• Until quite recently it was thought that the viola da gamba died with the death of one its most loved exponents, Charles Frederick Abel, in 1787; and that it was literally buried with the composer in St Pancras Old Church, near Kings Cross Station in north London. Then it was believed to have been forgotten, until Arnold Dolmetsch pioneered a revival at the end of the nineteenth century. Not so. In fact, now we know that there has always been someone playing the viol, all through the nineteenth century, and that what Dolmetsch revived was the idea of the viol consort and an interest in the music written for the instrument. So the viol family, developed from a common ancestor of the guitar, the vihuela around the end of the fifteenth century in Spain, has a continuous history from then until the present day, in a similar way to the violin family, which was born around the same time. The programme here seeks to reflect that extended history and bring music written specifically for viols, from whatever century, alongside that which has been arranged for them.
  • This disc is the first in a series of nine covering the complete works of Thomas Tallis (c.1505-1585). Not for nothing is Tallis known as the "father of church music" – with his colleagues at the Chapel Royal he created most of the church music genres that we take for granted today. Volume one in the series of nine contains much of the music that Tallis wrote during the reign of Henry VIII. The two early votive antiphons Ave Dei and Ave Rosa open the disc and it concludes with one of Tallis's masterpieces Salve Intemerata. Unusually for an English composer of the time, Tallis wrote a "parody" mass based on material from Salve Intemerata. Also included are two beautiful miniatures not previously recorded – Alleluia: Ora pro nobis and Euge celi porta. This was the first disc to be recorded by Chapelle du Roi and was Signum Records' debut disc in February 1997. The singing is of great distinction - Goldberg Magazine The quality of this disc will surely put these talented performers on the musical map - BBC Music Magazine
  • This disc is the second in a series of nine covering the complete works of Thomas Tallis (c.1505-1585). As the 1540s developed, the Reformation began to take hold and the style of music required from composers such as Tallis altered radically. The large-scale melismatic votive antiphons (for example those on disc 1) were no longer required; the emphasis moved away from Marian devotion to a more syllabic and compact style and, eventually, to settings of English rather than Latin texts. Disc two traces this development from the Jesus antiphon Sancte Deus, to the mass for four voices, the three early English anthems including If ye love me, the Te Deum for meanes and the Elizabethan Magnificat and Nunc dimittis. A stimulating second volume in this distinguished series - Penguin Guide to Compact Discs A beautiful homogeneous quality and are pure and uncomplicated - Footloose Magazine
  • Musuica Antiqua's debut disc for Signum Records. The Triumphs of Maximilian contains songs and instrumental music associated with the German court of Holy Roman Emperor Maximilian the first. The early 16th  century produced European music of great power and innovation. Tthe best players and composers were increasingly mobile, and were aggressively 'head-hunted' from court to court. Nowhere was the resulting mix of styles and influences more clearly illustrated than at the German court of Holy Roman Emperor Maximilian the First. Old and new, polyphony and homophony, national and international, all blend together to produce a repertoire of great variety and richness. In music, as in the visual arts, Maximilian was a patron of unusual discrimination: the volumes of woodcuts by Dürer and Burgmair, commissioned to ensure that the Emperor's fame outlived his reign, pay tribute to his artistic judgement, whilst the music of Isaac and Senfl, both in his employ, is in itself a great monument to him. No praise is too high; they do everything with a pleasingly light touch and always with a real sensitivity to the music - Gramophone I would recommend this disc strongly - Early Music Review Virtuoso performances tempered by the sensitive vocal interpretations of John Potter - Early Music Magazine
  • Phillip II of Spain died at first light on Sunday 13th September, 1598. Released in his 400th anniversary year this disc commemorates the death of this most catholic king with music associated with him during his lifetime, and with the sumptuous six part Requiem mass of Jean Richafort that may well have been used at his obsequiries The programme begins with a motet written by Gombert for the birth of Philip; other motets include one of Infantas' finest works Domine Ostende, and within the context of the mass is included the celebrated Versa est in luctum by Lobo.
  • The debut disc of world-renowned early-music ensemble Charivari Agréable on Signum Records. Music for Philip of Spain and His Four Wives is complementary to SIGCD004 and presents secular music associated with Philip II from the four European countries of his wives - Portugal, England, Austria and France. Bravo!Gramophone Highly recommendedEarly Music Review Exquisite performances ... a highly intelligent programmeEarly Music Today
  • Two Upon a Ground explores the peculiarly English approach to writing instrumental variations known as 'divisions'. The style is principally known for the way it enables a player to demonstrate both a virtuosic command of the instrument and an imaginative understanding of the musical possibilities inherent in a short musical phrase. The repertoire heard here is begins with the undisputed master of the genre, Christopher Simpson, and continues with further virtuosic duets and divisions by Jenkins, Lawes, Tomkins and Purcell. A sunny disposition enhanced by an excellent recorded sound - Gramophone Just buy it! It is all beautifully played - Early Music Review
  • Jupiter

