• Celebrated soloists Roderick Wiliams and Christopher Glynn perform a new English translation Franz Schubert’s Winterreise. Composed in 1827 whilst in the grip of the illness that would ultimately kill him, Schubert’s setting of Wilhelm Muller’s poetry takes on an added tragic interpretation as it follows the narrative of a spurned lover travelling through a cold and barren landscape. This disc is the first in a series of three English language programmes of Schubert’s song cycles. Future releases include The Shepherd on the Rock (Der Hirt auf dem Felsen) and The Fair Maid of the Mill (Die schöne Müllerin). The immediacy of the storytelling is immaculate - The Sunday Times The biggest gain is Roderick Williams’s fabulous delivery and his beautiful creamy voice which I can never get too much of, and supported beautifully again by Chris Glynn, so musically it’s great - BBC Radio 3 Record Review It's exceptionally effective, and mandatory listening if, like me, you're not a fluent German speakerThe Arts Desk This is an amazing disc, not the Winterreise to end all Winterreises but an essential complement to them. I gather that Glynn and Signum have recordings the other two cycles up their sleeve, which is good news indeedPlanet Hugill Those who have been longing for an English version of Winterreise need not hesitate, and avid collectors of this song cycle – like myself – will find that this is a valuable addition to their collectionMusic Web International
  • The Armonico Consort return to disc on Signum (following their highly-regarded Naked Byrd CD series) with a new disc celebrating the glorious combination of soprano and trumpet in baroque music – featuring the soaring talents of Elin Manahan Thomas and Crispian Steele-Perkins. Widely-praised for their imaginative and inventive programming, this disc features works by JS Bach (Jauchzet Gott in allen Landen), GP Telemann (Trumpet Concerto in D major), Alessandro Scarlatti (Su le sponde del Tebro) and a special compilation of works by Handel devised by Crispian Steele-Perkins. The tone is immediately set by Crispian Steele-Perkins' trilling trumpet on Bach's Jauchzet Gott in alien Landen, which also features quite thrilling counterpoints between him and soprano Elin Manahan ThomasThe Independent
    The whole thing seems suffused with light reflected from Manahan Thomas’ voice, and Steele-Perkins’ effortlessly projected trumpetBBC Radio 3 Record Review
  • Its title song-cycle, scored for folk-imbued ensemble and recorded with the acclaimed Nora Fischer, treats various aspects of the natural world as human characteristics. The Consolation of Rain is a moving reflection on loss and the restorative power of nature, while Cymbeline draws on ancient religious attitudes to the sun. Written for mandolin virtuoso Avi Avital, the work takes its name from an old Celtic word meaning ‘Lord of the Sun.’ Bruce has achieved global recognition as a composer, celebrated for his richly colourful, poetic, and joyful music. Recent commissions include the BBC Proms, Carnegie Hall, Covent Garden, and Glyndebourne. 
  • 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.
  • 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
  • Christopher Glynn continues his series of late Schubert song cycles in English, joined by celebrated soloists Sir John Tomlinson, Sophie Bevan, Julian Bliss and Alec Frank-Gemmill.

    Titled by the works first publisher following Schubert’s death, Swansong (Schwanengesang) D 957 sets sets the words of poets Ludwig Rellstab, Heinrich Heine and Johann Gabriel Seidl in songs that cover a variety of different emotional states. The lighthearted Love Message (Liebesbotschaft), with its rippling accompaniment, addresses a murmuring brook with the hope of true love. The bone-chilling Doppelgänger with its stark, slowly tolling chords, finds the protagonist crazed with a nocturnal vision of himself agonizing at the empty doorstep of his lost love. Renowned for his clear diction and powerful voice, Sir John Tomlinson brings his insight and nuance to these profound works.

    Reminiscent of the scoring for The Shepherd on the Rock and composed in the same year, On the River (Auf dem Strom) combines soprano and horn in a setting of a poem by Ludwig Rellstab. Originally given to Beethoven who did not live long enough to set it, Schubert took up the words in a work that is a subtle homage to the composer.

