• Described by the London music publisher as ‘Very Improvei ng and Delightful to all lovers of that instrument’ The First Part of the Division Flute was originally issued for the Baroque treble recorder in 1705.

    Murphy’s love of the recorder inspired her to record some of the best known recorder music, as well as some of the most neglected, from a collection that has never been fully recorded before. A fantastic disc of musicians at the forefront of early music today.

  • Music from the Fitzwilliam Virginal Book, transcribed for mixed consort.
    Disc of the Month: An inspired concept... outstanding in every respect - BBC Music Magazine
       
  • Signum Records presents the second volume of Lucy Carolan's recordings of Bach's keyboard music consisting of works from Volumes two, three and four of his "Clavierübung". Volume two contains the popular Italian Concerto and French Overture and concentrates on the number "two" - two pieces, two keys, two modes, two nations (Italy and France) and a two-manual harpsichord. The Italian Concerto is unique: a wholly original solo keyboard work written as if "transcribed" from a string original to which Bach adds strikingly new ideas expressly suited for harpsichord. Bach had acquired his knowledge of Italian repertoire early on by transcribing Vivaldi violin concertos for solo harpsichord around 1712-13. The contrasting French Overture contains lighter dances from the court of Louis XIV such as the gavotte, the passepied and bourrée - all are dance forms which had been familiar to Bach from his childhood. The disc also includes duets from volume three and the Chromatic Fantasia and Fugue which, although unpublished during Bach's lifetime, became an inspiration to subsequent generations of composers. Dynamic playing by harpsichordist Lucy Carolan imbues these works with great spirit and verve - Shropshire Star Solid musicianship and first class technique - ClassicsToday.com  
  • Julie Andrews frolicked across the Alps singing it in The Sound of Music and generations of children have learnt their musical scales by remembering it. Now Do-Re-Mi has been traced back more than 2000 years to one of the greatest poets of ancient Rome. According to a book to be published next month, the origins of the song lie far from the female deer and ray of golden sun in the Rodgers and Hammerstein version sung by Andrews to the von Trapp children. Instead it was penned as a mnemonic by a medieval Italian monk who drew on a melody which accompanied Horace's Ode to Phyllis, written in the 1st century BC. The research has been carried out by Stuart Lyons, who won a classics scholarship to King's College, Cambridge. "The monk who invented Do-Re-Mi told a lie about it because he didn't want to go to the stake (for heresy)," Lyons said. "The melody truly belonged to the Ode," said Lyons. "It is the most exciting thing that has ever happened to me in academic discovery. It is incredible to solve a mystery that is 1,000 years old. " A fascinating and highly recommended CD of the Ode’s first performance in modern times, performed by King’s Singer Christopher Gabbitas and lutenist David Miller - Musical Opinion Pleasantly performed by Christopher Gabbitas- of the King's Singers - and the excellent lutenist David Miller, the results are pleasant and intriguing listening - MusicWeb International  
  • Charivari Agréable present an imaginative new disc themed around their home town of Oxford. They are joined by a formidable line-up of singers including Rodrigo del Pozo, Simon Beston and Nicholas Perfect, to present a programme of 17th Century domestic devotional anthems and psalms by some of the greatest British composers of all time. The singers are ideal for the repertoire, unaffected voices with the mutual rapport of lay-clerks - as two of them have been - BBC Music Magazine As ever, the instrumental playing from Charivari Agréable is beautifully crafted, neither excessively polished nor overtly boisterous - International Record Review Offered the experience of a programme of unfamiliar music where the sense is of a lively combination of musicological exploration and historically-informed creativity - Goldberg Magazine
  • "Her Majesty lay upon her back, with one hand in the bed and the other without. The bishop kneeled down by her, and examined her first of her faith: and she so punctually answered all his several questions by lifting up her eyes and holding up her hand, as it was a comfort to all beholders. Then the good man told her plainly, what she was and what she was to come to, and though she had been long a great Queen here upon earth, yet shortly she was to yield an account of her stewardship to the King of Kings. Between one and two of the clock on Thursday morning, he brought me word the Queen was dead." Thus wrote the queen’s cousin Sir Robert Carey, recording in his memoirs the events of March 23rd-24th 1603, and the end of an era in England’s history. Earlier, as Elizabeth I lay dying she called for her musicians to play around her bed so that “she may die gaily as she had lived, and that the horrors of death might be lessened; she heard the music tranquilly until her last breath”. As the 400th anniversary of her death approaches, The Queen’s Goodnight commemorates the music of the court of Queen Elizabeth I. The queen’s professional musical establishment was in some ways more modest than that of her father, Henry VIII, but she brought together the finest talent in the land and created collections of consort, lute and keyboard music that is still renowned today. Charivari Agréable demonstrate representative facets of this wonderful 16th century repertory. The pieces are selected with a passionate attention to detail and Charivari Agréable have included music that depicts the life of the queen: music from the court, an exhilarating depiction of a hunt, celebrations from the queen’s coronation and the moving laments on her death. Fertile imagination, excellent musicianship and persuasive playing make it a real delight - Early Music News
