For this third album of English music for strings, John Wilson and Sinfonia of London have built a fascinating programme featuring four composers whose lives and works were intertwined. The centrepiece of the programme is Britten's Serenade for Tenor Solo, Horn, and Strings, performed here with Laurence Kilsby (tenor) and Christopher Parkes (horn). This early masterpiece was composed in 1943 for Peter Pears and Denis Brain. Following the success of the première, the same soloists went on to record the work twice: once in 1944 with the composer conducting, and again in 1953 with the New Symphony Orchestra of London conducted by Eugene Goossens. Goossens also conducted the first recordings of works by Ireland (Mai-Dun) and Walton (Violin Concerto), and was one of Britten's teachers at the Royal College of Music. Walton and Britten also became close friends, following the first Performance of Walton's The Bear at Britten's Aldeburgh Festival in 1967.

The final volume of this groundbreaking Thomas Jensen series encapsulates the series as a whole. New remasterings of rare studio recordings from the 1940s complement first-ever releases for live broadcasts from the 1950s and 60s. The repertoire demonstrates Jensen's excellence as a sympathetic concerto partner; an insightful interpreter of Sibelius; and a devoted advocate for the composers of his native Denmark. Note! ALL are first ever releases and all from unpublished radio broadcasts All the previous volumes are available and in stock.

The very first notes of this CD are enchanting: the delicate sounds that Kanahi Yamashita draws from the strings of her guitar immediately transport us to a world filled with sounds and songs that illuminate the various facets between night and dream. In the songs by John Dowland and the variations by Segei Rudnev, the darkness and depth of the night allude to death and it's eternal silence. Frank Martin's composition, Quatre pieces breves, reflects both the tranquility and the restlessness of the darkness, much like Benjamin Britten's Nocturnal after John Dowland. The journey through the night concludes with the 1953 piece Alba by Swiss composer Hans Haug, whose gentle string sounds herald the dawn - the night ends and a new day begins. Full of hope, tenderness, and melancholy, qualities so characteristic of Kanahi Yamashita's playing. Kanahi Yamashita was born in Nagasaki in 1997 and received her musical training from her parents, the renowned - and recently deceased - guitarist Kazuhito Yamashita and composer Keiko Fujiie. From a young age, she performed worldwide in a duo with her father. At the age of 13, she made her solo debut in Turin. She has lived in Berlin since 2015, where she studied at the Berlin University of the Arts with Prof. Thomas Muller-Pering and at the Nuremberg University of Music with Prof. Bjorn Colell, graduating with honors in 2026.

Benjamin Britten's three Cello Suites rank among the most important solo works for the instrument since Bach. Written for Mstislav Rostropovich, they unite references to early music traditions with a distinctly modern voice, combining formal mastery, dramatic imagination and profound emotional depth. In this recording, Pieter Wispelwey brings his new reading of a 45 year long engagement with these remarkable works for cello solo.

This album is titled 'Sir!' because it is dedicated to the famous Concerto for Cello and Orchestra by the English composer Sir Edward Elgar. But also because Astrig Siranossian plays Sir John Barbirolli's cello, a magnificent instrument by Gennaro Gagliano from 1756, on loan from the Henrot Fund for the Promotion of Young French Chamber Musicians. Barbirolli was a passionate advocate of Elgar's music, but also of Bruch's, whose Kol Nidrei Astrig has recorded-'one of the most beautiful works ever written for the cello,' says the cellist, who is accompanied by the London Symphony Orchestra under the baton of Francois-Xavier Roth. Also on the program, this time with her friend Nathanael Gouin at the piano, is the sonata by Britten, who declined the title of 'Sir' but was a Lord

Anyone who delves into the musical analysis of these 25 gems-into their incredible thematic structure, into their harmonic cosmos-will fall in love with them. Yet, the purely emotional enjoyment of such simply beautiful folk songs is also readily accessible-and, indeed, likely just as Britten intended, as a folk composer of his time. - Daniel Johannsen

Performed by Tanya Houghton, Jennifer Sturgeon, Jenny Bourke and Lynda Barrett, Sweet Chance is a lyrical journey for harp, flute and voice, inspired by artistic relationships forged through travel and chance encounters. From Parisian inspiration to a Belfast home, this recital programme ranges from Britten's Interlude to songs newly arranged with harp accompaniment, and Alwyn's virtuosic flute and harp duet, Naiades.

