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There are some eyewitness accounts from the first performance, at the Kärntner-Tor-Theater in Vienna on 7th May 1824: we know for instance that Beethoven was on stage himself throughout the performance, but that owing to his deafness he did not notice the audience’s overwhelming enthusiasm. What the Ninth sounded like that evening in Vienna is something we will never know, however – which is why hearing it in a historically informed performance on period instruments is all the more interesting. With impeccable credentials from their 65-album series of Bach’s complete cantatas, and acclaimed recent recordings of Mozart’s Requiem and Beethoven’s Missa solemnis, Bach Collegium Japan and Masaaki Suzuki now give us their rendering of Beethoven’s last and greatest symphony, joined by a fine quartet of vocal soloists.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46012843720938,"sku":"7318599924519","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3718691-2517033.jpg?v=1778281337"},{"product_id":"gilbert-sullivan-hms-pinafore-egarr-scottish-opera-93118","title":"Gilbert \u0026 Sullivan: H.M.S. Pinafore \/ Egarr, Scottish Opera","description":"This new release is a live recording from a sold out performance at the Edinburgh International Festival 2015. The Scottish Opera is joined by an outstanding soloist cast, including John Mark Ainsley, Elizabeth Watts and Toby Spence. 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Featuring performances from organist Silas Wollston and counter-tenor Hugh Cutting, the recital ranges widely over the 17th century – from the early years with three curiously similar sounding friends: Schein, Scheidt and Schütz, to the most significant member of the Bach family before Johann Sebastian, Johann Christoph Bach. From their they travel down North Sea to the foothills of the Alps, including Buxtehude’s predecessor at the Marienkirche in Lübeck – Franz Tunder (whose daughter Buxtehude was to marry) and another north German composer who worked in Copenhagen, Christian Geist. Giovanni Felice Sances is an outlier here: he was born in Rome, but spent the second part of his life working for three successive Emperors in Vienna, where viol playing was still very much in vogue. In 2021, Fretwork celebrates its 35th anniversary. In the past three and a half decades they have explored the core repertory of great English consort music, from Taverner to Purcell, and made classic recordings against which others are judged. In addition to this, Fretwork have become known as pioneers of contemporary music for viols, having commissioned over 40 new works. Iestyn Davies is a British countertenor widely recognised as one of the world’s finest singers celebrated for the beauty and technical dexterity of his voice and intelligent musicianship. Critical recognition of Iestyn’s work can be seen in two Gramophone Awards, a Grammy Award, a RPS Award for Young Singer of the Year, the Critics’ Circle Award and recently an Olivier Award Nomination. 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The work reflects the composer’s interest in folk song and is characterized by highly evocative orchestrations, ardent melodic lines, wide ranging expressions of emotion from joy to melancholy and highly effective word setting. Winner of the Lieder Prize at the 1991 Cardiff Singer of the World Competition, Neal Davies has sung with the world’s leading orchestras, conductors and opera companies and received much critical praise for performances in concert, on stage and in recordings. Ralph Vaughan Williams’s ‘masque for dancing’, Job, is one of his supreme achievements and was considered by Gustav Holst to be a masterpiece. Scored for large orchestra, the work was written between 1927 and 1930 and shows the composer’s imagination at its most vivid. 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A veteran of the light music genre, he has been a fulltime composer and arranger for fifty years, working for many years with the BBC Concert Orchestra- many of his arrangements becoming classics in their genre, also writing music for the marriage of the Crown Prince of Spain and many other public events. His theme tune for BBC TV news ran for over a decade, known to practically every person in the UK. Since 2000 he has concentrated on more serious and extended compositions, though retaining a commercial sense of approachable style. This album features four wind sonatas and two other works, performed by instrumentalists of high caliber and renown. 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They are joined by the London Symphony Orchestra Chorus and four excellent soloists: Helen Field, Della Jones, Arthur Davies and Roderick Earle.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46013376200938,"sku":"095115178126","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2266423.jpg?v=1778305640"},{"product_id":"fancies-music-by-john-rutter-cambridge-singers-218840","title":"Fancies - Music By John Rutter \/ Cambridge Singers","description":"\u003cp\u003e A mid-price reissue of the popular 'Fancies' album, collecting together John Rutter's best-known concert works. 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The three act work with libretto by Charles Jennens premiered in January 1739, and was an immediate success. This production directed by Barrie Kosky was recorded live at Glyndebourne Opera House, Lewes, October 2015. It was ranked by The Independent amongst five top opera and classical performances of 2015. “Musically this evening is well-nigh flawless.” (The Independent) “A theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing.” (The Guardian)\u003cbr\u003e \u003cbr\u003e Subtitles: English, French, German, Korean\u003cbr\u003e Sound Formats: 2.0 LPCM, 5.1 (5.0) DTS\u003cbr\u003e Running Time 185 mins\u003cbr\u003e Region Code: 0 (All)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013427220714,"sku":"809478072058","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3387114.jpg?v=1778385977"},{"product_id":"bach-cantatas-nos-35-169","title":"BACH: CANTATAS NOS. 35 \u0026 169","description":"Bach's Cantatas Nos.35 and 169 may have been written for an outstandingly gifted boy alto in Bach's Leipzig, but listening to these peerless accounts from countertenor Iestyn Davies, it's impossible to believe he could have approached the flawless technique and profound interpretative insight.","brand":"HYPERION","offers":[{"title":"CD","offer_id":46013448192234,"sku":"034571283753","price":18.33,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4037190-2785777.jpg?v=1778371253"},{"product_id":"shakespeare-henry-iv-part-ii","title":"Shakespeare: Henry IV, Part II","description":"King Henry's health is failing as a second rebellion against his reign threatens to surface. 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Both the Sarabande et Cortège and Sonate pour hautbois are virtuosic tours de force for their soloists, as is the Sonatine pour flûte, which displays the lyricism, agility, and sparkling incisive qualities of the flute in what became Dutilleux’s most-performed work.\u003c\/p\u003e  \u003cp\u003e\u003cspan style=\"color: #3c3c3c; font-family: RobotoRegular; font-size: 14px; background-color: #eaeff7;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"SACD","offer_id":46013487743210,"sku":"095115526323","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3964260-2700479.jpg?v=1778262206"},{"product_id":"rossini-maometto-secondo-parry-hulcup-davies-nilon-109683","title":"Rossini: Maometto Secondo \/ Parry, Hulcup, Davies, Nilon, Jeffery","description":"Garsington Opera, celebrating its 25th anniversary season in June-July 2014, releases its first commercially available recording, the rare Rossini opera Maometto secondo. Recorded live at Garsington Opera’s universally acclaimed 2013 performances – the first-ever fully staged production of Maometto secondo in the UK – the 3-CD set is stylishly packaged in a 100-page hardbound book, complete with synopsis, essay and libretto in Italian with English translations.