• The four coronations of the twentieth century were enormous and extravagant. Replete with festive pageantry, these ceremonies were joyful celebrations of British music, employing tremendous forces. Choirs from across London and beyond were marshalled to provide a chorus of over 400 voices; a full-size symphony orchestra was squeezed into Westminster Abbey, whilst bands of fanfare trumpeters led the pomp and celebration. In the imposing surroundings of Ely Cathedral, Paul McCreesh and Gabrieli bring the history, ceremony and liturgy of these extraordinary events to life. With his renowned creative flair, McCreesh’s painstaking research provides the springboard for their latest ground-breaking recreation project. The result is a joyful celebration of five centuries of choral music, performed with the same vast forces as were heard at the coronation services. Alongside an orchestra of rare early-twentieth century instruments, an extended Gabrieli Consort is amplified by the energetic sound and fresh faces of several hundred young singers from Gabrieli’s choral training programme Gabrieli Roar. The music is interspersed by the coronation liturgy, with Simon Russell Beale speaking the part of the Archbishop of Canterbury. Performance ★★ Recording★★★★★ McCreesh at his considerable best - BBC Music Magazine ★ Paul McCreesh has magnificently recreated this unique coronation rite... truly heart-warming - Choir & Organ ★ An astonishing recording - The Times ★ McCreesh has conceived and executed a magnificent project - Classical Source ★ Palpable enthusiasm and engagement - Planet Hugill One can imagine the virtuosity required by every contributor, at every turn, to make this a reality, let alone a dazzling triumph - Gramophone A most recommendable treat - MusicWeb International This is something very special - Cross Rhythms
  • Sale!

    The Godfather

    £12.00 £9.60
    The musical world of eighteenth-century Europe was a small one. Despite the problems presented by contemporary standards of transport, it was quite normal for composers in one part of Europe to be entirely au fait with what was happening elsewhere. This is borne out by the closeness of three German composers: Telemann, godfather to C.P.E. Bach; Pisendel; and J.S. Bach, who admired both his compatriots and composed some astoundingly difficult music for the violinist Pisendel. This programme celebrates their music as well as the music of those who contributed to their musical heritage. Included alongside the German triumvirate are works by Vivaldi who physically helped with the composition of Pisendel’s A minor concerto movement, Fasch who was a great friend of Pisendel and Telemann, and Brescianello, an Italian who helped the dissemination of Italian instrumental music throughout the German-speaking lands and whose concertos were played in Dresden by Pisendel.
  • The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wrocław, Poland with a new version of Haydn’s great oratorio The Seasons. Using a new performing edition by Paul McCreesh this recording is the first to feature the large orchestral forces that Haydn called for, including a string section of 60, 8 horns and a choir of 70. As well as the combined forces of the Gabrieli Consort & Players, Wrocław Baroque Orchestra and National Forum of Music Choir, the recording features solo performances from British singers Carolyn Sampson, Jeremy Ovenden and Andrew Foster-Williams. All booklet texts are printed in both English and Polish translations.
  • Originating as a sexy dance in South America, the ‘chacona’ crossed the Atlantic and established itself in Spain as an irresistible temptation. In 1615, it was banned from Spanish theatres for being ‘lascivious, dishonest, offensive to pious ears’, but the attractions of the chaconne held sway. From the Ground Up traces its allure from early Spanish chaconnes, through the worlds of Purcell and Piccinini, to Bach’s magisterial example for solo violin. Reanimating the ‘lascivious’, Purcell’s ground basses furnish a harmonic groove for readings from Shakespeare by British actor Samuel West, accompanied by New York rapper Baba Israel.
  • Around the time The King’s Singers was starting up, one of the most productive periods of song- writing in history was coming to a close in America, starting with composers such as Gershwin, Kern, Berlin and Porter in the early 1920s, and continuing through to the early 1960s.

    In this new 2-CD studio recording – featuring brand new a cappella arrangements by jazz composer and arranger Alexander L’Estrange, and swing-orchestra performances with the South Jutland Symphony Orchestra – The King’s Singers bring their own unique performance style to this wonderful music. The King’s Singers bring their unique style to some of the most beloved hits from the golden era of songwritingThe Lady
  • Sale!
    In his new Saxophone Concerto, Gabriel Prokofiev explores a side of classical music usually seen as forbidden by modern contemporary composers: melody. This aspect was incorporated at the request of the soloist, Branford Marsalis, allowing Prokofiev to revisit characteristics of the classical tradition not usually heard in contemporary music, giving the saxophone an open canvas. Prokofiev’s Bass Drum Concerto shows the versatility of the instrument, despite only being used in a very basic fashion in classical music as a whole. Prokofiev experiments with how the bass drum is struck, where it is struck, and what it is struck with throughout the piece, producing a variety of sounds, colours and textures. 
  • Christopher Gunning has composed twelve symphonies, as well as concertos for the piano, violin, cello, flute, oboe, clarinet, saxophone, and guitar; many of these have now been recorded. He has also composed many scores for films and television dramas, including Agatha Christie’s ‘Poirot’, La Vie en Rose, Middlemarch, Cold Lazarus, Rebecca, Under Suspicion, Firelight, The Big Battalions, Wild Africa, When the Whales Came and Porterhouse Blue. With a career spanning 50 years, he has won 4 BAFTA and 3 Ivor Novello Awards, and BASCA’s prestigious Gold Badge Award. Christopher studied composition with Edmund Rubbra and Sir Richard Rodney Bennett at the Guildhall School of Music and Drama. After a hugely successful career writing for the big and small screen he is now focussed on his classical work and releases.
  • Sale!

