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Following its nomination for a Gramophone Early Music Award in 2014, Contrapunctus releases an album of motets from the Baldwin Tudor partbooks, on the theme of mortality. Conducted by Owen Rees, the album includes Sheppard’s epic Media vita and works by Byrd, Parsons, Mundy, Teverner, Gerarde and Tallis, with Contrapunctus’s own reconstructions of the missing tenor parts. ★★★★★ Contrapunctus really knows what to do with these pieces and from the very first item the tuning is superb and the ensemble rock solid. Moreover, Owen Rees’s interpretations are revelatory and even visionary - BBC Music Magazine ★★★★ Whether you listen in Lenten penitence or in general hope of spiritual balm, the message is universal, the singing superb - The Observer Rees’s choir brings an intensity of sound and dramatic dynamics, in music that contemplates the pain of death in ecstatic elation and sublime devotion - The Sunday Times The undeniable jewel in the crown of this selection is Sheppard’s magisterial setting of Media vita … Contrapunctus is the ideal group for this superb repertoire, and I look forward with eager anticipation to future CDs in this series - Early Music Review There’s lovely balance and clarity of sound from as fine a clutch of voices - Choir & Organ -
Seasonal Music by Bob Chilcott
Bob Chilcott’s compositions are beloved with choral societies around the world, and this album represents the fruits of his recent collaborations with the US choir Choralis and their conductor Gretchen Kuhrmann. Featuring festive works for solo choir as well as choir and brass ensemble, at the centre of the programme is Wenceslas, inspired by the legend of the Bohemian King who braved the winter weather with his Page to save the life of a poor peasant, and incorporating the melody of the famous carol into each of its 8 movements. The disc includes the premiere recordings of Chilcott’s Gloria, which was premiered by the choir to great critical acclaim in 2015. These musicians radiate all the warmth of the famous church scene in Home Alone… That underscores Chilcott’s gift as a songwriter and an arranger - Gramophone Chilcott’s music undeniably sounds great when sung by a small scale professional chamber choir (such as here) but there’s something equally appealing in the inclusive joy of a performance by a larger group of amateurs. This is a tribute to them, as much as to the composer of the music they sing - MusicWeb International Incorporating the traditional carol Good King Wenceslas it’s a work rich in melodic invention… sung here with becoming warmth, the finale glowing with good tidings… Impeccably directed throughout - Primephonic This effortlessly fluent, audience-friendly music is hard to dislike. The craft is impeccable, the tunes are memorable and the performers invariably sound as if they’re enjoying themselves - The Arts Desk -
Their fourth Christmas release, BBC Music Magazine Award winning choir Tenebrae return under the expert direction Nigel Short with a sumptuous album of Carols, Hymns and other celebratory works for Christmas. Tenebrae is regularly engaged with the world’s finest orchestras appearing regularly with the Academy of Ancient Music and Aurora Orchestra and has performed at major festivals and venues including the BBC Proms, Edinburgh International Festival, Leipzig Gewandhaus (Germany) and Melbourne Festival (Australia). ‘Passion and Precision’ are Tenebrae’s core values. Through its continued dedication to performance of the highest quality, Tenebrae’s vision is to deliver dramatic programming, flawless performances and unforgettable experiences, allowing audiences around the world to be moved by the power and intimacy of the human voice. EDISON KLASSIEK WINNER 2023 "A ‘Rolls-Royce professional vocal ensemble…this is obviously very sophisticated and beautifully shaped singing and the women in Tenebrae have these clear, bell-like voices…they are so beautifully produced…It’s a fantastic sound… so clean, clear, blended, controlled, just perfection really…beautifully produced...beautifully made…that one’s definitely going home with me next weekend.” - BBC Radio 3 – Record Review "A technically superb display of a largely unfamiliar, and imaginatively chosen, festive music. One to warm the chilliest evenings" - BBC Music Magazine -
The first of its kind, this duet album is a musical journey that draws back the curtain which has obscured gay love-stories for centuries. In the 17th century, Venice offered a liberal safe haven of sorts to the gay community of greater Europe. There are accounts of outed artists escaping to Venice to live and work amongst its more permissive culture. Almost 400 years later, we reconnect with this uncommonly tolerant place and time to share a history that is yet untold. The album includes vivid and charming duets from Monteverdi’s 7th book of madrigals as well as his touching musical love letters (lettere amorose). Additionally, there are four modern-day premieres of works by the little-known composers Boretti, Melani, and Castrovillari; including a moving duet for the lovers Hercules and Theseus as they exit the underworld hand-in-hand. Solo arias by Cavalli and Stradella depict the yearning of hidden love, and the recording culminates with one of the most beautiful duets of all time, ‘Pur ti miro’ from Monteverdi’s L’incoronazione di Poppea. This album is a recognition and celebration of gay love that spans the centuries. ★★★★ Performance ★★★★★ Recording - BBC Music Magazine "Brave, committed and full of formidable music, baroque affections and amorous passions" - Ritmo ★★★★½ "The candour Scotting and Colorado bring to this ground-breaking musical endeavour is matched by the ardour of their music making. Accompanied by the polished but unobtrusive Academy of Ancient Music under the empathetic direction of Laurence Cummings, the two well-matched voices bring a heady mix of musical flair and earthy passion to this rich musical feast. Apart from giving us a richer and indeed more accurate knowledge of artistic practice, discs such as this also allow present-day listeners greater connection with and ownership of the musical riches of the past. For this and for the committed, appealing performances that attest to the universality of love, this disc should receive an enthusiastic embrace." - Limelight -
"The most fun part of my job is figuring out what to play live. There’s an infinite choice of immense, immortal music and I always try and design concert programmes a bit like a setlist for the audience. For this compilation (of my personal recordings from the last six years) I wanted to carry on in that vein and so I’ve made it a mix tape - these are the pieces that come up in my head unwarranted at 4am to get me through another rotten night of insomnia. These are the ones that always give me hope and a reason to hang on in there – because if music like this can exist then there is simply no question that the good outweighs the bad. They are my inside tracks." -
This first release on Signum from one of the UK’s most dynamic string quartets, the Carducci Quartet demonstrate their passion and commitment to bringing contemporary repertoire to a wider audience. On this recording they are joined by oboist nicholas Daniel for three world premieres, all written specially for them and all premiered at the Presteigne Festival: Michael Berkeley’s Oboe Quintet, ‘Into the Ravine’, John McCabe’s String Quartet No. 7, ‘Summer Eves’, and Adrian Williams’ String Quartet No. 4.Compelling playing - Northern Echo -
