Mezzo-soprano Beth Taylor and pianist Hamish Brown make their debut recital album with Linn Records. A rising vocal star, Taylor came to international prominence as a finalist of the 2023 BBC Cardiff Singer of the World competition, and has since collaborated with both the Berliner Philharmoniker and Wiener Philharmoniker. An award-winning pianist, Brown enjoys a highly diverse collaborative career with singers, instrumentalists, orchestras and theatre. The sea-inspired programme showcases the duo's curiosity, with Taylor - equally at home in English, French and German repertoires - demonstrating her formidable technique. The recital exudes a saline atmosphere, starting with the evocative My Lagan Love arranged by Hamilton Harty and followed by Hedwige Chretien's Petits Poemes du Bord de l'Eau, Ethel Smyth's Three Moods of the Sea and Edward Elgar's celebrated Sea Pictures. Placed among these gems are songs by Schubert and Alma Mahler, together with a world premiere recording of Cameron Biles-Liddell's The Breakers.

Dr. Jerzy Kosmala, internationally acclaimed as a concert violist and pedagogue, has concertized throughout Europe, the former Soviet Union, Canada, North and South America, Asia, and South Africa, and has recordings on several record labels. He is a frequent guest artist and performer at the world's foremost festivals, international viola congresses, universities and academies, and is a permanent jury member of virtually all of the most prestigious international competitions, including the Lionel Tertis, Geneva, Munich, Markneukirchen, Trapani, Primrose Viola Competition, Brahms Viola Competition, and the Concert Artist Guild International Competition in New York City. In addition, Kosmala has adapted and published numerous compositions for viola and has premiered many contemporary works. A former member of the Kraków String Quartet and the renowned Eastman String Quartet, Kosmala is a former student of and assistant to the legendary William Primrose. Professor Emeritus at Louisiana State University, Jerzy Kosmala currently serves on the faculty of the University of California, Irvine, and was, for several decades, a visiting professor at the Royal Academy of Music in London.

SOMM Recordings' Elgar from the Archives series is creating a stir amongst Elgar lovers and historic performance enthusiasts alike, with Music Web International's Nick Barnard remarking, 'SOMM's presentation is it's usual excellent self.' The series draws on the Elgar Archive of producer and master restoration engineer Lani Spahr, and SOMM is now pleased to release Volume 5, which features the oratorio The Apostles, Op. 49 (1903) and the song cycle Sea Pictures, Op. 37 (1899). Since his youth, Edward Elgar had conceived of a large-scale work depicting the disciples of Jesus and their response to the extraordinary events they witnessed. When the Birmingham Triennial Music Festival commissioned him to write a new choral work, he began to compose an intended trilogy. While the third part remains only in sketches, the first two-The Kingdom and The Apostles-are monumental contributions to British oratorio. SOMM's May 2026 release of The Kingdom (ARIADNE 5048-2) featured Sir Adrian Boult conducting The BBC Symphony Orchestra as part of the 1957 centenary celebrations for Elgar's birth. This present live recording of The Apostles is from a BBC Home Service aircheck at the Royal Festival Hall, London, on 12 June of that year. This also features The BBC Symphony Orchestra, here conducted by Sir Malcolm Sargent-who, along with Boult and Sir John Barbirolli, was strongly associated with the promotion of Elgar's music in the years following World War II. As principal conductor of The BBC Symphony Orchestra, Sargent threw himself into celebrating the Elgar centenary, when the BBC broadcast all three of the major oratorios. In addition to The Dream of Gerontius, Sargent considered both The Apostles and The Kingdom to be masterpieces, which should have been much more widely known. About Sargent's 1957 performance of The Apostles, Stanley Bayliss wrote, 'the closing pages are magnificent and give us something that cannot be found even in Gerontius. This was fully understood by Sir Malcolm Sargent, who was the hero of the evening.' Included in this album is a first CD release, newly restored by Lani Spahr, of Elgar's Sea Pictures for contralto and orchestra with Gladys Ripley and George Weldon conducting the then recently formed Philharmonia Orchestra. This was recorded in 1946 for EMI. Elgar was no doubt one of Weldon's favourite composers. In 2008 SOMM first released the Sea Pictures with Gladys Ripley and the London Symphony Orchestra (SOMMCD 073, George Weldon conducts Elgar). This was recorded in 1954 at EMI's Abbey Road and produced by the late Brian Culverhouse.

