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Schelomo: Rhapsodie Hébraïque is the most celebrated part of Ernest Bloch’s Jewish Cycle, and although originally conceived for voice, Bloch determined that only the cello could adequately embody the character of Solomon. The Suite for Viola and Piano was composed between February and May 1919, and the cello version is the work of the pianist and composer Adolph Baller and cellist Gábor Rejtő, who recorded their version in 1969. This album sees the World Premiere Recording of the cello version for orchestra, with cellist Parry Karp, who studied with Rejtő. “Getting to record these two masterpieces with conductor Kenneth Woods and the BBC National Orchestra of Wales is a dream come true” - Parry Karp. Critics’ Choice: Favourite classical recordings of 2025 - Gramophone ★★★★ - “In Kenneth Woods, Karp secures the ideal collaborator. The rapport is absolute, and Woods is all over both works’ turbulent dramas and intricate interweaving motifs." - BBC Music Magazine “Karp is fully attuned to its understated charm and Kenneth Woods, who directed the likely premiere of this version in 2008, secures playing of sensitivity and imagination from the BBC NOW.” - Arcana FM "The performance by Karp and Woods is all that one could wish for, conveying the atmosphere and energy of Bloch’s inspired writing and finding a breathtaking sense of fantasy in the lyrical central episode of the final movement." - Gramophone -
This recording by La Serenissima began life when the ensemble were recording for an earlier release. An issue with budget for a previous release meant these gems had to be left out. Since that release in 2015, La Serenissima have firmly established themselves as one of the leading performing ensembles of Italian Baroque. Following on from their highly acclaimed ‘The Godfather;’ released on Signum last year, this release shows the class act that they are, with these recordings making for one incredible album. La Serenissima was formed in 1994 for a performance of Antonio Vivaldi’s La Sena festeggiante and has now firmly established itself as one of the leading exponents of the music of eighteenth-century Venice and connected composers. The entire repertoire of La Serenissima is edited by director Adrian Chandler from manuscript or contemporary printed sources, a testament to its vision to enrich life by sharing its passion for Italian baroque music. All downloads include booklets. -
David Goode continues his series of recordings of the organ works of Max Reger on Signum with a new CD of his Fantasias & Fugues, recorded on the organ of Bath Abbey. The disc includes his Fantasia and Fugue on BACH and the ‘Symphonic’ Fantasia and Fugue. ★★★★★ David Goode’s performances here, throughout these discs, are exceptional in all aspects… This is a thoroughly recommendable and important issue – very strongly recommended - The Organ -
The youngest musician ever to win the International Tchaikovsky Competition Cello Division, exciting American cellist Zlatomir Fung has collated an album of opera fantasies including Fantasy on Jenůfa which he arranged himself and a Fantasy writte especially for him - Fantasia Carmèn - by composer Marshall Estrin. After extensive research Fung found these fantasies for cello used recognizable tunes from famous operas to create a free medley and that there are few rules beyond the pure expression of the composer’s personality, interests, and strengths as a cellist. But it’s more unconventional elements reimagine the notion of the fantasy itself, proving that the genre’s possibilities are far from exhausted—and, indeed, may only be in their infancy. After his Tchaikovsky competition win, Fung has garnered accolades, critical acclaim and standing ovations at performances around the world, more and more widely recognized as one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 25-year-old has already proven himself a star among the next generation of world-class musicians. ★★★★ - BBC Music Magazine ★★★★ - Limelight "The American cellist Zlatomir Fung has composed a fantasy on Janacek’s opera Jenufa, a feat that defies credibility ... I can hardly believe that what they have done here is doable." - Norman Lebrecht/The Critic “Now, with the release of his debut solo album ‘fantasies’ on the signum records label, Fung takes another significant step in establishing his artistic voice” - Gramophone "You have to stop and concentrate for a moment to realise and appreciate the astonishing amount of work Fung is actually putting in here. The technical brilliance is worn very lightly, but boy is it there when you listen out for it." - Prestomusic -
Their fifth release on Signum Classics, the “engaging” (New Yorker) men’s vocal ensemble Cantus present a collection of songs cycles by contemporary and living composers, exploring different kinds of journeys through song. “These contrasting song cycles share an embrace of change, growth, acceptance and renewal, and through the collective experience of their journeys – great and small, painful and magical – we gain a clearer picture of life and of ourselves” - Cantus "Celebrating their 30th anniversary, Cantus’s lineup may have evolved, but their exquisite vocal cohesion and interpretative clarity remain constant. Fields of Wonder is a bold, intelligent release that confirms Cantus as one of today’s most vital vocal ensembles" - Textura "I was mesmerized by Fields of Wonder" - Cultural Attache “The Cras and Bonds recordings are important items indeed — lovely, little-known music and a major discovery in the field of African American song.” - Allmusic -
Finding Harmony is a new mission for The King's Singers; a mission celebrating music which binds people together in times of hardship. "Singing together binds us together. From the Protestant Reformation in Europe during the 1500s to the U.S. Civil Rights Movement, there have been countless moments in history when songs have united nations, cultures and causes. This is still the case in today’s world. Finding Harmony is evidence that music has always been our common language. A unique collection of pieces that span the globe – including music that’s too often forgotten – each song is the key to a powerful true story about who we are and how we’ve got here. Together, Finding Harmony proves how deeply we can be moved by all kinds of stories when songs connect us to them, and to each other." [1] One day – Michel Legrand, arr. Richard Rodney Bennett
[2] If I can help somebody – Alma Androzzo, arr. Stacey V. Gibbs
[3] S’Dremlen feygl – Leyb Yampolsky/Lea Rudnicka, arr. Toby Young
[4] Tsintskaro – Traditional
[5] Bread and roses – Mimi Fariña/James Oppenheim, arr. Rebecca Dale
[6] Heliseb väljadel – Urmas Sisask
[7] Mu isamaa on minu arm – Gustav Ernesaks
[8] Cielito lindo – Quirino Mendoza y Cortés, arr. Jorge Cózatl
[9] Ein feste Burg – Martin Luther, arr. Johann Sebastian Bach
[10] Ne irascaris, Domine – Civitas sancti tui – William Byrd
[11] Praying – Kesha, arr. Rebecca Dale
[12] Puirt a’ bheul (Mouth Music) – Traditional, arr. Daryl Runswick
[13] O, chì, chì ma ni mòrbheanna – John Cameron, arr. James MacMillan
[14] Shen khar venakhi – Traditional/King Demetrius I of Georgia
[15] Ayihlome/Qula kwedini – Traditional, arr. Neo Muyanga
[16] Nkosi Sikelel’ iAfrika – Enoch Sontonga, arr. Neo Muyanga
[17] One last time – Ariana Grande, arr. Richard Wilberforce
[18] Strange fruit – Abel Meeropol, arr. Stacey V. Gibbs
[19] This little light of mine – Harry Dixon Loes, arr. Stacey V. GibbsAll downloads include booklets. -