    Arcadia

    £12.00 £9.60
    Oliver Davis graduated from the Royal Academy of Music in 1994 and has since composed numerous concertos, ballet scores, albums, soundtracks and television scores working with many of the major London orchestras. The Infinite Ocean was composed for choreographer Edwaard Liang and was commissioned by San Francisco Ballet for the Unbound festival, 2018. Liang requested the work to be in six sections and to feature a solo violin. The aim of Arcadia was to create a piece which evoked an idyllic serene place. Gemini was specifically composed for violinist Kerenza Peacock and was designed to explore the contrasting styles of her playing. The Suite for piano and orchestra was written for Huw Watkins on piano and heavily involves thematic development throughout. Inferno began life as a short orchestral sketch, which gradually evolved into a full, single-movement piece. Lastly, The Elements was commissioned by The Hanke Brothers, who specifically wanted a piece describing the four elements. The ensemble containing piano, viola, recorder and tuba, produces a unique timbre, and the piece explores the possible various aspects of this timbre.
  • Lux et Veritas (Light and Truth) is the new album from Will Todd with the professional chamber choir Tenebrae. Todd’s music has a universal appeal and he has been hailed as “one of the UK’s most sought-after, versatile composers” (Tempo Magazine). For this collection of sumptuous new choral works Tenebrae are accompanied by the English Chamber Orchestra, conducted by the choir’s director Nigel Short. This new release follows Will Todd’s last choral album The Call of Wisdom, featuring music commissioned for HRH The Queen’s Diamond Jubilee service in St Paul’s Cathedral in 2012. Throughout, the excellent Tenebrae under Nigel Short's sensitive direction deliver the sequence of 14 short pieces with commitment and great beauty of tone - Choir & Organ One of this year's finest releases - Classic FM Don't miss this movingly accessible and genuinely sensitive choral collection - MusicWeb International Sumptuous, soothing and reflective music for all occasions - Northern Echo
  • Julian Bliss performs the Clarinet Concertos of Mozart and Nielsen – often thought of as the two greatest such works in the repertoire: twin examples of what can be achieved by composers who have been truly inspired to write for the clarinet, using its uniquely expressive qualities to produce enduring and comprehensively masterly compositions. Alongside these Julian Bliss presents two of his own clarinet arrangements of two Mozart arias, Der Liebe himmlisches Gefu?hl, K. 119  and Non che non sei capace, K. 419. The brilliant Julian Bliss continues to demonstrate his considerable talent ... A youthful addition to the many excellent versions of the Mozart already available, and a fine introduction to the Nielsen for those who are not familiar with itClassic FM Highly recommended - Northern Echo  Bliss integrates the bottom register smoothly, in a performance matching that of the Nielsen in flair, intimacy and spontaneity - BBC Music Magazine
  • Mark van de Wiel joins the Philharmonia Orchestra under Christopher Warren-Green in the premiere recording of Joseph Phibbs’ Clarinet Concerto, praised by The Sunday Times following its UK debut as a work “that will surely be performed all over the world ”. Following a long friendship between composer and soloist, Phibbs and van de Wiel collaborated to create this stunning and virtuosic new work for the clarinet and orchestra, which features a thrilling cadenza at the end of the first movement. It is paired with a scintillating live concert-recording of Mozart’s timeless Concerto for Basset Clarinet in A Major, K. 622, performed with the London Chamber Orchestra.
  • Founded in 1973 by Trevor Pinnock, The English Concert has been a leading light in the performance of Baroque and Classical music for for over 40 years. Under their present Artistic Director Harry Bicket and with distinguished guest artists they continue to perform with the passion, sophistication and technical mastery established at their creation.

    Such is the commitment and passion that their players bring to every performance. Drawn not only from home-grown talent, The English Concert can boast a truly international cast of musicians. Soloists in their own right, and backed-up by scholarly knowledge of style and genre, the close-knit relationship between their musicians makes for a truly special blend of sound. This new recording features the talents of these soloists in performances of Concertii by Telemann, Marcello, Dall’Abaco, Tartini and Porpora.

    Performance: ★★★★ Recording: ★★★★★ Here's that increasing rarity: A Baroque disc with no conceptual axe to grind, no over-arching theme - save for giving the members of The English Concert a concerto moment in the sun - and seemingly out to do little more than delight (which it does so in spades) - BBC Music Magazine [Harry] directs from the harpsichord, bringing both vitality and cohesion to the performancesAndrew Benson-Wilson A nice way to spend 70 minutes of your timeGramophone
  • The Chineke! Orchestra return to disc on Signum in a new live orchestral recording from the Royal Festival Hall, London.

    Drawn from exceptional musicians from across the continent, the orchestra is part of the Chineke! Foundation – a non-profit organisation that provides career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe. Their motto is ‘Championing Change and Celebrating Diversity in Classical Music’.

    The Chineke! Orchestra is the brainchild of Chi-chi Nwanoku OBE, FRAM, who says: ‘My aim is to create a space where BME musicians can walk on stage and know that they belong, in every sense of the word. If even one BME child feels that their colour is getting in the way of their musical ambitions, then I hope to inspire them, give them a platform, and show them that music, of whatever kind, is for all people.’

    In this live concert recording under conductor Roderick Cox they perform Sibelius’s 2nd Symphony and Rachmaninov’s Piano Concerto No.3, featuring multi-award-winning pianist Gerard Aimontche.

    The playing of both works... is most pleasing, the colours vivid, the excitement palatable, while Aimontche's sweeping reading of Rachmaninov's Piano Concerto No 3 astutely combines the intimate and epic, his tone never forced - The Sunday Times An excellent follow-up to their first recording for Signum Classics - BBC Radio 3 Record Review
  • Signum Records are proud to present the debut orchestral recording from Grace Davidson, one of the UK’s leading British sopranos specialising in Baroque music. She is joined by some of Europe’s leading Baroque musicians from the Academy of Ancient Music to perform a selection of works by Handel and Vivaldi, with performaces led by violinist Bojan Čičić under artistic director Joseph Crouch.