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

This album brings together major choral works by Hubert Parry and Edward Elgar, reflecting the richness of late nineteenth- and early twentieth-century British music. At it's centre is Parry's de Profundis, a large-scale setting of Psalm 130, widely admired by contemporaries for it's emotional depth, contrapuntal mastery, and expressive journey from penitence to hope. Parry's anthem God Is Our Hope and Strength complements it with a grand, confident vision of choral architecture and spiritual assurance. Elgar is represented by the intimate partsong The Snow and the charming Scenes from the Bavarian Highlands, inspired by Alpine landscapes and folk traditions, capturing a more personal and lyrical side of his art.

SOMM Recordings is pleased to release their second recording with the Chamber Ensemble of London, a virtuoso group of hand-picked string players directed by violinist Peter Fisher, whom The Times counts amongst "a handful of the world's finest musicians." Following the ensemble's 2022 SOMM release, Eclogue - British Chamber Music, which Gramophone praised for it's "unfailingly sympathetic music-making throughout," this new release is Quiet Summer Evening - British Concertante Music, drawing on the rich tradition of light classical music. The programme opens with Rhapsody for Clarinet & Strings by Geoffrey Bush. He was initially taught by John Ireland and, on his advice, studied composition and classics at Balliol College, Oxford, emerging with degrees in both subjects in 1946. Bush's hauntingly beautiful rhapsody features the sought-after clarinettist Peter Cigleris, whose growing discography includes three previous releases with SOMM. He is also the soloist in 5 Pieces for Clarinet & String Orchestra by Clive Jenkins, CEOL's associate composer. Jenkins was born in Plymouth, and he shows his roots in many of his compositions-including these pieces, each of which has a name connected with Plymouth. Another work by Jenkins included here is Fantasy for Horn & Strings, featuring Alexei Watkins, a graduate of the Royal Academy of Music, where he was awarded the Dennis Brain Prize. Watkins is also featured in Orion (Serenade for Horn & Strings) by prize-winning conductor-composer Andy Meyers, as well as Lullaby, an expressive and programmatic piece by composer and BBC Radio 3 producer Luke Whitlock. Bassoonist Sarah Watts is a multi-instrumentalist who has become well known worldwide as a prolific composer of colourful and inspiring music. Here, she performs her composition Everywhere Is Somewhere Else. Additionally, she is the soloist for the contemplative Sunday Afternoon by notable arranger, conductor, and composer Nigel Brooks, excerpted from the broadcast series Stars on Sunday, and also A Little Waltz by the prolific mid-twentieth-century composer, arranger, and master orchestrator Gordon Jacob. Other pieces by composers from former generations include Canto popolare, extracted from Edward Elgar's concert overture In the South; Lennox Berkeley's single-movement Andantino, which he adapted from his Festival Anthem; and one of Frederick Delius's earliest surviving compositions, Romance. The soloist for Berkeley's Andantino and Delius's Romance is cellist Michael Mace, who pursues a wide and varied musical career as performer and teacher. Peter Fisher is the violinist for Elgar's Canto popolare and the appealing Vers le Sud (Towards the South) by Terence Higgins who, notwithstanding his early promise, decided against a full-time professional musical career and-like composers Wilfrid Josephs and Alan Rawsthorne-qualified as a dentist. Fisher also plays the CD's title piece, Quiet Summer Evening, a contemplative piece by composer-pianist Don Shearman, who enjoyed a long and distinguished career in light music.