\u003cbr\u003e  \u003cbr\u003e  Set in the 15th century, Rossini’s hugely ambitious undertaking depicts the Turkish Sultan Maometto’s siege of the Venetian outpost of Negroponte and his ultimate defeat. The superb international cast is led by the suitably menacing bass-baritone Darren Jeffery in the title role, with American soprano Siân Davies in her European debut as his anguished daughter Anna, Australian mezzo Caitlin Hulcup as the general Calbo, and tenor Paul Nilon as the Venetian Governor. The assured baton of David Parry conducting the Garsington Opera Orchestra and Chorus highlights the brilliant and dramatic score.\u003cbr\u003e  \u003cbr\u003e  This outstanding release mirrors Garsington Opera’s exceptional artistic standards presented in the spectacular, award-winning Pavilion, set in the extraordinarily beautiful Buckinghamshire countryside. -  \u003ci\u003eAvie\u003c\/i\u003e","brand":"Avie Records","offers":[{"title":"CD","offer_id":46025347301610,"sku":"822252231229","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2549619_8cd7f70d-f602-402e-992f-1f6be4e20202.jpg?v=1778309135"},{"product_id":"henry-v-royal-shakespeare-company-blu-ray-84133","title":"Henry V \/ Royal Shakespeare Company [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=2176163\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Henry IV is dead and Hal is king. 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Lucy Crowe made a delightful Belinda, with Lucas Meachem a quarterback hunk of an Aeneas. The young ad-hoc chorus sang beautifully.\" -  \u003ci\u003eThe Telegraph\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e Henry Purcell \u003cbr\u003e  DIDO AND AENEAS \u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e  \u003cbr\u003e Dido – Sarah Connolly \u003cbr\u003e  Aeneas – Lucas Meachem \u003cbr\u003e  Belinda – Lucy Crowe \u003cbr\u003e  Sorceress – Sara Fulgoni \u003cbr\u003e  Second Woman – Anita Watson \u003cbr\u003e  First Witch – Eri Nakamura \u003cbr\u003e  Second Witch – Pumeza Matshikiza \u003cbr\u003e  Spirit – Iestyn Davies \u003cbr\u003e  Sailor – Ji-Min Park\u003cbr\u003e  \u003cbr\u003e The Royal Ballet \u003cbr\u003e  Royal Opera Extra Chorus \u003cbr\u003e  Orchestra of the Age of Enlightenment \u003cbr\u003e  Christopher Hogwood, conductor\u003cbr\u003e  \u003cbr\u003e Wayne McGregor, choreographer and stage director\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden, London, on 3 and 8 April, 2009.\u003cbr\u003e  \u003cbr\u003e Bonus: \u003cbr\u003e  - Illustrated synopsis and cast gallery - Interview with Wayne McGregor\u003cbr\u003e  \u003cbr\u003e Picture format: 1080i High Definition \u003cbr\u003e  Sound format: 2.0 and 5.1 PCM \u003cbr\u003e  Region code: 0 (worldwide) \u003cbr\u003e  Menu language: English \u003cbr\u003e  Subtitles: English, French, German, Spanish, Italian \u003cbr\u003e  Running time: 72 mins \u003cbr\u003e  No. of Discs: 1 (BD 25)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025474867434,"sku":"809478070498","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1579893.jpg?v=1778333412"},{"product_id":"copland-appalachian-spring-nonet-2-pieces-for-61502","title":"Copland: Appalachian Spring, Nonet, 2 Pieces For String Quartet \/ Davies, Et Al","description":"Dennis Russell Davies clearly has an affinity for Copland's iconically American music. This disc features Copland's most famous work, \u003ci\u003eAppalachian Spring\u003c\/i\u003e, as well as comparatively unknown compositions from both the beginning and the end of his career.","brand":"Nimbus","offers":[{"title":"CD","offer_id":46025483845866,"sku":"710357250620","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1375281.jpg?v=1778324459"},{"product_id":"henry-v-royal-shakespeare-company-80545","title":"Henry V \/ Royal Shakespeare Company","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2176165\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Henry IV is dead and Hal is king. With England in a state of unrest, he must leave his rebellious youth behind, striving to gain the respect of his nobility and people. 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Its story concerns the tragic marriage of Caroline to Christian VII of Denmark and is cast in a musical language that embraces expressionism, drama, parody, and overt lyricism. The two concert suites chart the young queen’s fall from grace and her eventual banishment into exile. Chat Moss is a richly textured tone poem, while by contrast the Ojai Festival Overture is a lively and extrovert concert piece reflecting Maxwell Davies’ fondness for American landscape and culture. Recorded between 1991-95 and previously released by the now defunct Collins Classics, the Naxos label has been consistently lauded in the musical press for making available once again these and many other recordings by arguably the greatest British composer of the second half of the 20th c., that, in some cases, remain the only recordings of these works.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025551085802,"sku":"747313235872","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2829526.jpg?v=1778287096"},{"product_id":"shakespeare-richard-ii-1","title":"Shakespeare: Richard II","description":"\"•First release in a new partnership with the RSC \n • Starring distinguished TV, Film and Theatre actor David Tennant whose credits range from Doctor Who to Hamlet at the RSC \n • Production directed by Gregory Doran “one of the great Shakespearians of his generation” (The Sunday Times)\"","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025570746602,"sku":"809478011422","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3644841-3144048_7f5e7d11-bcb7-4766-9b7a-1f34c614353a.jpg?v=1778277384"},{"product_id":"sextets-piano-wind-quintet","title":"SEXTETS PIANO \u0026 WIND QUINTET","description":"Ludwig Thuille participated in \"Ritter's Round Table\" with his friend Richard Strauss. For the young composer still in search of his musical self, the encounter with Liszt's ardent admirer and Wagner's friend Alexander Ritter, in whose home these gatherings were held, must have been a revelation. Thuille enthusiastically incorporated the harmonic expansions of the New Germans into his compositions. On this re release of a long sold-out recording from 1987, the Stuttgart Wind Quintet and the pianist Dennis Russell Davies perform sextets by Thuille and Francis Poulenc. This re release is a model example illustrating the principles for which MDG has stood for forty years. Outstanding artists perform magnificent music often situated off the mainstream. The careful selection of just the right performance space, a piano excellently prepared for the occasion, and choice microphones form the basis for a freely resonating, natural sound picture. The greatest possible precision, with finishing touches judged by the trained ears of sound engineers, means that many recordings continue to be audiophile benchmarks even today.","brand":"MDG","offers":[{"title":"CD","offer_id":46025599844586,"sku":"760623028729","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3795669.jpg?v=1778261865"},{"product_id":"purcell-dido-aeneas-connolly-meachem-hogwood-84082","title":"Purcell: Dido \u0026 Aeneas \/ Connolly, Meachem, Hogwood","description":"\"The sensitivity of her (Sarah Connolly's) acting and her intense musicality was striking throughout. Lucy Crowe made a delightful Belinda, with Lucas Meachem a quarterback hunk of an Aeneas. The young ad-hoc chorus sang beautifully.