    £12.00
    Orchestral transcriptions and chamber music by Jean-Baptiste Forqueray (1699-1782), taken from Pièces de viole (Paris 1747)and inspired in part by the Roman God, Jupiter. It is certainly rewarding to hear Forqueray's deserving music opened up in such lively and infectious performances - Gramophone All the playing is first rate with exemplary intonation, phrasing, ornamentation and all round good taste - Early Music Review This is revelatory recording marrying scholarship with vivd, risk-taking imagination - highly recommended - Early Music News
  • Music from the Fitzwilliam Virginal Book, transcribed for mixed consort.
    Disc of the Month: An inspired concept... outstanding in every respect - BBC Music Magazine
       
  • This disc is the fourth in a series of nine covering the complete works of Thomas Tallis (c.1505-1585). Not for nothing is Tallis known as the "father of church music" – with his colleagues at the Chapel Royal he created most of the church music genres that we take for granted today. Volumes 4 and 5 both focus on music written for the office hours – the daily services found mainly in the monasteries that eventually suffered at the hands of Henry VIII’s dissolution. Here we have a selection of hymns and Responds from the Henrician and Marian periods, each matched with their accompanying plainchant taken from contemporary sources.
  • Signum is delighted to announce the debut disc of the Gramophone Award winning Clerks' Group on Signum Records. This disc is a programme of 14th-century motets and mass movements represents two of the most important sources of French medieval music. The Ivrea Codex now lives in the Chapter library of the cathedral of Ivrea, a small town in the foothills of the Italian Alps, south of the modern ski resort of Aosta (home to an important 15th-century music manuscript). This may seem an unexpected area in which to find major sources of medieval music, but in fact the position of these towns on one of the main routes across the Alps between France and Italy readily explains their importance in the Middle Ages. They lay on roads that linked centres of power, and accordingly they grew in importance themselves, sustaining cathedrals with musical traditions that provided a natural home for collections of sophisticated polyphony. The ensemble's blend is excellent and the recording is to be recommended, even to those among us who would not count themselves medieval enthusiasts - Classic FM Magazine An excellent release and a valuable addition to the discography - Choir & Organ The Clerks' Group is already well-known for championing neglected Renaissance repertoire, and its cunning programming enriches its fresh performances - The Evening Standard
  • Signum is delighted to announce the debut disc of Lucy Carolan on Signum Records, the six partitas for harpsichord by J.S.Bach BWV 825-830 (1726 to 1731). These works offer a variety in intellectual depth and technical difficulty - all of which is heard to great effect at the hands of Lucy Carolan on the two instruments used; Von Nagel (Paris) 1988, after Michael Mietke and Michael Johnson 1996, after Goermans-Taskin. ★★★★★ [Carolan] consistently brings out the infinite expressive subtleties of the music - BBC Music Magazine Sets new standards for the new millennium - Early Music Review An excellent recording of Bach's partitas... deserves a place in the pantheon of the best available versions of these works - MusicWeb International  
  • Traditionally known as the composer of the Four Seasons and the Gloria, the work of Cecilia Bartoli has shown that lesser-known works of the red priest from Venice can become hit records too.