Blending iconic choral works with music by today’s most compelling composers, Finding Light is a program centered on the theme of prayer. From the Renaissance exquisite writing of Sheppard’s Libera nos to the luminous sonorities of Lauridsen’s Ubi Caritas and Dubra’s Oculus non vidit, each work offers a distinct meditation on mercy, hope, and transcendence. Highlights include Randall Thompson’s timeless Alleluia and Stephen Paulus’ Hymn to the Eternal Flame, alongside deeply moving contemporary offerings such as Hanna Havrylets’ Prayer and Þóra Marteinsdóttir’s Nú legg ég þér í lófa. Together, these works invite listeners into a space of reflection and renewal, where timeless devotions converse with contemporary longings—and where voices join in a collective search for light. -
Five years on from his debut recording, James Rhodes has firmly established himself in the classical world as a pioneering figure – reaching out through concerts, recordings and television documentaries to create new classical music fans whilst remaining unabashedly dedicated to the core repertoire that he performs. In his fifth recital album from his new label Instrumental Records, he returns with a sumptuous programme of works of Bach, Beethoven and Chopin, the Gluck–Sgambatti ‘Orfeo Melody’, and Liszt’s arrangement of Robert Schumann’s ‘Frühlingsnacht’. This engaging CD suggests Rhodes is finally comfortable in his skin. His readings of Bach's Partita No. 1 and Beethoven's Pastoral sonata are fresh and lovingly detailed, while his Chopin Third Ballade is both fiery and judicious. The Gluck encore is exquisite - BBC Music Magazine A sincere, communicative and mindful musician. He always holds your attention, whether or not you agree with each interpretative notion...Rhodes's fusion of instinct, mindfulness and individuality stand out in any era - Gramophone -
Flight is the stunning new album of works from British composer Oliver Davis (b.1972), composed for and in collaboration with violinist Kerenza Peacock. Flight captures the spirit of movement and energy present in many of Davis’s compositions, which have led to frequent collaborations with groups such as the Royal Ballet and a great number of TV commissions. On disc these works are performed by Kerenza alongside the London Symphony Orchestra under conductor Paul Bateman. [These] exuberant works are performed with charisma and sensitivity by Kerenza Peacock and the LSO - BBC Music Magazine The music is full over movement and energy. It's spirited, lively, and at times reminiscent of the music of Michael Nyman. Kerenza Peacock plays with great panache and verve - Classic FM No quibbles as to Peacock's commitment or panache, while Paul Bateman gets a disciplined response from the London Symphony Orchestra - Gramophone -
Alexander's music has become known for its striking beauty and originality. Described by Positive News as ‘not jazz, not classical, not improvised, but a glimpse of something new’, and by ClassicFM as ‘refreshingly original’, it isn’t easily described or placed into a genre. For the Love of Life sees the composer return to the piano accompanied by four string players from the Scottish ensemble, Mr McFall’s Chamber, alongside the powerfully expressive voice of Hannah Rarity. Chapman Campbell describes his new album as "a celebration of the essential beauty of the human spirit and its capacity to overcome adversity. We’re teetering upon the edge; while slowly recovering from a global pandemic we’re faced with the much broader sickness of our natural world. Rarely have humans experienced a challenge so global in its scale, one that demands such a collective response. Deep down in the human heart, I believe, is a light of immense beauty and strength. Now is the time to find that light, and to lift it up. As an offering of hope, this album is my personal contribution." Hannah Rarity’s has established herself as one of Scotland’s foremost vocalists. Former winner of BBC Radio Scotland Young Traditional Musician of the Year award, her status as a rising talent has been further consolidated by her numerous nominations at the Scots Trad Music Awards, including her shortlisted nomination for Album of the Year 2019 and feature as ‘One to Watch’ in The Scotsman. "It's uplifting music which inspires a sense of sanctuary and stillness and soothes the heart" - What’s On North -
Looking at the variety of Italian baroque instrumental music on offer to today’s listener, one could be forgiven for thinking that Vivaldi had faced little competition during his lifetime. In fact, nothing could be further from the truth. Whilst the volume of music that flowed from Vivaldi’s pen was unusually plentiful, many other composers were needed to fulfil the needs of the regional courts and churches throughout Italy. Expert early-music ensemble La Serenissima perform works by Lorenzo Gaetano Zavateri, Giuseppe Sammartini, Evaristo Felice Dall’Abaco and Giuseppe Antonio Brescianello alongside works by Vivaldi on this new album of Italian Baroque masterpieces. ★★★★ Performance ★★★★ Recording " Once again on crisp and orderly form…A well thought out programme, sympathetically recorded and helpfully documented" - BBC Music Magazine -
Originating as a sexy dance in South America, the ‘chacona’ crossed the Atlantic and established itself in Spain as an irresistible temptation. In 1615, it was banned from Spanish theatres for being ‘lascivious, dishonest, offensive to pious ears’, but the attractions of the chaconne held sway. From the Ground Up traces its allure from early Spanish chaconnes, through the worlds of Purcell and Piccinini, to Bach’s magisterial example for solo violin. Reanimating the ‘lascivious’, Purcell’s ground basses furnish a harmonic groove for readings from Shakespeare by British actor Samuel West, accompanied by New York rapper Baba Israel. -
"Historically, The Queen’s Six has always performed arrangements of pop songs. It was one of the main reasons for the group’s inception in 2008, also the 450th anniversary of the Accession of Queen Elizabeth I, from whom they take their name. This juxtaposition of old and new has always been a big part of Q6’s ethos: there are rich rewards to be gained from both the beautiful, sonorous church music they perform, and their fun, tongue-in-cheek pop and jazz arrangements. Coaxing the wit and charm out of these songs has been a main part of their raison d’être since day one. So why make a pop album now, and why these songs? From Windsor with love was first conceived working with US Producer TJ Armand in 2019. Armand was at the time the Director of the Bermuda Festival, where the group performed in the same year. Their journey to Bermuda once again typified their mixture of styles: they flew directly from New York City where they had performed two programmes of church music at the Met Cloisters, to the wonderful island of Bermuda, where they were in the same festival brochure as Chaka Khan. After years of performing arrangements of pop songs, their meeting with Armand was the spark that lit the fuse for this album. The curation of From Windsor with love was not entirely plain sailing. As part of their job as singers in the St George’s Chapel Choir, Windsor Castle, members of The Queen’s Six sang at the wedding of Prince Harry and Meghan Markle in 2018. The album was therefore initially intended to be mash-ups of US-style wedding songs. However, with the onset of the coronavirus pandemic, the originally intended romantic hue of these