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Crouch End Festival Chorus presents two Britten classics: Saint Nicolas and A Ceremony of Carols. Full of vibrancy and drama, Saint Nicolas is performed alongside the fabulous BBC Concert Orchestra and features tenor Mark Le Brocq as well as Coldfall Primary School Choir, members of Hertfordshire Chorus and Hannah Brine Choirs. The ever-popular A Ceremony of Carols is performed with harpist Sally Pryce, and both works are conducted by David Temple. -
There was a craze for the music of Josquin Desprez in sixteenth-century Spain. All three of the greatest Spanish composers of the age – Morales, Guerrero, and Victoria – were directly inspired by one particular rhetorical effect developed by Josquin: ostinato, the repetition throughout a piece of a musical motto. This album explores Josquin’s legacy as manifest in the motets of Morales, Guerrero, and Victoria, and in Victoria’s great six-voice Missa Gaudeamus. In the hands of such composers the use of ostinato produces results that are dynamic, compelling, and striking in expressive impact. These work show the Spanish composers not just emulating Josquin but also competing to out do him in inventiveness. All downloads include booklets. -
Mahler 2 is the second album from Philharmonia Records, following their first album - Santtu conducts Strauss. “[Also sprach Zarathustra] Rouvali’s conducting of both is certainly interesting and personal... impressive, an expansive reading that sees the work whole... [An Alpine Symphony] undeniably picturesque, vivid and dramatically projected... top-notch playing, and this extravagant score also enjoys notable recorded sound... lingering lyricism, invariably heartfelt and, in conclusion, cathartic” Founded in 1945, The Philharmonia Orchestra creates thrilling performances for a global audience and has premiered works by Richard Strauss, Sir Peter Maxwell Davies, Errollyn Wallen, Kaija Saariaho and many others. The Philharmonia has an extraordinary 77-year recording legacy, and has recorded around 150 soundtracks, with film credits stretching back to 1947. In the 2021/22 season the Orchestra performs in Romania, Spain, Finland, Greece and Germany. Santtu-Matias Rouvali is a Finnish conductor and percussionist, and is currently principal conductor of the Philharmonia Orchestra. Rouvali continues his relationships with orchestras across Europe, including with the Berlin Philharmonic, New York Philharmonic, Royal Concertgebouw Orchestra, Munich Phillharmonic and the the Orchestre Philharmonique de Radio France. "The Philharmonia are on fine form for Santtu with much brilliance coming from the woodwind and brass and bags of generosity from the strings" - Gramophone ORCHESTRAL CHOICE ★★★★★ Performance ★★★★★ Recording "This is special indeed…such spectacular engineering…Rouvali draws exquisite colouring…(the Philharmonia Chorus) soprano power in the great climax has never blazed better" - BBC Music Magazine ★★★★★ "Vibrant version of the Second of Mahler. Powerful and emotional” - Ritmo ★★★★ "The orchestral sound is very good, the soloists are excellent" - Fono Forum -
"Santtu conducts Sleeping Beauty" is the second digital release by Philharmonia Records, showcasing a selection of music from Tchaikovsky's fairytale ballet, 'The Sleeping Beauty'. Conducted and arranged by Santtu-Matias Rouvali, this performance, held at the Royal Festival Hall in 2023, highlights Santtu's favourite excerpts, from the serene Garland Waltz to the dramatic climax 'Apotheose'. "Santtu-Matias Rouvali gives us, for Christmas, a refreshing and vibrant Sleeping Beauty Suite. His album production is so dizzying as the quality of their records. Again, maximum recommendation." - Ritmo "The playing is big and bold, with plenty of bass-drum welly in the Carabosse elements in the Introduction, a percussive ending to the Rose Adagio that sounds positively martial, plus pomp and glitter aplenty in the Apotheosis, all vividly recorded." - Gramophone -
“Santtu conducts Strauss: Ein Heldenleben” is the sixth album from Philharmonia Records. Conducted by Santtu-Matias Rouvali, this performance was recorded at Southbank Centre’s Royal Festival Hall. ★★★★★ - “The orchestral sound is superb and gloriously expansive” - BBC Music Magazine “An expression of power without disorder, of tension without confusion – a Heldenleben of irresistible gravity and luminous calm.” - Sonograma “The recording quality is flawless and there is no hint of this being live … this [recording] achieves a profundity which wholly validates Rouvali’s more reflective interpretative choices." - MusicWebInternational -