    Now Signum Records are delighted to introduce a two disc set on period instruments of the 12 Violin Sonatas, Opus 2. Cordaria features internationally-renowned baroque violinist Walter Reiter, "an artist who transcends authenticity to enter the universal" as one critic wrote, and an eminent continuo team of harpsichord, cello and theorbo.

    Written in 1708, just before the 'L'estro armonico' concertos, these sonatas contain all the passion and the virtuosity, all the lyricism and emotion, which have made the concertos so eternally popular. In the words of the great Vivaldi scholar Michael Talbot, "Op. 2 is fully Vivaldian and certainly deserves to take its place among his other masterworks."

    [Reiter] shows himself to be a stylish, no-nonsense player, who in slower movements mixes a clean often sweetly singing line with tasteful ornamentation which refuses to draw undue attention to itself, and who in faster ones shows real virtuosity and fire - Gramophone  
  • Masses by Frye and Plummer from the Brussels 5557 manuscript. The manuscript Brussels 5557 was probably compiled for the marriage of Charles the Bold, Duke of Burgundy, and Margaret of York in July 1468. A number of illuminations, including one at the start of Missa Flos Regalis, develop a theme of chastity and fidelity which accords with the nuptial spirit. However, the music itself belongs to the 1450s or even earlier. These masses are the late-bottled vintage of a style which, in a poem of circa 1440, Martin le Franc refers to as 'la contenance angloise'. They are harmonically rich and fruity, but built to last. The two masses on this recording are complemented by motets by a third English composer, John Bedyngham.
  • This disc is the fifth in a series of nine that covers Thomas Tallis’s complete surviving output from his five decades of composition. In this disc we continue to explore the choral music of the Divine Office, progressing with the choral hymns and responories not found in volume 4. Music for the Divine Office  is completed with Tallis’s liturgical organ music: five hymns and three antiphons for the Divine Office, an Alleluia for the Lady Mass and an extended setting of the offertory Felix Namque. Tallis’s written music for the liturgy is modest in style, inventive and very appealing. His surviving output of written keyboard music is very small in light of his reputation. It is possible that much of this written music has been lost, and even more likely that the majority of his keyboard performances were improvised, and therefore not strictly notated. This CD offers reconstructions based on what is known of liturgical practice at the time when this music was most probably written (the later years of Henry VIII and those of Queen Mary I). Recording the organ works of Tallis involves a number of difficult decisions, not least the choice of organ, as there are no surviving English organs from the sixteenth century. The organ in the late medieval private chapel of Knole, a vast country house in Kent, is arguably the oldest playable organ in England. It’s joints can sound rather rattley, and it has some trouble breathing at times (although the regular creak of the bellows being pumped by foot is a reassuring link with the pre-electric past). However, the sound of this organ in the Knole chapel acoustic might not be far off from what Tallis knew from inside the Chapel Royal. Once again Chapelle du Roi presents an inspired and historically informed performance of the sacred renaissance repertoire for which they are celebrated. ★★★★★ The singing is shapely and serene with a satisfying edge, and the recorded sound is generous without obscuring detail - Choir & Organ ★★★★ Beautiful contemplative music - The Times ★★★★ [A] magnificent recording - Goldberg Magazine
  • Music to commemorate the 400th anniversary of the death of Francisco Guerrero. This recording celebrates the music of Francisco Guerrero and presents music form his collection of music written for the office of Vespers. The second half of the disc consists of Guerrero's Requiem mass in its original form. The style of plainchant heard and performed in Spain was rather different from that heard in other European territories. On this recording Chapelle du Roi has followed the instructions for semi-mensural performance given by Guerrero's colleague at Seville, Villafranca.
     
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