℗ 2017 Hyperion Records Limited
| Released | July 28, 2023 |
| Originated | January 27, 2017 |
| Duration | 1h 13m 35s |
| Record Label | Hyperion |
| Genre | Classical |
Finzi, Bax & Ireland: Choral Music
James O'Donnell, The Choir of Westminster Abbey
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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1.1
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My Lovely One, Op. 27 No. 1
Gerald Finzi; Edward Taylor; James O'Donnell; The Choir of Westminster Abbey |
3:05 | |||
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1.2
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God Is Gone Up, Op. 27 No. 2
Gerald Finzi; Edward Taylor; James O'Donnell; The Choir of Westminster Abbey |
4:55 | |||
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1.3
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Welcome Sweet and Sacred Feast, Op. 27 No. 3
Henry Vaughan; Gerald Finzi; James O'Donnell; The Choir of Westminster Abbey |
7:36 | |||
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1.4
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Let Us Now Praise Famous Men, Op. 35
Gerald Finzi; Anonymous; The Choir of Westminster Abbey; James O'Donnell |
3:11 | |||
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1.5
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Lo, the Full, Final Sacrifice, Op. 26
Richard Crashaw; Gerald Finzi; Julian Empett; Sebastian Braw-Smith; Julian Stocker; James O'Donnell; The Choir of Westminster Abbey |
15:15 | |||
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1.6
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Magnificat, Op. 36
Gerald Finzi; Anonymous; Simon Ponsford; Jeremy Suppey; James O'Donnell; The Choir of Westminster Abbey |
10:25 | |||
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1.7
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I Sing of a Maiden That Is Makeless
Arnold Bax; Anonymous; James O'Donnell; The Choir of Westminster Abbey |
4:56 | |||
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1.8
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This Worldes Joie
Arnold Bax; Anonymous; James O'Donnell; The Choir of Westminster Abbey |
6:41 | |||
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1.9
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Greater Love Hath No Man
John Ireland; Anonymous; Jonathan Brown; James O'Donnell; Daniel Livermore; The Choir of Westminster Abbey |
6:18 | |||
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1.10
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Ex ore innocentium
William How; John Ireland; James O'Donnell; Daniel Livermore; The Choir of Westminster Abbey |
3:44 | |||
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1.11
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Te Deum in F
John Ireland; Anonymous; The Choir of Westminster Abbey; James O'Donnell |
7:29 | |||
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Digital Booklet
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"The boy choristers … grasp their moment with a confident display of crystalline tonal quality, an informed awareness of textual meaning, and the ability to vary dynamics convincingly."
- BBC Music Magazine
A trio of English composers perhaps better known for their creative output in other fields, yet who played a crucial role in the development of the Anglican choral tradition in the twentieth century. James O’Donnell and Westminster Abbey Choir present a programme centred on Finzi’s Lo, the full, final sacrifice: the other works may be less familiar but are no less moving.
96 kHz / 24-bit PCM – Hyperion Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -1.01 -5.22 to -0.20 | -22.39 -25.26 to -18.19 | -19.66 -24.80 to -15.20 | 13 11 to 14 | |
| 1 | My Lovely One, Op. 27 No. 1 | -5.22 | -25.26 | -24.8 | 11 |
| 2 | God Is Gone Up, Op. 27 No. 2 | -0.20 | -18.19 | -15.2 | 11 |
| 3 | Welcome Sweet and Sacred Feast, Op. 27 No. 3 | -1.11 | -23.89 | -22.5 | 14 |
| 4 | Let Us Now Praise Famous Men, Op. 35 | -0.34 | -21.88 | -20.1 | 12 |
| 5 | Lo, the Full, Final Sacrifice, Op. 26 | -0.23 | -23.45 | -19.7 | 14 |
| 6 | Magnificat, Op. 36 | -0.90 | -21.86 | -18.8 | 13 |
| 7 | I Sing of a Maiden That Is Makeless | -1.25 | -24.98 | -21.4 | 14 |
| 8 | This Worldes Joie | -0.33 | -22.50 | -18.9 | 14 |
| 9 | Greater Love Hath No Man | -0.67 | -20.82 | -17.0 | 12 |
| 10 | Ex ore innocentium | -0.62 | -23.51 | -20.9 | 13 |
| 11 | Te Deum in F | -0.26 | -20.00 | -17.0 | 12 |