Following critically acclaimed Glyndebourne performances in Michael Grandage’s Billy Budd and Brett Dean’s Hamlet, Jacques Imbrailo has established himself as one of the most exciting young baritones on the world stage. His debut solo recital for Linn sees him perform with fellow Prince Consort alumni, Alisdair Hogarth, in a mouth-watering programme of Sibelius and Rachmaninov songs. Among the selection is ‘In the silence of the mysterious night,’ one of Rachmaninov’s best-loved songs and one of the composer’s greatest achievements in this genre. Rachmaninov’s trademark melodicism is met with a perfect partner in Imbrailo’s lyric baritone, whilst his expressive and highly intricate accompaniments find a worthy partner in Hogarth. Providing a welcome contrast to the intensity of Rachmaninov is the Nordic sentimentality that Sibelius brings to his highly romantic songs. The pearl of the Opus 37 collection is ‘Var det en dröm?’, which the composer himself described as ‘my most beautiful song’. Together the duo perfectly communicates the passions and anxieties of a poet’s lost love; the rich tone of Imbrailo’s final note provides an immensely satisfying close.

The fifth recording from the talented students of London’s Royal Academy pairs Stravinsky’s The Soldier’s Tale with music by Harrison Birtwistle and Peter Maxwell Davies. For his debut recording with Linn, conductor Oliver Knussen has assembled an impressive cast of contemporary composers for The Soldier’s Tale: Harrison Birtwistle as the soldier and George Benjamin as the Devil, with actress Dame Harriet Walter as the narrator. The longest work on this release, The Soldier’s Tale mixes fiendishly difficult changes of time signature with Stravinsky’s newly discovered love of jazz with melodies which echo his larger pre-war scores. It is also a work that demonstrates immense clarity and moving simplicity at times, and a sardonic wit at others. With such a starry cast this recording will be of particular interest to those with an interest in contemporary music, especially considering the addition of two new Birtwistle world premiere versions of Chorale from a Toy Shop written specially for the recording. The rest of the programme includes an exquisite Knussen arrangement of Maxwell Davies’ Canon ad honorem Igor Stravinsky, intermixed with Stravinsky’s own late commemorative miniatures. One of the pre-eminent composer-conductors in the world today, Oliver Knussen CBE is presently Sir Richard Rodney Bennett Professor of Music at the Royal Academy of Music.

Since Thomas Søndergård’s opening concert with the BBC National Orchestra of Wales, this partnership has cultivated a special relationship with the music of Sibelius, resulting in three recordings of the composer’s music. In 2017 they performed Symphonies 2 & 7 at the BBC Proms receiving widespread acclaim, with critics describing the performances as ‘radiant’, ‘masterful’ and ‘quite, quite beautiful’. Prior to this first recording Søndergård made his excitement clear: ‘I can’t wait to discover Sibelius all over again with my new orchestra’. With their nationalist themes Symphonies 2 & 7 were perfect repertoire for Søndergård and his orchestra to make their symphonic recording debut. Symphony No. 2 marked a major step in Sibelius’ development as a composer, and remains one of his most popular works. Symphony No. 7 is notable for being a one-movement symphony and is completely original in form, subtle in its handling of tempi, individual in its treatment of key and is considered Sibelius’ most remarkable compositional achievement.

In the second of his recordings for Linn, charismatic pianist Simon Trpčeski performs Shostakovich’s two Piano Concertos with the outstanding Janáček Philharmonic Ostrava under Orchestre National de France’s new Musical Director Cristian Măcelaru. Shostakovich’s impish First Piano Concerto exudes the carefree attitude and sassy swagger of the young composer, and proves a perfect match with Simon’s playful pianism and Andrei Kavalinsky’s thundering trumpet. Written as a birthday present (and what a present!) for the composer’s son Maxim, the Second Piano Concerto is an uncharacteristically light-hearted piece given the doom and gloom of the time. Simon’s fiendish virtuosity and musical intelligence revel in this energetic piano favourite. As a generous encore, Makedonissimo’s violinist Aleksandar Krapovski and cellist Alexander Somov join Simon for Shostakovich’s Piano Trio No. 2. A must have album!

Handel's 1725 hit opera Rodelinda was written for the greatest voices of it's day and is performed here by some of today's finest, as The English Concert and artistic director Harry Bicket's acclaimed concert cycle of Handel operas appears for the first time on Linn. Lucy Crowe and Iestyn Davies are the devoted partners Rodelinda and Bertarido, heading a cast packed with exactly the sort of vocal star-power Handel would have expected, including Joshua Ellicott, Tim Mead, Brandon Cedel and Jess Dandy. Both Davies and Crowe have won acclaim for their performances in these roles: BBC Music Magazine wrote, 'Iestyn Davies stole the show with aria after aria of heavenly purity and ardour', whilst BachTrack commented, 'Lucy Crowe gave a brilliant performance... Her singing, firmly centred, agile and sparking with temperament, was a triumph.' The English Concert's reputation for combining urgency, passion and fire with precision, delicacy and beauty will ensure their forthcoming series of Handel operas will become an essential part of Linn's catalogue. The English Concert will be recording Handel's Tamerlano in 2021.