songs took on a new meaning, one not just of love, but of unity in the face of adversity. The symbolism of songs such as Heaven is a place on earth and Stand by me became especially poignant, and so the project took on a new dimension. With their madcap on-stage antics, and their love of pushing the boundaries of what’s 'acceptable', The Queen’s Six couldn’t make such an album without choosing some unusual songs. Here you’ll find more traditional classics such as Bob Dylan’s Make you feel my love, and Young and Heyman’s When I fall in love, next to Huey Lewis and the News’ The power of love, and Limahl’s Never ending story (the fact that members of the group grew up with the films that made these two songs famous helped in the decision-making process). The first three of these were arranged by long-time Q6 collaborator Stephen Carleston, and they show his extraordinarily wide-ranging gifts. In the hands of arranger Ruairi Bowen, Never ending story becomes a sort of rhapsody on Giorgio Moroder’s original music. Staying in the 1980s, Belinda Carlisle’s Heaven is a place on earth gets an early-Baroque-style treatment. Sometimes it can take a while for a cappella arrangements to take shape, but Miguel Esteban knew exactly what he wanted to do with it from the outset. Alternating sections of quasi-Baroque vocal writing and close harmony, Esteban creates something that is true to Q6’s roots, whilst retaining the beauty of the original song. Taking us a bit more towards 19th-century Germany, Simon Whiteley’s arrangement of Richard Marx’s Right here waiting is perhaps more of a Brahmsian lullaby, dream-like and hypnotic. Rock legend Van Morrison’s romantic ballad Have I told you lately gets more of a jazzy treatment in Tim Carleston’s arrangement, which is more akin to Rod Stewart’s version of the song. Back a bit further to the 70s, and two R&B classics: Grover Washington Jr and Bill Withers’ Just the two of us has a slightly understated groove feel in Tom Lilburn’s arrangement; and in his arrangement of The O’Jays’ Now that we found love, Louis Marlowe carries on this slightly funkier style. Billy Joel’s Just the way you are completes a triptych of '70s gems, with the crooning tenor solo line interrupted only by a jazz bass section, and an alto 'instrumental' break. Coming a bit more up to date, and a song not readily imaginable as an a cappella cover, Tom Lilburn’s version of The Proclaimers’ 90s hit, I’m Gonna be (500 miles), recaptures some of the song’s romantic heart, whilst retaining its inexorable vigour. And bringing us much closer to the present day is Ruairi Bowen’s arrangement of Sufjan Stevens’ Mystery of love. Another song made famous by a film (2017’s Call me by your name), Bowen coaxes all the laid-back rhythmic interest from Stevens’ original by way of intricate, almost bird-like vocal lines. One song that has survived from the initial plans for an album of ‘wedding songs’ is Stand by me. The group first heard this arrangement of the Ben E King classic as they prepared for Prince Harry’s wedding back in 2018. As they sat in the choir stalls, the sound of this song suddenly began to drift up from the other end of the Chapel. Karen Gibson and The Kingdom Choir’s rendition in an arrangement by Mark De-Lisser touched them in the most extraordinary way. Understanding that imitation is the highest form of flattery, and with De-Lisser’s very kind permission, the group made their own, purely a cappella arrangement of this song. There’s nothing Q6 likes more than singing these pop songs, and the celebratory interaction with the audience they a ord. As the dust settles after the pandemic, and touring becomes a possibility again, the group is looking to the future, hoping to bring its signature blend of old and new, serious and fun, to an ever-wider following." - Simon Whiteley (The Queen's Six) “Impeccable pop…Slick performances and chameleon performers, code-switching plausibly from rock to pop to funk and jazz, then From Windsor with Love will hit the spot. This is pop perfectly translated for the concert hall.” - Gramophone Magazine ★★★★ "The Queen's Six can do light and popular repertoire: A fine record, fresh arrangements - a beautiful foray…They move individually at a high level, interact as an ensemble with agile perfection and a recognizable pleasure in sound" - Klassik.com -
This popular Japanese children’s song written in 1914 with lyrics by Tatsuyuki Takano describes the nostalgia and love for his childhood home set in the hills."This brand new arrangement is by Bob Chilcott and it is a pleasure to sing this with tenor Julian Gregory” - Grace Davidson -
In his new Saxophone Concerto, Gabriel Prokofiev explores a side of classical music usually seen as forbidden by modern contemporary composers: melody. This aspect was incorporated at the request of the soloist, Branford Marsalis, allowing Prokofiev to revisit characteristics of the classical tradition not usually heard in contemporary music, giving the saxophone an open canvas. Prokofiev’s Bass Drum Concerto shows the versatility of the instrument, despite only being used in a very basic fashion in classical music as a whole. Prokofiev experiments with how the bass drum is struck, where it is struck, and what it is struck with throughout the piece, producing a variety of sounds, colours and textures. -
The conductor and harpsichordist, Bridget Cunningham brings back to life Handel’s pasticcio opera, Caio Fabbricio first performed in London in 1733 and based on an earlier opera by Johann Adolf Hasse (1732) Caio Fabbricio is London Early Opera’s eighth album in the prestigious Handel Series with Signum Records and is a pasticcio opera, a brilliant and well-considered collection of some of the finest 18th century Neapolitan arias by different composers, including Leonardo Vinci and Leonardo Leo, selected and arranged by Handel who composed his own dramatic recitatives. London Early Opera (LEO) is a vibrant, baroque group of instrumentalists, singers, music teachers, researchers, historians and musicologists on a voyage of rediscovery making glorious baroque music and opera relevant today. As Artistic Director of London Early Opera, Bridget Cunningham is a leading exponent of baroque music and continues to create these outstanding recordings with Signum Records exploring Handel’s colourful life, influences and experiences which inspired his magnificent musical legacy. ★★★★ Performance ★★★★ Recording "In this world premiere recording artists shine brightly in a pasticcio opera…Bridget Cunningham directs Caio Fabbricio brilliantly, leading from the harpsichord to energise the other players, and to give them space to exploit juicy passages. The singers' virtuosity and rich characterisations are delightful…Caio Fabbricio contains much fine music and compels fresh admiration of Handel's orchestral skills. Execution of this project is uniformly excellent" - BBC Music MagazineCD SPOTLIGHT “Unreservedly recommended” - Classical Music Daily.“Some excellent showpieces” - BBC Radio 3 -
Star British cellist Jamie Walton returns to disc on Signum with a programme Russian repertoire by composers Glazunov, Prokofiev and Tchaikovsky. Joined by the Royal Philharmonic Orchestra under Okko Kamu, the disc includes the original version of Tchaikovsky’s Variations on a Rococo Theme. Jamie Walton's outstanding programme of Russian classics captures the music's soaring lyricism with impassioned eloquence and interpretative flair - The Strad Walton embraces Glazunov's tenderness with the warmth and suppleness of his tone...Walton interprets [the Prokofiev] with impressive, seamless sweeps and refined dynamic shading - The Daily Telegraph Seamless lyricism and glorious tone - Gramophone [Walton] delivers a particularly eloquent and virtuosic account of the work - BBC Music Magazine -