From SOMM Recordings comes another release in their warmly received series Elgar from the Archives, drawn from the remarkable collection of producer and restoration engineer Lani Spahr, containing over 5,000 historic Elgar recordings. Reviewing the first volume of the series, Stuart Millson, a Contributing Editor to The Brazen Head, wrote, "Again, sound-supremo, Lani Spahr has done a wonderful job of "French-polishing" this (English) music." Volume 4 of the series presents the Concert Overture In the South (Alassio), Op. 50 and Symphony No. 1 in A flat major, Op. 55. The volumes in the Elgar from the Archives series feature both British artists and equally laudable performers from other countries, and In the South is a 1954 release featuring the Symphony Orchestra of Radio Leipzig. The ensemble is conducted by Gerhard Pfluger (1907-1991) who was born and educated in Dresden and had the misfortune to come to maturity during the years of National Socialism, the destruction of much of Germany, and the establishment of the German Democratic Republic. He joined the Nazi party in 1940, and from 1946, as a member of the East German communist party, he held conducting positions in Rostock and Weimar in addition to Leipzig. Against this backdrop, for an East German orchestra and conductor to issue the work of a British composer was not only rare but courageous. Elgar was enjoying a family holiday in Italy during the winter of 1903 to 1904, and he was supposed to be working on a long-planned symphony. However, the resort town of Alassio on the Italian Riviera proved to be too alluring, and it inspired him to write a concert overture instead that captured the local atmosphere. He later recalled how, one beautiful afternoon in the Vale of Andora, " in a flash, it all came to me. In that time I had composed the overture - the rest was merely writing it down." Elgar did get around to completing his First Symphony in 1908, and it had it's premiere in Manchester on 3 December that year with Hans Richter conducting the Halle Orchestra. It was, as The Musical Times described it, an "immediate and phenomenal success." On the evening of 30 January 1958, the City of Manchester celebrated the centenary of the Halle Orchestra with a concert that was both broadcast and televised, and it is this live recording that is presented here. The orchestra was led by Sir John Barbirolli, their Principal Conductor from 1943 to 1970. Michael Kennedy, biographer of Elgar and Barbirolli, said of the performance, "In their finest hour, the Halle and it's conductor found the best in each other to do honour to their own traditions."

The third volume in the series Elgar from the Archives from SOMM Recordings includes two historic recordings conducted by Sir Adrian Boult: the oratorio The Kingdom, Op. 51 and the ever-popular Variations on an Original Theme 'Enigma,' Op. 36. These variations form an interesting comparison to the two acoustic versions from the well-received Vol 1 in this series [ARIADNE 5046], one conducted by the composer in 1920, the other by Sir Henry Wood in 1924. Again, these recordings are remastered by audio engineer Lani Spahr, whose work on Elgar from the Archives Vol 1 James Jolly, Editor in Chief of Gramophone Magazine, described as "astounding," adding that "thanks to Siva Oke's SOMM label, Spahr has an outlet for his truly revelatory work." Inspired by the remarks of one of his school teachers that the Apostles were poor men, young men, perhaps "no cleverer than some of you here," Elgar conceived the idea of a work depicting the Apostles as ordinary men reacting to extraordinary events. He envisioned a trilogy of oratorios consisting of The Apostles, Op. 49, The Kingdom, and an unrealized work, The Last Judgement. He made initial sketches for The Kingdom as early as 1882, when he was still serving as organist at St George's Church in Worcester. Following an orchestral Prelude, which introduces the main musical themes and sets the mood of the work, the oratorio is in five parts, each played without a break: I. In the Upper Room; II. At the Beautiful Gate; III. Pentecost; IV. The Sign of Healing; and V. The Upper Room. The Kingdom is written for four soloists, choir, and large orchestra-featuring, in this recording, Heather Harper, soprano (The Blessed Virgin); Helen Watts, contralto (Mary Magdalene); William Herbert, tenor (St. John); and Gordon Clinton, baritone (St. Peter), with the Croydon Philharmonic Society and BBC Symphony Orchestra conducted by Sir Adrian Boult. This programme on 29 May, 1957 at the Royal Festival Hall was part of the centenary celebrations for Elgar's birth. Boult admired The Kingdom above all the other major choral works of Elgar, and his complete understanding of and identification with the work is shown in his expert pacing and observation of dynamics. On 29th February, 1940, about ten weeks before Nazi forces invaded The Netherlands, Boult conducted the Amsterdam Concertgebouw Orchestra in a concert broadcast from Hilversum by the Dutch public broadcasting association. The program concluded with Elgar's Enigma Variations, the work that helped to establish Elgar's growing reputation internationally. In a programme note, Elgar wrote, "This work, commenced in a spirit of humour & continued in deep seriousness, contains sketches of the composer's friends." This Dutch performance is one of Boult's finest interpretations of the work, and it has more than stood the test of it's 86 years.