This album pays tribute to composer Benjamin Britten, who will be commemorated in 2026, the 50th anniversary of his death. It was conceived by conductor Lawrence Foster who, with Monte Carlo Philharmonic Orchestra, showcases the British composer's impressionism tinged with post-Romanticism. The programme includes his sublime Illuminations, based on Rimbaud's poem, often performed by tenors but originally created by a soprano in 1940. Here, the young and very promising French soprano Julie Roset is the soloist, giving a very engaging performance. Another famous piece by Britten, Young Person's Guide to the Orchestra, commissioned by the British Ministry of Education in 1945, is a set of variations on a theme by Purcell that showcases each family of instruments in the orchestra. Although the Sinfonia da requiem (1940) was commissioned by the Japanese government to celebrate the 2600th anniversary of the Mikado dynasty, Britten dedicated it to the memory of his parents. Finally, the Choral dances from Gloriana are taken from the opera-tribute to the Queen of England, who was crowned six days before the premiere on 8 June 1953.

Nicolas Altstaedt's starting point for this recording was the magnificent Second Concerto for Cello and Orchestra by Polish composer Grazyna Bacewicz (1909-1969): "On reading through the work for the first time, I immediately thought: why is this never played? Astonishing, how with just a few notes she can make a whole world appear." Pianist and conductor Maxim Emelyanychev conducts the Swedish Radio Orchestra and accompanies his friend in a work composed two years earlier: Benjamin Britten's Sonata for Cello and Piano, as well as a work by Morton Feldman from 1960, Durations II... Next comes a sonata by Sándor Veress, one of Altstaedt's favourite composers, this time for solo cello: composed in 1967, this landmark work in the solo cello repertoire completes this overview of music from the 1960s, which concludes with a live recording of John Lennon and Paul McCartney's famous Blackbird, recorded with Thomas Dunford on lute and vocals, in a church in Portugal as the bells strike midnight.

The Barbican Quartet is a highly acclaimed and exciting young string quartet based in London. As 1st prize winner of the 2022 ARD Music Competition, the Barbican Quartet is one of the most sought-after young string quartet formations. The album "Lux Intus." combines works from W.A. Mozart's, Rebecca Clarke, and Edward Elgar with a world premiere recording and commissioned work for string quartet by Sophia Jani.

Soprano Ruby Hughes, celebrated for the profound "understanding and stylishness" (Gramophone) she brings to her artistry, has a distinguished discography of recitals showcasing the exquisite beauty of her voice. She is particularly known for her carefully curated programs that weave together works from diverse eras. In Amidst the Shades, Hughes reunites with gambist Mime Yamahiro Brinkmann and lutenist Jonas Nordberg. The same inspiring sonic constellation contributed to the success of Heroines of Love and Loss (BIS-2248). This new recital explores their shared passion for Elizabethan music, which served as the catalyst for the program's creation. The contemplative and melancholic songs of John Dowland form the foundation, leading to works by Robert Johnson and John Danyel, interwoven with Purcell's intimate vocal pieces. Seeking to further enrich the repertoire for lute and voice, Hughes commissioned new works from Errollyn Wallen and Deborah Pritchard, setting texts by William Shakespeare. She also obtained permission from Cheryl Frances-Hoad to arrange one of her existing compositions for this unique ensemble. Amidst the Shades promises a recital brimming with nuanced expression and delicate sonic colors.

Spanning 500 years from the exquisite simplicity of Thomas Tallis' perfect miniature O nata lux through Britten's jubilant Festival Te Deum to Cheryl Frances-Hoad's majestic O come let us sing unto the Lord, this album celebrates the hope and anticipation that comes with the beginning of a new day. Arise my love perfectly complements Magdalen's first album on CORO, Peace I leave with you, which celebrates music written for the end of the day.