    Grace won the Early Music Prize while studying singing at London’s Royal Academy of Music. Since then, she has worked with the leading Baroque ensembles of our day, singing under the batons of Sir John Eliot Gardiner, Paul McCreesh, Philippe Herreweghe and Harry Christophers. Her discography includes a decade of CDs with The Sixteen, many of which feature her as soloist – Handel’s Jeptha (as Angel), Dixit Dominus, Monteverdi’s Vespers of 1610, Pianto della Madonna, and the Lutheran Masses of Bach.

    Davidson is outstanding for her seraphic purity and evenness of tone - Gramophone The voice is radiantly fresh and clean - The Times Grace Davidson…voice seems to have been especially created to sing baroque musicCross Rhythms Each performance carves out an atmosphere of thoughtful, reflective poise capturing the settings' interior spirit  - Classical Source
  • Avant garde. Eccentric. A maniac. Wild and adventurous. Off the wall. Extraordinary. No marketing hyperbole - this is how the players of the Orchestra of the Age of Enlightenment describe Carl Philip Emmanuel Bach and his music. One of the many children of JS Bach, CPE Bach always lived in his father’s shadow, and now is an almost unknown figure at least beyond the classical cogniscenti. How can such an unknown be considered a gamechanger? A listen to his music reveals just why – it constantly shifts, wrongfooting the listener when they least expect it with wild changes of direction and colour – it is bright, effervescent, and is a fascinating link between the music of his father (and the Baroque era) and Joseph Haydn (and the Classical era). ★★★★ It is the sense of adventure that comes across vivaciously here in a fusion of stylistic taste, smooth and supple phrasing and an exuberant thrust - The Daily Telegraph Editor's Choice: Self-critical perspective is clearly not a problem for these artists ... the unfurling description of of a lover's kisses permit all kinds of glorious opportunities for the singers' seemingly telepathic understanding for chiaroscuro, impeccable tuning and innate grammatical sense - Gramophone The OAE under Rebecca Miller play with an accuracy and passion that's infectious: this is among the most exciting, adrenalin-filled period instrument recordings you'll hear - The Arts Desk Symphonies that embrace the strangeness and originality of the writing as well as the beauty of some of the middle movements and the feistiness of the finales. Made live, but they’ve emerged in excellent shape - BBC Radio 3 Record Review The orchestra's playing here is bright, effervescent and fascinating – truly positioning C.P.E. Bach as the missing link between his father and the music of Haydn - Classic FM These energetic, committed performances of five symphonies dating from between 1757 - when Haydn was first writing in the genre - and 1780 show the period band has lost none of its verve and enthusiasm for this strange, dramatic music from the dawn of the "classical" era - The Sunday Times
  • A unique disc from one of Scotland's most dynamic and versatile groups – the Scottish Ensemble is a tight-knit band of outstanding string players from around Europe who perform regularly together under Artistic Director, Jonathan Morton. This disc – one of their first solo releases following acclaimed discs with artists such as Alison Balsom and Toby Spence – contrasts Vivaldi's timeless Four Seasons with Piazzolla's tango-inspired The Four Seasons of Buenos Aires. Combining Vivaldi and Piazzola together like this underlines the meteorological and cultural differences between Mediterranean Europe and the heart of South America. To have them performed side by side creates a fascinating programme of similarities and contrasts. The playing standard is excellent, with the strings of the Scottish Ensemble finding a light and suitably transparent texture in the Vivaldi, matched by bright, stylish solos from Jonathan Morton - Gramophone The relationship between the violin soloist and the ensemble is just right … the Scottish Ensemble succeed in bringing this paradoxical idea to fruition - Classical-CD-Reviews.com
  • This is the first in a new series of releases from the world-renowned conductor Paul McCreesh and his Gabrieli Consort. Recorded in Poland as part of the Wratislava Cantans Festival (of which McCreesh is artistic director) this staggering performance of Berlioz's 'Grand Mass for the Dead' is produced by a force of over 400 performers - drawn from the Gabrieli Consort and Players, the Wroclaw Philharmonic Orchestra and Choir and students from Chetham's School of Music. Future releases with McCreesh will include Mendelssohn's Elijah, Haydn's The Seasons, Britten's War Requiem and a re-recording of their famed disc 'A Venetian Coronation'. Founded in 1982 by Artistic Director Paul McCreesh, Gabrieli Consort & Players are worldrenowned interpreters of great choral and instrumental repertoire, spanning from the renaissance to the present day. Their performances encompass virtuosic a cappella programmes, mould-breaking reconstructions of music for historical events, and major works from the oratorio tradition. They are regular visitors to the world's most prestigious concert halls and festivals and have built a large and distinguished discography. Anyone in search of a transformative listening experience, Berlioz agnostics among them, should make this release a priority purchaseClassic FM Magazine The contrapuntal intricacy of Berlioz's choral writing is done with precision and firm accents, the haunted atmosphere of the 'Quid sum miser' interpreted with restrained, eloquently inflected choral singing and poignant instrumental interjectionsGramophone Berlioz’s 1837 Grande Messe has rarely sounded so thrilling or transparentThe Independent on Sunday
  • Led by Lorin Maazel, the Philharmonia Orchestra are captured at their very best in these live performances of Mahler’s Nine Symphonies. Recorded in concert at London’s Royal Festival Hall, the symphonies include performances by soloists and ensembles including Sarah Connolly, Michelle DeYoung, Philharmonia Voices and the BBC Symphony Chorus. Praise for these performances has been near universal. This 15-CD box set includes a 96-page booklet of biographies, programme notes and full texts for each symphony, as well as Lorin Maazel’s introduction to the collection. You get that audience perspective as if you were sitting in the hall, and its got all the energy and focus of a live or concert recording - BBC Radio 3 Maazel could sustain this score in a way that seemed to transcend reality ... a tremendously moving experience - Classical Source An extraordinary reading of the Ninth ... a performance touched by greatness - MusicWeb International
  • Jonathan Dove wrote There Was a Child as a tribute to a friend’s son who died tragically young. Filled with both joyous celebration and heartfelt emotion, it’s a big, warm-hearted modern masterpiece in the spirit of Britten and vaughan Williams – following in an evergreen english tradition and featuring the combined forces of the CBSO and CBSO Chorus, Youth Chorus and Junior Chorus with soloists Joan Rodgers and Toby Spence.