    The 1828 work The Shepherd on the Rock (Der Hirt auf dem Felsen) sets words by Wilhelm Müller and German playwright Helmina von Chézy, and was composed in gratitude to the soprano Anna Milder-Hauptmann. Here performed by Sophie Bevan and Julian Bliss, it tells the story of a shepherd lamenting the distance between him and his beloved before a reflection on loneliness and grief. The final section celebrates the arrival of spring in a hopeful conclusion.

    The creamy clarity of both Alec Frank-Gemmill’s horn and Julian Bliss’s clarinet sound is a perfect foil for Sophie Bevan’s exquisite, rounded legato - BBC Music Magazine

    Christopher Glynn’s playing is excellent throughout - Gramophone

  • 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.
  • Bohemia

    £12.00
    Tamsin Waley Cohen is joined by pianist Huw Watkins for a new disc exploring folk- inspired Bohemia from before the First World War – featuring works by Antonin Dvořák, Josef Suk and Leoš Janáček. Waley-Cohen captures the score’s spirit of infectious bonhomie to perfection… this gifted duo refreshingly exchanges the percussive tendency and angular introspection of some recent accounts for a spiritually intense espressivo reminiscent of Yehudi Menuhin in his primeThe Strad Just fresh, thoughtful and committed interpretations shot through with poetry and alertnessGramophone The performances are all well prepared, well integrated, well-conceived and beautifully played. Altogether a cherishable discMusicWeb International
  • Born in Weimar, Carl Philipp Emanuel (1714-88) was the fifth child and second surviving son of JS Bach and his first wife Maria Barbara. By his own account he had no other teacher for composition and keyboard except his father. Nevertheless, the majority of Emanuel’s earliest works owe more to the influence of Telemann and other exponents of the new galant style, while already suggesting his own progressive instinct. At the age of twenty-four, after seven years studying law, Emanuel decided to devote himself to music. In 1738 he accepted the position of keyboard player at the court of the Prussian crown prince – the future Frederick the Great. After nearly thirty years of royal service he left Berlin and moved to Hamburg, where he occupied the positions of Music Director and Cantor until his death. Described by the Guardian as a performer of “fearless intensity”, former ECHO Rising Star Tamsin Waley-Cohen has established herself as one of the most insightful and versatile young British violinists. Described by The Daily Telegraph as ‘in a class of his own’ James Baillieu has been the prize-winner of the Wigmore Hall Song Competition, Das Lied International Song Competition, Kathleen Ferrier and Richard Tauber Competitions. He plays these C.P.E. Bach compositions on a modern piano.
  • Arcadia

    £12.00
    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.
  • For Lewis Wright's debut recording he is joined by British piano virtuoso Kit Downes for a disc of his own works: “There is limited material for vibraphone and piano (especially for improvising musicians), which has the potential to be so rhythmically interesting and polyphonically grand. I set out to compose pieces that showcase the instruments and are built around the language of the musicians. The right pianist, who can speak in this particular dialect of improvisation and has similar taste in the moment, was an obvious choice. Kit and I have known each other and played together since childhood and we share many influences, musical and otherwise.” Lewis Wright, 2018 Lewis Wright is an award-winning British vibraphonist, composer and drummer based in London. As a vibraphonist, he was nominated for Rising Star in the 2016 Downbeat International Critics Poll, and was awarded Ensemble of the Year in the 2016 Parliamentary Jazz Awards with Empirical and the Worshipful Company of Musicians prize in 2011. He has performed at venues such as the Sydney Opera House and the Royal Albert Hall, and has been a featured soloist with Wynton Marsalis and the Jazz at Lincoln Centre Orchestra. A set of exquisitely conceived pieces that highlight both the natural range and colouration of the two instruments, but also the improvisational instincts of the two performers - Jazz Journal The sense of unity and clarity of piano and vibes resonates throughout this highly impressive and musical debutJazzwise
  • An invitation to stroll through the world of one of England’s greatest composers The young, virtuoso A Cappella ensemble VOCES8 return to disc on Signum with a sumptuous collection of early works by Henry Purcell. Joined by the specialist early-music ensemble ‘Les Inventions’, the group explores Purcell’s astoundingly diverse output – there is hardly a genre in which he did not express himself: anthems, odes, funeral music, semi- operas, masques, sonatas, consort-music, songs and catches populate his extraordinarily multifaceted œuvre. It is this astonishing diversity that we wish to celebrate by inviting the listener for a stroll through the world of one of England’s greatest composers.