Featuring the first recording of BRITTEN's Les Illuminations, Op. 18 sung in English, from a brand new translation by Timothy Ades. Also includes the original French version. Coupled with Samuel BARBER's dramatic masterpiece Knoxville: Summer of 1915, Op. 24, written just a few years after Les Illuminations. Among the most personal and powerful music ever written for the human voice, Britten and Barber's masterpiece settings of texts by Rimbaud and Agee continue to resonate intensely. Taken together, they form bookends to the cataclysms of the 20th century, with it's two life-shattering world wars. The colours, verbal and harmonic, of such human drama are a dazzling mix, running the gamut of life in dramatic flux. Mild mannered it is not, though parts are hauntingly beautiful.

After falling in love with the quartets of Britten and Bartók, we developed a long-standing desire to record these masterpieces. For our debut CD Longing we chose their first quartets, as well as Webern's first string quartet work Langsamer Satz. All three remarkable works resonate with a profound and unmistakable sense of longing. We felt a sense of kinship with these composers as they, like us, were still discovering their distinct style and identity when creating these works. In Langsamer Satz, Webern beautifully showcases the height of longing for love in the romantic 19th century. Bartók continues this romantic idiom and goes on to develop the new sounds of the early 20th century, a period from which we draw so much of our own passions. Finally, Britten continues to explore the sound and identity of the 20th century in his own distinctive colour palette. These works not only keep us on the edge of our seats, but also express a beautiful longing, one which we recognize in ourselves, and one we want to share with our listeners.

The world-renowned violinist Ida Haendel CBE (1928-2020) was born in Poland, a child prodigy whose career spanned seven decades. She studied with the greatest teachers of the time, Carl Flesch and George Enescu. Haendel made her London debut playing the Brahms Concerto at the Royal Albert Hall Promenade concerts in 1937, to great acclaim. The association with the Proms was lifelong and resulted in 68 appearances there. At the outset of war she moved to the UK, before finally settling in the US. Her close affinity with the Sibelius Violin Concerto drew praise from the composer, while her performances of the Brahms, Elgar and Britten concertos were of the very highest quality. She toured widely under such great conductors as Sir Thomas Beecham, Sir Adrian Boult, Sergiu Celibidache, Bernard Haitink, Otto Klemperer, Raphael Kubelik, Charles Munch, Sir Georg Solti, Lorin Maazel and Zubin Mehta. She died at her home in Miami aged 92.

Tenor Richard Resch presents a moving Christmas album that explores the season's deeper meaning through sacred and folk music. Named after Jochen Klepper's powerful Advent hymn, the album traces the symbolic journey from darkness to light, weaving together Baroque masterpieces, traditional carols, and lesser-known gems from across Europe. With works by Rosenmuller, Briegel, Graupner, Buxtehude, and others, the recording offers a musical meditation on hope, faith, and the light born at Christmas. Highlights include the mystical Maria durch ein Dornwald ging, the Byzantine chant Miladuka, and Dietrich Bonhoeffer's Von guten Machten-a testament to trust in the darkest of times. For Richard Resch and his ensemble, this album is both personal and profound. "These pieces remind us that Christmas is not just a tradition-it's a message of light in the midst of night."

A journey through passion, vision, and sensuality, this album brings together three luminous works for voice and orchestra. At it's heart is Ernest Chausson's Poeme de l'amour et de la mer, Op. 19-a sweeping, late-Romantic meditation on love and loss, where human emotion dissolves into the vastness of the sea. Benjamin Britten's Les illuminations, Op. 18, follows with electric intensity, setting Rimbaud's vivid, surreal poetry in music that is both incisive and radiant. The program closes with Camille Saint-Saens' rare and intimate Extase, a delicate song of rapture and surrender. Tenor Edgaras Montvidas brings refined lyricism and emotional depth to this richly poetic repertoire, joined by the Lithuanian Chamber Orchestra, the Lithuanian National Symphony Orchestra (for the Chausson), and conductor Modestas Pitrenas. An exploration of love, language, and longing-where music becomes poetry, and poetry sings. Recorded at Lithuanian National Philharmonic Hall June 2021