    [Dove] has thus achieved the near-impossible: a work that commemorates an event which is surely every parent's darkest fear but which at the same time truly and positively fulfils the commissioner's brief, 'to celebrate' this young, short lifeInternational Record Review Joyous, vibrant, passionate ... There Was a Child is a major addition to the choral repertoireFinancial Times Dove's adroit choice of poetry, orchestrated with imagination and humour, provides an endearing story of a boy through to adolescence, and although there is pathos it is never mawkish - Choir & Organ
  • ‘Alice’s Adventures in Wonderland’, whose score is the first commissioned by The Royal Ballet for a full-length narrative dance work in 20 years, won over not only London audiences but those in Canada and the US, flocking to its premiere North American season with the National Ballet of Canada in June of 2011. The production was sold out well in advance of its close and ended as the company’s highest-grossing production of all time. This is real music – witty, unpretentious and clever, and the extracts chosen on this disc never outstay their welcome. Themes associated with specific characters are invariably memorable and intelligently developed. The suite’s opening is entrancing - The Arts Desk The Royal Philharmonic Orchestra under Christopher Austin’s baton delivers a flawless and energetic performance, drawing out every ingenious flourish and limning each individual sound in silver - Sinfini Music What Talbot has done to create the aural setting for the world down the rabbit-hole is extraordinary. His whimsical score twists and turns as capriciously as the place in which Alice has found herself. The orchestra produces a plethora of odd and magical sounds, tumbling rhythms that seem to trip over one another and at times, walls of big beautiful sound - Expedition Audio
  • The Royal Scottish National Orchestra’s Christmas concerts are one of the highlights of this celebrated ensemble’s musical year. Joined by the RSNO Junior Chorus, this disc captures some highlights of these concerts with a selection of festive favourites both old and new. The mix is infectious and the performances full of fun and panache - The Daily Telegraph There are plenty of Christmas albums around, as you know, but this one is blessed with an extra dose of charm. Listening to it, I can almost smell the cranberry sauce - Classic FM Magazine
  • The Goossens Messiah, recorded for the first and only time by the Royal Philharmonic Orchestra and Chorus under Sir Thomas Beecham, has stood as a landmark of the classical catalogue for sixty years. Goossens’ richly orchestrated version is set to reach a new audience thanks to Maestro Griffith and DCINY, New York City’s leading promoter of classical music. They gathered at Abbey Road Studios in London in July 2019, to record the work with the Royal Philharmonic Orchestra and a chorus comprising of sixty members of The Jonathan Griffith Singers, drawn from around the world and sixty members of the National Youth Choir of Great Britain. The new recording has captured the score’s vibrant tone colours in thrilling high-definition sound. An acclaimed conductor, educator and lecturer, Dr. Jonathan Griffith has led performances across North America, Europe, and Asia. Griffith is Co-Founder and Artistic Director of Distinguished Concerts International New York (DCINY), which has brought together, under Griffith’s artistic leadership, thousands of musicians and choral singers in concert at prestigious venues across the United States, including Carnegie Hall, Lincoln Center, and Disney Hall. The founder and Music Director of the Distinguished Concerts Orchestra, Griffith also oversees DCINY’s mentoring program for conductors.   Founded in 1983 as a single choir of 100 of the best singers in the nation, the National Youth Choir is now the flagship ensemble of an Arts Council England National Portfolio youth music organisation and registered charity, the National Youth Choir of Great Britain (NYCGB), which runs five membership choirs, a nationwide outreach programme for schools and Music Hubs, and provides professional training for the next generation of choral singers, composers and leaders.
  • Signum are proud to present the debut recording from the Chineke! Orchestra, in a new live orchestral recording from The Royal Festival Hall, London.
    Drawn from exceptional musicians from across the continent, the orchestra is part of the Chineke! Foundation – a non-profit organisation that provides career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe. Their motto is ‘Championing Change and Celebrating Diversity in Classical Music.
    The orchestra is the brainchild of Chi-chi Nwanoku MBE, FRAM, who describes the project’s aim as being “... to create a space where BME musicians can walk on stage and know that they belong, in every sense of the word. If even one BME child feels that their colour is getting in the way of their musical ambitions, then I hope to inspire them, give them a platform, and show them that music, of whatever kind, is for all people.” In this first release in a new series, Chineke! orchestra perform two beguiling works – Sibelius’s Finlandia and Dvořák’s much loved Symphony No. 9 ‘From the New World’. Both pieces encompass different aspects of BME influences in Western Classical music: Sibelius’s Finlandia embodied a national sentiment in both the composer’s homeland of Finland as well as for other small nations seeking to free themselves from subjugation from other countries (becoming the national anthem of Biafra during the civil war of 1967-1970), and although underplayed by critics at the time, Dvorak’s work rings with melodies influenced by the folk music and spirituals sung to him by his African- American student and assistant, Harry Burleigh, and with rhythms and pentatonic sections inspired by the music of the Sioux Indians, all wrapped up in the format of a Western Classical symphony. Music Web International A remarkable testament to a remarkable orchestra. Norther Echo This live recording of the works at the Royal Festival Hall, under the baton of Kevin John Edusai, oozes dynamism with fine playing in the quieter passages. The Kansas City Star pick
  • With its vivid poetry and technical ingenuity, Vivaldi’s Four Seasons was ground breaking at the time of its release and to this day remains as influential and transfixing as ever. In this recording, violinist Kati Debretzeni directs the Orchestra of the Age of Enlightenment in an energetic, historically informed performance. From the commanding heat of the Summer sun, to Winter’s foreboding darkness, the power of Vivaldi’s masterpiece is inescapable. The booklet includes a ‘Guided tour of the Four Seasons’, allowing listeners to follow the poetry that inspired Vivaldi as they hear the performances on the disc, including additional composer’s notes from Vivaldi’s own scores. This is a recording of the evergreen Four Seasons to remember and return to. The playing is sublime. Kati Debretzeni is a breath of fresh air at any time of the year. The chamber ensemble from the Orchestra of the Age of Enlightenment, led here by Alison Bury, includes a core of players that has been there from its formation who continue to play with the same joyful camaraderie and artistic precisionGramophone Debretzeni sets out to highlight the descriptive aspect of the music by finding many more colours and contrasts in the orchestral texture than are usually heard, and the period instruments give the familiar movements a new attack, making the work sound as fresh today as the day it was written - Classic FM

