Reviewed by Steven Whitehead

The shadow of the late Sir John Tavener falls across this release as a vivid reminder of his talent and influence. The composer regarded his 2004 epic 'The Veil Of The Temple' as "the supreme achievement of my life and the most important work that I have ever composed." It was given its debut performance by The Temple Church Choir and on this new recital the seventh of the work's eight cycles, "Mother Of God Here I Stand", is used as an independent anthem and reminds us of what we lost with Sir John's passing in 2013. The American composer Nico Muhly (born 1981) is an admirer of Tavener and it shows in this debut recording of "Our Present Charter". It was at the Temple Church in January 1215 that Bad King John was persuaded of the need for a charter which would limit his powers and protect the rights of his subjects. Three of those to witness the sealing of this charter on the banks of the River Thames at Runnymede - William Marshal (Earl of Pembroke and the King's chief advisor), his son William, and Brother Aymeric (Master of the Order of Knights Templar in England) - are all buried in the Temple Church, so it is right and proper that the Temple Church takes the lead in commemorating Magna Carta's 800th anniversary in 2015. "Our Present Charter" is in four sections. The first of these - simply entitled "First" and making much use of this word - is a setting of the opening words of the charter. The second section is a setting of the hymn "Thy Kingdom Come, O God!" which has words by Lewis Hensley (1824-1905) while the third takes its text from The Beatitudes. In the final section - "Nullus Liber Homo Capiatur (No Freeman Shall Be Taken Or Imprisoned)" - the words are again taken from the Magna Carta. Whether your interests lie in English history or contemporary choral music this really is a "must hear" work. The remaining pieces are much better known: Parry's "I Was Glad", Walton's "The Twelve", Vaughan-Williams' setting of Bunyan's "Valiant-For Truth", Bairstow's "Blessed City, Heavenly Salem", and Haydn's "Te Deum In C Major". As a programme this is entirely satisfying. The singing, directed by Roger Sayer, is generally very good and Greg Morris accompanies with aplomb on the organ. Well worth investigating.

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