Ian Page and The Mozarists bring us a new album of Arias by the celebrated composer Christoph Willibald Gluck including works from operas such as Il trionfo di Clelia, Wq. 31, Orfeo ed Euridice, Wq.30 and Il Parnaso confuso, Wq.33. The soloist is the Swedish mezzo-soprano Ann Hallenberg, with Ian Page once again conducting his award-winning period-instrument ensemble. ★★★★ - The Times “Conductor Ian Page radiates meticulous musical precision, contagious interpretative joy and a serene confidence that inspires and unites the musicians of The Mozartists.” - Sonograma “Listening does not disappoint at all: the choice of pieces reveals Gluck’s modernity, where formal essentiality and dramatic intensity already anticipate his greatest works.” - GBOPERA“This skilfully curated exposition of Gluck’s humane genius was a joy to hear.” - Gramophone
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Goethe-Lieder is the premiere recording of a three-song set by Billboard-charting composer Rodrigo Ruiz. These settings of poems by Johann Wolfgang von Goethe—‘Selige Sehnsucht’, ‘Meine Göttin’, and ‘Gegenwart’—trace a subtle emotional arc from the fragility of human longing, through the hope of spiritual transformation, into the radiant light of love’s presence. Nigerian-American soprano Francesca Chiejina and British pianist Jocelyn Freeman bring the cycle to life with luminous clarity and expressive depth, their interpretation marked by sensitivity and restraint. Released in 2025, the album offers a quiet nod to the 250th anniversary of Goethe’s arrival in Weimar, while inviting today’s listeners to inhabit these texts anew. -
To mark their 50th anniversary, The King's Singers have made it their mission to celebrate great music above all else - an aim which has driven them throughout their history. Their newly recorded triple-disc album - GOLD - completely reflects this with 60 tracks divided across three albums, themed as Close Harmony, Spiritual, and Secular. What unites every track across these albums is the quality of the material. Whether ancient motets, brand new commissions or much-loved arrangements of close-harmony music from the last 50 years, The King's Singers have put together a selection of great music that reflects the extra-ordinary diversity of their repertoire. ★★★★ The box-set is a delight for King’s fans and a defiant statement of longevity - Choir and Organ Fans of the ensemble will delight in finding a copy under the tree on Christmas morning… beautifully supple, technically pristine singing - Primephonic This disc is a distillation, by their current incarnation, of what makes them special. Here’s to the next fifty years - Music Web International It’s hard to think of a group whose music-making has aged so well… Here’s to another 50 years - Gramophone Features in BBC Music Magazine's Six of the Best King's Singers Recordings -
Continuing their complete Mozart opera recording cycle, The Mozartists’ latest release shines a light on two early opera works by Mozart. Bastien und Bastienne is the only one of Mozart’s operas to have been written for performance in a private house rather than a theatre. Commissioned at some point in mid-1768 by the renowned and controversial German physician Franz Anton Mesmer, it tells the tale of two young shepherds, Bastien and Bastienne, being reconciled in love by the fortune teller and magician Colas after Bastien has briefly been lured away by the attractions of a noble lady from the city. This new recording uses Mozart’s original 1768 setting of the libretto by F. W. Weiskern & J. H. F. Müller, the provenance of which was only established in the 1980s. The orchestra is the star of the show - BBC Music Magazine Ian Page and his crack team are clearly having a lot of fun, which comes across in this excellent recording. It's a treat to experience - Gramophone Page’s Classical Opera project goes from strength to strength - The Sunday Times If you are looking for a superb performance of one of Mozart’s young productions then this is very much the best place to invest - Music Web International A little jewel not to be missed! - Crescendo (France) Heavenly! - Stretto (Holland) Ian Page's subtle and dynamic gesture makes all the difference, and places his musical output among that of the best Mozartian interpreters of today - Classique News (France) This CD is an ideal point of discovery both for those curious about Mozart’s earlier works and the Mozart connoisseur alike- BSECS -
The Sacconi Quartet record the string quartets of British composer Graham Fitkin, The Composer writes in the introduction to this disc: “ The string quartet medium seems to me to thrive in contexts of both poignant intimacy or extrovert forceful information overload. (And indeed all those delicate shades in between.) I feel it has a strength of purpose that I relish, an honest homogeneity to it, a good wide pitch range and quite frankly the ability to play decent long sustained notes or short pizzicati. It’s been all too tempting.” Composed between 1992 and 2007, this disc compiles Fitkin’s complete works for String Quartet, performed by one of the UK’s most dynamic and versatile string quartets. The Sacconi Quartet, for whom the medium-length String was composed, play throughout with élan and what sounds like a complete understanding of the ebb and flow of each of these quite diverse pieces… A terrific disc that I encourage everyone to buy - Gramophone All weaved with his trademark rhythmic complexity - Northern Echo -
Bill Ives has enjoyed a rich and varied career as both performer and composer (Grayston Ives). These experiences, culminating in nearly two decades as Informator Choristarum (Director of Music) at Magdalen College, Oxford, are reflected in a compositional style which is complex yet accessible, rich and colourful. His choral music comes from the heart, and this deeply personal reaction to the texts enables the performer or listener to engage with and enjoy the music to its full extent. This recording represents two ‘firsts’ for the choirs of Jesus College, Cambridge: The first time the choir have collaborated on a recording with the Britten Sinfonia, as well as is the first time both chapel and college choirs they have joined forces for an entire album. Bill (Grayston) Ives writes: “In the Requiem many influences are thrown into the musical melting pot and will be apparent to the discerning listener. Ultimately, the piece is firmly rooted in the Anglican choral tradition (written specifically for liturgical performance), the distillation of a lifetime in music ... The delicate, sweet sound of a pair of tiny hand-held cymbals is heard at the opening and at intervals throughout. They were bought at Snape Maltings from a group of Tibetan monks who were resident there during the summer of 2008 when ideas for the piece were forming.” “Ives exquisite score is played to perfection by the Britten Sinfonia. Congratulations to the Jesus College Choir and Richard Pinel on such an impressive achievement…A treasure of a disc, superbly engineered” - Gramophone "★★★★ An admirable showvcase for the combined forces of Jesus College, Cambridge's Chapel and College Choirs; the boy trebles of the former and the sopranos of the latter each get a movement to themselves, but othwise sing together, very effectively. The Britten Sinfonia's playing is immaculate" - Choir and Organ -