    This is probably one of the noteworthy period-instrument 'Seasons' recordingsEarly Music Review

     
  • Featuring Rebecca Bottone, Cora Burggraaf, Allan Clayton, Klara Ek, Martene Grimson, Jennifer Johnston, Susan Gritton, Anna Leese, Matthew Rose, Andrew Staples & Mark Stone Signum are proud to reissue Classical Opera’s debut CD, ‘The A-Z of Mozart Opera’, selected for Gramophone magazine’s annual Critic’s Choice in 2007. Based on the coincidence that Mozart’s first opera (Apollo et Hyacinthus) begins with ‘A’ and his last (Die Zauberflöte) with ‘Z’, this disc takes the listener on a chronological journey through Mozart’s operatic canon, featuring an aria or ensemble from fifteen of his operas. My personal pick for giving this year is the Classical Opera Company’s glorious The A-Z of Mozart Opera, which is fresh, diverse, insightful and illuminatingGramophone
    A lovely disc which manages to introduce both Mozart's genius and a range of lovely lyric voices, all in stylish performances which certainly make you want to hear morePlanet Hugill Page, to my mind one of the most talented of today's younger British conductors, immediately announced himself with this CD as a natural MozartianEarly Music Review  
  • Under the direction of Margaret Faultless the OAE shine on these new recordings of Mozart’s horn Concertos, featuring sublime performances by Roger Montgomery on the natural (valveless) horn. As well as lesser-known gems of Mozart’s horn repertoire, at the centre of the collection comes the lyrical fourth horn Concerto (K.495), featuring thrilling fanfares and brilliant dialogue between the solo instrument and orchestra.

  • Outstanding British-violinist Tamsin-Waley Cohen – described by the late Ruggiero Ricci following a masterclass as "the most exceptionally gifted young violinist I have ever encountered" – performs a fittingly prodigious work by Felix Mendelssohn.
    The Violin Concerto in D minor was composed when Mendelssohn was just 13, and has remained popular with audiences the world over since its rediscovery in the middle of the 20th century by Yehudi Menuhin. The work is paired on this disc with Mendelssohn's Concerto for Violin & Piano, where Waley-Cohen is joined by British pianist Huw Watkins, all alongside the enthusiastic accompaniment of the Orchestra of the Swan under David Curtis. Connoisseur's Choice: Tamsin Waley-Cohen is going to do very well - a young artist to watch - Classic FM
  • This recording is a hybrid CD/SACD recording, which will work in both a standard CD or SACD player. 