SOMM Recordings' new series, "Elgar from the Archives," explores Edward Elgar's music with rare archival recordings, not only from well-known British interpreters but also from lesser-known, yet equally laudable, international conductors and soloists. Volume 2 in the series features historic live performances of Sir Edward Elgar's Violin Concerto in B minor, Op. 61, with Tibor Varga, and the Cello Concerto in E minor, Op. 85, with André Navarra. Lani Spahr-whose work as a master recording engineer of historic reissues has been honoured by Gramophone Magazine-has once again expertly realised the audio restoration of these performances. The Royal Philharmonic Society of London commissioned the Violin Concerto from Elgar in 1909. Composed within a year of his First Symphony, it is one of his longest orchestral compositions and has the reputation of being one of the most difficult in the violin repertoire. He dedicated it to the noted violin master of his day, Fritz Kreisler, who gave the premiere performance in 1910 with Elgar conducting. The Hungarian violinist Tibor Varga (1921-2003) was six years old when he made his first public appearance, becoming one of the most prominent soloists of his generation. The Franz Liszt Academy appointed him an honorary professor-a rare distinction also awarded to Elgar, Emil Gilels, Richard Strauss, and Arturo Toscanini, amongst others. Varga moved to London in 1947, became a citizen, and lived in Britain for nine years. That experience is reflected in his fine, committed performance of Elgar's concerto. This recording, from 1957, is with the Dutch composer and conductor Jan Koetsier and the Bamberg Symphony Orchestra. Following the Great War, Lady Elgar noted that her husband's compositions were different in style and character. His four-movement Cello Concerto, completed in 1919, is barely longer than the first movement of his Violin Concerto, and it is a contemplative, elegiac work with a heartfelt third-movement adagio that is a masterful example of controlled emotion. Yet the concerto ends on a positive note, as the declamatory opening returns in a valedictory form at the end of the finale. The renowned cellist André Navarra (1911-1988) graduated from the Paris Conservatoire at the age of fifteen, and he was later mentored by Pablo Casals. He toured extensively in the United States, Europe, Asia, and the Soviet Union, playing with the great conductors of the era, and he was one of a number of distinguished French cellists who embraced the Elgar concerto. He chose it for his first public performance in Britain at the 1950 Cheltenham Festival with John Barbirolli-with whom he recorded the concerto in 1957. His recording here with German conductor Fritz Rieger and the Munich Philharmonic Orchestra comes from 1956.

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.

January 2026 marks the 75th anniversary of The Elgar Society, which has, since the late 1990s, offered it's invaluable support to SOMM Recordings for new and archival releases of Elgar's works. In celebration, SOMM is releasing this month Vol. 1 of Edward Elgar from the Archives. The release offers "acoustic" recordings of Elgar's Enigma Variations conducted by the composer in 1920 and by Sir Henry Wood in 1924. Also included-abridged, in order to fit onto the original disc sides-is a 1919 recording of Elgar's Violin Sonata featuring the virtuoso, Marjorie Hayward, a fellow of the Royal Academy of Music, and the Australian pianist, Una Mabel Bourne. The London String Quartet, founded in 1908, is featured in an abridged version of Elgar's String Quartet, which they recorded in 1921. Elgar's recording of the Enigma Variations, the Violin Sonata, and the String Quartet are all remastered premiere recordings. Before the microphone made it's appearance in 1926, and revolutionized the technicalities of the recording industry through "electrical" recordings, musical performances were captured by "acoustic" recordings. Jutting from the wall in front of the players was a recording horn that was wound in tape to attenuate the "tinny" sound and reduce vibration. On the other side of the wall was a diaphragm, which transmitted the vibrations captured by the horn to a stylus positioned via a gimbal mechanism over the wax disc to be cut. The recordings on this release demonstrate the skill of the forgotten engineers from that era and show how they learnt by experience. Their skill has been realized for modern ears by the musician and master recording engineer of historic reissues, Lani Spahr, whose Elgar Remastered [SOMMCD 261-4] was described as a "vivid new transfer" by Gramophone Magazine when it was named their Historical Choice for Elgar's Symphony No. 1. Elgar and Richard Strauss were the first major composers to take the recording of their music seriously, and the Enigma Variations was Elgar's most substantial piece in his ten years of making recordings. This present performance with the Royal Albert Hall Orchestra was recorded at the HMV Studio, London, in three sessions: February and November 1920 and May 1921. Four years later, Sir Henry Wood conducted the New Queen's Hall Orchestra for Columbia. These two "acoustic" recordings, which bookend the Violin Sonata and the String Quartet on this release, offer a fascinating comparison. Wood's interpretation is marginally quicker overall and, as Lani Spahr points out, "the two orchestras sound to be about the same size but the balances are different and more forward in the Wood. Recording techniques had improved greatly in the four years between the Elgar sessions and when Wood recorded his Elgar set."