Drawing international media attention following their founding in 2014, The Girls’ Choir of Canterbury Cathedral have quickly become leading lights in the British choral music landscape. For their first recording with Signum – led by their director David Newsholme – they draw on the rich catalogue of what have become British cathedral anthems from the 16th Century to the 20th, performing works by composers including Tallis, Byrd, Stanford, Parry and Howells. They are joined on this recording by the Men of Canterbury Cathedral choir, as well as organists Aidan Bawtree and Nicholas Wearne. ★★★★ A highly enjoyable, well recorded CD that flows well and contains some wonderful singing… Go ahead and buy it! - iClassical The Girls and Men of Cantebury Cathedral Choir [draw] in the rich catalogue of what have become British cathedral anthems - Northern Echo -
Tamsin Waley-Cohen and Huw Watkins continue their duo partnership with a new recording of works by two trailblazing composers from France and Poland respectively - Reynaldo Hahn and Karol Szymanowski. Waley-Cohen's playing is radiant and soaring, and Watkins's pianism a model as always of sensitivity - The Sunday Times An intelligent recital disk...all played with verve and style - The Guardian It is the sheer melting beauty in the opening pages of the final movement that makes Hahn's sonata so affecting, especially with Waley-Cohen's hushed tone... an enjoyable recital - BBC Music Magazine Tamsin Waley-Cohen produces a beautiful, soft, creamy tone in the lyrical passages, and throughout the recital we're treated to a remarkable palette of tone colours. Huw Watkins is able to match this range most effectively - Gramophone [Waley-Cohen] has a potent rhetorical style, moving neatly from dramatic flourishes and cadenzas into gentle lyricism... a fine performance - The Strad -
Naji Hakim returns to disc on Signum with a second volumne of powerful organ works, featuring works inspired by different locations around the world with his Suite Norvégienne, Esquisses Persanes and Suite Française.Completed in 2000, the Schuke Organ of the Palacio Euskalduna is housed in a magnificent concert hall of wood and steel - itself inspired by the Euskulduna shipyards that once occupied the area. A modern instrument, it is well-suited to the nuanced voicings of modern organ compositions, as well as being sympathetic and adaptable to the great works of the past. -
This will be the 5th NAJI HAKIM PLAYS NAJI HAKIM organ CD released by Signum Classics. It will include the following world premiere recordings of Naji Hakim’s works at the historic STAHL- HUTH-JANN ORGAN at St Martin’s Church, Dudelange , Grand Duché de Luxembourg : Grego- riana (2003) - Bogurodzica (2018) – Prière (2020) - Villancico aragonés (2018) - Carnaval (2014) - Sindbad (2014) - Korean Prelude (2014) - Cantilena (2016) - Trois Paraphrases sur Ave maris stella (2003) - O sacrum convivium (2018) - Tanets (2019). Dr Naji Hakim studied with J. Langlais and at the Conservatoire National Supérieur de Musique de Paris where he was awarded seven first prizes. He is a licentiate teacher in organ from the Trinity College of Music in London and won ten first prizes at international organ and composition competitions. In 1991 he was awarded the Prix André Caplet from the Académie des Beaux-Arts. At first organist of the Basilique du Sacré- Coeur, Paris from 1985 until 1993, he then became organist of l’église de la Trinité, in succession to Olivier Messiaen, from 1993 until 2008. He is professor of musical analysis at the Conservatoire National de Région de Boulogne-Billancourt, and visiting professor at the Royal Academy of Music, London. "This is truly a demanding, virtuosic work, but also one in which the organist’s technique is subservient to an astonishingly creative piece. His music is, for the most part, fascinating and often intense. I will certainly look out for further releases of his music." - The Art Music Lounge "The loud and lively numbers are most impressive but there are, too, some stunningly beautiful gentle moments." - Organists' Review "This fifth instalment is self-recommending...the material is characteristically eclectic. Hakim is his own exemplary and expressive advocate in Augustin Party's fine recording. ★★★★" - Choir and Organ "Hakim has developed a highly virtuoso musical language …the meditative movements such as the 'Gregoriana', the 'Korean Prelude' or the three paraphrases on 'Ave maris stella' sound particularly expressive…the classical colours of fundamental and reed voices and mixtures of thirds make his music an enjoyable expression of the French style" - FONO FORUM -
London Early Opera follow up their debut release with a treasure trove of music by George Frideric Handel, as well as his contemporaries Thomas Arne and John Hebden, centered on the Vauxhall Pleasure Gardens – a carnival of music and entertainments that entertained visitors for nearly 200 years. The booklet notes features images and expert commentaries of the Vauxhall Gardens by author David E. Coke and conductor and musicologist Bridget Cunningham. ★★★★★ Revelatory - a superbly performed, thoroughly enjoyable disc - Choir & Organ A treasure trove... highly recommended - The Northern Echo Bridget Cunningham's re-imagining of the first part of a typical evening's entertainment puts George Frideric centrestage, and sets the scene delectably with the flirtatious bustle of the Sinfonia to Acis and Galatea - BBC Music Magazine An attractive potpourri... bright, lively sound - The Observer A perfectly sensible and enjoyable approach to imagining what a typical night at Vauxhall might have sounded like. There is a charming ebba and flow to this hypothetical entertainment - Gramophone Most decorously sung and played by London Early Opera, conducted by Bridget Cunningham - Financial Times -
Bridget Cunningham marks St Patrick’s Day with a new harpsichord CD that gives a glimpse into Handel’s fascinating time in Dublin. In 1741 at the age of 56, following a financially difficult time in London and with fashions turning against Italian opera, Handel went to Dublin for 9 months – a thriving musical city and the 2nd largest in the British Isles after London. The story of this fascinating trip is told in both music and detailed accompanying notes by harpsichordist and musicologist Bridget Cunningham. This disc is part of Cunningham’s ongoing series with the ensemble London Early Opera, which has already seen releases of several volumes of Handel’s music, including Handel in Italy and Handel at Vauxhall. Selected as Primephonic’s Hidden Gem, January 2021. “Cunningham's playing is brilliantly authoritative... loving superb keyboard playing but her thoughtful and imaginative programme means that we are double tempted" - Planet Hugill. -
London Early Opera continue their new series of Handel’s works with the second volume of pieces composed in Italy. Both volumes of Handel in Italy explore the young composer’s Italian years through his cantatas, sacred pieces, operatic works and instrumental compositions. Handel wrote prolifically during his stay in Italy, his output includes oratorios, operas, sonatas, instrumental works and sacred vocal masterpieces including over 100 cantatas. Featuring performances from internationally acclaimed soloists, the sopranos Sophie Bevan and Mary Bevan with their uncle, baritone Benjamin Bevan conducted and conceived by Bridget Cunningham. -
