Britten' song cycles form a substantial and important part of his work. The Seven Sonnets of Michelangelo belong to the period when Britten had begun to set foreign languages in an attempt to broaden his musical horizons.

Classical Music

Scriabin seems to be an "in" composer all of a sudden, what with numerous new recordings of his youthful Piano Concerto and late tone poems/symphonies. In the past few months, we've had new recordings by some real "heavyweights", including Boulez and Pletnev on Deutsche Grammophon, Rozdestvensky on Chandos, and Ashkenazy on Decca. This budget-priced production from the composer's compatriots certainly holds its own against all comers. Konstantin Scherbakov plays the concerto with steel and sensitivity in equal measure, and he's particularly successful in knitting together the loose architecture of the outer movements, while at the same time making the filigreed piano writing sound like real Scriabin, rather than Chopin on steroids. The performance of Prometheus is predictably less smooth than the recent Boulez/Chicago, and not as sumptuously recorded. But despite the slower overall tempo, the performance is much more physically exciting and has a naturalness of flow that Boulez doesn't quite match. The couplings, orchestrations of various short piano pieces, are also captivating and unique. In all, the disc is definitely worth a listen, even if you think you've had enough of this music.

--David Hurwitz, ClassicsToday.com

"The Bridge disc features the expert New York chamber group Speculum Musicae, and has an attractive rarity as opener, the Three Poems of Robert Frost, composed in 1942 when Carter was still an obedient, highly effective adherent of the 'open-air' Coplandesque style, but orchestrated with exuberant resourcefulness as recently as 1980...The account of Syringa (1978), the most complex and hermetic of the vocal works, with its superimposition of the soprano's Robert Ashbery poem on a collection of ancient Greek texts sung by the bass, may strike listeners (and especially attentive score-readers) as more careful than inspired. But as it proceeds it conveys the spirit of the work's intricate yet impassioned enquiry into the sources and spaces of creativity very well. Momentum is maintained, and the instrumental detail is clear and precise.

A Mirror on which to Dwell (1976) is less ambitious, though these settings of six poems by Elizabeth Bishop are marvellously refined in sonority the vocal line ranging from lingering lyricism to subtly-patterned declamation. Christine Schadeberg characterizes the texts alertly, especially the tricky syntax of ''O Breath''...

It is indeed gratifying to find record companies so prompt in acknowledging the importance of the Carter phenomenon, and with performances that, if not always ideal in every respect, are for the most part worthy of this extraordinary music."

-- Arnold Whittall, Gramophone [2/1990]

Richard Marlow's Trinity College Choir of Cambridge has established itself as one of the premier groups of its kind, recording prolifically for Conifer and staking out a swath of repertorial turf that encompasses devotional music from the sixteenth century to the middle of the twentieth. Unlike their better-known counterparts at King's College, the Trinity choristers are an all adult ensemble, using women instead of boy trebles and achieving a more professional sound as a result.
CHORAL MOODS is a well-filled two-disk compilation which offers an excellent survey of sacred choral music, though one might have hoped for a little more J. S. Bach. What is here, above all, is beautiful music, well sung and recorded. There are some substantial pieces, such as the Gregorio Allegri "Miserere," Felix Mendelssohn's anthem "Hear My Prayer" and the complete "Messe Basse" (Low Mass) of Gabriel Fauré, as well as some less frequently encountered works such as Henry Balfour Gardiner's "Evening Hymn" and Camille Saint-Saëns "O Salutaris Hostia." It adds up to make a highly commendable anthology.