• In this live recording from the Royal Festival Hall the OAE shines its musical torch into the realms of some later repertoire, shedding new light on the music of Mahler. Conducted by Principal Artist Vladimir Jurowski, this CD includes Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer), written in the wake of an unhappy affair with a soprano, and the extraordinarily exciting and powerful Totenfeier, Mahler’s first foray into orchestral music, and later reworked into the opening movement of his second symphony.
    The OAE's period instruments emphasise its rawness, just as they point up the anguished detail of the accompaniments to the Lieder eines Fahrenden Gesellen, in which mezzo Sarah Connolly allows the words and Mahler's treatment of them to speak for themselves, without unnecessary gilding - The Guardian Vladimir Jurowski’s brisk and thrusting account with the period instrument players of the Orchestra of the Age of Enlightenment makes a strong case for the composer’s original thoughts - The Irish Times
  • Magnificat

    £12.00
    Magnificat & Nunc Dimittis was recorded to explore the breadth of imagination with which composers have approached the texts, which have been sung in Christian worship for over 1000 years. Stanford’s starting point was the Germanic symphonic tradition; Howells took his inspiration from the architecture and acoustics of the Cathedral in Gloucester; Tippett was inspired by the unique Spanish trumpet stop at St John’s. The Evening Cantincles chosen for this record relate to a particular period of music making in the life of St John’s conductor, Andrew Nethsingha; his time at the Royal College of Music; at Truro and Gloucester Cathedrals, and lastly his time at St John’s. Founded in the 1670s, The Choir of St John’s College, Cambridge, is one of the finest collegiate choirs in the world – known and loved by millions for its rich, warm and distinctive sound, expressive interpretations and ability to sing in a variety of styles.
  • Signum Records is delighted to announce the debut disc of Cantabile - Lullabyes and Goodbyes. The disc has been long in preparation and is the first to be recorded by Cantabile since On the Tracks of the Comedian Harmonists. Cantabile, are one of Britain’s longest- established vocal ensembles. Since they became widely known in the early nineteen-eighties they have mastered a wide array of musical styles and their flair for the stage continues to keep them in demand in theatres and cabaret as well as in concert halls and at festivals. The four voices blend beautifully and there isn't a sour note to be heard. Diction is consistently crystal clear [and] the contribution of Malcolm Martineau is first rateMusicWeb International
  • Whether from his years touring Europe as a virtuoso pianist or from his later émigré life in Paris and Weimar, Franz Liszt reflects in his song texts his ‘polyglot’ attraction to 19th-Century culture, shown in these setting of French, German, Italian, English, Russian and Hungarian words.

     

     

  • Now and again a choir director finds he has an exceptional voice at his disposal. Andrew Swait was only ten years old when this disc was made - his voice was the original inspiration for the disc - and it features his outstandingly colourful tone quality and musicianship. In choosing the repertoire, we kept in mind the integrity of the great English church music tradition. We decided to do what choirs - their men and boys - do best in this country; sing, enjoy and relish the music of that tradition. Solo arias are interspersed with full choir numbers, some featuring treble solos and duets. Works by Schubert and Rachmaninoff are coupled with works from our own English masters, Sir Hubert Parry and John Rutter. Morten Lauridsen’s setting of Ubi caritas, combines a lushness of texture with the age-old plainsong melody. We hope you will enjoy this collection from Tewkesbury. Benjamin Nicholas
  • Alastair Miles is internationally recognised as one of the world’s leading basses, appearing regularly with acclaimed opera companies such as WNO, Glyndebourne, ENO and the Royal Opera, as well as with conductors such as Giulini, Harnoncourt, Muti, Rattle, Gergiev, Gardiner, Norrington, Davis and Dohnanyi.

    On this new recording he explores some gems of the Lieder repertoire from Hugo Wolf and Johannes Brahms, ably accompanied by pianist Marie-Nöelle Kendall.