Santtu conducts Strauss is a 2-CD deluxe album with four works by Richard Strauss conducted by Principal Conductor Santtu-Matias Rouvali, two of which are live recordings of Santtu’s 2021/22 opening concert and first concert as Principal Conductor at Royal Festival Hall. Eine Alpensinfonie and Also sprach Zarathustra are live recordings of Santtu’s opening concert of the 2021/22 season, and his first concert with the Philharmo- nia as Principal Conductor. The concerts received great reviews. Tim Ashley (The Guardian) said “With the Philharmonia on tremendous form, Rouvali proved a fine Straussian, measured in his approach, and careful in his attention to detail and colour”. Rebecca Franks (The Times) awarded 5-star reviews: “There were “wow” moments aplenty as the Philharmonia laced up its hiking boots and happily hit every waymark in Strauss’s mountain journey: the glorious sunrise, the resplendent summit, the violent storm with wind machine, thunder sheet and organ.” "[Also sprach Zarathustra] Rouvali’s conducting of both is certainly interesting and personal… impressive, an expansive reading that sees the work whole…[An Alpine Symphony] undeniably picturesque, vivid and dramatically projected…top-notch playing, and this extravagant score also enjoys notable recorded sound… lingering lyricism, invariably heartfelt and, in conclusion, cathartic" - Colin's Column "Rouvali is already a great Straussian…speaks very well for the future of his partnership with the Philharmonia…This set is still a noteworthy benchmark for this new conductor/orchestra partnership…The recorded sound on these discs is mostly excellent" - Musicweb International ★★★★ Performance ★★★ Recording "[Don Juan, Till Eulenspiegel] you can hear the excellence of the solo work, in the wind in particular" - BBC Music Magazine"It's generous in all senses, with extensive documentation accompanying performances that are expansive, vividly recorded and beautifully played…[Alpensinfonie] a handsome and ultimately rewarding performance…[Also sprach Zarathustra] is notable for a truly thrilling sunrise and some exciting climaxes elsewhere…an enjoyable release…[the performances] offer ample evidence of Rouvali as an interesting and far from conventional Straussian, and one well worth hearing" - Gramophone
“This whole album is just a huge success in my books. I mean to take something so epic –all these things are so epic and so massive and to still have so many refined nuances and tiny details and colours and attention to, you know, really beautiful harmonies… I think that the orchestra and Santtu really do a fine job of balancing these nuances together. It’s really incredible." - BBC Radio 3 Record Review -
Their tenth album with Signum Classics, the Armonico Consort directed by Christopher Monks return with two works by Francesco Scarlatti. This recording has been made using new editions of the works, (made especially for this recording) that follow only the autograph scores. Armonico Consort began life in 2001, set up by Christopher Monks and a group of university colleagues with a shared passion for music from the Renaissance to Baroque, coupled with the imagination to find new and unusual ways to present concerts. Audiences seemed to love their engaging and imaginative approach, and most concerts in the first years sold out. The founder and Artistic Director of Armonico Consort and its ground-breaking education programme AC Academy, Christopher Monks has established himself as a versatile and prolific conductor and keyboard player. Specialising in the performance of music from the Baroque and late Renaissance, Christopher is equally at home with major and modern choral repertoire. ★★★★★ "This extraordinarily successful release has a musical significance of the highest order. The performances throughout betoken both care in preparation and total commitment in the realisation of these neglected masterworks…This release is a shining example of what the gramophone can achieve" - The Organ ★★★★ "The sparkling setting of Dixit Dominus features dramatic word painting and a lavish use of a high trumpet; this performance is full of high energy" - Choir and Organ "It’s fresh and invigorating music and performances" - BBC Radio 3—Record Review -
Disc on Demand available from Presto Classical "In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better ...but I have tried my hand at several instrumental things ... in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic depressive composer. On the one hand his music has that world-weary element of profound grief – 'the most wretched creature in the world' – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. While Schubert's later piano music has a range of emotions that rivals Beethoven's last sonatas, in the beginning of his career he perhaps lacked the assurance of the older composer, and he was less fastidious about destroying sketches and fragments. As a result there are a large number of unfinished works and, therefore, the pianist has to make a decision about where to start the Schubert odyssey. Schubert himself made no effort to try and publish any of his sonatas before the great A minor D.845 of 1825. I decided to start slightly earlier with the B major of 1817 where one senses an assurance and boldness of tonal experiment not found before in his piano music. In this series, Llŷr Williams explores Schubert's solo piano repertoire in exquisite detail, producing some truly unique performances of some of the most romantic music ever composed. All download include booklets. -