The Choral Scholars of University College Dublin are Ireland’s leading collegiate choral ensemble, and for their first recording on Signum they perform an enchanting and ground-breaking collection of traditional and Celtic-inspired choral music, led by their director Desmond Earley.★★★★ Blending 'folk' voices with choral precision and tight harmony isn't easy, but Desmond Earley has a passionate stake in both and doesn't put a foot wrong - Choir and Organ Bright young things - The Irish Times -
Alessio Bax plays an Italian inspired programme, picking his favourite pieces taken from a rich history of music from one of the most romantic countries in the world. He opens the programme with a J.S. Bach transcription of a oboe concerto by Venetian composer Alessandro Marcello, which reveals a deep insight into Bach’s mind. This is followed by Rachmaninov’s last ever work for solo piano, which is incredibly eloquent, introspective and personal. The Dallapiccola continues this eloquent theme, showing some beautifully crafted dodecaphonism. The recording is rounded off with two pieces of Liszt, which take the listener on a multi-legged journey through hell, purgatory and heaven, with beauty and drama along the way. All downloads include booklets. -
Soprano Gillian Keith joins the acclaimed Baroque ensemble Armonico Consort under Christopher Monks for the first release in a three disc series featuring the solo cantatas of Johann Sebastian Bach. Bach’s cantatas hold a special place amongst performers and devotees of his music. Whether sacred or secular, these works provide incredible variety for listeners and players alike. Some contain elements of storytelling similar to arias and recitatives from his great Passions; many have instrumental movements and solo passages that rival any of his concerti, and are indeed borrowed directly from some of the most famous. Not surprisingly, Bach’s cantatas are often incredibly virtuosic, demanding as much technical ability, style and understanding of the music as any of his other works. This first release features the cantatas nos. 82a, 202 (the famous “Wedding Cantata”) and 210. -
The Elysian Singers of London celebrate the enormous and varied contribution of Sir James MacMillan (b. 1959) to the choral repertoire over the last 20 years. Beginning with MacMillan’s blazing 2016 ‘choral fanfare’ Blow the trumpet in the new moon, the programme explores the spiritual and secular texts that have influenced MacMillan, also including his monumental setting of Psalm 51 Miserere. The Elysian Singers of London is one of the UK’s leading chamber choirs. Known for its adventurous programming, the choir performs in and around London and has recorded many widely acclaimed CDs. This is the choir’s second recording of works by James MacMillan, following their critically-acclaimed first disc with Signum Cantos Sagrados. -
Nearly all of the music for solo piano written by Leoš Janáček (1854–1928) dates from before the First World War and thus belongs to the period before the composer’s remarkable late creative surge, which was triggered by the hugely successful 1916 production in Prague of his third opera, Jenůfa (1894–1903; rev. 1907–8), and facilitated by his retirement from his teaching position at the Brno Organ School. Nevertheless, all three of Janáček’s major solo piano works – On an Overgrown Path (1900–1911), From the Street 1 October 1905 (1905-6) and In the Mists (1912–13) – contain music that is both profoundly individual and also integral to the now widespread view of the composer as one the most original musical voices of early twentieth- century music. Thomas Adès was born in London in 1971. He studied the piano with Paul Berkowitz at the Guildhall School, winning the Lutine Prize for piano, before continuing his studies at King’s and St John’s Colleges, Cambridge. Dr Adès has given solo piano recitals at Carnegie Hall, New York and the Wigmore Hall and the Barbican in London, and appeared as a soloist with the New York Philharmonic. He has performed Schubert’s Winterreise extensively throughout Europe with Ian Bostridge and in 2018 recorded it at the Wigmore Hall. In 2018, following a recital of Janacek’s music at the Reduta Theatre in Brno, Janacek’s home town, he was awarded the Leoš Janáček prize. Booklets included with all downloads. -
Few composers of any age have enjoyed the widespread admiration and unanimous praise of successive generations as Josquin Desprez. He is considered the greatest creator and innovator of musical composition during the Renaissance, and for some half a millennium his music has stood the test of time. He is remembered as much for his own works as for his lasting influence on those of his contemporaries and students, demonstrated in many of the compositions in tribute of 'the master' featured in this programme. The programme's centrepiece is Jean Richafort's Requiem mass (missa pro defunctis), a tribute that employs several of Josquin's compositional devices. The King's Singers once again demonstrate their versatility and trademark precision in this new programme devised by leading early-music scholar and conductor David Skinner. The centrepiece is Jean Richaford's Requiem, with flowing counterpoint spiced by rich dissonances. But the most astonishing work is Jacquet de Mantua's Dum vastos, weaving together five Josquin 'hits' - The Times All the Kings' Singers' performances are admirably manicured - The Guardian Those voices emerging from sublime textures and tugging at the heartstrings have their own special quality, and I’ve found myself increasingly admiring the qualities of this performance the more I’ve delved into its expressive beneficence - MusicWeb International -
Rising star-soprano Elena Xanthoudakis is joined by the Royal Northern Sinfonia under Richard Bonynge in these exhilarating performances of some true Jewels of the Bel Canto aria tradition by Bellini, Verdi, Rossini and Donizetti. -
Tenebrae mark their 15th anniversary season with a celebratory re-release of Joby Talbot’s Path of Miracles, as well as the premiere recording of a new work by Owain Park. Inspired by the Camino Frances pilgrimage route to Santiago de Compostela in Spain, Path of Miracles has quickly become a contemporary classic amongst choral music fans. To mark their anniversary year Tenebrae commissioned British composer Owain Park to compose his new work Footsteps as a companion piece to Path of Miracles. A shorter work, Footsteps is themed on similar concepts of travel, solitude and journeying, and blends texts by eight different authors to structure a narrative that cycles the seasons through the view of a lonely traveller. -
David Goode performs the complete organ works of Johann Sebastian Bach on the renowned Metzler Söhne organ of Trinity College Chapel, Cambridge, in a new a set spanning 16 CDs and over 17 hours and 40 minutes of music. Covering the multiplicty of genres and stylistic influences that typified Bach’s organ music, the set includes complete recordings of the Leipzig, Neumeister and Schübler Chorales, the Clavierübung III and Orgelbüchlein, the six Sonatas and many preludes, toccatas, fugues, fantasisas, chorales and partitas. The accompanying 136-page booklet includes background information on each work by organist George Parsons, along with an introduction to the set by David Goode. As well as a tracklisting the booklet includes indexes to the works by BWV number and alphabetical order. Reviews for the series: ★★★★★ BBC Music Magazine “This series is notable for the flair, clarity and spontaneity that Goode brings to this timeless music” - Gramophone Magazine "The Signum engineers have done a sterling job with the sound quality. The cycle certainly stands shoulder to shoulder with some of my favorite traversals, including those by Christopher Herrick, Peter Hurford, Lionel Rogg and André Isoir." - Musicweb International Recordings of the Year 2021 -