'Little Wanderer', from William Blake's dream world, seemed the perfect title for an album in which we are surrounded by myriad landscapes in songs by Benjamin Britten, Imogen Holst and Daniel Kidane. Since meeting on our first day at the Royal College of Music, we have long enjoyed programming Britten's masterful folk song reimaginings, and we adore the texts and music in his powerful Hardy cycle, Winter Words. It has been a joy to discover songs by Imogen Holst, Britten's close friend and assistant, and we are proud to be able to make the first recording of Dan's Songs of Illumination, commissioned for us by Leeds Lieder in 2018. For over a decade, song in English has played a major part in our musical lives and performing relationship, and we are delighted to present this programme together.

Three major works for piano and orchestra by English composers, all eschewing the traditional nineteenth- century model of a bravura virtuoso soloist pitted against an orchestra, in distinctive ways. Together with the BBC Symphony Orchestra under George Vass, Clare Hammond presents an original programme that provides a unique perspective on how the piano concerto reflected musical currents in mid-twentieth-century Britain. William Walton's Sinfonia Concertante for Orchestra with Piano Obbligato began as a ballet score. After it was rejected by Sergei Diaghilev, Walton arranged his score into a leaner, more direct and more effective work that reveals the influences of Stravinsky, Poulenc, Rimsky- Korsakov, Borodin and, at times, Elgar. Benjamin Britten's Diversions was commissioned by the left-hand pianist Paul Wittgenstein. Enthusiastic about the challenge of writing for the left hand, Britten devised a work in variation form; he did not seek to conceal the soloist's one-handedness, but revelled in it while still retaining emotion and grandeur. Michael Tippett's Piano Concerto completes the programme. Inspired by a performance of Beethoven's Fourth Concerto, Tippett was convinced that a contemporary concerto could be written, 'in which the piano is used once again for it's poetic capabilities'. In his work, the orchestra does not merely accompany; the principal players shine when they get their opportunity for solos or close dialogue with the soloist.

Red is the color of love and of roses, but also of blood, anger, and shame. Soprano Eva Resch delves into the multifaceted meanings of this color in her new concept album for GENUIN. Together with her piano partner Eric Schneider, she interprets songs spanning from the Classical era to the present - from Wolfgang Amadeus Mozart to Wolfgang Rihm. With her versatile voice, she traces the subtlest shades of human emotion and creates expressive character portraits that range from jubilant ecstasy to the depths of sorrow.

On Darknesse Visible, Inon Barnatan brings together French and British composers with works by Maurice Ravel, Claude Debussy Thomas Ades and Ronald Stevenson. The album title is derived from Ades's piece of the same name and conveys some of the aspects that Barnatan finds most fascinating about the music on this album: all the pieces are inspired by stories or poems, and in all of them dark and light are intertwined. Ades and Stevenson both take their inspiration from existing pieces, by Dowland and Britten respectively. Ravel's Gaspard de la Nuit and La Valse showcase the evocative power and colour of his music, while Debussy's Suite Bergamasque contains the world-famous Clair de lune.

Transcending the barriers of time, two 20-th century composers dialogue with a genius who lived centuries earlier. An immense painter, sculptor, architect, Michelangelo (1475-1564) wrote poetry expressing turmoil, restlessness, personal and professional anger, written in an energetic and passionate language. Both Dimitri Shostakovich and Benjamin Britten found inspiration in his texts, and by setting them to music they show their own feelings in a highly personal and characteristic way. - This new recording presents the "7 Sonnets Op. 22" by Benjamin Britten, and the Michelangelo Suite Op. 145 by Dimitri Shostakovich, both intensely expressive and dramatic, each in his own unique musical language. - Sung by Mark Milhofer and Mirco Palazzi, Marco Scolastra is their piano partner. Mark Milhofer's recording of the Folk Songs by Britten for Brilliant Classics received many excellent reviews, including a "Recommended Recording of the Month" on Musicweb.