  • Louis (c.1626-1661), François le Grand (1668-1733) and Armand-Louis (1727-1789) were the three most celebrated members of the distinguished Couperin family of musicians who flourished from the late 16th century until the middle of the 19th, holding a position of esteem parallel to that of the Bachs in Germany. The Sultan and the Phoenix presents both masterpieces and rare gems from the Couperins and their contemporaries, all delivered with a rare insight by the ensemble charivari agréable. The programme presents an overview of the ensemble use of the viol in its various manifestations and stages of evolution in France. The Couperin dynasty offers a convenient chronological framework within which the viol could be heard in various guises: from a consort setting to a ‘pièces de clavecin en concerts’ configuration; from a six-string bass viol to a five-string hybrid ‘quinton’. Underpinning this programme is the historical practice of adaptation, transcription and arrangement with which French baroque music is replete. Historical tradition is followed by the arrangement of some pieces by the players. Some involved direct transcription, such as the L. Couperin Pavan for a viol consort or the F. Couperin harpsichord piece for theorbo (in the style of de Visée, see above). Other pieces are left untouched, such as L. Couperin’s Fantaisies and Corrette’s Phénix, as well as the large-scale chamber works of Dornel and Couperin. Charivari Agréable’s reputation as one of the most original ensembles in the period-instrument scene was recently articulated by the BBC Music Magazine, which noted that the ensemble “has carved something of a niche for itself in imaginative and well thought-out programming”, reasoning that its work is the fruit of both scholarly research and charismatic musicianship, a combination which puts it at the forefront of period-instrument ensembles.
  • 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
  • The King's Singers' collaboration with Signum Records continues with this outstanding collection of madrigals from 23 composers including Thomas Morley, John Bennet, Michael Cavendish and Thomas Weelkes. A collection of 25 madrigals from 23 different composers - from the famous to the obscure - make up this Elizabethan curiosity, published in 1601 by Thomas Morley. A musical dedication to Queen Elizabeth I, The Triumphs of Oriana displays the talents of English songwriters, long overshadowed by their European counterparts, conjuring up an image of an idealised and mythical England of old. ★★★★ The King's Singers deliver these songs with insistent voices, the imitative pairs beautifully balanced across the stereo, the intonation faultless and the diction unmistakable - The Times This disc is a triumph of majestic vocal ensemble - Classic FM Magazine Long live the King's Singers - Goldberg Magazine  
  • William Byrd, favourite of Queen Elizabeth I, was a confirmed and practising catholic who worshipped in defiance of the Queen. His status and perhaps even his life was preserved thanks partly to the undeniable mastery of his music, and to the fact that he was careful to maintain an output of music appropriate for a Protestant Rite (simple and English) as well as a Catholic one (florid and Latin). Byrd was by no means the only major Catholic composer working in England during these years. Furthermore, there were English composers whose faith drove them to work abroad, as well as foreign composers who offered sympathy and encouragement to English catholics. Included in this latter category was the Flemish composer Phillipe De Monte who entered into a fascinating compositional correspondence with Byrd. Verses of Psalm 136 ‘Super Flumina Babylonis’ (containing many allegorical references to the plight of catholics unable to practice their faith openly) were set to music and exchanged, in what is now seen as an encoded message of mutual support and friendship between brothers in faith. Gallicantus are perfectly placed here to compare the works of William Byrd and Philippe de Monte - The Independent The singing is beyond exemplary: deeply felt, tenderly phrased, perfectly balanced, with the most profound understanding, seemingly bred in the bone - Choir & Organ The intensity of the music is reflected in Gallicantus's beautifully shaped performances - The Sunday Times In Mark Chambers, Gallicantus boast a countertenor 'lead' of near-flawless poise and eloquence - Gramophone
  • Celebrating Elizabethan and Jacobean Theatre brought to life by the actors and musicians of Shakespeare's Globe Theatre London, with words and music recreating the unique Globe experience. Actors Liam Brennan, Tom Burke, John McEnery and Mark Rylance are featured in their performances as Romeo, Orsino, John of Gaunt and King Richard II.

    Also featuring material from Twelfth Night, Measure for Measure and Much Ado About Nothing with introductions in the original pronounciation of Shakespeare's time, all music played on period instruments plus the special treat of excerpts of live performances on the Globe stage.

    There could hardly be a better aural souvenir of a visit to the Globe, but the set also stands up on its own as a superbly-performed compilation of Elizabethan and Jacobean musicBBC Music Magazine
  • Signum Records is delighted to announce the completion of Chapelle du Roi's recordings of the complete works of Thomas Tallis. This major project has taken seven years to complete. It was the brain child of Alistair Dixon and brought to fruition jointly by Chapelle du Roi and the engineering and production company Floating Earth.
  • 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
  • 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.
  • 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
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