“JS Bach’s seven concertos for solo harpsichord & strings, occupy a significant place in the history of music, marking as they do the origin of the keyboard concerto genre. Collective- ly, they encompass the gamut of Baroque rhetorical expression; indeed, leaving aside the six ground-breaking ‘Brandenburg’ Concerts avec plusieurs instruments, it is difficult to think of a more diverse, revolutionary and technically refined set of instrumental concertos from the Baroque period” - Andrew Arthur Their second recording on Signum Classics, The Hanover Band play-directed by Andrew Arthur present four of these revolutionary concertos, following their successful first album “BMV 1052, 1054, 1055 & 1058 Harpsichord Concertos”. The Hanover Band’s players are amongst the finest in their field and the orchestra has built an inter- national reputation for the excellence of its performances and recordings of eighteenth and nine- teenth-century music. Andrew Arthur is best-known for his work in the field of historically informed performance, he is in great demand as a conductor, keyboard soloist and continuo player, working with many of the UK’s leading period-instrument orchestras and professional choirs. ★★★★ Performance ★★★★ Recording "[Fifth Brandenburg Concerto] who concertino writing for harpsichord and sparkling first movement solo makes its presence apposite in the present company. Andrew Arthur enlivens Bach's scores with clearly articulated solo playing" - BBC Music Magazine "A major key to the success of these recordings is the singing quality of this harpsichord in this acoustic under the fluid coaxing of Andrew Arthur’s touch…How lucky Andrew Arthur is to have such fine companions in making these wonderful recordings… I shall enjoy returning to this recording for a long time. It is such responsive, unshowy but fluid, utterly musical playing. This is how to hear Bach, and you should get it at once" - Early Music Review -
Disc on Demand available from Presto Classical David Goode continues his series of the complete organ works of Johann Sebastian Bach, played on the Metzler Söhne organ of Trinity College Chapel, Cambridge. This digital-only recording is available from all major download stores and streaming services in MP3, CD Quality and Studio Quality/24-bit audio, and includes an extensive note on the works by George Parsons. It is also available to buy as a disc on demand – made to order with a printed booklet and inlay. All downloads include booklets. -
Following her debut release of Baroque works by Vivaldi and Handel earlier this year, Grace Davidson returns to disc on Signum with an intimate disc of Dowland’s first book of lute songs, accompanied by David Miller. Blending melancholy with wit in his writing for both lute and voice, John Dowland’s songs have continued to enchant audiences and singers for nearly 400 years. The ‘First Booke’ includes some of Dowland’s less well-known works, and was recorded in the sensitive acoustic of Ascot Priory in Berkshire, UK.
Performance ★★★★ Recording ★★★★★ Dowland's [works] find elegant interpreters here in Grace Davidson and David Miller - BBC Music Magazine These are beautiful, musical performances - Gramophone "Grace Davidson, one of the most elegant voices in the English music scene, interprets the melodic singularity of these exquisite Ayres , weighing the expressive value of the lyrics…The English soprano expresses with serenity and good taste the affections of the soul." - Sonograma -
John Jenkins (1592-1678) is perhaps the most popular English composer of the great golden era of music for multiple viols, ranging from William Cornyshe in 1520 through to Henry Purcell in 1680. The reason why is not hard to fathom: a rare melodic gift is married to an exceptionally deep understanding of harmony and modulation, and effortless counterpoint gives each part an equal voice in the musical conversation. Fretwork perform Jenkins’ complete consort works for four-part viol ensemble, in a new recording that showcases this composer’s rich and diverse compositions. A recital of sumptuous music superbly played. In a word: sublime - Classical Ear A new recording that showcases the composer’s rich and diverse compositions - Northern Echo Contemplative, spirited, mellifluous and free from overt drama, they offer apolitical, zen-like balm - The Observer When played well, as in the case of these beautiful performances, John Jenkins’ work can be deeply satisfying and deserves to be heard more widely. Highly recommended - iClassical Mellifluous and engaging, with a real sense of communication, this is delightful music, delightfully performed - Planet Hugill -
Even though Jonathan Dove is best known as a vocal or choral composer, with operas and works for children forming the backbone of his output, his chamber music reveals similar predilections for narrative, drama, atmosphere and a sense of the personal.His new commission from the Sacconi Quartet In Damascus was inspired by the violinist Hannah Dawson’s suggestion for a work that should reflect aspects of the conflict in Syria; not because music can offer any political solution, but simply as an expression of empathy, sorrow, even outrage at those terrible events. Featuring a performance by tenor Mark Padmore, the text is taken from prose-poems by Ali Safar that draw on his first- hand experiences in Syria, eloquently translated by Anne-Marie McManus.★★★★ Jonathan Dove’s In Damascus proves a powerful, passionate and above all humane commentary on that country’s current plight… impeccable playing from the Sacconi Quartet - Classical Ear ★★★★ The beauty of the piece, for tenor and string quartet, is its restraint. It doesn’t sensationalise, get maudlin, moralise or politicise. The words are direct and the music respects that. The performance does, too: focused playing from the Sacconi Quartet and lucid, unswerving narrative from tenor Mark Padmore - The Guardian Mark Padmore uses his voice with such emotional intelligence… the string playing is by turn both dark and passionate - BBC Radio 3 Record ReviewThe Sacconi’s present this new work alongside his string quartet work Out of Time, and his Piano Quintet – performed with pianist Charles Owen. -
For An Unknown Soldier is a cantata of remembrance to mark the centenary of the First World War. Commissioned by the London Mozart Players, Jonathan Dove’s poignant work combines the words of war poets such as Wilfred Owen, William Noel Hodgson & Isaac Rosenberg with choral performances from tenor Nicky Spence, the Oxford Bach Choir and Portsmouth Grammar School Chamber Choir. It is paired with the ensemble’s performance of Dove’s An Airmail Letter from Mozart, directed from the piano by Melvyn Tan. ★★★★ Performance, ★★★★★ Recording “Conductor Nicholas Cleonbury does a sterling job of marshalling the focus, which include a combined children’s choir, and tenor Nicky Spence, whose contributions are memorably plangent” - BBC Music Magazine “The performance is a good one. Nicky Spence sings expressively and his timble suits the music very well...The recordings of both works have been very effectively engineered by Matthew Dilley” - Musicweb International “Nicky Spence is particularly well-focused and expressive and the Oxford Chorus perfectly drilled and nicely balanced with a lovely tone quality” - Musicweb International