    If anyone ever doubts Purcell's consummate genius, this CD - beautifully recorded and executed - ought to convince them. A great introduction to Purcell's many guisesChoir and Organ

    You won't hear Purcell sung better - Planet Hugill

    This is a lovely collection, reflective of the composer's eclectic talents, and beautifully performed - Early Music Review

  • 2012 marks the 15th anniversary of the first release from the leading independent classical label Signum Records. Beginning life as an early music specialist (with a landmark release of the Complete Works of Thomas Tallis with Chapelle du Roi), Signum has grown since 1997 to a catalogue of over 300 releases across a wide range of genres. In this Early Music collection, you can hear a wide rage of works by Gallicantus, the OAE, Gabrieli Consort, Chapelle du Roi and many more all on one disc - all selected from titles across the Signum catalogue.
    Extracts from 26 discs of composers ranging from Tallis to Telemann provide Signum Classics with a colourful shop window from which we can pick and chooseBBC Music Magazine
  • This premiere recording of John Tavener's Towards Silence, written for four string quartets and a large Tibetan bowl, explores the nature of consciousness and the process of dying. Tavener had long wanted to write the work and persuaded Professor Paul Robertson (leader of the Medici Quartet and Co-Founder of the Music Mind Spirit Trust) to perform it. However, shortly after the manuscript was completed both men became critically ill and close to death themselves.

    By August 2008 Robertson had recovered sufficiently to resuscitate the project, which had now taken on a profound significance for himself and for Tavener. The members of the Medici Quartet immediately agreed to reform and identified young professional string quartets with whom to perform and to act as musical mentors.

    Tavener's vision was for all four quartets to be positioned high up in the cathedral dome, invisible to the audience, and arranged in the shape of a cross, bringing the Christian, Bhuddist and Hindu religions together. This sense of space has been captured in the recording, which is an SACD hybrid that can also be enjoyed on a surround sound setup.

    John Tavener continues to produce some of the most distinctive music in our timeThe Observer

    The 'silence' of the title is that of death, although the music eschews morbidity: its keynote is rather one of otherness and mystery … the effect on the listener is anything bur formulaic in this palpably committed premiere recordingBBC Music Magazine