\" -  \u003ci\u003eThe Telegraph\u003c\/i\u003e\u003cbr\u003e  \u003cbr\u003e Henry Purcell \u003cbr\u003e  DIDO AND AENEAS\u003cbr\u003e  \u003cbr\u003e Dido – Sarah Connolly \u003cbr\u003e  Aeneas – Lucas Meachem \u003cbr\u003e  Belinda – Lucy Crowe \u003cbr\u003e  Sorceress – Sara Fulgoni \u003cbr\u003e  Second Woman – Anita Watson \u003cbr\u003e  First Witch – Eri Nakamura \u003cbr\u003e  Second Witch – Pumeza Matshikiza \u003cbr\u003e  Spirit – Iestyn Davies \u003cbr\u003e  Sailor – Ji-Min Park\u003cbr\u003e  \u003cbr\u003e The Royal Ballet \u003cbr\u003e  Royal Opera Extra Chorus \u003cbr\u003e  Orchestra of the Age of Enlightenment \u003cbr\u003e  Christopher Hogwood, conductor\u003cbr\u003e  \u003cbr\u003e Wayne McGregor, director and choreographer\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden, London, on 3 and 8 April 2009.\u003cbr\u003e  \u003cbr\u003e Bonus: \u003cbr\u003e  - Illustrated synopsis and cast gallery \u003cbr\u003e  - Interview with Wayne McGregor\u003cbr\u003e  \u003cbr\u003e Picture format: NTSC 16:9 anamorphic \u003cbr\u003e  Sound format: PCM Stereo \/ 5.1 Half DTS \u003cbr\u003e  Region code: 0 (worldwide) \u003cbr\u003e  Menu language: English \u003cbr\u003e  Subtitles: English, French, German, Spanish, Italian \u003cbr\u003e  Running time: 72 mins \u003cbr\u003e  No. of DVDs: 1 (DVD 9)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025604006122,"sku":"809478010180","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1579892_21a5902c-aa8b-4a01-92d3-c24d1c05b11c.jpg?v=1778333385"},{"product_id":"shakespeare-richard-ii-2","title":"Shakespeare: Richard II","description":"This production of Shakespeare's historical play Richard II stars David Tennant as the title monarch, a leader who plunges his people into a war that goes on for a century.","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025610625258,"sku":"809478071495","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2563498.jpg?v=1778387912"},{"product_id":"king-country-shakespeares-great-cycle-of-kings-80546","title":"King \u0026 Country: Shakespeare's Great Cycle of Kings","description":"Gregory Doran directs King and Country: Shakespeare's Great Cycle of Kings- the complete cycle of Richard II, Henry IV, Pts. 1 \u0026amp; 2, and Henry V. David Tennant plays the title role in Richard II, with Antony Sher and Jasper Britton as Falstaff and Henry IV respectively in Henry IV, Pts. 1 \u0026amp; 2. Alex Hassell follows his performance as Prince Hal in Henry IV, Pts. 1 \u0026amp; 2 as Henry V in the final play in the tetralogy.\u003cbr\u003e  \u003cbr\u003e  \"A definitive production of a great play\" -  \u003ci\u003eDaily Mail\u003c\/i\u003e on Richard II\u003cbr\u003e  \u003cbr\u003e  \"Gregory Doran's productions are a triumphant achievement.\" -  \u003ci\u003eTimes\u003c\/i\u003e on Henry IV, Pts. 1 \u0026amp; 2\u003cbr\u003e  \u003cbr\u003e  Sound Format: 2.0LPCM, 5.1 DTS\u003cbr\u003e  Subtitles: EN\/FR\/GE (Except Henry V with EN only)\u003cbr\u003e  Region Code: 0 (Worldwide)\u003cbr\u003e  Running Time: 663 mins","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025610723562,"sku":"809478012085","price":85.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3343456.jpg?v=1778258446"},{"product_id":"messiah-highlights","title":"MESSIAH [HIGHLIGHTS]","description":"MESSIAH [HIGHLIGHTS]","brand":"Apex","offers":[{"title":"CD","offer_id":46025612722410,"sku":"809274872623","price":8.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4318860-3144039.jpg?v=1778207083"},{"product_id":"king-country-shakespeares-great-cycle-of-kings-202185","title":"King \u0026 Country: Shakespeare's Great Cycle of Kings [Blu-ray]","description":"Gregory Doran directs King and Country: Shakespeare's Great Cycle of Kings- the complete cycle of Richard II, Henry IV, Pts. 1 \u0026amp; 2, and Henry V. David Tennant plays the title role in Richard II, with Antony Sher and Jasper Britton as Falstaff and Henry IV respectively in Henry IV, Pts. 1 \u0026amp; 2. Alex Hassell follows his performance as Prince Hal in Henry IV, Pts. 1 \u0026amp; 2 as Henry V in the final play in the tetralogy.\u003cbr\u003e  \u003cbr\u003e \"A definitive production of a great play\" -  \u003ci\u003eDaily Mail\u003c\/i\u003e on Richard II\u003cbr\u003e  \u003cbr\u003e \"Gregory Doran's productions are a triumphant achievement.\" -  \u003ci\u003eTimes\u003c\/i\u003e on Henry IV, Pts. 1 \u0026amp; 2 Sound Format: 2.0LPCM, 5.1 DTS\u003cbr\u003e  Subtitles: EN\/FR\/GE (Except Henry V with EN only)\u003cbr\u003e  Region: 0 (Worldwide)\u003cbr\u003e  Running Time: 663 mins\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025613017322,"sku":"809478071983","price":74.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3343457.jpg?v=1778385225"},{"product_id":"lost-is-my-quiet-sampson-davies-middleton-83756","title":"Lost Is My Quiet \/ Sampson, Davies, Middleton","description":"\u003cimg src=\"\/graphics\/features\/gramophone_choice.jpg\"\u003e\u003cbr\u003e  \u003cbr\u003e  Carolyn Sampson and Iestyn Davies have collaborated on many occasions in the field of Baroque opera and oratorio, but on this occasion they venture into a somewhat different territory. In the company of Joseph Middleton, they have been exploring the Lieder for one and two voices of Mendelssohn and Schumann, combining them with songs and duets by Roger Quilter. And even though the disc actually opens with a set of Purcell songs – repertoire which both singers have previously made their mark in – they are here performed with the piano accompaniments realized by Benjamin Britten, turning them into something quite new and different. ‘Creamy’, ‘luminous’ and ‘supple’ are words that often appear in reviews about both Carolyn Sampson and Iestyn Davies, and in these duets they achieve a marvellous blend as well as the utmost precision. They are aided in this by Joseph Middleton, described in The Telegraph (UK) as an ‘unfailingly sensitive accompanist’.","brand":"BIS","offers":[{"title":"SACD","offer_id":46025937584362,"sku":"7318599922799","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3740240.jpg?v=1778279357"},{"product_id":"hovhaness-harrison-symphonies-russell-davies-jarrett-255752","title":"Hovhaness, Harrison: Symphonies \/ Russell Davies, Jarrett","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eHOVHANESS \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eLousadzak.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Symphony No. 2, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e“Mysterious Mountain.” \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eHARRISON \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eSymphony No. 2, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e“Elegiac” \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e• \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eDennis Russell Davies, cond; Keith Jarrett (pn);\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e American Composers O \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NIMBUS 2512 (67:00) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis is a reissue of a recording originally released on the Music Masters label in 1989. It brings together the music of two composers who, as Tim Page’s program notes point out, first came to public attention as kindred spirits, linked together with John Cage, interestingly enough. Readers may be aware that Lou Harrison was one of the composer-critics whom Virgil Thomson ushered in as associates to the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNew York Herald Tribune\u003c\/span\u003e \u003cspan\u003e during the mid 1940s. This was the period when Alan Hovhaness, until then an impoverished eccentric struggling to gain attention in the Boston area, attempted to cast his lot in the broader arena of New York City, after having essentially been ridiculed out of Tanglewood by Aaron Copland and his coterie. Both Thomson and Harrison were among the first with access to an influential forum of opinion to champion Hovhaness’s music, and their enthusiastic advocacy contributed significantly to establishing his early reputation. Of course, as the years passed, each of these figures—stubborn individualists themselves—proceeded in his own personal direction, and each ended his career at quite a different point from the others on the American compositional matrix. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-style:italic\"\u003eLousadzak\u003c\/span\u003e \u003cspan\u003e, composed in 1944, is certainly one of the most unusual piano concertos ever written (neither a single chord nor sequence of octaves appears in the piano part). The music assigned to the solo instrument imitates a number of Armenian folk instruments, especially those in the dulcimer family, while the string ensemble plays the role of a folk orchestra, providing an accompaniment of primitive polyphony. Both Harrison and Cage were present at the work’s New York premiere, and evidently it really took the audience by surprise. Harrison later recalled that it “was the closest I’ve ever been to one of those renowned artistic riots.” From the standpoint of some six decades later, when Hovhaness is no longer alive, having left behind a legacy of hundreds upon hundreds more compositions, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLousadzak\u003c\/span\u003e \u003cspan\u003e stands as one of his indisputable masterpieces. Somehow the work evokes—as its name, meaning “the coming of light,” implies—a haunting and mysterious sense of the beginning of time. It also has a real sense of drama—not drama in the romantic, climactic sense, but a gradual accumulation of passion and intensity as the work unfolds. No one who has written off Hovhaness after having heard only the over-inflated, endlessly soporific compositions of his later years should fail to acquaint himself with this important representation of one of the composer’s most fertile periods. One is hard-pressed to name another work of his that is as consistently compelling and inspired. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThat a pianist with the varied interests and talents—not to mention the distinguished reputation—of Keith Jarrett turned his attention to \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLousadzak\u003c\/span\u003e \u003cspan\u003e has served to attract the notice of listeners unlikely otherwise to have encountered such a work. And Jarrett’s performance has much to recommend it. But there are also aspects of his reading that I find wrong-headed. The ethnomusical context from which this work derives is one of individual improvisation alternating with passages in which the ensemble comes to the fore. The improvisational passages tend to be rhythmically free and rhapsodic (an approach of which Jarrett—in other contexts—is a consummate master). Though thoroughly notated, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLousadzak\u003c\/span\u003e \u003cspan\u003e emulates this style, and should be performed in a manner that is in keeping with it. But for some reason Jarrett approaches this profoundly non-virtuosic music as if trying to press it into service as some sort of technical showpiece, with overly driven, frenetically rushed tempos. Conductor Davies seems of the same mind as Jarrett, constantly pressing the piece forward, squaring off its phrase rhythms, and sacrificing much of its depth and subtlety. A performance that better captures the work’s spirit was released in 2005 on the Black Box label (see \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 29:3), featuring pianist Martin Berkofsky. Although the Russian Globalis Symphony Orchestra lacks the precision and refinement of the American Composers Orchestra, pianist Berkofsky evinces a deeper understanding of the mode of expression represented by Hovhaness’s work. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003e“Mysterious Mountain” has loomed as Hovhaness’s best-known and most popular composition ever since it first appeared on recording during the late 1950s. (The fact that this work is identified as Symphony No. 2 should not be taken to mean that it was the second symphony Hovhaness composed. In fact, it was not given this appellation until a number of years after it was composed. To summarize briefly, toward the middle of his career, Hovhaness revised, retitled, destroyed, or partially or completely recast many of his compositions, leaving “holes” in his opus number listings and, in some cases, his numbering of symphonies. He would often “plug up” these “holes” with works composed either earlier or later than the numberings would suggest.) The great success of “Mysterious Mountain,” composed in its final form in 1955 (although portions date back to the 1930s), can be attributed to two factors: (1) Just two or three years after its completion, Fritz Reiner and the Chicago Symphony Orchestra recorded it for RCA Victor; (2) It is a beautifully tranquil and euphonious work in a neo-ecclesiastical vein almost entirely devoid of harmonic dissonance. Readers may be interested to learn that in a letter written in May 1961, the composer wrote, “As to my ‘Mysterious Mountain’ my feelings are mixed—I am happy it is popular but I have written much better music and it is a very impersonal work, in which I omit my deeper searching.” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe Reiner\/Chicago recording set a performance standard for “Mysterious Mountain” that is hard to surpass, although even that performance is marred by a blemish or two. But its overall pacing and phrasing seem little short of ideal. By now there have been at least half a dozen recorded performances of this work. Most tend to take the first movement, Andante con moto, at tempos much faster than Reiner’s 7:25. Of them, Davies’s 5:09 may be the fastest. Andante con moto is a very vague tempo indication, leaving much room for interpretation, even more than most such designations. The expressive content of the music must be the determinant, and at Davies’s tempo, this quintessentially tranquil movement sounds brusque and rushed—clearly against the grain of the music. The more actively polyphonic second movement, which happens to be my favorite, is done magnificently. The mysterious opening of the third movement is again disconcertingly hasty, while the remainder of the movement proceeds lovingly, the pure, consonant harmony exquisitely in tune. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIt is perhaps not too much of a stretch to observe that the “Elegiac” Symphony plays a similar role within Lou Harrison’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eœuvre\u003c\/span\u003e \u003cspan\u003e that “Mysterious Mountain” plays in Hovhaness’s: that is, they both attempt to integrate the spirit, as well as some of the exotic usages, of Eastern music within a Western symphonic context. This makes Harrison’s piece, in particular, especially unusual. A large work (longer than both Hovhaness pieces together), the “Elegiac” Symphony comprises five movements, and reportedly occupied Harrison intermittently from 1942 until 1975. Perhaps its dedication to the memory of Serge and Natalie Koussevitzky accounts for the symphonic approach. Harrison’s familiar fingerprints—modal melodies of somewhat Balinese cast presented in unison or with a heterophonic or simple polyphonic treatment—are clearly evident (especially in movements 1, 3, and 5), but are here expanded to symphonic proportions—not solely a matter of duration, but also of a certain grandeur of both gesture and sonority. This very aspect of the work may alienate some of the composer’s more extreme admirers, while others are likely to find it all the more appealing for the same reason. The symphony is scored for a large