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This is a musical trip from the mid-sixteenth century to around 1700, involving music in Late Renaissance style, carrying Spanish Catholicism across the Atlantic to supplant an indigenous culture. Once the invasion had taken root with the conquest of Tenochtitlán and its transformation to Mexico City, the country became the target of fervent friars and preachers. Franciscans were first in 1523, then Dominicans, all fired with Christian zeal to convert the native population. From the outset they used music to great effect. The accounts that survive show how successful they were in teaching singing and playing, training choirs to perform liturgical music. By the mid-century it was claimed that standards had reached that of Charles V’s chapel. Churches and cathedrals were established throughout the rapidly expanding New Spain. Conquest and Christianity imposed an almost exact replica of Old Spain. Liturgical books, prints of plainchant and polyphony were shipped in throughout the century. In this recording the singers present music by eight composers. Four of them never went to the New World; their music did. Three of them were born in Spain and were trained in music there; they held appointments in Spain and later emigrated to the new colonial cities. One more became the first composer-choirmaster to be born there of Spanish parents, thus criollo. All downloads include booklets. -
“JS Bach’s seven concertos for solo harpsichord & strings, BWV 1052-1058, occupy a significant place in the history of music, marking as they do the origin of the keyboard concerto genre. Collectively, they encompass the gamut of Baroque rhetorical expression; indeed, leaving aside the six ground-breaking ‘Brandenburg’ Concerts avec plusieurs instruments, it is difficult to think of a more diverse, revolutionary and technically refined set of instrumental concertos from the Baroque period” - Andrew Arthur Their first recording on Signum Classics, The Hanover Band play-directed by Andrew Arthur present four of these revolutionary concertos, and dedicate this release to their Founder and Artistic Director, Caroline Brown (1953-2018). The Hanover Band’s players are amongst the finest in their field and the orchestra has built an internation- al reputation for the excellence of its performances and recordings of eighteenth and nineteenth-century music. Andrew Arthur is best-known for his work in the field of historically informed performance, he is in great demand as a conductor, keyboard soloist and continuo player, working with many of the UK’s leading period-instrument orchestras and professional choirs. "Fluid, inventive and utterly musical" - Early Music Review ★★★★★ "An excellent record, which I enjoyed very much…I cannot recall a set of performances which has satisfied me as much…The recording balance is equally first-rate and this disc can be very confidently recommended. I look forward to it's successor" - Musical Opinion ★★★★ "This is a fine new recording of some of the Bach harpsichord concertos with the Hanover Band in good form…Andrew Arthur is a fine player, and the Garlick harpsichord sounds very well. The opening D minor Concerto has splendid energy, and in the third movement the lively dialogue with the harpsichord is very effective…If wanting stylist performances of these four concertos, this is well worth considering" - Choir and Organ Magazine -
British composer Julie Cooper presents her commercial album debut, composed during the COVID-19 lockdowns. This musical diary represents Cooper’s reflections on the continuous cycle of life as experienced so vividly by many during this time. This theme is explored most prominently in the central 4-movement work, the ‘Contemplation Suite’, featuring the soprano Grace Davidson, where the changing of light and dark in the day and its effect on our circadian rhythms is brought to light. The album opens with the title track ‘Continuum’, written and narrated by celebrated Bridgerton and Dr Who actor Adjoa Andoh, poignantly setting the tone and message for the rest of the album. Julie Cooper is an award-winning British composer whose music is broadcast extensively on Film, all BBC television and radio channels, ITV, Channel 4 and 5 and all visual media worldwide. She has scored multiple cinematic orchestral and intimate chamber albums for television drama, film, wildlife documentaries, advertising and video game music, along with numerous drama commissions for Theatre, BBC Radio Drama and the concert platform. "[Dusk] (contains) impassioned interjections on solo violin by Elena Urioste alongside luminously floating lines from soprano Grace Davidson…One is constantly reminded in Cooper’s expressively honed music of its power to comfort and inspire in difficult times" - Gramophone -
The Choir of St John’s College, Cambridge return to disc with three 20th Century European masterpieces: Poulenc’s Mass in G Major (last recorded by the choir over 40 years ago under the iconic George Guest), Kodály’s Missa Brevis, and Janáček’s Otčenáš (Our Father). All works make use of highly distinctive musical languages, yet all three are tonal and highly accessible. This disc follows the choir’s debut release of works by Jonathan Harvey Deo (SIGCD456), which was awarded the choral prize at the 2017 BBC Music Magazine Awards. ★★★★★ The choir sing with their justly famed blend and perfect intonation… An essential disc - Choir and Organ ★★★★There is a transparency, delicacy and clarity to the textures on this disc… there is a wonderful edge to the more jagged harmonies. There is lightness and control, but steel too in the Sanctus & Benedictus, and the beautiful thread of solo treble at the opening of the Agnus Dei leads to a magical ending - Planet Hugill The Choir captures the other-wordly atmosphere… these well-recorded performances are certainly recommendable - BBC Music Magazine These compelling accounts come highly recommended - Northern Echo -
The Paris of love and art. A poet, a painter, a musician and a philosopher. Living hand to mouth in a freezing garret. Christmas cheer and a heart won by girl next door. The tragedies of love and poverty. Puccini’s best-loved opera is touching, comic, realistic and romantic, true for any time in which deep bonds can flower in the face of adversity. Experience the power of Puccini's sublime score in this new concert performance by Irish National opera, featuring celebrated Irish sopranos Celine Byrne and Anna Devin, in the roles of Mimì and Musetta. "The quality and clarity of this recording are exceptional – every note is pin sharp – while the singing is truly excellent. Bizic is particularly good as Marcello, his voice rounded and clear, with great diction.Byrne’s Mimì, too, is superb. Her voice really soars in her Act I aria ‘Si. Mi chiamano Mimì’…Devin’s impressive coloratura in Act II’s ‘Ch’io beva del tossico!’ (‘I’ll drink some poison!’) also deserves special mention…[This production] will surely appeal to those global listeners." - Opera For All "This recording has one of the finest third acts I have heard, brilliantly sculpted by Alapont to include moments of held-breath emotion - and certainly one of the tenderest endings, with the Rodolfo and Mimì in perfect accord. The recording is spectacular…We hear everything, and in beautiful perspective" - Classical Explorer ★★★★ Performance, ★★★★ Recording "Celine Byrne is a touching Mimi…Vitulskis is capricious, jealous and head over heels with the girl upstairs…It's Sergio Alapont in the pit who really makes the difference, subtly stretching Puccini's tempos for maximum dramatic effect, finding orchestral details in a familiar score that you had forgotten, or never properly heard, and above all letting his singers lead" - BBC Music Magazine -