    Acknowledged as the UK’s foremost musical pioneers, with an extraordinary recording legacy, the Philharmonia leads the field for its quality of playing. Together with its relationships with the most sought-after artists, most importantly its Principal Conductor and Artistic Advisor Esa-Pekka Salonen, the Philharmonia Orchestra is at the heart of British musical life. Esa-Pekka Salonen made his London conducting debut with the Philharmonia Orchestra in September 1983 and he has returned to conduct the Orchestra on a regular basis ever since. This is the first in our series of Philharmonia releases that feature Salonen as conductor and is a hybrid SACD/CD in both stereo and surround. Forthcoming recordings as part of Salonen’s new partnership with the Philharmonia Orchestra and Signum include Mahler’s 6th and 9th symphonies and Berlioz’s Symphonie Fantastique. Sometimes less is not more. More is exhilarating. ... the music-making was superb ... And what terrific soloists! - The Times The opening songs have a featherweight transparency, the interludes a natural fluency … and the choral climax transmits a properly ecstatic, pantheistic glowThe Financial Times Salonen cracks into Schoenberg’s stacked layers of activity and strikingly schizophrenic mood shifts, revealing clarity and sonic grandeur. His soloists are top-notch too. Essential listening - Classic FM Magazine
  • A fascinating musical journey through the Italian arias of Mozart, from one of his earliest works Lucio Silla (composed when he was just 16) through to his final Italian opera La Clemenza di Tito. The English tenor Jeremy Ovenden has established himself as being among the best Mozart tenors of his generation (notably in the role of Don Ottavio) and has become a familiar figure on the stages of the world's opera houses and concert halls and at major festivals. He is joined for this, his first solo recording, by the Orchestra of the Age of Enlightenment and conductor Jonathan Cohen. ★★★★  Ovenden proves complete master of his chosen repertory … for its artistic use, and for the close partnership Ovenden achieves with the OAE under Jonathan Cohen, l have only admiration - BBC Music Magazine The fine tenor … sings with an engaging commitment to these joyous creations. A delightful selection - The Observer A most imaginative idea … his rhythm, diction and easy flexibility of voice are exemplary - The Sunday Times
  • The cello concertos of Elgar and Myaskovsky written in 1919 and 1944 respectively, engender few similarities these days but make an exciting coupling due not only to the disparate nature of the composers’ lives and situations, but also to the common ground they tread; both composers were in their early sixties when writing their main work for the instrument. A stunning performance by Jamie Walton, accompanied by the magnificent Philharmonia Orchestra. Jamie has enjoyed success as a rising international soloist and has given concerts in some of the most prestigious concert halls in the world. He appears regularly at the Wigmore Hall and Symphony Hall, Birmingham and has performed with leading orchestras such as the Vienna Chamber Orchestra and the Philharmonia Orchestra. ★★★★★ One of the finest recordings of the Elgar.  Jamie Walton has a formidable technique; his playing in the scherzo and the finale is beyond compare; and he captures the autumnal melancholy without loss of vitality.  His pianissimos in the finale coda are a wonder.  He has like-minded collaborators in the Philharmonia and Alexander Briger, who also support him in Myaskovsky's sombre concerto of 1945 - The Telegraph Magazine ★★★★★ Despite living in such disparate lands and situations, [Elgar and Myaskovsky] shared a similar spiritual-musical world. Walton, with the Philharmonia Orchestra under Alexander Briger, deserves credit for making the point so sympathetically - The Financial Times ★★★★ Both composers were wringing their hands over death, destruction and innocence lost. Since Myaskovsky finds more peace than Elgar, we end the disc with some gentle uplift - The Times This is probably the best performance of the Elgar Cello Concerto that I have heard. Walton cannot be beaten. I shall treasure this recording - The Elgar Society Journal
  • In recent years, Patrick Hawes has emerged as one of the country’s most popular and inspirational composers. Born in Lincolnhire, he studied music as an organ scholar at Durham University, and soon went on to make an impact in the world of choral music. ★★★★★ Patrick Hawes has carved out a niche as a contemporary composer who writes melodic, atmospheric and, frankly, beautiful music - Gramophone Hawes’s admirers will find much here to confirm their warm response to his music’s quiet strength and individuality... The excellent performances feature the tawny loveliness of Julian Lloyd Webber’s cello-playing, plus two fine solo singers - Classic FM Magazine
  • Beethoven’s euphoric Symphony No. 9, like his Symphony No. 5, is one of those pieces of classical music which transcends the barrier between musical genres – one of the few pieces of the classical canon in the popular consciousness. Few can fail to be uplifted and caught up in the joyous Ode to Joy finale. For this performance, recorded live at the Edinburgh International Festival in 1994, the Orchestra of the Age of Enlightenment were joined by the renowned conductor and long-time collaborator, Sir Charles Mackerras, a partnership between him and the OAE that lasted almost a quarter of a century. ★★★★★ One of the most thrilling Beethoven interpretations I have ever heard. It bristles with revolutionary spirit … The OAE play like gods and demons - The Financial Times ★★★★★ The slow movement is full of spiritual balm. The outer movements are elemental in proper revolutionary style; the finale’s found British soloists are excellent. Highly recommended - The Mail on Sunday Fine choral singing by the New Company, and Mackerras's masterly control, make the finale as electrifying as only it can be - The Times
  • Sale!
    Above the opening notes of The Protecting Veil, John Tavener wrote Transcendent With Awesome Majesty, communicating the scale of this universal, timeless, structurally perfect and emotionally powerful work. In the composer’s words, “the cello represents The Mother of God and never stops singing.” Indeed, the cello sings without stopping for the entire 46 minutes of the piece, requiring huge mental and physical stamina. Matthew Barley leads Sinfonietta Rīga in this exploration of Tavener’s musical works and inspirations, interspersing performances with readings of WB Yeats and Frithjof Schuon by renowned actors Julie Christieand Olwyn Fouéré. The influence Tavener drew from Indian music in The Protecting Veil is also explored further in Barley’s performance with tabla player Sukhvinder ‘Pinky’ Singh in The Song of Separation and Waiting by Pandit Sultan Khan. Matthew Barley is known internationally as a cellist, improviser, arranger, music animateur, and as Artistic Director of Between The Notes. His musical world is focused on projects that connect people in different ways, blurring the boundaries that never really existed between genres and people.
  • O/Modernt, Swedish for ‘Un/Modern’, is the concept devised by violinist Hugo Ticciati that explores vital connections between artistic and intellectual creations, old and new. At the heart of White Light is a dialectic between contemplation and ecstatic joy: a journey that leads within and without. The ensō (Japanese for ‘circle’) drawn by Antony Gormley on the front cover invites us into the prismatic now of listening. ensō: a continuous brushstroke that expresses a moment in time when the mind is released, leaving the body free to listen and create. Looking inwards, we embrace that which we find outside ourselves before finally returning to inner peace and silence. The sound worlds of Arvo Pärt, John Tavener, Pēteris Vasks, The Beatles, and the rhythms and melodies of India are woven together through improvisation to invite a two-way sense of reflection and surprise. The music roams from the weird to the wonderfulCross Rhythms Here it is the combination of material that matters, and I found the programme both seductive and thought provokingPlanet Hugill
  • British composer Oliver Davis’s works have been described as being ‘beautiful’ (The Times) and having ‘pulsating rhythmic energy’ (Classic FM), and has been heard the world over through his frequent collaborations with ballet companies, from Edwaard Liang’s 13th Heaven which premiered in Singapore to Secrets, choreographed by Erico Montes and premiered by e Royal Ballet. In this new recording Liberty, Davis explores works for violin, soprano, strings and orchestra, working with a host of world-leading performers including violinist Kerenza Peacock, soprano Grace Davidson and cellist Katherine Jenkinson, all alongside the Royal Philharmonic Orchestra under the baton of Paul Bateman. Previous albums from Davis have been critically praised, entering in the top 10 in the UK specialist classical charts and becoming disc of the week on Classic FM and the Mail on Sunday and featuring in several ‘Best albums of the year’ listings. A host of world-leading performers - Northern Echo
  • Winner of the 2002 Grawemeyer Award for Music Composition, 1998 Pulitzer Prize, and 2011 Nemmers Award, Aaron Jay Kernis is one of America’s most honoured composers. His music appears prominently on concert programs worldwide, and he has been commissioned by America’s preeminent performing organizations and artists, including the New York Philharmonic, San Francisco, Toronto, and Melbourne (AU) Symphonies. The Viola Concerto – composer for the soloist Paul Neubauer – was in its first instance inspired and informed by the viola music of Robert and Clara Schumann, but takes on a number of other influences. Taking the performers own interest in folk music as an influence too, the final movement A Song My Mother Taught Me is based on the well-known Yiddish song Tumbalalaika. Dreamsongs also follows folk influences, following inspiration from sources including aboriginal ‘dreamsongs’ and the West African djembe drum. A virtuosic work, it was developed in collaboration with the cellist Joshua Roman who features as soloist in this recording. Conductor Rebecca Miller leads the Royal Northern Sinfonia in the final work Concerto with Echoes, inspired by the Sixth Brandenburg Concerto, and in the composer’s own words “...comes from its very first measure — the opening passage with two spiralling solo violas, like identical twins following each other breathlessly through a hall of mirrors ... this concerto mirrors the Sixth by using only violas, celli and basses, while gradually adding reeds and horns into a loop back to the sound world of the First Brandenburg Concerto.”
  • NIELSEN