orchestra, which is approached with considerable subtlety and delicacy—especially the use of the tack piano, a specialty of the composer, somewhat related to Cage’s “prepared piano.” The three odd-numbered movements—entitled “Tears of the Angel Israfel,” “Tears of the Angel Israfel II,” and “The Sweetness of Epicurus” respectively—are indeed “elegiac,” but not in the highly personal, Samuel Barber-like sense, but rather, in a more abstract, cosmic, contemplative sense, conveying a feeling of serene acceptance. The last movement is especially warm and poignant, concluding the work with deep, heartfelt beauty. The second movement, Allegro, poco presto, is scherzo-like and more Western in style, with some chromaticism, although gamelan-like effects clearly identify the composer. The fourth movement, “Praises for Michael the Archangel,” presents a stark contrast. Its harsh, aggressive harmonic dissonance and 12-tone material remind us that at one point Harrison studied with Arnold Schoenberg. Altogether, Harrison’s Symphony No. 2 serves as an excellent introduction to, and consolidation of, the many facets of this unique composer, presented in a fashion accessible to the more traditionally oriented listener. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Walter Simmons \u003c\/span\u003e\u003cbr\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026135961834,"sku":"710357251221","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1389616.jpg?v=1778324437"},{"product_id":"copland-music-for-the-theatre-quiet-city-75382","title":"Copland: Music For The Theatre, Quiet City, Music For Movies, Clarinet Concerto \/ Davies, Blount, Et Al","description":"\u003cb\u003eA winner.\u003c\/b\u003e \u003cbr\u003e  \u003cbr\u003e This is, in race horse parlance, another Nimbus ex MusicMasters production. The recordings are now, amazingly, over twenty years old but they certainly bear the new and somewhat austere, though evocative, livery well.\u003cbr\u003e  \u003cbr\u003e Music for the Theatre dates from 1925 and owed its genesis to a Koussevitzky commission. The composer took incidental music for a projected play and utilised it for the new work. There are five movements with the Prologue, and its brisk quasi-reveille calls, setting the scene with its quiescent material that leads inexorably to a jazzy and luminous coda. The muted trumpet and clarinet that haunt the Dance suggest a post-Ragtime sensibility and Hot Dance music rather than the Jazz that Copland suggested. It certainly has more of a tightly rhythmic New York feel than the more curvaceous insinuation of a Chicago beat. In the warmly lyric Interlude the cor anglais is the star and this ushers in a cheeky Burlesque where the trombone's cocky call over a walking bass adds greatly to the fun. The finale revisits the first and third movements and adds some restful stasis to end a happy, snappy work, tautly and sympathetically played by the forces of the Orchestra of St. Luke's under Dennis Russell Davies.\u003cbr\u003e  \u003cbr\u003e Quiet City is naturally better known but again trumpet and cor anglais are to the fore. Stephen Taylor is the cor anglais player here and I assume he was in Music for the Theatre as well. He and trumpeter Chris Gekker play with fine tone and measured cantilena. The strings turn lush when needed; no astringent aspersions are cast. Music for Movies dates from 1942 - the quartet of compositions is presented chronologically. This is a vital, energising piece of work, one of his breeziest and zestiest. It flies kites for serious composers and film music, whilst ensuring that colour, rhythmic flair, localised characterisation, and convincing orchestration are all surely realised. To end we have the Clarinet Concerto. It's not such an odd bedfellow as it may seem, especially when the playing is so consonant and William Blount so highly effective a soloist.\u003cbr\u003e  \u003cbr\u003e Of course you will have your own Numero Uno to play against each of these four recordings. Probably you'd go for Bernstein, Levi or Litton in Music for Theatre, or Copland himself (or Marriner - excellent) in Quiet City. The composer or Slatkin are probably best for Music for Movies and you have a whole Appalachia full of choices with the Concerto, according to how jazzy or straight you want it - Goodman, Meyer, Stoltzman - best with Tilson Thomas on the rostrum - or maybe Drucker - and there are plenty more.\u003cbr\u003e  \u003cbr\u003e As a single disc however this one, excellently recorded, finely played, and well annotated (by Vivian Perlis) is a winner.\u003cbr\u003e  \u003cbr\u003e -- Jonathan Woolf, MusicWeb International\u003cbr\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":46026136518890,"sku":"710357252228","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1497050.jpg?v=1778288335"},{"product_id":"beethoven-symphony-no-9-vanska-minnesota-71170","title":"Beethoven: Symphony No. 9 \/ Vänskä, Minnesota Orchestra","description":"\u003cp\u003eFew works of art - musical or otherwise - are as firmly established in the canon of global culture as Beethoven's Ninth Symphony. The sheer size and complexity of it is daunting even today, and at the time of its composition it was a highly revolutionary work. Even so, the audience at the first performance, in 1824, was enthusiastic - as audiences have been ever since. Its appeal has not only stood the test of time, however - the Ninth holds significance for people all over the world, regardless of country: the closest we have to a truly universal piece of music. To record such a work is not a task to take lightly. In preparation for the great occasion, Osmo Vänskä and his Minnesota Orchestra paced themselves by recording two previous discs of Beethoven symphonies, both of which have been greeted with great acclaim. 'It's obvious from the first bars of the Eroica that this is something special... these are great interpretations and a true 21st century take on the music...' wrote the reviewer in Classic FM Magazine of recently released BIS-SACD-1516, while Financial Times' critic stated about the same disc: 'I choose my words carefully when I say this is the best recording of Beethoven symphonies since Carlos Kleiber's with the Vienna Philharmonic a generation ago.' The recording of the Ninth was preceded by three concert performances, and the Minnesota Chorale - one of the finest symphonic choirs in the USA - was meticulously prepared for both concerts and recording. The quartet of soloists has been handpicked and gives a final edge to this huge ensemble in the final movement's Ode to Joy, filling it with all the excitement that this exciting music invites. About a previous disc the critic of the web site Classics Today wrote: 'There's no question that Osmo Vänskä is a true Beethoven conductor.' There is also no question that Vänskä's account of the greatest of the Beethoven symphonies is something that must be experienced!\u003c\/p\u003e","brand":"BIS","offers":[{"title":"SACD","offer_id":46026398269674,"sku":"7318599916163","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1633147.jpg?v=1778333610"},{"product_id":"american-classics-hovhaness-symphony-no-22-etc-94463","title":"American Classics - Hovhaness: Symphony No 22, Etc","description":"Making a welcome reappearance on CD, Symphony No. 22 \"City of Light\" contains some of Hovhaness' most extended thoughts, particularly in its extremely grand finale. The combination of elements is typical: sumptuous chorales, gentle dance music with an oriental flavor (particularly in the tiny Allegretto grazioso third movement), and imposing modal counterpoint. This performance originally appeared on Delos with a different coupling, and it's absolutely first rate in all respects.