Following the success of their last album, Timelapse, this new album from Orchestra of the Swan is a collection of extraordinary works connected by ideas of pilgrimage, contemplation, exploration and enlightenment through the works of composers such as Richter, Respighi, Britten, Piazzolla, Brian Eno, Nico Muhly, Joy Division and more. As with Timelapse, the joy is to be found in discovering the surprising and delightful connections between culturally disparate and musically contrasting time periods. Labyrinths have been an important part of humanity’s cultural landscape for thousands of years; from the Ancient Greek myth of Theseus and the Minotaur to the intriguing stories of Jorge Luis Borges and Umberto Eco. Our overwhelming desire to find patterns and ‘the hidden truth’ is perhaps nowhere more evident than in the subversive and complex vistas of music. Formed in 1995, Orchestra of the Swan is a British chamber orchestra which, under the artistic direction of David Le Page, is passionate about audience inclusivity and blurring the lines between genres, through its adventurous and accessible programming. "Labyrinths is a perfectly judged playlist: thoroughly enjoyable, superbly performed…offering a satisfying listening experience from top to toe" - Classical Explorer "…Explores ideas of pilgrimage, contemplation and enlightenment, filtered through a sequence of beautifully atmospheric music, imaginatively arranged and exquisitely performed…There is truly “something for everyone” on this album… And that ambient Eno track? It’s the perfect close to this brilliantly conceived, generous and rewarding recording. Highly recommended" - The Cross-Eyed Pianist "the Orchestra of the Swan presents a wildly eclectic programme, which makes for an exciting listen…the solos are ethereal and thoughtful" - BBC Music Magazine -
The first album from the Choir of St John’s with their new music director - Christopher Gray. Leaning into the college’s well-established tradition of championing new music, at the heart of the programme are two triptychs: James MacMillan’s Cantos Sagrados, composed 35 years ago, and Joanna Marsh’s Echoes in Time, commissioned by the College in recent months. There is also a new choral work by Helena Paish and a new organ work by Martin Baker alongside existing works by Roxanna Panufnik and Dobrinka Tabakova. The commissioned works were conceived with the distinctive environment of St Johns’ Victorian chapel (designed by George Gilbert Scott and consecrated in May 1869), its organ and its fine, world-famous choir which has done service since its post-Restoration establishment in the 1670s. ★★★★★ - BBC Music Magazine “This is not just a five-star recording, but a five star summa cum laude” - Cathedral Music "Gray’s St John’s College choir sing it with a confidence and bite that’s compelling." - The Arts Desk "Ornate melodies rise in delicate highs, while deeper voices unfold rich and luminous harmonies, weaving a melodic and harmonic interplay that navigates between abundance and constant change." - Sonograma “The Choir of St John’s College tackle this demanding programme not just with great accomplishment but also with evident commitment.” - Music Web International -
Counter-tenor Iestyn Davies and and the viol consort Fretwork present a new recording of works for viol consort and voice drawn from 17th-century Germany, following their critically-praised 2019 album of works by Michael Nyman and Henry Purcell (If, SIGCD586). Featuring performances from organist Silas Wollston and counter- tenor Hugh Cutting, the recital ranges widely over the 17th century – from the early years with three curiously similar sounding friends: Schein, Scheidt and Schütz, to the most significant member of the Bach family before Johann Sebastian, Johann Christoph Bach. From their they travel down North Sea to the foothills of the Alps, including Buxtehude’s predecessor at the Marienkirche in Lübeck – Franz Tunder (whose daughter Buxtehude was to marry) and another north German composer who worked in Copenhagen, Christian Geist. Giovanni Felice Sances is an outlier here: he was born in Rome, but spent the second part of his life working for three successive Emperors in Vienna, where viol playing was still very much in vogue. In 2021, Fretwork celebrates its 35th anniversary. In the past three and a half decades they have explored the core repertory of great English consort music, from Taverner to Purcell, and made classic recordings against which others are judged. In addition to this, Fretwork have become known as pioneers of contemporary music for viols, having commissioned over 40 new works. Iestyn Davies is a British countertenor widely recognised as one of the world’s finest singers celebrated for the beauty and technical dexterity of his voice and intelligent musicianship. Critical recognition of Iestyn’s work can be seen in two Gramophone Awards, a Grammy Award, a RPS Award for Young Singer of the Year, the Critics’ Circle Award and recently an Olivier Award Nomination. He was awarded the MBE in the Queen’s New Year’s Honours List 2017 for services to music. "★★★★From the very first track (Tunder’s ‘Salve mi Jesu’) we encounter the central delight of this recording – the pure, clear countertenor voice of Iestyn Davies. His sense of phrasing and awareness of the changing harmonic colours provided by the accompanying instruments are consistent musical attributes" - BBC Music Magazine "Davies is not only capable of singing about pain and anguish – for contrast, try If (Signum Classics), his other disc with Fretwork – but the purity of his voice, with its rich palette of inflections, and his communication of the text, makes this ideal repertoire for him, and us."- The Guardian"[Schutz’s Auf dem Gebirge] It’s a gem, one among several on this beautiful release" - Gramophone
"All in all, this is an interesting and compelling disc which attests to the spiritual depth of German music of the 17th century" - Musicweb International
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Orlande de Lassus, Europe’s most famous musician during his lifetime, created nothing finer than the Lagrime di San Pietro, a collection of twenty spiritual madrigals and one motet for seven voices; A cycle of intense reflections on the sorrows of St Peter following his denial of Christ, it was assembled shortly before the composer’s death in 1594 and dedicated to Pope Clement VIII. Into this collection Lassus pours every dramatic nuance and piece of harmonic invention he could possibly muster, hurling the listener through the stages of Peter’s rage, remorse and resignation, and concluding with a motet that presents Christ’s response to the world. Gallicantus's robust and committed account will hearten those who fear for the future of this repertory on disc. The countertenors on the top lines are a vigorous alternative to women's voices - Gramophone Magazine Recording of the Month: This recording is something that absolutely must be experienced. You will not regret it at all - MusicWeb International -
This release by the London Chamber Orchestra marks the start of the build up to the orchestras 100th anniversary year. Featuring three sublime recordings of pieces for strings, this is a nod to the fact that the orchestra truly are one of the best in the country. When you go to an LCO concert, you do not just go to listen to a concert, you go to experience a performance. This live recording from Cadogan Hall, in June of 2019 is no exception. Christopher Warren-Green and the orchestra capture the quintessential ‘Englishness’ of Vaughan Williams’ Fantasia on a Theme of Thomas Tallis perfectly. They then explore the emotional Serenade for Strings of both Josef Suk and Antonín Dvořák, examining the similarities between the pieces. All downloads include booklets. -
In the centenary year of the Armistice of 1918, thoughts turn to the great human cost of the First World War and many subsequent armed conflicts. Released in support of the charity Combat Stress, this commemorative recording explores the themes associated with human conflict. The programme brings together texts and music pointing to the frailty that leads to the violence of war, but also to triumphs of the human spirit that so often arise from situations of the deepest desolation.