London Early Opera perform a unique programme of Handel’s Italian-inspired works, devised by conductor Bridget Cunningham and featuring a unique family collaboration from from world-renowned soprano sisters Sophie Bevan and Mary Bevan alongside their uncle, bass Benjamin Bevan. Editor's Pick: This is as polished an account as any on account of Sophie Bevan's unerring sense of decorum for what each movement requires - Gramophone The quality of the musicianship is high - BBC Music Magazine A dazzling disc from the Bevan siblings - The Observer An enjoyable showcase for Mary, Sophie and Benjamin Bevan - The Sunday Times A pleasant compilation, showcasing the considerable vocal talents of three of the Bevan family - Early Music Review -
The Gabrieli’s first Handel recording in over a decade is particularly special, recreating in painstaking detail the very first performance of L’Allegro, il Penseroso ed il Moderato, given in 1740, with additional instrumental repertoire including a Handel organ concerto and two concerti grossi. With a reputation as peerless Handelians, Paul McCreesh and the Gabrieli Consort & players bring meticulous research to every performance and recording project, and are joined on this disc by a stunning selection of soloists.★★★★★ This is quite simply life-enhancing music making, a glorious achievement in every respect - Early Music Today ★★★★★ McCreesh finds all the expressive opportunities in a blissful production, at times breathtakingly beautiful - Choir & Organ ★★★★★ The choral elements are scrupulously handled by the Gabrieli Consort - BBC Music Magazine McCreesh's superb Gabrieli Consort and Players present all this...with flair, a pristine sense of style and infectious energy - The Times Handel's ravishing score [is] realised to perfection by Paul McCreesh and Gabrieli... A glorious recording - The Observer -
London Early Opera continue their programme themed around a typical evening’s entertainment at the 17th & 18th century Vauxhall Pleasure Gardens, with a second collection of works by George Frideric Handel and contemporary composers of the day (John Stanley, Thomas Gladwin, John Lampe and Johann Adolph Hasse). Featuring performances by soloists Claire Bessent, Mary Bevan, Benjamin Bevan, Eleanor Dennis, Charles MacDougale, Nicky Spence and Greg Tassell, the programme evokes the carnival of music and entertainments that amused visitors in these London gardens for nearly 200 years. The booklet notes feature images and expert commentaries on the Vauxhall Gardens by author David E. Coke and as well as conductor and musicologist Bridget Cunningham. Claire Bessent’s lovely ‘There sweetest flowers of mingled hue’ is amply worth the price of admission - Gramophone A must for early music devotees - Northern Echo -
This important new recording revisits George Frideric Handel’s monumental Suites de Pièces pour le Clavecin – subsequently known as the Eight Great Harpsichord Suites as well as his Chaconne in G major and some world première recordings of Handel’s superb arrangements of operatic arias and ouvertures which were specially reworked and ornamented by Handel for the harpsichord. The album celebrates the 300th anniversary of the first publication of these works on 14 November 1720. Bridget Cunningham is an international conductor, prizewinning harpsichordist and musicologist who trained at the Royal College of Music and was awarded a Junior Fellowship to work in the Centre for Performance History and coach singers in the baroque style. Cunningham is also Artistic Director of London Early Opera with a number of critically-acclaimed recordings out on Signum Classics. ★★★★★ Performance, ★★★★ Recording "In short, they are unashamedly intended to please the senses and, in the hands of stylistically informed players they never fail to do so. Bridget Cunningham is just such a player…Her feeling for dance rhythms is infectious and her ability to entertain unassailable" - BBC Music Magazine ★★★★★“At once magisterial and engaging, harpsichordist Bridget Cunningham brings a dynamic imagination to bear on Handel's still relatively neglected keyboard works” -Planet Hugill“Sometimes one hears a recording for the first time, and immediately knows that it will be remarkable... Bridget Cunningham’s is one that stands out as a well-crafted and musically deeply committed performance. Above all, her playing conveys to the listener her love of these brilliant and astonishing pieces, and the recording does full justice to the music” - Harpsichord and Fortepiano Magazine -
Handel’s Queens features some of the most exquisite pieces of music written by G.F. Handel and his contemporaries for the two finest singers of the eighteenth century, Faustina Bordoni and Francesca Cuzzoni. Often wrongfully framed as rivals, these dazzling new recordings with Mary Bevan and Lucy Crowe reveal the distinctive yet versatile talent of the Italian vocalists. Conductor Bridget Cunningham continues her research and created Handel’s Queens and directs London Early Opera from the harpsichord. Handel’s Queens - as part of this important series serves as a further example of Cunningham’s dedication to imaginative programming and outstanding period performance on this double CD placing her at the forefront of baroque research and recording. -
‘Cradling his programme of Sonatas in a set of strongly contrasted Variations and a Divertimento, Peter Donohoe takes an enlivening slant, a sense of ‘rediscovery’ of Haydn’s ambiguity, indeed, unique character’ - © Bryce Morrison. Recording instrument: Steingraeber (Bayreuth) Concert Grand Piano Model E at Steingraeber & Söhne - Klaviermanufaktur Since his success as joint winner of the 1982 International Tchaikovsky Competition, Peter Donohoe has gained international renown as one of the foremost pianists of our time, for his musicianship, stylistic versatility and commanding technique. "An arresting start to Peter Donohoe’s new series of Haydn’s complete keybard works on Signum Records...It’s a stunner" - Slipped Disc "Beyond dispute is that Donohoe is a highly intelligent, sensitive and sincere exponent, and if you like your Haydn virile and fuss-free, his approach may well be what you are looking for" - Gramophone "It is a balanced Haydn played with the subtleties that can be extracted from the instrument. The sound of the recording is deliberately kept spatially close and small, like in a chamber…a new view of these sonatas that is astonishing and one that one has to get involved with" - Piano News "With excellent sound courtesy of Mike Hatch...Donohoe gives consistently stylish and affectionate readings – shapely, nimble – of always-enjoyable and -resourceful music (154 minutes’ worth to ease the woes of the World) that makes for listening pleasure via an attractive piano of ideal lightness and clarity. Volume One is thoroughly recommendable...with successors keenly anticipated" - Colin's Column -
Rebecca Miller leads the Royal Northern Sinfonia in performances of three Haydn Symphonies. This new release follows Miller’s acclaimed recording of the works of CPE Bach with the Orchestra of the Age of Enlightenment. There is much to praise here - Early Music Review The grandeur of the work seems to suit Miller's imaginative approach, with some especially effective phrasing... These admirable performances make a worthwhile addition to the catalogue of the often-neglected middle-period symphonies - Gramophone The grandeur of the work seems to suit Miller's imaginative approach, with some especially effective phrasing - Gramophone -