    Alastair Miles's gravely sonorous bass is finely attuned to Brahms' and Wolf's vocal swan songs..... Miles's oaken depth of tone and amplitude of line are impressive and ultimately moving. He sings with feeling and understanding [and] Miles is a vivid narrator. It's a nobly sung recital confirming that the leading English operatic basso cantante is also a lieder singer of intelligence and insight - Gramophone

    After the 174 bars of hectic introduction to Wolf's Prometheus, Miles's voice bursts into the first line of the song with a vengeance. And so it continues through the programme - a rich and resonant tone, even throughout its easy range, excellent diction and a strong identification with the text. Marie-Noëlle Kendall's accompaniment matches her singer all the way and she seizes her opportunities to show her formidable technique without unbalancing the relationship - OperaNow

  • Coupling powerful interpretations with path-breaking scholarship, the choir Contrapunctus presents music by the best-known composers as well as unfamiliar masterpieces. Directed by Owen Rees, a specialist in music of the sixteenth and seventeenth centuries, the group presents imaginative programmes revealing previously undiscovered musical treasures and throwing new light on familiar works. This recording explores the musical ‘cries of the oppressed’ from opposite ends of Europe, which include some of the most powerful works composed in England and Portugal during this period by Byrd, Tallis, Monte and Cardoso. The highlight perhaps is the first recording of a newly reconstructed vocal work by Thomas Tallis, Libera nos. This has long been thought to be an instrumental work, and has been recorded as such, but there’s persuasive historical evidence for us to be confident that this is in fact a choral setting of the antiphon Libera nos, and it is performed here with the relevant text restored to the five vocal parts. A rich seam of material by such as Tallis, Byrd and Cardoso - The Independent Exemplary... Pristine performances by Owen Rees’s Contrapunctus choir - The Times Experience and vocal excellence merge in the singing of Contrapunctus to produce performances extraordinary even by the British vocal group’s own high standards - Sinfini
  • After the triumphant success of the King’s Singers last Christmas Album released in 2003 entitled ‘Christmas’, this new disc sets an eclectic assortment of modern Christmas classics with special arrangements of some much loved favourites.
    Stand-out moments include Tchaikovsky's thoughtful The Crown of Roses, Lawson's gentle Lullay my Liking and Pierpont's hyperactively jolly jingle bells, which they whizz through as though the words 'technically challenging' had vanished from the dictionaryBBC Music Magazine An eminently enjoyable release that will please fans of The King’s Singers and lovers of Christmas music alikeMusicWeb International A delightful holiday releaseAll Music Guide
  • Following her debut release of Baroque works by Vivaldi and Handel earlier this year, Grace Davidson returns to disc on Signum with an intimate disc of Dowland’s first book of lute songs, accompanied by David Miller. Blending melancholy with wit in his writing for both lute and voice, John Dowland’s songs have continued to enchant audiences and singers for nearly 400 years. The ‘First Booke’ includes some of Dowland’s less well-known works, and was recorded in the sensitive acoustic of Ascot Priory in Berkshire, UK.