The Choir of Chichester Cathedral are led by Charles Harrison in this collection of works by composers affected by the Great War, including Stanford, Bainton, Ireland, Howells, Parry and Elgar.
Such understated yet beautifully moulded singing - Gramophone No other collection matches this - MusicWeb International Lest We Forget brings together eloquent pieces of music and text that reach remarkable depths of musical and artistic expression that still resonate in the modern day - Chichester Observer Both singing and playing are first class within the clear acoustic of Chichester Cathedral - Cross Rhythms Farrington's imaginative re-working of the orchestral score for organ should win it many devotees, especially in this fine performance - Planet Hugill -
For Lewis Wright's debut recording he is joined by British piano virtuoso Kit Downes for a disc of his own works: “There is limited material for vibraphone and piano (especially for improvising musicians), which has the potential to be so rhythmically interesting and polyphonically grand. I set out to compose pieces that showcase the instruments and are built around the language of the musicians. The right pianist, who can speak in this particular dialect of improvisation and has similar taste in the moment, was an obvious choice. Kit and I have known each other and played together since childhood and we share many influences, musical and otherwise.” Lewis Wright, 2018 Lewis Wright is an award-winning British vibraphonist, composer and drummer based in London. As a vibraphonist, he was nominated for Rising Star in the 2016 Downbeat International Critics Poll, and was awarded Ensemble of the Year in the 2016 Parliamentary Jazz Awards with Empirical and the Worshipful Company of Musicians prize in 2011. He has performed at venues such as the Sydney Opera House and the Royal Albert Hall, and has been a featured soloist with Wynton Marsalis and the Jazz at Lincoln Centre Orchestra. A set of exquisitely conceived pieces that highlight both the natural range and colouration of the two instruments, but also the improvisational instincts of the two performers - Jazz Journal The sense of unity and clarity of piano and vibes resonates throughout this highly impressive and musical debut - Jazzwise -
The latest instalment from composer Oliver Davis, an album inspired by his work Life Cycle for violin and strings, with all the works that followed playing on the theme of life. Featuring works for violin, piano, strings, harp and orchestra, Davis is joined by celebrated musicians Huw Watkins (Piano), Kerenza Peacock (Violin), Benjamin Baker (Violin), as well as the Royal Philharmonic Orchestra conducted by Julian Kershaw. -
Following their acclaimed mix-tape series on Signum Classics, LIGHT and SHADOW is the sixth album from Orchestra of the Swan and David Le Page. Featuring new arrangements of works by Peter Gabriel, Thomas Newman and Radiohead, this latest instalment promises to take you on a compelling, imaginative journey – bridging musical genres such as jazz and electronics in their signature ‘Swan’ style. -
The prodigious Norwegian treble Aksel Rykkvin returns to disc on Signum with a new disc of Baroque works, accompanying the MIN Ensemble under trumpeter Mark Bennett and the ensemble director Lazar Miletic. Featuring both instrumental pieces and excerpts from operas and oratorios by Handel, Rameau, Albinoni and Rittler, this disc further documents Aksel’s unique talent as a performer and interpreter of Baroque music. Rykvin's polished technique and confident musical personality yield a lovely account of Télaire's lament - Gramophone Vocal maturity, superb tuning and breath control are quite outstanding - Cathedral Music Magazine A thoroughly enjoyable collection and those that appreciate Baroque music will be thrilled by what is on offer - Cross Rhythms Light Divine further documents Aksel’s unique talent as a performer and interpreter of Baroque music. A must - Northern Echo -
"In my opinion, the Lindberg and Aho clarinet concertos are two of the greatest of the 21st century. These works demand everything from the performer—one moment navigating passages of extreme virtuosity and precision, the next exploring the most beautiful and breath-taking writing. They require total commitment; there’s no holding back, making them both thrilling to perform." - Julian Bliss ★★★★★ - BBC Music Magazine ★★★★ - “[Julian] matches that virtuosity with a velvety smooth tone in the lyrical passages in both works.” - The Guardian “Captivating” - Kulturabdruck “A resonant and captivating confection, full of long lyrical lines and a beguiling phantasmagoria of chiming percussion. I love it.” - Gramophone "The star is obviously Bliss himself, whose playing in the cadenza – his own, not the composer’s original – is truly dazzling, and fully in keeping with the spirit of the piece." - The Artsdesk -
Internationally renowned soloist Lucille Chung performs a programme of virtuosic and beguiling works by Franz Liszt. One of the first female students of the iconic Russian pianist Lazar Berman at the Academia Pianistica in Imola, Italy, Chung has won numerous awards for her performance’s of Liszt’s music, including the B minor Sonata that features on this programme. Lucille describes in her introduction to the programme how Berman “... for a time doubted that a diminutive lady with hands spanning a 9th (although I can now stretch a 10th on a good day) would ever succeed in playing Liszt well ... Mr Berman came around.” Renowned for her “blazing gutsy performance[s]” (The Washington Post), Lucille Chung has been acclaimed for her “stylish and refined performances” by Gramophone magazine, “combining vigour and suppleness with natural eloquence and elegance” (Le Soir). -
'Little Wanderer’, from William Blake’s dream world, seemed the perfect title for an album in which we are surrounded by myriad landscapes in songs by Benjamin Britten, Imogen Holst and Daniel Kidane. Since meeting on our first day at the Royal College of Music, we have long enjoyed programming Britten’s masterful folk song reimaginings, and we adore the texts and music in his powerful Hardy cycle, Winter Words. It has been a joy to discover songs by Imogen Holst, Britten’s close friend and assistant, and we are proud to be able to make the first recording of Dan’s Songs of Illumination, commissioned for us by Leeds Lieder in 2018. For over a decade, song in English has played a major part in our musical lives and performing relationship, and we are delighted to present this programme together. “This enormously impressive performance bears comparison with other recorded greats.” - Musicweb International -
Locus Iste celebrates two milestones for the Choir of St John's College, Cambridge: as well as 2019 marking the 150th anniversary of the consecration of the college chapel, this release is coincidentally the choir's 100th recording – 60 years on from George Guest’s iconic first recording of ‘Hear my prayer’ for Argo, released in 1959. Directed by Andrew Nethsingha, the programme makes great use of the chapel's renowned acoustic, and celebrates the choirs past, present and future – including an anthem by a former director of music, a motet by one of their recent student composers and the cello-playing of a current undergraduate. The Choir of St John’s College, Cambridge is one of the finest collegiate choirs in the world – known and loved by millions from its broadcasts, concert tours and recordings. Founded in the 1670s, the Choir is known for its rich, warm and distinctive sound, its expressive interpretations and its ability to sing in a variety of styles. It would be hard to imagine a finer celebration of the 150th anniversary of St John’s College Chapel - MusicWeb International Leaves us wanting more - Cross Rhythms -