    SACD sound was made for this. Enormously powerful - International Record Review
  • Eric Whitacre, normally known for his choral compositions and arrangements, personally requested Joby Burgess arrange some of his well-known works for Marimba quartet. This unique recording shows the warm, earthly tones of the marimba, beautifully playing the lush harmonies of Whitacre's choral works.
  • Tchaikovsky’s contemporaries tell us that he was good enough to become a concert pianist, if he had chosen to follow that path. But he preferred to focus on composition, and rarely performed in public concerts. His interest in the piano is mainly to be found in his many pieces for the instrument, and since most of these were suitable for amateurs with solid skills, they sold well and played an important role in building up his fame. Despite this, some view Tchaikovsky’s solo piano works as poor quality. Peter Donohoe disagrees, insisting that all music requires performers to find the right approach, so he does not see Tchaikovsky as any kind of exception. He writes: “It is inexplicable to me that Tchaikovsky’s solo piano music should remain so infrequently performed, containing as it does all of the composer’s characteristic harmony, his wonderful melodic gift, his capacity for majestic gesture, magically beautiful moments, immense sadness, and passages of extreme excitement. His piano writing is often orchestral in texture, but also demonstrates the direct but very diverse pianistic influences of Liszt and Schumann, and incorporates in an almost naive way folk-style dance rhythms and melodies from Russia. This treasure trove is immensely rewarding to play, whether it be a small-scale salon piece such as the Humoresque Op. 10 No 2, or large in scale, such as is the gigantic Grand Sonata in G Major.”
  • Over thirty years ago, Fretwork made its first recording – well, technically speaking it was the second album to be recorded, but the first to be released – and it was called ‘In nomine’, which consisted mainly of 16th-century examples of this remarkable instrumental form. While this isn’t an anniversary of that release, Fretwork wanted to look both back to that first release and forward, to bring the genre up to date. There were several examples of the In nomine and related forms that couldn’t be recorded in 1987, and this album seeks to complete the project. The form was created unwittingly by John Taverner (1490-1545). His 6-part mass, Gloria tibi Trinitas, is based on the plainchant of that name. In the Sanctus, at the words Benedictus qui venit in nomine Domini (Blessed is he that comes in the name of the Lord), the six-part texture is pared down to two and three parts; and then, with the words in nomine Domini, Taverner makes, for the only time in the mass, a complete statement of the cantus firmus, accompanied by three voices. This four- parts section – very beautiful as it is – must have struck contemporaries as some kind of perfection, to be used as a template, to be emulated and copied. And then those copies were copied and changed again. Typically, an In nomine would have the alto, or second part, playing this cantus firmus in long slow notes of equal length. The other parts would weave counterpoint around it, sometimes commenting upon it, sometimes ignoring it. Typically, the cantus firmus starts and ends on the note D – but there are many exceptions to all these ‘rules’.
  • Formed in 2016, the Albion Quartet brings together four of the UK’s exceptional young string players who are establishing themselves rapidly on the international stage. This disc marks the first release in a new Dvořák cycle with Signum Records, as well as future releases of Walton and Britten plus the premiere recording of Richard Blackford’s Kalon with the Czech Philharmonic Orchestra later in 2019. Having made their debuts last season at the Concertgebouw Amsterdam as well as the Auditorium du Louvre in Paris, the 2018/19 season sees the Albion Quartet’s debuts at the Wigmore Hall and at Town Hall/Symphony Hall Birmingham. They also continue their residency at London’s Kings Place, become quartet-in residence at the Stratford Festival of Words and Music and perform at the Oxford Lieder Festival. 'Their attention to the smallest detail reaps dividends' - Gramophone