The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wrocław, Poland with a new version of Haydn’s great oratorio The Seasons. Using a new performing edition by Paul McCreesh this recording is the first to feature the large orchestral forces that Haydn called for, including a string section of 60, 8 horns and a choir of 70. As well as the combined forces of the Gabrieli Consort & Players, Wrocław Baroque Orchestra and National Forum of Music Choir, the recording features solo performances from British singers Carolyn Sampson, Jeremy Ovenden and Andrew Foster-Williams. All booklet texts are printed in both English and Polish translations. -
The King’s Singers return with a new early-music recording that features 12 of Giovanni Pierluigi da Palestrina’s beautiful polyphonic choral settings of the ‘Canticum Canticorum’ – better known as ‘The Song of Songs’ or Canticles, a collection of poetry in the Hebrew Bible on the theme of the joy and ecstasy of human love. These settings are framed by four of Palestrina’s Marian motets, works in honour of the Virgin Mary which he composed throughout his life. This recording is the first to feature performances from the group’s new tenor Julian Gregory. An admirably cool approach - The ObserverAt it's best - The King's Singers' sweetness of tone seems perfectly to match the sense of the text - Gramophone Wonderful music beautifully delivered - The Northern Echo They sing in a beautifully blended style with individual voices often subsumed into the overall sound image. These performances have a significant amount of surface polish, poise and style, technically they are very impressive - Planet Hugill Admirers of The King's Singers will certainly not be disappointed -MusicWeb International -
Following an acclaimed tribute album to Benny Goodman, the ‘King of Swing’, the Julian Bliss Septet returns with a new album that showcases the music of jazz legends, George and Ira Gershwin, and – by popular demand - some of Benny’s compositions and much-loved tunes. The Julian Bliss Septet was formed in 2010 and quickly became known for their trademark inspiring jazz-fuelled shows which have captivated audiences across the globe. Their dazzling virtuosity, extraordinary musicianship and charming humour shines through their programmes of swing, Latin, American and jazz music. The band has played at some of the most prestigious venues and festivals around the world, including the famous Ronnie Scott’s and Wigmore Hall in London, the Concertgebouw in Amsterdam, Bermuda Jazz Festival and on multiple US tours to sold-out clubs and concert halls including Dizzy’s Club at Jazz at Lincoln Center (New York). "From the fiery first number, the prodigious talents of Julian Bliss and this wonderful ensemble are on full display – song arrangements that work well, rock-solid time, an infectious rhythmic confidence from each member that drives the group, brilliant improvisation all around (here in the clarinet, vibraphone, trumpet and drums), Bliss’s gorgeous classical sound and an ensemble surety that is only attained through years of working together. These traits are a constant on each of the 12 tracks…this attractive disc is a must have for any jazz clarinetist or jazz consumer. Give it a try – you will not be disappointed" - The Clarinet -
Ian Venables’ reputation as ‘one of the finest song composers of his generation’ (BBC Music Magazine) finds voice in this disc of premiere recordings of two of his substantial song cycles. International baritone, Roderick Williams is joined by the Carducci String Quartet and pianist Graham J Lloyd in The Song of the Severn, a celebration of Venables’ home county of Worcestershire and The Pine Boughs Past Music, a poignant tribute to the poetic talents of Ivor Gurney. Other songs include those with solo piano and arrangements by Graham J Lloyd, for string quartet. Each work highlights Venables’ gift of being able to take poetry to a higher level of appreciation and at the same time create works of lasting beauty. Sharply memorable music of bewitching lyricism, idiomatic grace and rapt instinct - GramophoneThe Carducci String Quartet [are] exemplary in their interpretations - BBC Music Magazine -
When Michael Nyman started reinventing the English baroque back in the 1980s, one critic described the result as “pump-action Purcell.” This recording combines these two singular musical styles through the stunning voice of countertenor Iestyn Davies and viol consort Fretwork, serving as the bridge across three centuries. The programme combines bold harmonies, wondrous inventions, and melodies that will haunt your dreams – whether from the 17th century or the 21st. Recorded following a concert tour of the programme, the disc includes the premiere recording of a new commission from Michael Nyman, Music after a While – based upon Purcell’s song, or more particularly upon its strikingly original bass-line, with its insidious rising chromatics. ★★★★ A beautiful account - Planet Hugill Editor's Choice: The Nyman performances are exemplary – crisp and cleanly articulated from Fretwork and dispatched by Davies with a vacant, unrippled purity that is so essential to the music - Gramophone All executed with perfection - The Observer -
Over thirty years ago, Fretwork made its first recording – well, technically speaking it was the second album to be recorded, but the first to be released – and it was called ‘In nomine’, which consisted mainly of 16th-century examples of this remarkable instrumental form. While this isn’t an anniversary of that release, Fretwork wanted to look both back to that first release and forward, to bring the genre up to date. There were several examples of the In nomine and related forms that couldn’t be recorded in 1987, and this album seeks to complete the project. The form was created unwittingly by John Taverner (1490-1545). His 6-part mass, Gloria tibi Trinitas, is based on the plainchant of that name. In the Sanctus, at the words Benedictus qui venit in nomine Domini (Blessed is he that comes in the name of the Lord), the six-part texture is pared down to two and three parts; and then, with the words in nomine Domini, Taverner makes, for the only time in the mass, a complete statement of the cantus firmus, accompanied by three voices. This four- parts section – very beautiful as it is – must have struck contemporaries as some kind of perfection, to be used as a template, to be emulated and copied. And then those copies were copied and changed again. Typically, an In nomine would have the alto, or second part, playing this cantus firmus in long slow notes of equal length. The other parts would weave counterpoint around it, sometimes commenting upon it, sometimes ignoring it. Typically, the cantus firmus starts and ends on the note D – but there are many exceptions to all these ‘rules’. -