Roxanna Panufnik's ongoing mission to build musical bridges between different faiths was inspired by the birth of her first child in 2002, when she started to reflect on the world she was bringing her baby into. Religious conflict and wars caused by it are constantly in the news - but we rarely hear enough about the affirmative aspects of our many faiths, such as the phenomenal beauty of the varied cultures surrounding them. By exploring these cultures, Panufnik has been able to unearth a bounty of stunning chant and verse and has been brought closer to her own personal spiritual beliefs. Each work on this CD focuses on a particular mood or sentiment around the theme of love, expressed in a musical language that echoes the origin of the words. Drawing on texts from different faiths, from the 15th century Zen Master Ikkyū Sōyun to the well-loved 13th chapter of 1 Corinthians; from the Christian mass setting to the 14th Century Sufi poet and mystic Rumi, to the ancient Hebrew Psalm 136 (135). And marrying traditional Anglican text with a Catholic one – creating a truly Ecumenical Magnificat. Within the music you hear fragments of Spanish Sephardic chant, Christian plainsong, Sufi rhythms and a Japanese lullaby to soothe the soul. Love Abide encapsulates the very contemporary ethos of multicultural spiritual devotion in a world populated by a rich diversity of faiths – all feeling, as deeply and as aesthetically, the compelling potency of music with love. ★★★★★ A rich offering on the theme of interfaith connectivity - BBC Music Magazine [An] impressively varied and diverse collection. A music of hope in dark and troubled times - Gramophone A soothing soundworld - The Northern Echo -
Ian Venables studied composition with Richard Arnell at Trinity College of Music, London and later with John Joubert, Andrew Downes and John Mayer at the Royal Birmingham Conservatoire. His works encompass many genres and he has added significantly to the canon of English art song. Described as ‘Britain’s greatest living composer of art song’ (Musical Opinion) and ‘a song composer as fine as Finzi and Gurney’ (BBC Music Magazine), Ian Venables has written over 80 works in this genre, including nine song-cycles. As the title suggests, the works on this disc are predominantly reflective in mood although this does not preclude the use of faster-moving music whenever the poetry requires it. Its subject matter celebrates the timelessness of love through the poetry of James Joyce, John Drinkwater, Edward Thomas, John Clare, Robert Nichols and the modern poet Jennifer Andrews; the celebration and commemoration of Queen Elizabeth, The Queen Mother, in Sir Andrew Motion’s remarkable narrative poem Remember This and the collective remembrance of those who died in the First World War: the poetry of Wilfred Owen, Isaac Rosenberg, Siegfried Sassoon, Geoffrey Studdert Kennedy and the less well-known Francis St. Vincent Morris providing the impetus for one of Ian Venables’ most dramatic and profoundly moving cycles. All downloads include booklets. -
"The experience of being lovesick is universal. We are not the first to encounter it and there is no place safe from feeling this particular brand of melancholy. A favourite topic in art since the medieval period, museums are bursting with portrayals of love’s rebuke, and lovesickness has been studied as a legitimate medical illness, not least of all by Sigmund Freud who called it ‘a kind of craziness’. The 17th century was a unique period when feeling these bittersweet emotions was embraced as fuel for artistic expression. Love triggers an amphetamine-like euphoria in a dozen regions of the brain, similar to cocaine, dopamine, and oxytocin. In the thralls of an amorous high, one easily forgets the opposite of that ecstasy; unrequited or faded love that brings a despair all its own, causing depression, confusion, apathy, mood swings, and insomnia — the physical manifestation of heartbreak" - Randall Scotting His second album on Signum Records, counter-tenor Randall Scotting is joined by celebrated lutenist Stephen Stubbs for a collection of anti-Valentine's songs focussing on heartbreak and loss from the 17th century. "Perhaps there is no cure for lovesickness; but we are confident that this album will be comfort for all those who have loved, lost, and hope to love again". - Wendy Heller, Chair, Dept of Music, Princeton University. Stephen Stubbs plays on three instruments at A=415 Hz; a 10-course bass lute by Lawrence K. Brown, a baroque guitar by Ivo Magherini, and a 10-course renaissance lute by Stephen Barber. "The programme is skilfully planned and beautifully executed…Scotting sings throughout with rich, even tone and clear diction" - Gramophone ★★★★ Performance ★★★★ Recording "[The album] offers a worthy platform for the acclaimed musical and dramatic skills of Randall Scotting and Stephen Stubbs" - BBC Music Magazine "Any risk of addiction? So much the better – these songs are worth it!" - Musicweb International ★★★★½ "American countertenor Randall Scotting’s strapping image runs counter to what you might expect. There is a robustness to the voice, too, but refined through his extensive operatic experience. The opera house and the salon coexist in this dramatic yet intimate themed recital in which the legendary Stephen Stubbs, playing renaissance and baroque lutes and a baroque guitar, deploys his legendary arsenal of colours and expressive gestures" - Limelight -
Gustavo Díaz-Jerez is one of the leading composers and pianists in Spain. His compositional output spans all genres, from solo works to opera. His works have been premiered by prestigious ensembles and orchestras. His orchestral work Ymarxa, commissioned by the XXVII Canary Islands Music Festival, was premiered by the Royal Philharmonic Orchestra, conducted by Charles Dutoit. In 2018, his first opera was premiered, La casa imaginaria. This album represents the culmination of more than ten years of compositional work. A unique endeavour in the history of music in the Canary Islands, it comprises seven symphonic poems – almost two and a half hours of music – which evoke the landscapes and natural beauty of the Canaries. The cycle takes its name, Maghek (“the one who creates brightness”), from the sun-goddess of the Guanches, the aboriginal inhabitants of the Canary Islands. Each piece is inspired by a specific locale on a different island; some resurrect forgotten stories. Naturalistic tonal painting (the sea, the wind, the rugged scenery) is a constant feature throughout the cycle. All downloads include booklets. -