  • After the success of their debut disc, ‘Voyages’, Mary Bevan and Joseph Middleton present their second recital disc exploring Lieder in German and Italian by Schubert, Haydn and Wolf. The programme is woven around songs inspired by the ‘muses’ of the day, both mythological and divine. It begins with Schubert’s dramatic and reverential settings of sacred German poetry, set alongside his lush emotional portrayals of female characters in the Italian settings. The central section of the disc is then devoted to Haydn’s epic ‘scena’ depicting the famously cruel abandonment of Arianna by her lover Teseo, ‘Arianna a Naxos’. Haydn’s beautiful prayer ‘Geistliches Lied’ takes us back into the world of German poetry and the religious fervour that arose from the collective belief in Christianity which pervaded most art forms of the age. The disc then moves into works by Hugo Wolf, whose stunning settings of devotional texts take the listener right to the heart of the characters; a few of these songs were in fact inspired by paintings. The early moments of Jesus Christ’s life are vividly portrayed here, particularly in songs such as ‘Die ihr Schwebet’, ‘Auf ein Altes Bild’ and ‘Schlafendes Jesuskind’, while the haunting ‘Gesang Weylas’ invites the listener into the world of the mysterious goddes Weyla who wistfully dreams of the shores of her distant homeland. From Ganymed to Christ, Dido to the Virgin Mary, Arianna to St Peter, this recital disc richly illustrates the lives and events surrounding the ‘divine muses’ who inspired these composers.
  • The programme performed here by baritone Christopher Maltman and pianist Joseph Middleton was born whilst Maltman was studying at the Royal Academy of Music. The compositions have been selected to form a coherent but flexible narrative that produces a touching memoire to all those affected by war. One composer chosen for the record, George Butterworth, was a casualty of the First World War: in September 1915 he went to the trenches and was killed, aged 31, in the Battle of the Somme on 5th August 1916. The use of his composition, A Shropshire Lad, is touching in this instance. It gives the listener a more sensitive perspective of the loss in World War One, almost allowing the listener to see the faces of those who passed away, most of whom were young ‘lads’ from various parts of the country.
  • John Jenkins (1592-1678) is perhaps the most popular English composer of the great golden era of music for multiple viols, ranging from William Cornyshe in 1520 through to Henry Purcell in 1680. The reason why is not hard to fathom: a rare melodic gift is married to an exceptionally deep understanding of harmony and modulation, and effortless counterpoint gives each part an equal voice in the musical conversation. Fretwork perform Jenkins’ complete consort works for four-part viol ensemble, in a new recording that showcases this composer’s rich and diverse compositions. A recital of sumptuous music superbly played. In a word: sublimeClassical Ear A new recording that showcases the composer’s rich and diverse compositionsNorthern Echo Contemplative, spirited, mellifluous and free from overt drama, they offer apolitical, zen-like balmThe Observer When played well, as in the case of these beautiful performances, John Jenkins’ work can be deeply satisfying and deserves to be heard more widely. Highly recommended - iClassical Mellifluous and engaging, with a real sense of communication, this is delightful music, delightfully performedPlanet Hugill  
  • Husband and wife duo David Kenedy and Rianka Bouwmeester partner for the first time in a new recording of two late works by Chopin and Schubert. In this very personal recital, Kenedy explores his own musical history and connection with the songs of Schubert: The Arpeggione Sonata is one of Schubert’s most lyrical instrumental works, almost a song cycle in itself, whilst Chopin’s passionate Sonata brims with feeling, as well as quoting musically from Schubert’s Winterreise in several places.
  • Carducci Quartet launches Shostakovich15 – its project to perform all 15 of Shostakovich’s string quartets in 2015. Commemorating 40 years since Shostakovich’s death, Carducci Quartet performs several complete cycles throughout the year and releases this recording of Shostakovich’s fourth, eighth and eleventh string quartets – all landmark works in the string quartet repertory.