    £12.00
    Under their guest conductor Paavo Järvi, the Philharmonia Orchestra perform three characteristically fiery works by the Danish composer Carl Nielsen; the Flute and Clarinet Concertos, and the Aladdin Suite.
    The concerto solo parts are performed by two of the orchestra’s principal players – flautist Samuel Coles and clarinettist Mark van de Wiel.
  • Dance

    £12.00
    Dance forms the final part of a trilogy of albums following the huge success of ‘Flight’ and ‘Seasons’. This project started as a concept album, using the title as the inspiration for the works. Though several of the works embrace the composer’s background collaborations in ballet, there are other works influenced by violinist Kerenza Peacock’s connection with folk music. Recorded at Abbey Road Studios the disc features Kerenza Peacock, pianist Huw Watkins and The Royal Philharmonic Orchestra conducted by Paul Bateman.
       
  • Flight

    £12.00
    Flight is the stunning new album of works from British composer Oliver Davis (b.1972), composed for and in collaboration with violinist Kerenza Peacock. Flight captures the spirit of movement and energy present in many of Davis’s compositions, which have led to frequent collaborations with groups such as the Royal Ballet and a great number of TV commissions. On disc these works are performed by Kerenza alongside the London Symphony Orchestra under conductor Paul Bateman. [These] exuberant works are performed with charisma and sensitivity by Kerenza Peacock and the LSO - BBC Music Magazine The music is full over movement and energy. It's spirited, lively, and at times reminiscent of the music of Michael Nyman. Kerenza Peacock plays with great panache and verve - Classic FM No quibbles as to Peacock's commitment or panache, while Paul Bateman gets a disciplined response from the London Symphony Orchestra - Gramophone
  • British violinist Tamsin Waley-Cohen – described by the late Ruggiero Ricci following a masterclass as the “most exceptionally gifted young violinist I have ever encountered” – adds to her already prodigious reputation with a new disc of timeless works for strings by Ralph Vaughan Williams and Edward Elgar. Joined again the the Orchestra of the Swan under David Curtis, the centre piece of the programme is an enchanting performance of Vaughan Williams’ The Lark Ascending. Her sense of line and capacity to make things happen are both beautiful and strikingly individual ... The Lark Ascending's opening solo searches out an extreme degree of musical space in a way that's at once daring and mesmerising - BBC Music Magazine Superlative performances of Vaughan Williams' The Lark Ascending ... Highly recommendedNorthern Echo This double homage to strings and English composers is engrossingly goodSinfini Music
  • Reservoirs