Following acclaimed performances on tour in Japan and South Korea, Robin Ticciati and the Deutsches Symphonie-Orchester Berlin have recorded one of Rachmaninov’s best-known works. In contrast with the disastrous reception of the First Symphony and the ensuing three-year compositional hiatus, the Second Symphony was a resounding success when it was premiered by the composer in 1908. Its thematic unity, archlike melodic lines, rich orchestral colours and expansive structure still inspire awe, particularly when performed by musicians of the DSO’s calibre. The score is presented in its original unabridged version which reveals Rachmaninov’s regained confidence in his power to compose and his true symphonic achievement. This exhilarating performance marks Ticciati’s sixth album with the DSO.

Gothic Voices’ reputation for the originality of its programming is cemented with its first recording of medieval Christmas music, in which Julian Podger reimagines a fifteenth-century carol evening. Mirroring the modern practice of performing mostly music from the preceding centuries alongside some contemporary repertoire, the programme includes late medieval English carols, chant, mono-and polyphonic songs and motets for the Advent and Christmas season, focusing on Mary, her Annunciation and the birth of Jesus. Larger-scale festive motets and mass movements by English late medieval celebrities John Dunstaple and Leonel Power also feature. The ‘evening’ concludes with a summons to wake up to the significance of Christmas, with the conductus callResonet, intonetintroducing the carols Nowell synge we bothe al and som and Nowell: Owt of your slepe and the great Christmas chant Puer natus est nobis, arranged here into a joyful finale. This recording has been widely anticipated since a performance of this repertoire in December 2016 was chosen by BBC Music Magazine as its number one unmissable Christmas event.

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REVIEW:

It seems extraordinary that this should be Gothic Voices’ first Christmas-themed album; nevertheless, it has been worth the wait to hear these wellknown works performed by this ensemble. Their textures are always buoyant: listen for the fourth verse, which describes the Virgin’s swollen womb, where they use an atmospheric vocalised drone.

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Described as a ''stellar Mozartian'' Francesco Piemontesi finds a perfect partner in the Scottish Chamber Orchestra whose impeccable credentials are widely acknowledge. Piemontesi has performed Mozart exclusively recently, including a critically acclaimed 2015 BBC Prom, a Mozart cycle at London's Wigmore Hall which commenced in January, 2016 and continues in 2017 and Mozart concertos with the SCO. The Swiss pianist enjoys a particular insight into Mozart gaining a useful ''love of detail'' from his teacher Alfred Brendel, who was himself renowned for his masterly interpretations of Mozart. This recording couples consecutive yet contrasting works from Mozart's Vienna period: K.503 represents the longest and most substantial of his concert masterpieces and K.537 provides the soloist with an audience-pleasing cadenza. Conductor Andrew Manze, well-known as a HIP pioneer, shares Piemontesi's approach to creating an authentic performance, making this somewhat of a Mozart dream team.

Joe Stilgoe gives a masterclass in nostalgia with a contemporary twist on ‘New Songs For Old Souls’, his first studio album for Linn Records following his signing to the label in 2014. The album comprises twelve songs with ten originals by Joe, including three big band numbers: ‘Nobody Cares Like Me’, ‘Pocket Song’ and ‘Gold On Silver’. Joe also duets with Liane Carroll on a wistful cover of Brian Wilson’s ‘I Just Wasn’t Made For These Times’, one of the album’s two non-original songs. ‘Revealing himself to be a powerful improviser with an instinctive gift for melody.’ (The Times)

Lucy Crowe makes her Linn recital debut with a program of lieder by Berg, Richard Strauss and Schoenberg, which perfectly highlights why she is known as one of the leading lyric sopranos of her generation. Lucy is joined by pianist Anna Tilbrook, with whom she has forged a near symbiotic connection over a twenty-year professional partnership, comprising numerous performances at Wigmore and Queen Elizabeth Halls, London, and Carnegie Hall, New York. The program encompasses both the beginning and end of Strauss’s prodigious songwriting career with five songs from his first published set Acht Gedichte aus Letzte Blätter plus his posthumously published swansong of sublime beauty, Vier letzte Lieder. Berg’s Sieben fruhe Lieder are landmark compositions which invoke the late Romantic world of Strauss; they sit alongside Vier Lieder by Berg’s mentor Schoenberg, whose post-Wagnerian chromaticism points to the composer’s later style. Following their Wigmore Hall performance in June 2020 The Guardian stated: ‘Berg’s Seven Early Songs suits Crowe uncommonly well, with her exquisite tone, fastidious sense of line, and understated but telling way with words.’