    Their warmly engineered release of three of the Russian master's quartets is undoubtedly a fine achievement, boasting excellent ensemble, musical insight and sensitive attention to detail - BBC Music Magazine [The Carducci Quartet] clearly have the technical measure of these three highly contrasting works from Shostakovich's quartet output...this well-recorded disc holds out much promise of things to comeGramophone The performances are both polished and passionate - The Sunday Times Great musical flair...the Carducci's are superb hereMusic Web International
  • 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
  • Matthew Barley adds to his reputation as one of the UK's most innovative and creative performers with the new programme and CD Around Britten – celebrating the centenary of Britten's birth with a selection of his works, including the Third Cello Suite and pieces by Sir John Tavener and Gavin Bryars. As always, Barley's playing is fearless. The disc is a voyage around the cello as well as around Britten, and one that never becomes relentless - Gramophone The performance of the Suite is a very fine one - International Record Review This engrossing recital is a defining statement in modern cello playing - Sinfini Music
  • Signum Records is delighted to release Charivari Agréable's ninth CD on the Signum label. Modus Phantasticus presents a unique collection of German viol music, transcribed and arranged in charivari’s individual and historically-informed manner. Germany was never blessed with the same solo viol traditions that flourished in England and France. The viol took a back seat in favour of the keyboard and the violin which provided a vehicle for the elaborate technical display found in "stylus phantasticus" music. However the viol came into to its own within a consort of instruments, gaining a reputation for providing special effects alluding to mortality and the supernatural. The ability of the viol to enrich the texture and enhance sonority of vocal and sacred music meant that it could often dominate the scoring in music of this type. The profile of the viol in Germany was raised considerably with the arrival, during the late 16th century and the first half of the 17th century, of elite violists from England. This disc follows the development of German viol repertoire and its English influences. The pieces are chosen for their beauty, their uniqueness or their suitability for charivari agréable’s speciality – wonderfully inventive arrangements and transcriptions. The playing in all of the Bach transcriptions (there are four on the disc) is stunning - smooth, calm, and sonorous, yet with a fall awareness of individual line and harmonic structure - The Consort A perfectly accomplished recording... one in which the images that fire our imagination are underpinned everywhere by unflagging expertise - Goldberg Magazine Charivari Agréable's playing is of the highest order - Daily Telegraph  
  • Gesualdo

