision. Balance differs somewhat in the two recordings, The Sixteen having a fuller, more sonorous presence, the Finzis giving more prominence to the organ in accompanied items. Andrew Lumsden's contribution may indeed help to tip the balance further in the Finzis' favour for he is constantly bringing out something in colour or rhythm that adds flavour and distinction.'

The second installment of the Britten Choral Edition opens with the spirited and little-known Jubilate in E flat (1934), and gives great pleasure throughout. The opening of the Te Deum, for instance, is energetic in its precision. The opening of the Sanctus in the Missa brevis similarly bears an extra splendour of tone and movement. Sweet was the Song the Virgin sang (1931 and second term at the RCM) has an uncanny sureness of touch, and 'Thou art the King of glory' erupts with color vitality in rhythm. The Missa brevis too gains with each listen, although Gramophone (Augsut, 1998) reminds of us to question of the use of women's voices instead of boys'. 'Something is lost, even here, and going back to Britten's own recording of the Ceremony of Carols with the Copenhagen Boys' Choir (odd as they often sound to our ears) one again misses something distinctive on return to the ladies - whether of the Finzi Singers or The Sixteen.'

The Finzi Singers are a 20-strong, mixed British choral group, founded by Paul Spicer in 1987 for a Festival of British Music given under the auspices of the Finzi Trust. They are now regarded as the major exponents of British 20th-century choral music, in which they specialize. For the Chandos label, the Finzis are recording a wide variety of British music, much of which has never been heard before. This is the music of Kenneth Leighton (1929-1988) all eclectic, powerful Christian choral music, 8 songs in five groups: 'God's Grandeur,' 'What Love Is This Of Thine?,' 'Give Me the Wings of Faith,' 'Crucifixus pro nobis, Op. 38,' which has four parts, 'Christ in the Cradle,' 'Christ in the Garden,' 'Christ in His Passion,' and 'Hymn,' and 'Lully, Lulla, Thou Little Tiny Child' first composed when Leighton was only 18. Difficult, dissonant, soaring passages are easily handled by the Singers, who treat us to some amazing music by an fine, relatively unknown composer. Some organ accompaniment. Extensive, detailed liner notes.

The Finzi Singers seem to know just what is required of them, bringing their imaginative style to some of the best partsongs. The programme is arranged chronologically until the last five pieces, which form a kind of encore-group or coda to the recital. From Op. 18 to Op. 73 is quite a journey. In years, it goes from 1890 (the date of My love dwelt in a Northern land, from Op. 18) to 1914: most of Elgar's creative life lies between. The imaginative freedom and technical assurance of the 1914 settings are attributes hard won in the period that divides these compositions from the easier charm and geniality of the early sets. Yet, returning to those, one finds a very characteristic strength, whether of melody, harmony or phrasing.

This is another exemplary addition to the Finzi Singers' ever-expanding discography. The earliest offerings here include 'Even Such Is Time,' an unpublished effort from 1913, and spans all the way to 1970, with 'and Thee I Will Love,' a heartfelt setting from 1970 with words by Robert Bridges, 'commemorating the massacre of the monks of the Abbey of Medehamstede - now Peterborough Cathedral - in AD 870'. As we have now come to expect from this partnership on record, these are splendidly fervent, finely disciplined performances (one readily forgives the occasional raw sonority from the sopranos). Excellent Chandos engineering, too. A hearty recommendation.

Here is another excellent record by the Finzi Singers in a series which is proving as valuable as anything in the current lists. They have standards in their choice of music as in their manner of performance, and everything they have undertaken in their recordings has been in a tradition of good workmanship and good taste. This present programme, with its alternation of works by Howells and Vaughan Williams, illustrates the individuality of both composers as well as the shared possession of a culture deeply loved and richly imbued. All are finely caught in these performances, not least the aeroplanes in Harry Bickett's imaginative registration and skilful playing. Choral tone, the work of soloists drawn from the choir, recorded sound, written presentation, all are admirable features of a highly recommendable disc.