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e The coupling, the only available recording of the early (1936) Cello Concerto, is new to CD and features the redoubtable Janos Starker as soloist. It's not a great work, but it is an extremely pleasant, interesting, even important one. All of the Hovhaness fingerprints that we observe in the symphony are also present in this piece. Two lengthy slow movements frame a very short central Allegro, and the 25-year-old composer's writing for the cello doesn't sound all that grateful to play--although the soloist does get a lot to do. But what makes this piece so fascinating, and so deserving of your attention, is the fact that it does everything that we expect of music by, say, Arvo Pärt or John Tavener, and yet it was composed nearly 70 years ago! Hearing this, it's no wonder Hovhaness is only just coming into his own, and it's a fitting historical irony that a composer once denigrated as backward looking should in fact turn out to be a prophet of important musical trends.\u003cbr\u003e \u003cbr\u003e  \u003cbr\u003e It's also worth noting that about two seconds of this piece sounds 10 times better than anything by \"spiritual opportunists\" such as Tavener. Yes, the outer movements go on too long, but as with most of Hovhaness' music, the results fall easily on the ear, and Starker, despite a couple of moments of iffy intonation toward the start of the work, plays eloquently. The sonics in both works are also first rate. It was certainly a coup for Naxos to secure this recording of the Cello Concerto, and listening to it is more than just enjoyable in and of itself: it's cause for reappraisal of Hovhaness' historical position, and it's a useful commentary on the work of some important contemporary musical voices. Do try to hear it.\u003cbr\u003e --David Hurwitz, ClassicsToday.com","brand":"Naxos","offers":[{"title":"CD","offer_id":46026439491818,"sku":"636943915820","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/500701.jpg?v=1778294566"},{"product_id":"the-complete-songs-of-faure-vol-1-98084","title":"The Complete Songs of Faure, Vol. 1","description":"\u003cp\u003eSome of the UK’s best singers come together for this album, which is the first release in a series profiling the complete songs of Gabriel Faure. Pianist Malcolm Martineau heads up this project, performing beautifully. This release follows his critically acclaimed series of The Complete Poulenc Songs. Vocalists featured on this release include Lorna Anderson, Nigel Cliffe, Ann Murray, John Chest, and more.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46026539598058,"sku":"635212042724","price":19.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3380116.jpg?v=1778284536"},{"product_id":"stravinsky-le-sacre-du-printemps","title":"Stravinsky: Le sacre du printemps","description":"The music of Stravinsky’s \"The Rite of Spring\" has come down to us in the form of the orchestral score (which was laid aside amid the turmoil of World War I and only published in 1922) and a piano duet version published shortly before its 1913 premiere.  Both versions are presented here side by side.  These are not two aesthetically equal realizations of one and the same compositional concepts.  Not only was ‘The Rite’ conceived from the outset as an orchestral work; it also owes its overwhelming impact in great measure to the colorful and often deliberately percussive sound of its instrumental forces.","brand":"Basel Symphony Orchestra","offers":[{"title":"CD","offer_id":46027491082474,"sku":"4260313810062","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2778135.jpg?v=1778335058"},{"product_id":"v24-edition-ruhr-piano-festiv","title":"V24: EDITION RUHR PIANO FESTIV","description":"Classical Music","brand":"CAvi-music","offers":[{"title":"CD","offer_id":46027520049386,"sku":"4260085531905","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1643143.jpg?v=1778332834"},{"product_id":"handel-messiah-dijkstra-belgian-baroque-chor-des-80449","title":"Handel: Messiah \/ Dijkstra, Belgian Baroque, Chor des Bayerischen Rundfunks","description":"\u003cp\u003eFrom its 1742 premiere, Handel's oratorio \"Messiah\" has continued to be an audience favorite and for many, the initial portal into the world of Classical choral music. Portraying the life of the \"anointed one\" (the literal meaning of the Hebrew word 'Messiah'), from the Annunciation and his birth to his death on the cross and revelation, and including the famous 'Hallelujah Chorus.' , “Messiah” continues to draw rapturous reception when performed live. Featuring vocalists Julia Doyle, Lawrence Zazzo, Steve Davislim and Neal Davies performing in the original English-language version, along with the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra, and accompanied by the whimsically named B'Rock, the Belgian Baroque Orchestra Ghent, working from the original and historically informed scoring, this live recording manages to add to the canon of the “Messiah”.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46027551113450,"sku":"4035719005103","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3037698.jpg?v=1778298726"},{"product_id":"gilbert-sullivan-cox-and-box-trial-by-87092","title":"Gilbert \u0026 Sullivan: Cox And Box, Trial By Jury \/ Hickox","description":"\u003cp\u003eRichard Hickox directs a star-studded cast in this fantastic new recording of two early operettas by Arthur Sullivan. 'Cox and Box' was first performed in 1866, when the composer was just twenty-four. It shared the bill with another operetta by writer W. S. Gilbert, and it is highly likely that this was how Arthur Sullivan and william Gilbert met. 'Trial by Jury', written as a commission for Richard D'Oyly Carte, was their second collaboration, and it was this project that Gilbert and Sullivan discovered their joint creative voice. New and exciting, it took British musical theatre by storm. Premiere recording of the original orchestration of 'Cox and Box' which Arthur Sullivan approved for use at the Savoy performance in 1894.\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027611734250,"sku":"095115132128","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/738019.jpg?v=1778294857"},{"product_id":"mendelssohn-elijah-hickox-white-london-symphony-orchestra-243125","title":"Mendelssohn: Elijah \/ Hickox, White, London Symphony Orchestra \u0026 Chorus","description":"'Never was there a more complete triumph', wrote The Times after the premiere of Elijah by Mendelssohn. The performance, conducted by the composer at the 1846 Birmingham Music Festival, marked the beginning of the life of Elijah as one of the best-loved choral works in the repertoire, a status it still holds. \u003cbr\u003e  \u003cbr\u003e A grand oratorio in two parts, Elijah is very much composed in the spirit of Mendelssohn's baroque predecessors, combining the dramatic sweep of Handel with episodes of sublime meditation such as are found in Bach. It tells the story of the stern Old Testament prophet Elijah who preached against the idol worship of the Israelite people. Mendelssohn adapted the Biblical texts to produce intensely dramatic scenes depicting, for example, the resurrection of a dead youth, a contest of the gods, and Elijah's ascension into heaven on a fiery chariot.\u003cbr\u003e  \u003cbr\u003e This recording, made in April 1989, presents an all-star cast with Willard White in the title role and Rosalind Plowright, Linda Finnie, Arthur Davies, and Jeremy Budd singing the various supporting parts. Conducting the London Symphony Orchestra and Chorus is the late Richard Hickox, a musician who built an immense reputation for his masterful performances of choral music during his career. This release is a part of the ongoing Richard Hickox Legacy series.