    £12.00
    Signum Records is proud to announce the release of the latest recording by The King's Singers: Gesualdo's Tenebrae Responsories for Maundy Thursday. The Italian Prince, Carlos Gesualdo, is probably most famous for the obsessive double murder of his first wife along with her lover, but his music is not always accredited with the same sense of celebrity. Gesualdo is known in traditional history books as an amateur composer. His music is characterised by wild gesticulation and abrupt starts and stops, particular to a composer who just didn’t know what he was doing. However, the 20th century has now uncovered our composer’s place in history as part of a larger movement of Neapolitan artists, and as perhaps the most forward-thinking, expressive and sensual composer of his time. The King’s Singers were fascinated by the naked honesty that is heard within this 400 year old music. It is so startling that it keeps its freshness of surprise even on many repeated hearings. The music portrays a desperate and wretched, but also passionate and loving person who is set on composing "further out" than anyone else. Gesualdo moved in the highest circles of Italy and was extremely wealthy. His decadent lifestyle allowed him to do and write exactly as he pleased, and at the tender age of 19 it brought him into close contact with one of the most attractive and admired women in Naples. Maria d’Avalos was twice widowed by the age of 25. Her marriage to Gesualdo was initially promising. However, Maria’s rich social life soon dominated the relationship and a profound and constant jealousy took possession of the young and highly sensitive composer. After four years of turmoil he hired professional murderers to assist him in killing wife and lover while they were in bed together. The violence and rage of the act is well-documented. After the murder of Maria, Gesualdo suffered from severe and increasing feelings of guilt. Penitence never left him and he was moved to compose church music of a most black and self-reproachful nature. The programme on this CD represents part of the liturgy for the Matins Offices on the final three days of Holy Week, the Triduum Sacrum. Each of the Matins services is divided into three nocturns, each containing psalmody, three lessons and three responsaries. The attention given to word-painting is exemplary - The Times A no holds barred, immaculately sung performance from the King's Singers. Unmissable - Classic FM Magazine
  • Alessio Bax plays an Italian inspired programme, picking his favourite pieces taken from a rich history of music from one of the most romantic countries in the world. He opens the programme with a J.S. Bach transcription of a oboe concerto by Venetian composer Alessandro Marcello, which reveals a deep insight into Bach’s mind. This is followed by Rachmaninov’s last ever work for solo piano, which is incredibly eloquent, introspective and personal. The Dallapiccola continues this eloquent theme, showing some beautifully crafted dodecaphonism. The recording is rounded off with two pieces of Liszt, which take the listener on a multi-legged journey through hell, purgatory and heaven, with beauty and drama along the way.
  • Even though Jonathan Dove is best known as a vocal or choral composer, with operas and works for children forming the backbone of his output, his chamber music reveals similar predilections for narrative, drama, atmosphere and a sense of the personal.
    His new commission from the Sacconi Quartet In Damascus was inspired by the violinist Hannah Dawson’s suggestion for a work that should reflect aspects of the conflict in Syria; not because music can offer any political solution, but simply as an expression of empathy, sorrow, even outrage at those terrible events. Featuring a performance by tenor Mark Padmore, the text is taken from prose-poems by Ali Safar that draw on his first- hand experiences in Syria, eloquently translated by Anne-Marie McManus.
    The Sacconi’s present this new work alongside his string quartet work Out of Time, and his Piano Quintet – performed with pianist Charles Owen.
    ★★★★ Jonathan Dove’s In Damascus proves a powerful, passionate and above all humane commentary on that country’s current plight… impeccable playing from the Sacconi Quartet - Classical Ear ★★★★ The beauty of the piece, for tenor and string quartet, is its restraint. It doesn’t sensationalise, get maudlin, moralise or politicise. The words are direct and the music respects that. The performance does, too: focused playing from the Sacconi Quartet and lucid, unswerving narrative from tenor Mark Padmore - The Guardian Mark Padmore uses his voice with such emotional intelligence… the string playing is by turn both dark and passionate - BBC Radio 3 Record Review  
  • A lyrical collection of chamber works for tenor and guitar – Sometime I Sing unites Gramophone award-winning tenor Mark Padmore with Mexican guitarist Morgan Szymanski in settings of texts by Thomas Wyatt, Vikram Seth, John Donne and Edward Thomas by the composer Alec Roth. Roth is a UK-based composer who works across a wide range of musical genres, including stage works, vocal, choral, orchestral, instrumental, and Javanese gamelan – his former posts include Founder/Director of the Royal Festival Hall Gamelan Programme and Southbank Gamelan Players; Music Director of the Baylis Programme, English National Opera; and Associate Composer, Opera North. A superb disc of music by a prolific and successful composer who has eschewed the passing modernisms of our days.  ... this is a disc which deserves widest distribution and take up on radio programmes - Musical Pointers With the elegant guitarist Morgan Szymanski, one of Britain's finest tenors explores song settings by Alec Roth. Poems by Vikram Seth are treated mysteriously: slow-moving harmonies, evocative lyrical lines. The 16th·century poet Thomas Wyatt is set more playfully, as befits his wry epigrams on love, lust and mortality. And a bonus: English folksongs, arranged as artfully as Britten did - The Times
  • Will Todd is one of the UKs most popular and performed modern choral composers. His output includes works for choir, stage works, and orchestral works, and his music has been featured on BBC Radio 2, 3 and 4 and Classic FM, and performed all over the UK, Europe and the USA. On this disc, Nigel Short conducts superlative performances of his works by his BBC Music Magazine Award-winning choir Tenebrae and the English Chamber Orchestra. This compilation of his works includes the premiere recording of a new comission 'The Call of Wisdom', which on June 5th 2012 will be presented on the occasion of a Service of Thanksgiving at St Paul’s Cathedral for the Diamond Jubilee of HM Queen Elizabeth II. [A] disc of miniature but perfectly formed musical marvelsGramophone
  • Recreating the exciting sound of swing from the 30’s and 40’s, Julian Bliss’s dynamic virtuosity leads his sextet through some of the great tunes of the swing era, staying true to the authentic feel but naturally with a modern twist. Julian Bliss says: "I decided in the summer of 2010 that I wanted to start my own Jazz group. I enlisted the help of Neal Thornton (Piano) to help make this dream a reality. We spent months listening to every version of each tune we could find, and putting together our own versions while still being mindful of the light and fun feel Goodman captured all those years ago. We then had the task of putting the rest of the band together. We were specifically looking for musicians that had a great interest in the Swing era, and I must say we couldn’t have picked a better set of players."