Classical Music

Import Hybrid-SACD pressing.

Full of challenges, from the pioneering mathematical influences, to unusual notation and virtuosic performance requirements, many classify Xenakis' compositions as unplayable, but KUNIKO's unrivalled prowess sees her perfectly realise the composer's vision. Pléïades explores a rich variety of percussive sounds and textures; marimba, vibraphone, xylophone, xylo-marimba and drums create a sound world of rhythmic complexity and vibrant colours. Uniquely, Pléïades also requires a SIXXEN, an instrument designed by Xenakis and customised by KUNIKO, who hand-selected 120 metal bars to craft the perfect sound.

Since becoming a percussion soloist, Rebonds is a piece that KUNIKO has been playing and performing throughout her entire career. After hearing this performance of Xenakis' popular piece, renowned percussionist Sylvio Gualda congratulated KUNIKO on her ‘marvellous' interpretation.

Classical Music

Classical Music

Classical Music

Classical Music

Import Hybrid-SACD pressing.

Classical Music

Classical Music

Classical Music

Released to coincide with his third season as Music Director of the Deutsches Symphonie-Orchester Berlin, Robin Ticciati has forged a close and highly successful partnership with his orchestra. This, his fourth recording with DSO Berlin, continues his series of music by French composers (Debussy, Faur�, Ravel, Duparc) with a significant move into choral music: the Durufl� Requiem. Ticciati is joined by mezzo-soprano Magdalena Ko�en�, who has performed Debussy's Ariettes oubli�es and Duparc songs on previous DSO recordings, and the Grammy award-winning Rundfunkchor Berlin. Written in response to Faur�'s own Requiem and with Debussy's influence paramount, Durufl� created one of the most significant sacred works of the twentieth century. Ticciati describes this masterpiece as "a balm for the soul, a score filled with tremendous hope and peaceful searching". Most typically recorded with organ accompaniment, Ticciati has chosen to record Durufl�'s own orchestrated version which allows the conductor to create a unique blend of choral and orchestral colours recalling the sound-world of Debussy and the Impressionists. Fittingly the programme also includes Debussy's Nocturnes, a welcome addition following the critically-acclaimed reception of Ticciati's recording of La mer.

Awarded 'Best British Vocalist' on more than one occasion, singer Liane Carroll has a 'deeply soulful' voice and a fearless approach to singing. 'Seaside' is a mix of original songs and covers broadly following a seashore theme, with sterling accompaniment comprising piano trio, guitar and brass. Liane brings a refreshing approach to Billie Holiday's 'I Cover The Waterfront', Kurt Weill's 'My Ship' and Nina Simone's 'Wild is the Wind', plus 'Almost Like Being In Love' - famous as the closing track to the blockbuster hit Groundhog Day. The title song, 'Seaside', was specially written for Liane by Joe Stilgoe which sees the singer return Liane's favour of guesting on his cover of Brian Wilson's 'I Just Wasn't Made For These Times' from his latest album 'New Songs For Old Souls'. The album reunites Liane with multi-GRAMMY nominated producer and trumpeter James McMillan who worked on her previous two albums. Liane's rhythm section comprises Malcolm Edmonstone (piano), Mark Edwards (piano), Ian Thomas (drums) and Steve Pearce (bass) with guest musicians Rob Luft (guitar) and Andy Wood (brass). Liane Carroll is a multi award-winning jazz singer described by Jamie Cullum as 'one of the greatest singers we have in this country'. Her awards include 'Best British Vocalist' (BBC Jazz Awards, 2005 & 2013), 'Best Female Jazz Vocalist' (Ronnie Scott's Awards, 2007) and 'Best Jazz Album of the Year' (Parliamentary Jazz Awards, 2013). A popular live performer, Liane has headlined at the legendary Ronnie Scott's Jazz Club for over two decades, as well as performing at the 2007 Glastonbury Festival with her trio in a headline performance broadcast to over 300,000 listeners on BBC Radio 3.

Following his acclaimed Linn debut, One Byrde in Hande, Richard Egarr turns to the music of Jan Pieterszoon Sweelinck for his new recording of fantasias, toccatas and variations. As well as being a notable composer Sweelinck was a skilled improviser and keyboard virtuoso whose knowledge of the stylistic innovations of his English contemporaries, such as Byrd and Morley, was evident in his work. Egarr performs on a harpsichord designed after Ruckers (1638); it's strict �-comma meantone tuning highlights the amazing chromaticism present in Sweelinck's music. This is particularly evident in the famous Fantasia Crommatica, a highly improvisatory, boundary-pushing work that showcases many of Sweelinck's innovations in keyboard composition. Within his lifetime Sweelinck was most celebrated for his variations on the popular tune Mein junges Leben hat ein Endt; Egarr relishes the intricate counterpoint which builds from the simple theme into a masterpiece of inexhaustible invention and limitless variety. A selection of fantasias and toccatas complete the programme in which Egarr's passion for the harpsichord and Sweelinck's music are enthusiastically conveyed.

The Odyssean Ensemble's impressive debut recording features the Great Service of William Byrd, a rather neglected work of genius interspersed with some contemporaneous anthems. Uniquely the Odyssean Ensemble performs the piece in a new performing edition created by Byrd expert Andrew Johnstone, who also contributes fascinating booklet notes. Accompanied by a reconstructed Goetze & Gwynn Tudor organ (the St Teilo organ, expertly played by Christian Wilson), director Colm Carey leads listeners into Byrd's rich and colourful sound world. The music in the Great Service is of unparalleled proportions and inexhaustible variety; Byrd vividly represents the text at every opportunity stimulating the listener's imagination. The Great Service encapsulates the canticles that were sung during the services of Matins and Evensong, which made up an important part of Cranmer's newly created Book of Common Prayer of 1549. This recording continues the Odyssean Ensemble's exploration of English music of the 16th century, perhaps one of the golden eras of musical composition.