\u003cbr\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027622875370,"sku":"095115244821","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2757686.jpg?v=1778289129"},{"product_id":"elgar-the-dream-of-gerontius-parry-blest-143372","title":"Elgar: The Dream of Gerontius; Parry: Blest Pair of Sirens; I Was Glad \/ Hickox","description":"This disc forms part of our ongoing Richard Hickox legacy series. Featured on this two-disc set are Elgar's the Dream of Gerontius, and two works by Parry: Blest Pair of Sirens and I was glad.","brand":"Chandos","offers":[{"title":"CD","offer_id":46027623465194,"sku":"095115244623","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2266526.jpg?v=1778315357"},{"product_id":"bach-st-john-passion-bwv-245-temple-65573","title":"Bach: St. John Passion, BWV 245 \/ Temple, Crouch End Festival Chorus, Bach Camerata","description":"For its very first excursion on Chandos, the Crouch End Festival Chorus presents a landmark recording of J.S. Bach's St. John Passion sung in English - the first for over forty-five years. With communicative zeal, beautiful articulation, and focused energy, this choir of more than 100 voices lends precision and power to the performance alongside the instruments of the Bach Camerata, one of the finest UK baroque orchestras, all under the inspired direction of David Temple. The essence of the work is the conveying of a human story underpinned by the universal themes of love, betrayal, loss, and hope. The performance in English allows the drama and visceral energy of the work to go straight to the heart of the English-speaking listener. The narrative is immediately understood, and the power of the storytelling imbues Bach's music with extra freshness and meaning. Thanks to an array of superb soloists and orchestral musicians, the new recording brings those qualities together in a performance which will present a well-loved piece in a completely new light, and appeal to existing and future generations of music-lovers alike.\u003cbr\u003e  \u003cbr\u003e  ----- \u003cbr\u003e \u003cbr\u003e  REVIEW:\u003cbr\u003e \u003cbr\u003e  One will struggle to find more committed, well-balanced, agile and crisp singing than that of the Crouch End Festival Chorus, who are on top form throughout. Frankly none of the soloists could be bettered, nor the superb continuo team. Congratulations to all concerned on producing such a buoyant, absorbing, and sonically thrilling recording.\u003cbr\u003e \u003cbr\u003e  – Gramophone","brand":"Chandos","offers":[{"title":"SACD","offer_id":46027690672362,"sku":"095115518328","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3601281_c8141909-0d42-4cce-a757-f41b622c72c4.jpg?v=1778286123"},{"product_id":"handel-flavio-re-di-longobardi-curnyn-early-199580","title":"Handel: Flavio, Re Di Longobardi \/ Curnyn, Early Opera Company","description":"\u003cb\u003eIn a really committed performance like this Flavio stands out as one of Handel’s best operas. \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3442300.az_HANDEL_Flavio_Christian_Curnyn.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eHANDEL \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eFlavio \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Christian Curnyn, cond; Tim Mead (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eFlavio\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Rosemary Joshua (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eEmilia\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Renata Pokupi? (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eVitige\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Hilary Summers (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eTeodata\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Iestyn Davies (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eGuido\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Thomas Walker (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eUgone\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Andrew Foster-Williams (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eLotario\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Early Opera Company (period instruments) \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e CHACONNE 0773 (2 CDs: 146:23 \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eText and Translation) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-style:italic\"\u003eFlavio\u003c\/span\u003e \u003cspan\u003e, Handel’s fifth opera for the Royal Academy of Music, had its premiere in 1723. It was only moderately successful, achieving eight performances. One possible reason for this lack of success is the nature of the score itself. The music is written in a lighter vein than the heroic operas Handel had heretofore written for the Royal Academy of Music. Its style harkens back to his Venetian opera \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAgrippina\u003c\/span\u003e \u003cspan\u003e. The music itself is of high quality, and the opera certainly does not deserve the neglect it has been subjected to over the centuries. Handel revived it only once, in 1732, for four performances, after which it remained unheard until 1967. This is only its second recording. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eChristian Curnyn leads a very good performance that does full justice to this neglected work. He paces the work well and is respectful of Handel’s score. Although he occasionally tends to overuse the theorbo, substituting it for harpsichord at times, he is less guilty of this failing that René Jacobs in the competing recording. \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDa capo\u003c\/span\u003e \u003cspan\u003e ornaments are generally tasteful and idiomatic. The orchestra plays with precision. Handel does not give the orchestra much of a chance to shine; most numbers are accompanied only by strings and continuo, with occasional use of flute or oboe. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe cast is also very good. Rosemary Joshua sings with accuracy and beautiful tone; she is dramatically involved in the role, as are the other members of the cast. Joshua’s performance is preferable to that of Lena Lootens on the Jacobs recording; although Lootens sings reasonably well, her voice has a hollow, white tone to it. Hilary Summers has a rather dark sound for a mezzo-soprano. She is quite good in her role, but she would have made an even better candidate for either of the two castrato roles; her tone is more masculine than either of the two countertenors on this recording. I prefer the more feminine sound of Bernarda Fink on the Jacobs recording. Honors are evenly divided between the Vitige of Renata Pokupi? here and Christina Högman for Jacobs. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eOf the two countertenors, Iestyn Davies, singing Guido, the role written for the star castrato Senesino, is excellent, with an evenly produced voice of great suppleness. I prefer him to Jacobs’ Derek Lee Ragin, whose voice is not as well controlled or as attractive an instrument. In the secondary castrato role of Flavio, Tim Mead and Jeffrey Gall offer performances of equal value. The lesser roles for tenor and bass are capably handled by Thomas Walker and Andrew Foster-Williams. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eDavid Johnson reviewed the René Jacobs recording in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 14:1. He found it to be a “splendid realization of this little-known Handel opera” but thought the work itself uneven. As usual, Jacobs fiddles with the score. At scene changes, he inserts a few bars of harpsichord improvisation or even orchestral sinfonia (but where the music comes from I’m not sure). His misuse of the lute is far more glaring than anything Curnyn does. But, like Curnyn, Jacobs’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eda capo\u003c\/span\u003e \u003cspan\u003e ornaments are mostly tasteful and idiomatic. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eFor any first-time purchaser of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFlavio\u003c\/span\u003e \u003cspan\u003e, I have no hesitation in recommending Curnyn as a first choice. Those who already own Jacobs’ recording need not rush to replace it. Both recordings give a very good account of an unjustly neglected work. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Ron Salemi \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003ci\u003eFlavio\u003c\/i\u003e was one of the operas Handel wrote for the Royal Academy of Music’s company at the King’s Theatre on the Haymarket. It has a character all of its own, very different from that of “Giulio Cesare” which followed it in 1724. Although the plot similarly concerns power and sex, these subjects are treated in a wholly different manner. Some commentators have seen it as almost a comedy. Certainly there are moments that might bring a smile to the face of the audience. These include two successive revenge arias for outraged fathers at the start of the second Act. Also one of the main plot devices relates to who is to have the difficult job of Governor of Britain. There is little else that might be seen as comic to anyone other than many modern opera producers. \u003cbr\u003e    \u003cbr\u003e  The plot is too complex to be set out in full, but in essence it concerns the rivalry of two elderly counsellors to the King of Lombardy. It is set in a legendary time when Lombardy ruled Britain. Their children and other courtiers are linked in various ways and the plot is set in motion by the King’s roving eye. The libretto was adapted by Nicola Haym from one by the Venetian Matteo Noris from 1682. Having heard and greatly enjoyed this recording I very much regret not having seen the version recently toured by English Touring Opera as part of their Handel opera series. \u003cbr\u003e    \u003cbr\u003e  Nonetheless although it does not appear to derive from stage performances, the most distinctive aspect of this recording is its strongly theatrical feel. The recitatives in particular are paced and sung with real dramatic flair, and although my limited Italian meant that I needed to follow the text in the booklet there was at all times a feeling of real dramatic interaction. This is no mere concert performance and I felt as though I was watching a live event. Whilst always staying within the appropriate limits of period style (no  \u003ci\u003everismo\u003c\/i\u003e shouting here) all of the cast project a distinct set of characters with real feelings. The dramatic context is also projected in the arias - the only ensembles are duets at the start and end and a final chorus for all the surviving characters. All of the roles are well taken and it would be invidious to mention them individually, although the three female singers are particularly good, especially Renata Pokupi? as a courtier in love with the woman with whom the King has himself fallen in love. All of the singers reserve decorations for the  \u003ci\u003eda capo\u003c\/i\u003es, leaving the first time round as the composer wrote them. This is much to be preferred to the alternatives of either omitting decorations altogether, which is dull, or decorating both times, in which case the listener is never able to distinguish which is by the composer and which by the singer. The decorations are well considered and for the most part the singers manage to avoid making them sound too obviously rehearsed. The orchestra, on period instruments, play with great panache under Christian Curnyn without indulging in the sort of exaggeration which some recent recordings of Handel operas seem to find necessary. The recording is clear if somewhat unatmospheric. \u003cbr\u003e    \u003cbr\u003e  In the end it is the work itself that most impressed me. I had not heard it before, but I was wholly transfixed by it. Perhaps its relative brevity, and that of many of the arias, attracted me, together with a more interesting plot than most (albeit equally complex). Each of the three Acts has a distinct character, starting with a relatively light First Act, with many arias in triple time, but ending in a Third Act where the characters’ real feelings and difficulties are apparent. The very beautiful and affecting final aria for Guido is in the unusual key of B flat minor. There are composers who seem to gravitate towards remote keys when particularly touched by a situation - Sullivan is a prime example, but I had never thought of Handel in that way - I will look out for it in future. In a really committed performance like this  \u003ci\u003eFlavio\u003c\/i\u003e stands out as one of Handel’s best operas. It should be in the collection of anyone who wants to experience the full range of his operatic creations. Collectors of recordings of his operas will obviously want this set, but it would be an ideal introduction to the riches of these works for anyone previously unconvinced of their merits. \u003cbr\u003e    \u003cbr\u003e  -- John Sheppard, MusicWeb International \u003cbr\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027692015850,"sku":"095115077320","price":43.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1745601.jpg?v=1778288858"},{"product_id":"elgar-the-light-of-life-hickox-howarth-243059","title":"Elgar: The Light Of Life \/ Hickox, Howarth, Finnie, Davies, Shirley-Quirk, LSO","description":"\"Hickox's superior Elgarian credentials are immediately established in the glorious orchestral \"Meditation\", where his conducting demonstrates a noble flexibility, sensitivity to dynamic nuance and feeling for climax that are wholly beguiling. Equally, the Chandos production team see to it that the familiar Elgarian 'glow'-.-a component largely missing from Sir Charles Groves's rival Liverpool recording—is in generous supply; indeed, the engineering, sumptuous yet nicely detailed, comes close to the ideal. The LSO respond for their Associate Conductor with playing that is both warm-hearted and alert; as ever, the London Symphony Chorus contribute to proceedings in exemplary, splendidly disciplined fashion...\"\u003cbr\u003e  \u003cbr\u003e -  \u003ci\u003eGramophone\u003c\/i\u003e, (From the original 1993 release.)\u003cbr\u003e  \u003cbr\u003e This re-release of The Light of Life by Sir Edward Elgar forms part of the new Hickox Legacy commemorative series on Chandos Records, leading up to (and continuing beyond) the fifth anniversary, in Nov 2013, of the conductor’s untimely death.\u003cbr\u003e  \u003cbr\u003e The Light of Life, an oratorio for soprano, contralto, tenor, and baritone soloists, full choir and orchestra, is a lesser-known but imposing work by the composer who brought us the mighty Dream of Gerontius. The story concerns the blind beggar whose sight Christ restored. The words are taken from the Gospel of St John, with additions by the Reverend Edward Capel Cure.\u003cbr\u003e  \u003cbr\u003e Elgar proposed to call this his first oratorio Lux Christi, but his publishers persuaded him to provide an English title: as the work was written with the 1896 Three Choirs Festival at Worchester in mind, the concern was that an Anglican cathedral festival might detect a Roman Catholic bias… Elgar complied, and the work was given the more suitable title by which we know it today.\u003cbr\u003e  \u003cbr\u003e Hickox and the London Symphony Orchestra and Chorus were joined on this recording by the soloists Judith Howarth, Linda Finnie, Arthur Davies, and John Shirley-Quirk.\u003cbr\u003e  \u003cbr\u003e -  \u003ci\u003eChandos\u003c\/i\u003e\u003cbr\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46027693785322,"sku":"095115172629","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2017527.jpg?v=1778305965"}],"url":"https:\/\/arkivmusic.com\/collections\/billie-davies.oembed?page=2","provider":"ArkivMusic","version":"1.0","type":"link"}