I'm sorry to quote you on this, but in my opinion I think that you are wrong in saying that about the St Paul's Psalter. I do rather enjoy psalms and, depending on what mood I'm in, sometimes think the psalm(s) are the best part of the liturgy. I'm almost (but not quite) embarrassed to say that I have the complete Priory, complete Hyperion (St Paul's), King's Cambridge, Westminster Abbey and John's Cambridge recordings of the psalms - particularly to hear different interpretations of such familiar texts.
I hope you don't mind me doing so, but I pick you up on your point for two reasons:
Wouldn't it be awfully boring if every choir did the same pointing;
Quick moving harmony doesn't work in an acoustic like St Paul's.
If you look closely at the St Paul's Psalter (or listen to the recordings if you don't have the Psalter to hand) you'll notice that John Scott stretches out the bars of the chant within the line of the text so that the same chord is held for longer, for example:
11. Tush say they * | how should · God per- | ceive it :
whereas somewhere like Winchester Cathedral sing
11. Tush say they * how should | God per- | ceive it :
As I'm sure you're aware, the strong syllable of the word needs to come at the beginning of the bar, and therefore John needed to find the next best word to change on earlier in the line, if you see what I mean.
Also, the tempi at which the St Paul's Psalter was recorded makes the pointing work, whereas if a choir sang the same pointing at speech rhythm the pointing wouldn't make any sense.
Lets not forget that the St Paul's Psalter was written for use in the liturgy in the Cathedral, and not specifically for the Hyperion recordings where the microphones are only a few feet away from the choir. People attending a service in St Paul's are often at a long distance from the choir and therefore if the conductor isn't careful with his choice of tempi the words can easily get lost in the acoustic. The words are meant to be heard by all, not just by those who got there early enough to be sitting near the choir stalls.
The sheer amount of word painting from the organ, the famous St Paul's acoustics, the clarity of the words, the beautiful choice of chants, the vast amount of drama gained from the huge amount of dynamics and different speeds dependent on the mood of a particular psalm, and the fantastic ensemble makes this complete recording of the psalms by John Scott one of the best on the market in my opinion, and the 12 discs take a proud place on my iPod.
Love it or hate it, I think these recordings deserve to be heard by all.