    Performance ★★★★ Recording ★★★★★ Dowland's [works] find elegant interpreters here in Grace Davidson and David Miller - BBC Music Magazine These are beautiful, musical performances - Gramophone
  • Rising star-soprano Elena Xanthoudakis is joined by the Royal Northern Sinfonia under Richard Bonynge in these exhilarating performances of some true Jewels of the Bel Canto aria tradition by Bellini, Verdi, Rossini and Donizetti.
  • Soprano Gillian Keith joins the acclaimed Baroque ensemble Armonico Consort under Christopher Monks for the first release in a three disc series featuring the solo cantatas of Johann Sebastian Bach. Bach’s cantatas hold a special place amongst performers and devotees of his music. Whether sacred or secular, these works provide incredible variety for listeners and players alike. Some contain elements of storytelling similar to arias and recitatives from his great Passions; many have instrumental movements and solo passages that rival any of his concerti, and are indeed borrowed directly from some of the most famous. Not surprisingly, Bach’s cantatas are often incredibly virtuosic, demanding as much technical ability, style and understanding of the music as any of his other works. This first release features the cantatas nos. 82a, 202 (the famous “Wedding Cantata”) and 210.
  • The King’s Singers perform the complete Italian madrigal collection Il Trionfo di Dori. Commissioned by Venetian nobleman Leonardo Sanudo in 1592, the collection features 29 works, each written by a different composer and poet, and set for nine voices. Among them are Vecchi, Gabrieli, Marenzio, de Monte, Striggio, Anerio, Gastoldi, Porta and Palestrina.
    ★★★★★ The King's Singers bring this great monument of Italian music history to striding life - Sinfini Music ★★★★★ The King’s Singers are on top form, singing with a sunny freshness appropriate to this happy music, blending beautifully, and moving as one into crescendos and decrescendos, ranging in dynamic from a whispering pianissimo to declamatory episodes of high drama - Early Music Review It is hard to imagine a group with greater potential to do justice to this music of love and mythology than they - Gramophone The King's Singers turn out their characteristic, highly polished finish: diction is razor-sharp, ensemble and intonation are well-nigh flawless - BBC Music Magazine A masterclass in delicate phrasing, elegant lines, exemplary Italian and effortless madrigalian expression with standards of intonation to languish after...delizioso - Choir & Organ If you have to make a single choice The King's Singers will appeal more and it's also beautifully recorded in a venue, which is at least new to this reviewer - Music Web International
  • When Michael Nyman started reinventing the English baroque back in the 1980s, one critic described the result as “pump-action Purcell.” This recording combines these two singular musical styles through the stunning voice of countertenor Iestyn Davies and viol consort Fretwork, serving as the bridge across three centuries. The programme combines bold harmonies, wondrous inventions, and melodies that will haunt your dreams – whether from the 17th century or the 21st. Recorded following a concert tour of the programme, the disc includes the premiere recording of a new commission from Michael Nyman, Music after a While – based upon Purcell’s song, or more particularly upon its strikingly original bass-line, with its insidious rising chromatics. ★ A beautiful account - Planet Hugill Editor's Choice: The Nyman performances are exemplary – crisp and cleanly articulated from Fretwork and dispatched by Davies with a vacant, unrippled purity that is so essential to the music - Gramophone All executed with perfection - The Observer
  • Ian Venables’ reputation as ‘one of the finest song composers of his generation’ (BBC Music Magazine) finds voice in this disc of premiere recordings of two of his substantial song cycles. International baritone, Roderick Williams is joined by the Carducci String Quartet and pianist Graham J Lloyd in The Song of the Severn, a celebration of Venables’ home county of Worcestershire and The Pine Boughs Past Music, a poignant tribute to the poetic talents of Ivor Gurney. Other songs include those with solo piano and arrangements by Graham J Lloyd, for string quartet. Each work highlights Venables’ gift of being able to take poetry to a higher level of appreciation and at the same time create works of lasting beauty. Sharply memorable music of bewitching lyricism, idiomatic grace and rapt instinctGramophone
    The Carducci String Quartet [are] exemplary in their interpretationsBBC Music Magazine
  • A must-have for choral-aficionados everywhere that sees perhaps the world’s finest a cappella ensemble The King’s Singers join forces with The Concordia Choir – one of the USA’s best collegiate groups – to perform works by choral composers Eric Whitacre, Bob Chilcott and Morten Lauridsen.

    One of the world’s most celebrated ensembles, The King’s Singers have a packed schedule of concerts, recordings, media and education work that spans the globe. Championing the work of young and established composers, they remain consummate entertainers; a class-act with a delightfully British wit. From Gesualdo and György Ligeti to Michael Bublé, The King’s Singers are instantly recognisable for their spot-on intonation, their impeccable vocal blend, the flawless articulation of the text and incisive timing.

     

    The Concordia Choir of Moorhead, Minnesota is one of America’s finest a cappella choirs. Since 1920, the 72-voice choir has performed in nearly every major hall including Carnegie Hall and Kennedy Center and has taken numerous international tours. The Choir is broadcast throughout the United States on public radio stations and on television via its Emmy-award winning Concordia Christmas Concert.

    Includes the world premiere recordings of Alone by Eric Whitacre, and High Flightanyone lived in a pretty how town and Days by Bob Chilcott

     

     

     

     

  • Handel’s Queens features some of the most exquisite pieces of music written by G.F. Handel and his contemporaries for the two finest singers of the eighteenth century, Faustina Bordoni and Francesca Cuzzoni. Often wrongfully framed as rivals, these dazzling new recordings with Mary Bevan and Lucy Crowe reveal the distinctive yet versatile talent of the Italian vocalists.  Conductor Bridget Cunningham continues her research and created Handel’s Queens and directs London Early Opera from the harpsichord. Handel’s Queens - as part of this important series serves as a further example of Cunningham’s dedication to imaginative programming and outstanding period performance on this double CD placing her at the forefront of baroque research and recording.