    £12.00
    Orchestral Works by Guto Pryderi Puw  Gweithiau Cerddorfaol gan Guto Pryderi Puw The first release from the BBC National Orchestra of Wales’s inaugral Composer in Residence, Guto Pryderi Puw. A dual-language release in both Welsh and English, this release features a range of orchestral works inspired by stories and landscapes of Wales. The playing of the BBC National Orchestra of Wales under the always enterprising Jac van Steen is everything that could be desiredMusicWeb International Running the gamut from dense harmonic clusters to folk tunes, the judicious placing of its events more than outweighs its overtly short-term evolution - all making for a bracing embodiment of its narrative and a vivid showpiece in its own rightGramophone
  • Emmanuel Despax is a rising star on the UK and international piano scene, who has performed at the Wigmore and Cadogan Halls in London, the Salle Gaveau and Louvre Auditorium in Paris, and with orchestras including the CBSO. His debut concerto recording, with the Orpheus Sinfonia under Thomas Carroll, features the premiere recording of Stephen Goss's Piano Concerto, inspired by the designs of Thomas Heatherwick (the work’s premiere performance was the first classical concert in which audiences were invited to bring their ipads and tablets, to watch an interactive display designed to accompany the music). The work is accompanied by two similarly expressive and characterful works, Saint-Saëns’ ever-popular Piano Concerto No.2 and Franck’s Variations symphoniques. Emmanuel Despax is a formidable talent, fleet of finger, elegant of phrase and a true keyboard colourist...a noteworthy achievement - Gramophone Despax displays fine power and urgency with some brilliant piano playing...brings just the right combination of charm, brilliance and depth to the playing - Planet Hugill    
  • A sumptuous new recording of Gabrieli Consort & Players’ first, award-winning CD, A Venetian Coronation 1595. Nearly 25 years later, Paul McCreesh has reworked his imaginative reconstruction of a glorious late 16th century Coronation Mass at St Mark’s, Venice. This is an exciting new version of one of Gabrieli’s most influential and enduringly popular programmes, available for the very first time on Vinyl, and recently awarded a Gramophone Award for Best Early-Music recording 2013. Double, 180g Vinyl Release, plays at 33rpm Even if you own the classic Virgin disc, this new version is a must-buyThe Sunday Times Never less than enthrallingThe Independent McCreesh's new take on his classic recording is a triumph … Highly recommended to both first- and second-time buyers, and on track to inspire yet another generation - International Record Review
  • Hideko Udagawa returns to disc on Signum with a new album of Russian Romantic music from Aram Khachaturian and Sergei Lyapunov. The two composers represented here symbolize two entirely different eras in Russian music – Lyapunov from the end of the Romanov Empire and Khachaturian from the height of the Soviet Union – yet their works are perhaps more an expression of continuities, of perennial concerns for Russian composers, such as the need to integrate folkloric elements with the demands of sophisticated musical structures for concert performance, and adherence to the great Russian traditions of violin-playing that go back to the middle of the 19th century. The concerto's rather grand manner suits Udagawa's noble style and steely tone wonderfully well ... The unaccompanied Sonata-Monologue is riveting - The Guardian Hideko Udagawa fulfils her part with a voluminously blazing sound which fits the works marvellously. It doesn't get much better than this!Wiener Zeitung The neglect of this winning and dramatic piece by Armenia’s most distinguished composer is inexplicable, but perhaps the reading here of the Concerto-Rhapsody will redress the balance, such is the persuasiveness of the playing. The coupling, Liapunov’s violin concerto, while a lesser piece, is also realised with great attention to detail - Classical CD Review
  • At the time of its first performances in 1846, Elijah was hailed as one of the great oratorios alongside Handel’s Messiah. It tells the story of the prophet with imposing grandeur, inspirational orchestration and beautiful arias, recitatives and choruses. This mighty piece requires mighty orchestral and choir forces and Gabrieli singers are reinforced with talented young singers from the Gabrieli Young Singers’ Scheme and the Wroclaw Philharmonic Choir. This recording sees over 440 musicians taking part, including 92 string players and over 300 singers.
    The musical milieu is still Victorian but, rather like the cleaned-up Albert Memorial in Kensington Gardens, it gleams anew and radiates light. ... a definite first choice - The Telegraph In all this is staggeringly good. Approaching the work in this way fills a gap which I didn’t even realise was there, but now I’ve heard it I think it will be first choice for a while to come. Thoroughly recommended - Presto Classical
  • The Gliere Harp Concerto has always been a favorite among harp enthusiasts; written in the 1930s, the work’s stylistic features are reminiscent of the Viennese classical style united with Russian romantic nationalism. This disc highlights the extraordinary talent of the Official Harpist to H.R.H. the Prince of Wales, Claire Jones. She is joined by renowned flautist William Bennet OBE, and the English Chamber Orchestra to complete the release with Mozart’s Concerto for flute, harp and Orchestra and Debussy’s Danses pour Harpe Chromatique. Claire has performed for members of the Royal Family on more then 70 occasions and has recently performed a brand new Royal Commission by Patrick Hawes at Highgrove House with the Philharmonia Orchestra. ★ I hope Claire Jone’s excellent performance, with the English Chamber Orchestra under Paul Watkins, will bring its many merits to the attention of a wider audience - The Daily Mail ★★★★ [Jones] performs diligently and allows [her] instrument to gleam and twinkle sonically in front of the self-effacing ECO - Classic FM Magazine Jones plays with a warmth, charm and relaxed ease ideal for winter evening listening. Mozart apparently loathed both the flute and harp, but after hearing this performance you would never know itBBC Music Magazine A disc [that] splendidly celebrating the artistry of Claire Jones - Gramophone
  • The next disc in Signum’s series of live orchestral recordings with the Philharmonia features the late Sir Charles Mackerras conducting Tchaikovsky’s Symphony No.6 (Pathétique). This was Tchaikovsky’s final completed symphony, premiered in St Petersberg under the baton of the composer in 1893, nine days before his death, dedicated to his nephew Vladimir ‘Bob’ Davydov. The Philharmonia Orchestra are widely recognised as the UK’s finest performers with an impressive recording legacy. The orchestra prides itself on collaborations with the finest musicians of our day. ★★★★★ If there were no further releases in the series, the composer's final symphony would make a fine valedictory effort for Mackerras, who leads the Philharmonia seamlessly through the piece's emotional roller-coaster… A brilliant recording - The Independent This is a superb record - a magnificent and highly original live account of the 'Pathetique' Symphony that can stand comparison with the most exacting competition - International Record Review So much of what Mackerras did was governed by an acute sense of what articulation can achieve – and this is a superb example - Gramophone
  • World renowned Welsh composer, John Metcalf presents his new work,In Time of Daffodils. A song cycle, originally set for voice & piano, Metcalf has extended his own work into an orchestral masterpiece, setting the words of much loved poets to the six concluding songs of the cycle. Metcalf drew on material from 12 years of creative work to produce the three works which appear on his latest release. Metcalf emphasises the connections in the way the movements were conceived; originating as a whole or in part as works with piano. Metcalf embraced the pan-diatonic or ‘white note’ style when composingParadise Haunts and Three Mobiles encompassing a sense of minimalism in each, yet the movements are both distinctive; Three Mobiles has a larger rhythmic complexity than the more sublime former. The BBC National Orchestra perform beautifully with Thomas Bowes and Gerard McChrystal interweaving with leading lines on violin and saxophone. The final movement, In Time of Daffodils is a collection of beautiful songs performed by Jeremy Huw Williams, (baritone). The songs are based on texts from 7 poems by poets including William Wordsworth and Amy Lowell, based around the central theme – and emblem of Wales – the daffodil. The Welsh Orchestra was outstanding from the downbeat - Washington Post I have to concede it's difficult not to be charmed ... The strength of Metcalf's score lies in its horse-sure sense of shaping over an extended, one-movement span and his creative handling of the orchestra ... The strength of Metcalf's score lies in its horse-sure sense of shaping over an extended, one-movement span and his creative handling of the orchestra - Grampohone The music, as in the other works of Metcalf, is often warmly melodic and lyrical as well as strongly expressive - MusicWeb International