‘Makedonissimo’, meaning ‘very Macedonian’, sees pianist Simon Trpceski take a detour from Beethoven and Brahms to celebrate the music of his homeland. Trpceski takes listeners on a joyous tour through the incredible rhythms and haunting melodies of the Macedonian folk music tradition in which highly intricate, jazz-influenced riffs and harmonies are seamlessly interwoven. Inspired by Trpceski’s passion for the folk traditions of his homeland Macedonian composer Pande Shahov (b. 1973) created a six movement cycle he called Pletenki (Plaits). In these new arrangements Shahov merges his own sound world – one which is influenced by impressionist attitudes to resonance and jazz harmony – with Macedonia’s traditional music. This project had its world premiere in May 2017 at the Ludwigsburg Festival, Germany and went on to wow audiences in the UK (London, Liverpool, Birmingham), Slovenia (Ljubljana), France (Lille), Poland (Warsaw, Szczecin, Gdansk, Katowice), the Netherlands (Amsterdam), Serbia (Belgrade) and South Korea (Jeongseon, Wonju, Chuncheon). Led by Trpceski on piano the quintet of virtuosi musicians comprises Aleksandar Krapovski violin, Alexander Somov cello, Hidan Mamudov clarinet, saxophone, kaval and Vlatko Nushev percussion.

Cappella Nova has a longstanding reputation of championing contemporary music, and its latest album Consecration is no exception. Comprising world premiere recordings in a programme specially curated by Sir James MacMillan, it includes a very personal selection of the composer’s recent choral works. The sequence of five Culham Motets, written for the consecration of the Chapel of Christ the Redeemer at Culham Court on 9 December 2015, show MacMillan at his transcendently numinous best in an emotional and technical tour de force, setting texts of visionary and mystic ceremonial power. Consecration also includes MacMillan’s well-beloved St. Anne’s Mass along with a fascinating collection of works written for family occasions: the weddings of two of his children and his father’s Requiem Mass. This is the fourth instalment of Cappella Nova’s celebrated MacMillan series on Linn.

The hugely talented pianist, Chiyan Wong makes his recording debut with the phenomenally difficult Liszt transcriptions of well-known opera melodies. A broad and thoughtful musician, Wong's special interest in the music of Franz Liszt has led to him perfecting his own editions of these popular operatic fantasies. Following Liszt's own advice regarding transcriptions, Wong concentrates on communicating the spirit and intention of the music whilst applying his own personal touches. Chiyan Wong has been astonishing audiences with not just the sincerity and sheer authority of his playing, but also feted by critics and colleagues as a rising star of the piano world.

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REVIEW:

Beyond the technical polish he brings to these fiendishly challenging pieces, most striking is Wong's sincerity of purpose. While espousing a more personal approach to the music, his reverence for Liszt precludes any radical alteration of the scores in the name of pianistic exhibitionism. A project that could have easily lapsed into musicial disfigurement has instead been bolstered by understanding and conviction. Linn has captured Wong's sound in all its dimensions. By all means, have a listen.

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Handel: Concerti Grossi Opus 6 marked the Linn debut of the outstanding period instrument orchestra, The Avison Ensemble. Directed by Pavlo Beznosiuk, Britain’s foremost Baroque violin virtuosi, the ensemble presents a fresh and insightful performance of the Baroque masterpiece. This recording earned Opus d’Or and BBC Music Magazine ‘Choice’ accolades, was named a ‘Finalist’ at the 2011 Gramophone Awards and High Fidelity’s ‘Best Recording of 2010’. Handel’s Opus 6 is widely considered as one of the definitive examples of the concerto grosso form: their symphonic variety of color, texture and emotion sets them apart from other examples. The Avison Ensemble has frequently performed these works since its formation in 1985; this recording represents a culmination of its experience. Beznosiuk stated: ‘These new readings are a chance to revisit old and familiar friends and to reacquaint ourselves with Handel’s genius, but above all, to joyously revel in some of the greatest string music ever penned.”

Gramophone Award Winner 2007 Baroque Vocal. Linn Records is delighted to present 'Messiah', George Frideric Handel's most famous oratorio. This is the first recording to seriously explore the version and performing forces that Handel used for his legendary Dublin premiere. The research was carried out by the performer, director and lecturer John Butt and the performance recreated by the acclaimed choral group the Dunedin Consort. The Dublin version of 'Messiah' is unique in several important ways and the resultant Linn recording signifies an exciting and historically considered representation of 'Messiah' as enjoyed by the Dublin audience of 1742. The challenge in this recording was to try and recapture something of the freshness of the first public performances, imagining what it was like to hear the work for the very first time, when many moments must have been quite unexpected. The 'Nativity' section of this work, which includes the well-known chorus 'For Unto Us', makes this a timely release. 2006 marks the tenth anniversary of Dunedin Consort, an ensemble that 'has done so much to transform the vocal life of Scotland' (The Herald). The dynamic ensemble has rapidly established its presence in the artistic life of its home country, captivating audiences in venues throughout Scotland, from remote Highland churches to major concert halls. The consort has appeared on programmes on the BBC and BBC4 television and been broadcast on BBC Radio 3 and BBC Scotland. The Consort recorded 'In The Beginning' (LINN CKD117), works by Copland and Barber, for LINN Records in 2003 (glowingly sung and recorded - The Daily Telegraph).