Renowned performers Iestyn Davies and Joseph Middleton perform Schubert's tragic song- cycle Die schöne Müllerin (The Beautiful Maid of the Mill). Adapting poetry by Wilhelm Müller, the genesis of D. 795 marks the beginning of the end of Schubert's life; he discovered that he had contracted syphilis sometime in late 1822 or early 1823, and it was in 1823 that he composed this tale of a poet-singer who dies in the aftermath of erotic experience. Released under the own label of St John's College, Cambridge, this recording acts as a celebration of Iestyn Davies's formative period at the college; beginning there as a 7-year-old probationer in 1987, he progressed to become Head Chorister, before ultimately returning to study as a choral scholar. Alongside full texts and translations, the booklet includes a background on the work by noted Lied expert Susan Youens, as well as reflections on Iestyn's time at St John's from the College's past and present Directors of Music – Christopher Robinson and Andrew Nethsingha. ""Die liebe Farbe" is hauntingly beautiful, for example, the countertenor spinning his line with a deeply affecting purity of tone…there's a hypnotic quality to "Der Muller und der Bach too…The way the pair handle the switch in mood at "O Bachlein meiner Liebe"…will stop you in your tracks…This is an often beguiling - and well-recorded - album. The countertenor's fans need not hesitate, and adventurous Schubertians might well also want to seek it out for a fresh perspective on this familiar work" - Gramophone "Highly polished performance from two superb musicians…The slower songs work beautifully…Middleton brings texture through his imaginative rendition of Schubert's accompaniments. The recording quality is outstandingly clear" - BBC Music Magazine -
Disc on Demand available from Presto Classical "In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better ...but I have tried my hand at several instrumental things ... in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic depressive composer. On the one hand his music has that world-weary element of profound grief – 'the most wretched creature in the world' – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. While Schubert's later piano music has a range of emotions that rivals Beethoven's last sonatas, in the beginning of his career he perhaps lacked the assurance of the older composer, and he was less fastidious about destroying sketches and fragments. As a result there are a large number of unfinished works and, therefore, the pianist has to make a decision about where to start the Schubert odyssey. Schubert himself made no effort to try and publish any of his sonatas before the great A minor D.845 of 1825. I decided to start slightly earlier with the B major of 1817 where one senses an assurance and boldness of tonal experiment not found before in his piano music. In this series, Llŷr Williams explores Schubert's solo piano repertoire in exquisite detail, producing some truly unique performances of some of the most romantic music ever composed. All downloads include booklets. -
Disc on Demand available from Presto Classical "In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better ...but I have tried my hand at several instrumental things ... in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic depressive composer. On the one hand his music has that world-weary element of profound grief – 'the most wretched creature in the world' – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. While Schubert's later piano music has a range of emotions that rivals Beethoven's last sonatas, in the beginning of his career he perhaps lacked the assurance of the older composer, and he was less fastidious about destroying sketches and fragments. As a result there are a large number of unfinished works and, therefore, the pianist has to make a decision about where to start the Schubert odyssey. Schubert himself made no effort to try and publish any of his sonatas before the great A minor D.845 of 1825. I decided to start slightly earlier with the B major of 1817 where one senses an assurance and boldness of tonal experiment not found before in his piano music. In this series, Llŷr Williams explores Schubert's solo piano repertoire in exquisite detail, producing some truly unique performances of some of the most romantic music ever composed. All downloads include booklets. -
Disc on Demand available from Presto Classical “In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better …but I have tried my hand at several instrumental things … in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic depressive composer. On the one hand his music has that world-weary element of profound grief – ‘the most wretched creature in the world’ – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. While Schubert’s later piano music has a range of emotions that rivals Beethoven’s last sonatas, in the beginning of his career he perhaps lacked the assurance of the older composer, and he was less fastidious about destroying sketches and fragments. As a result there are a large number of unfinished works and, therefore, the pianist has to make a decision about where to start the Schubert odyssey. Schubert himself made no effort to try and publish any of his sonatas before the great A minor D.845 of 1825. I decided to start slightly earlier with the B major of 1817 where one senses an assurance and boldness of tonal experiment not found before in his piano music. In this series, Llŷr Williams explores Schubert’s solo piano repertoire in exquisite detail, producing some truly unique performances of some of the most romantic music ever composed. All downloads include booklets. -
