This catalog lists the recordings in my collection of recorded Anglican cathedral music. The sections of the catalog are: a Recording listing of each record, showing collection accession number, performing group and director, name of the record, Anglican composers represented, format, recording company, and company catalog designation; a Choir listing, alphabetical by group; the choirs shown by Vocal Format, a Director listing, alphabetical by name; a Composer listing, alphabetical by name, and showing the actual music titles; and a Canticle listing, grouped by standard Anglican canticle. A few recordings that I want to keep but which do not strictly fit into the collection because of their repertory are classed “Uncatalogued” and listed separately, and there is a listing of recordings “with unusual or interesting presentations” (radio broadcasts, recorded concerts, narrated church promos, etc.).
This collection is gathered to represent the repertory written for or used in the Anglican church -- it is not a collection intended to represent the sounds of various choirs, and I have generally overcome the temptation to buy a record that completely duplicates repertory already represented but which brings in a new choir. In the same way, records of music not falling within the bounds of the collection (as described below) have been largely avoided. The focus is on the sound of the music, and the intent is to provide a way of hearing the actual compositions that sheet music does not offer, whether for the researcher, teacher or enthusiast (of which I am one). I have been as happy to collect recordings by secondary choirs as by top-level organizations, because the music is most often heard from the voices of these smaller parish choirs and in many ways this is its most authentic sound. It is important for us to remember that this is religious music, written to praise God, and that singing it is an act of devotion, regardless of the performers’ ability or training.
The bounds of music collected have expanded gradually thru the years, but largely center on works heard during a standard Sunday service -- canticles, anthems, and (secondarily) chants, hymns, and descants. In accordance with contemporary Anglican practice, the language of the work is not a factor in this selection, but appropriateness of the text is decisive – hence, the increasing number of Hebrew compositions. Seasonal or occasional works such as carols, burial services and coronation music are also included. As compositions become too long or too ambitious for Sunday use they begin to fall outside these bounds -- that is, cantata-length works were acquired if I had the money and inclination but almost never oratorios, tho these are often represented by individual choruses and solos. Arrangements of existing tunes are also included, assuming that the arrangement is more ambitious than a mere harmonization. Hymns and descants are generally only acquired when they are on records with other repertory -- it is easy to play hymns on a piano and hear them adequately. In many of these areas, and even in the matter of whether a specific piece is religious or secular, I often have to make debatable decisions.
A fair number of short secular works by these same composers are represented, and they appear because they are pleasing and because they throw light on a closely related aspect of the composers’ activities. I have not listed these individually but with some generic description such as Catch, Glee, Partsong, Arrangement or the more ambiguous Contemporary, whichever seemed most appropriate at the time. Hymns, descants, and chant tunes also are listed generically; the user must check the record jacket to identify the individual piece.
The collection covers all English-speaking
composers, whether native-born or immigrant (and a few continental musicians
who sojourned in
Life dates accompanying the Composer listing are given only as an aid in use of the catalog -- this is not a research project, and I have only done what was relatively convenient in this regard, mostly checking names in Groves or Southern or a number of good web sites, and occasionally supplying information from my personal knowledge. Some composers can be fairly safely dated from their music, and so are attributed to a given century. Note that some record jackets are autographed by the composer or choirmaster, and that some recordings are accompanied by letters, catalogs, etc. in a separate file.
These recordings have been acquired since
about 1979, when my friend Michelle Scanlan gave me
three Anglican records for my birthday; I found that I had casually picked up
25 or so discs of a repertory I know and love well from years of choir singing,
originally at the
*Recordings 1-499* *Recordings
500-999* *Recordings 1000-1499* *Recordings 1500-1999* *Recordings
2000-2499* *Recordings 2500-2999* *Recordings 3000- *
*Choirs by Name* *Choirs by Vocal Format*
*Recordings with Unusual Presentations*
*Composers A-Be* *Composers
Bi-By* *Composers C* *Composers
D-E* *Composers F-G* *Composers
H-I* *Composers J-L* *Composers
M-N* *Composers O-Q* *Composers
R* *Composers S* *Composers
T-V* *Composers W-Z*