Horn Universe - Works for Horn, Tenor and Orchestra by Telemann, Mozart, Britten and Kikta Although nameless, the Suite in F Major TWV 44:7/55: F4 by Telemann is extremely pictorial: In the early 18th century, the horn is still somewhat new as an ensemble music instrument, and it serves to evoke the rural. This piece takes us outdoors. Like any French-style suite, it begins with a slow and majestic Overture, almost celestial [...] This recording allows us to discover a new completion of Mozart's Concerto in D, with a reworked second movement (Andante) by horn player Marco Elia Righi in 2020. Not only did he bring the Rondo with Mozart's original melodies back to life, he also added a second movement, Andante: Written in consideration of the natural horn's technique, this new movement is quite reminiscent of the style of the slow movements of the other concertos, while perfectly ?tting into the continuity of the Allegro. Marco shows real Mozartian taste, and brings a little freshness into this familiar music. What a pleasure to rediscover Mozart! The Serenade by Britten begins and ends with calls, not of a bugle as evoked in the Nocturne, but of a horn. In this period of con?ict when many deaths were to be deplored, one cannot ignore the thought of a death knell, recalled by the two horn solos which frame the Serenade. These calls, played without the valves, let the tone of F and it's natural harmonics sound the way the bugle without valves can produce them. On the other hand, not only does Britten's choice highlight the beauty of the horn and the talent of it's interpreter, but these sounds add a plaintive and painful idea that announces everything that the tenor declares. [...] As a great admirer of all the works in this album, hornist Herve Joulain cannot hide his excitement at presenting the Concerto for Horn and Strings by Valery Kikta. The composer is of Ukrainian origin but has been living and teaching in Moscow for decades. It was pure chance that led Joulain to discover the recording by Valery Zhavoronkov, while looking for educational information for the completion of his horn book. He immediately fell in love with the piece, Kikta having mastered the art of playing with half a dozen major thematic elements, which he reuses very happily, not to say brilliantly. These elements are sometimes declamatory, sometimes rhythmic, sometimes melodic, sometimes obstinate, o?ering the instrument a palette of unexpected colors to play with. [...] A great new recording, interpreted by Herve Joulain (Horn), Karlis Rerihs (Horn: Telemann), Kaelig Boche (Tenor: Britten), Sinfonietta Riga Chamber Orchestra and Kaspars Adamsons.

This album marks the beginning of an innovative journey for the Halle under it's newly appointed Principal Conductor and Artistic Advisor, Kahchun Wong. Internationally acclaimed for his dynamic stage presence and his thoughtful exploration of Eastern and Western artistic legacies, Singaporean-born Kahchun Wong assumes his new role with the Halle in September 2024, following his electrifying debut with the orchestra last season. This recording of the complete The Prince of the Pagodas ballet, the first in over a decade, reflects Wong's interest in Balinese Gamelan and the deep connection he made during his composition studies to the work of Britten. Music which he says, 'resonates deeply inside me'.

The Choir of St John's College, Oxford, directed by David Bannister, sings music associated with Christmas, together with youthful work by Imogen Holst and Benjamin Britten. Looking towards the sixtieth anniversary of Elizabeth Poston's Penguin Book of Carols (1965), initially undertaken with Ralph Vaughan Williams, the recording presents music associated with these two composers and the works they edited, alongside newer pieces exemplifying and revivifying the English carol tradition.

Music in Bali plays a vital role in society and in daily life. Apart from serving art, music is also used to support religious ceremonies. For us as brothers from a Dutch father and Balinese mother, music was also a daily presence in our lives. We grew up in The Netherlands and are trained classical musicians but the Balinese music always served as a great source of inspiration. This album resembles the mutual inspiration from two different cultures that are actually closer that one would think at first hand.

Teatro La Fenice has a tradition of opera production that goes back to 1792. This collection brings all of the live atmosphere and drama of six operatic masterpieces from a theatre that has seen more than it's fair share of historic premieres. This set includes the 19th-century romance of Bizet's Les pecheurs de perles, the intense drama of Verdi's Luisa Miller, Britten's hauntingly understated Death In Venice, Massenet's tragic tale of love and redemption in Thaïs, Wagner's final opera Parsifal and Korngold's Die tote Stadt, one of the great operatic successes of the 1920s. An entire century's worth of opera can be seen and heard in these acclaimed productions from Venice's legendary venue.