“In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better ...but I have tried my hand at several instrumental things ... in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic-depressive composer. On the one hand his music has that world-weary element of profound grief – ‘the most wretched creature in the world’ – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. Here, Llyr Williams plays a collection of Schubert solo piano works across a series of releases, once again showing why he is one of the most diverse and extraordinary pianists performing today. All downloads include booklets. -
“In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better …but I have tried my hand at several instrumental things … in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic depressive composer. On the one hand his music has that world-weary element of profound grief – ‘the most wretched creature in the world’ – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. While Schubert’s later piano music has a range of emotions that rivals Beethoven’s last sonatas, in the beginning of his career he perhaps lacked the assurance of the older composer, and he was less fastidious about destroying sketches and fragments. As a result there are a large number of unfinished works and, therefore, the pianist has to make a decision about where to start the Schubert odyssey. Schubert himself made no effort to try and publish any of his sonatas before the great A minor D.845 of 1825. I decided to start slightly earlier with the B major of 1817 where one senses an assurance and boldness of tonal experiment not found before in his piano music. In this series, Llŷr Williams explores Schubert’s solo piano repertoire in exquisite detail, producing some truly unique performances of some of the most romantic music ever composed. All downloads include booklets. -
“In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better ...but I have tried my hand at several instrumental things ... in fact, I intend to pave the way towards a grand symphony in this manner.” These extracts from a letter of 1824 epitomise to me the paradox of Schubert, the manic-depressive composer. On the one hand his music has that world-weary element of profound grief – ‘the most wretched creature in the world’ – and on the other a life-affirming exuberance bordering on the manic that characterises the Wanderer-Fantasie and parts of the D major sonata D.850. Here, Llyr Williams plays a collection of Schubert solo piano works across a series of releases, once again showing why he is one of the most diverse and extraordinary pianists performing today. All downloads include booklets. -
Christopher Glynn continues his series of Schubert in English releases with a new recording of ‘The Fair Maid of the Mill’ (Die schöne Müllerin) with acclaimed Scottish tenor Nicky Spence. Set to a new translation by writer and director Jeremy Sams, Willhelm Müller’s direct and emotionally-charged poetry became the basis of Schubert’s first cycle to tell a complete story over the course of its 20 songs. Nicky Spence is one of Scotland’s proudest sons and his unique skills as a singing actor and the rare honesty of his musicianship have earned him a place at the top of the classical music profession. Nicky won a record contract with Decca records while still studying at the Guildhall School of Music and Drama and then took a place as an inaugural Harewood Artist at the ENO. Christopher Glynn is a Grammy award-winning pianist, praised for his ‘breathtaking sensitivity’ (Gramophone), ‘irre- pressible energy, wit and finesse’ (The Guardian) and ‘perfect fusion of voice and piano’ (BBC Music Magazine). He is also Artistic Director of the Ryedale Festival, where he has been praised as a ‘visionary’ and ‘inspired programmer’ (The Times). "[Nicky Spence] undoubtedly one of the most brilliantly communicative singers working today. In his hands, every word feels natural and right … Glynn plays with subtlety throughout, underpinning the interpretation with a wealth of telling details. If you have any doubts about the idea of lieder in English, this superb performance - beautifully recorded - should win you over" - Gramophone ★★★★ Performance ★★★★ Recording "Nicky Spence ranges with great nuance through romance, awkwardness, brashness, self-doubt, the matter is the loneliness of unrequited love, the vulnerability, all done with that little bit of theatricality that is there in the original Wilhelm Müller poem cycle…'The Brook Sings A Lullaby' finale is quietly devastating, Spence building it's impact slowly, vocally tender and protective; Glynn ever-skilfully evoking the smooth, soothing currents" - BBC Music Magazine "[Nicky Spence] still a beautiful, flexible, easily-produced sound which never falters; his tone encompasses both sweetness and power as required and his knack of placing just the right emphasis or applying a momentary pause in the words without unduly disrupting the vocal line is apparent throughout…Glynn supports him with some of the most subtle and sensitive pianism I have even heard applied to this work…[Glynn] and Spence make an ideally matched partnership – fresh and immediate, presenting it in a manner which could easily win new adherents to this miraculous song cycle" - Musicweb International