Continuing their Magnificat series, and the last album of Andrew Nethsingha’s tenure as director, The Choir of St John’s College Cambridge present Magnificat 4 with works from composers including Judith Weir, Jonathan Dove, Joanna Forbes L’Estrange and Charles Villiers Stanford. The album features two items commissioned specially for St John’s by Judith Weir alongside the world premiere of a new piece by Jonathan Dove. ★★★★★ Performance ★★★★★ Recording "Imaginative programming of innovative contemporary works rubbing shoulders with canonical repertoire...the distinctive St John's 'sound', with its immaculate balance, luminous tone and elegant yet unaffected phrasing...Andrew Nethsingha has departed from St John's with a sense of promise fulfilled and bright hope for the future" - BBC Music Magazine ★★★★★ "The stand-out for me is the concluding Worcester Service by Piers Connor Kennedy, with its echoes of plainchant. As organist George Herbert writes in his excellent booklet notes, it 'inspires a real feeling of worship and understatement'." - Choir and Organ "Every detail has been polished and beautifully presented...Piers Connor Kennedy’s a cappella Worcester Service (2015) is distinguished for being the only Latin setting on the disc and for the sheer beauty of its understatement. The album features the premiere of Jonathan Dove’s St John’s Service. His hallmark energy sparkles throughout the Magnificat and contrasts beautifully with the gentlest of Nunc dimittis treatments. George Herbert’s organ-playing is also a joy to behold.Alas, Judith Weir’s 2011 service seems rather dull in comparison. Finest of all, though, is Joanna Forbes L’Estrange’s King’s College Service, full of delicious earworms and melting harmonies, and I am confident that this work will remain as popular as Stanford’s classic in 100 years’ time." - Gramophone "These are beautiful canticles. This whole series of St John’s recordings has been a joy to follow." - MusicWebInternational ★★★★1/2 star Performance, ★★★★★ Recording "Technically everything runs like clockwork, musically it is the inner calm, the clean structure and the cantabile nature of his playing that are particularly convincing. In this way he does full justice to the seriousness of Tartini's music." - FONO FORUM -
Andrew Nethsingha and The Choir of St John’s College, Cambridge release the second volume in the highly-praised Magnificat series and present nine settings of the Evening Canticles by celebrated Organist-Composers, written between 1932 and 1952, and non-church musicians from 1974- 1989. The recording culminates with a contemporary setting by Julian Anderson, composed for the Chapel’s 150th anniversary. “These first volumes are designed to complement one another. Magnificat 1 started earlier, with Stanford in the 1880s; Volume Two brings us briefly up to the present day. The first release contained celebrated works by Tippett and Leighton from 1961 and 1972 respectively, in between the two main periods represented on this disc. Both albums contain iconic works by Howells, written a year apart. We hear composers creating different orders of priority for the parameters of composition.” Andrew Nethsingha "Highlights? Well, every item, really! You would travel far to hear a more sensitive start to Howell's Collegium Regale setting, or indeed, a more dramatic Gloria…[Magnificat] This is totally exhilarating…Throughout, the choir exhibits its customary impeccable intonation, but its emotional power derives more from the uninhibited expressions of so wide a range of musical styles and idioms. The treble soloists in particular are wonderful, as indeed are the organists. This is a terrific disc" - Cathedral Music Magazine -
Following their critically acclaimed ‘Psalms’ album, St John’s College, Cambridge and Andrew Nethsingha present a selection of Magnificat & Nunc Dimittis recordings from January and July 2022. Much of the third volume in their series of Evening Canticles focuses on music in a twenty-year period, from 1945 to 1965. Philip Moore’s Magnificat and Nunc Dimittis were commissioned especially for St John’s College, Cambridge. EDITORS CHOICE "Musical jam all the way…programming that makes each disc a satisfying listening sequence…The choir inflect works spanning a world changing few decades, from the First World War to the 1960s, with distinct personality while maintaining a core sound that's always free and full, refreshingly natural… I can't think of a greater or more apt epitaph to the music director's time at St Johns" - Gramophone "The contrasting works…give the choir the chance to display their warm sound and versatility. They do, wholeheartedly" - The Observer "What a wonderful performance. The dynamics, the contrast, the utter confidence in the singing. Philip Moore’s St John’s service is a highly effective contrast, more intimate. And Bryan Kelly in c, is the flamboyant ending—syncopated jazzy, powerfully celebratory. Excellent solos, boys in great fettle, acoustic, well captured; it’s a fine series this is. Anyone who has ever sung or loved this kind of Anglican church music should be impatient for more" - BBC Radio 3 Record Review ★★★★★ "Another excellent disc in this fine series…The performances throughout are outstandingly impressive, beautifully balanced and always entirely suited to the nature of each setting…The superb acoustic of St John's College, Cambridge suits this wide ranging collection of musical styles to a T; Chris Hazell;s production values, and the engineering skills of Simon Eadon and Dave Rowell capture the essence of this fine music-making admirably. The result is what has come to be known as 'state-of-the-art'…A treasurable disc in many ways" - The Organ "Spellbinding…Another triumph for Nethsingha and St John’s" - Classical Explorer "[Kenneth Leighton] A deeply spiritual atmosphere is created at the words ‘For behold from henceforth'... The final phrase, ‘as he promised to our forefathers’, is truly magical…[The album, A] remarkable and striking work…documentation of truly outstanding quality" - Musicweb International "Andrew Nethsingha…gives masterful readings of the works and offers a very measured interpretation with tension, introspection and the true human need to communicate" - Sonograma "Nethsingha brings a marvellous sweep to the Magnificat, with well-judged tempi and thrilling support from organ scholar George Herbert. The trebles are exceptionally good and raise the roof in the final bars…this disc is a worthy successor to volume 2 in the series….The CD comes with excellent booklet notes, including a forward by the Revd. Lucy Winkett and an illuminating essay on Howells by Andrew Reid. Images of handwritten manuscripts provide rare glimpses into the compositional processes, and add scholarly value to this highly collectable disc" - Opera Today "A most interesting disc…Another triumph for Nethsingha and St John’s" - Classical Explorer "This is yet another very fine album from Andrew Nethsingha and the Choir of St John’s College, Cambridge. Throughout the programme the performances are consistently fine; they are clearly the work of a choir that has not only been thoroughly trained in the music but which also has a deep collective understanding of the texts they are singing. George Herbert plays the often challenging organ parts with skill and flair…The recorded sound is equally distinguished…This is a rather special disc." - Musicweb International