The Mozartists continue their continuing complete Mozart opera recording series with the one-act dramatic serenade Il sogno di Scipione, K. 126. Composed in 1771 as a celebratory homage to Prince Archbishop Sigismund Schrattenbach of Salzburg, the Archbishop died before the piece could be performed. In the spring of 1772 Mozart amended the work so that it could be used in honour of Schrattenbach’s successor, Hieronymus Colloredo – the only necessary change was to alter the name of the dedicatee in the nal recitative. The story of Scipio’s Dream takes place in c.148 BC, while the celebrated Roman general is a guest in the palace of his ally Massinissa, King of Numidia (in modern day Tunisia). As Scipio falls into a deep sleep, he dreams that the allegorical figures of Fortuna (Fortune) and Costanza (Constancy) appear to him in Elysium and demand that he should choose one of them to follow for the rest of his days. ★★★★★ The singing, indeed the general musicianship throughout, is really good - Classical Ear ★★★★ This is a rewarding set, gracefully paced… An impressive achievement - BBC Music Magazine ★★★★ Provides another fascinating insight into the compositional skills of the young Wolfgang and comes up to the high standards we have come to expect from Ian Page and his group - iClassical ★★★★ The virtuoso arias demand singers of agility, which Classical Opera's cast, headed by tenor Stuart Jackson, supplies in abundance. Ian Page is the lively conductor - Financial Times ★★★★ An engaging and fully dramatized reading of the music… Page brings fluency and character to their generous instrumental introductions and succeeding vocal displays - Classical Source Ian Page presides over a charming performance, with well-paced recitatives and appropriate, sometimes extravagant decoration. This is minor Mozart, done supremely well - Gramophone Not for the first time in this series I find myself returning in the final analysis to Page’s direction of his outstanding orchestra… beautifully nuanced and balanced playing - Opera Magazine -
The King’s Singers perform the complete Italian madrigal collection Il Trionfo di Dori. Commissioned by Venetian nobleman Leonardo Sanudo in 1592, the collection features 29 works, each written by a different composer and poet, and set for nine voices. Among them are Vecchi, Gabrieli, Marenzio, de Monte, Striggio, Anerio, Gastoldi, Porta and Palestrina.★★★★★ The King's Singers bring this great monument of Italian music history to striding life - Sinfini Music ★★★★★ The King’s Singers are on top form, singing with a sunny freshness appropriate to this happy music, blending beautifully, and moving as one into crescendos and decrescendos, ranging in dynamic from a whispering pianissimo to declamatory episodes of high drama - Early Music Review It is hard to imagine a group with greater potential to do justice to this music of love and mythology than they - Gramophone The King's Singers turn out their characteristic, highly polished finish: diction is razor-sharp, ensemble and intonation are well-nigh flawless - BBC Music Magazine A masterclass in delicate phrasing, elegant lines, exemplary Italian and effortless madrigalian expression with standards of intonation to languish after...delizioso - Choir & Organ If you have to make a single choice The King's Singers will appeal more and it's also beautifully recorded in a venue, which is at least new to this reviewer - Music Web International -
Leading performers of 17th-century music Fretwork, His Majestys Sagbutts and Cornetts and the Magdalena Consort (directed by Peter Harvey) combine forces under the artistic direction of William Hunt for this rst complete recording of the consort anthems of Orlando Gibbons. Gibbons’ music is one of the artistic glories of the rst Stuart reign. Amongst his sacred compositions, verse anthems such as is is the record of John and Behold, thou hast made my days are long acknowledged masterpieces, amongst the greatest in all English sacred music, but best known to most in their setting for choir and organ. Here they are presented together with an array of other great anthems, some of them scarcely known, in their more intricate and colourful versions for consort accompaniment. Following the instruction of such contemporary writers as Morley and Caccini, these radical new performances place communication of text at the forefront, seeking to rediscover the dramatic essence of the verse anthem that made it arguably the most effective musical creation of the English Reformation. With the incisive declamatory skill of several of the UK’s leading period performers, they reveal the extraordinary rhetorical and poetic power of this music, as it might have been heard in the Chapel Royal and the private domestic chapels of early 17th century England. Learn more about the Orlando Gibbons project here: https://www.orlandogibbonsproject.com/ ★★★★★ Subtle, seductively supple and sinuous singing and playing… Volume 2 from this dream-team will be eagerly awaited - Choir and Organ ★★★★★ This is the finest recording of this quintessentially English music that we are likely to have… a real treat, and an impressive master-class in how these texts should be declaimed - Early Music Review Gibbons at his most alluring: a glorious fusion of the intimate and ceremonial in richly-voiced, warmhearted performances - BBC Radio 3 Thomas Morley's lovely phrase evoking music's ability to link earthly listeners to heavenly contemplation - The Times The effect, in the three In nomines recorded here, is of uncanny beauty, familiar notes polished up to a new sheen and lustre - GramophoneAll downloads include booklets. -
Leading performers of 17th-century music the Magdalena Consort, Fretwork and His Majestys Sagbutts and Cornetts combine forces under the artistic direction of William Hunt for their second release exploring the English Pre-Restoration Verse Anthem – Psalms and Royal Anthems, particularly those of William Byrd. More than any composer before him, William Byrd catered prolifically to a wide variety of musicians. Connoisseurs of Latin motets at home and abroad, troupes of boy actors with their viols and their unbroken voices, solo keyboard players, the choirs of the established English church, and the underground ensembles of Catholic households where mass was celebrated in secret— performers of all these kinds could look to Byrd for quantities, in some cases vast, of music of the highest excellence. Learn more about the Orlando Gibbons project here: https://www.orlandogibbonsproject.com/ ★★★★ “William Hunt’s troops, led by the characterful Magdalena Consort, backed up with viols, sackbuts, cornets and perky reconstructed Tudor organ, service their wonderful music with a dazzling kaleidoscope of colours” - The Times "The vowel sounds… are thrilling. The diphthonged synchronicity of 'power' and 'ire' are a thing of beauty...The intonation and blend against the glistening strings of Fretwork are second to none...This is music making of the highest calibre, steeped in emotional intelligence and affective balance. Booklet notes...crown the disc with excellent musicological detail" - Gramophone ★★★★ Performance ★★★★★ Recording "An ear-tingling fulsomeness that guarantees the disc a splendiferous climax...It sets a marker for all that follows as 'chains of gold' are spun with disarming felicity" - BBC Music Magazine "The music itself is varied and of the highest quality, the performers are among the finest in this repertory...a most attractive and enthralling programme, supported by a booklet that is both scholarly and readable...The performances leave nothing to be desired. The viols and wind...are at the top of their profession. All the singers are excellent...but every individual performer, alongside their technical and musicological colleagues, has been crucial in making this an outstanding disc" - Early Music Review "I think this is a very very special recording. It’s the second volume as it were of this series and it’s very much worth procuring" - BBC Radio 3 Record Review -
A digital single with all proceeds to be donated to Cancer Research UK.