In January 2026 The Elgar Society marks it's 75th anniversary, and SOMM Recordings celebrates the event with several Elgar releases in gratitude for the society's generous support and encouragement from 1998 to the present day. Light Out of Darkness, Choral Music by Elgar was recorded in February 2025, with the support of The Elgar Society, and continues the inspired journey of the composer's musical development in a series of widely acclaimed releases by SOMM. This present release includes five world-premiere recordings. Light Out of Darkness features the Chapel Choir Of The Royal Hospital Chelsea conducted by their Music Director, the multiple prize-winning conductor and pianist William Vann. This follows their hugely successful first recording of Elgar's choral works for SOMM, The Reeds by Severn Side [SOMMCD 0278]. The featured organist is Callum Knox, an emerging talent from Australia. Edward Elgar (1857-1934) had an unorthodox musical education that turned out to be a fertile training ground for his evolution into one of the most important composers of the Victorian and Edwardian eras. He "learned on the job," so to speak, studying scores and instruction manuals in his father's music shop; assisting his father who played the organ at Worcester's St George's Church; and graduating to organist for St George's in 1885. From these early years come world-premiere recordings of the hymn Praise ye the Lord, 1878, and the first of Elgar's seven settings of Thomas Aquinas's O Salutaris Hostia composed c.1877. Two later versions-from c.1880 (dedicated "To my father - with affection") and 1882-are also included here. This last is another world-premiere recording, as is Elgar's a cappella setting of the Stabat Mater from 1886. In 1888, now aged 31, Elgar composed the dignified Ecce sacerdos magnus (Behold a great priest) for a visit to St. George's by the newly installed Bishop of Birmingham. This release includes three anthems extracted from Elgar's oratorios. Light out of darkness and Light of the World, we know Thy praise are taken from his first oratorio, The Light of Life (Lux Christi). The third is The Spirit of the Lord is upon me, the opening chorus from his penultimate oratorio, The Apostles. Elgar's part songs, or "choral songs" as he later preferred to call them, contain some of his greatest music. Amongst the six included here are Byron's Deep in my soul from The Corsair; O wild West Wind! Inspired by Shelley's Ode to the West Wind; and Go, Song of Mine after the Italian 13th century poet, Guido Cavalcanti, translated by Dante Gabriel Rossetti. The programme closes with Elgar's rousing 1902 arrangement of God Save the King, heard here in the version for organ accompaniment.

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.

Star-violinist Christian Tetzlaff, the BBC Philharmonic Orchestra and conductor John Storgards present in this album two major British violin concertos written between a century, in 1910 and 2005. Elgar's passionate violin concerto, completed in 1910, is a classical-romantic violin concerto in three movements. This huge and highly emotional work was in the wake of modernism neglected for several decades before entering into standard concerto repertoire. Here Christian Tetzlaff follows the model of the early recordings of Elgar's concerto with substantially quicker tempos compared to most modern recordings, and having a great influence on the impact of the piece. Ades' violin concerto 'Concentric Paths', is already a modern classic and no doubt one of the most important concertos written during this century. With it's very demanding violin part the work has all the elements of a true concerto, allowing the soloist to sing with his instrument. The beauty of this music lies that everything is written so clearly.

SOMM Recordings is thrilled to collaborate once again with the Tessa Uys and Ben Schoeman piano duo following their highly praised six-volume recording of the nine symphonies by Beethoven arranged for piano duet by Xaver Scharwenka-about which International Piano says, "These readings afford unmitigated pleasure... The articulation and voicing of the players persuades us into thinking we're in the middle of an unleashed virtuoso orchestra." Now, these award-winning South African-born artists present music for two pianos and piano duet from their adopted country, highlighting works by Gustav Holst and Edward Elgar. In the early 1910s, Holst became interested in astrology, and he conceived the idea of a suite for orchestra based on the solar system's individual planets. Originally, he composed The Planets on the piano, using the instrument in his newly-built, sound-proofed room in the music wing at St Paul's Girls School as well as the piano at his home in Thaxted. This version for four hands, two pianos was scored by two of his colleagues at St Paul's, Vally Lasker and Nora Day, who acted as amanuenses, because Holst suffered intermittently from painful neuritis in his right hand. Following the resounding success of the orchestrated version of The Planets, the original piano duet score was overlooked, though it was eventually published separately in 1949-51. In 1979, Holst's daughter, Imogen, reissued the complete two-piano arrangement in one volume, and Tessa Uys and Ben Schoeman perform this version here. Elgar's renown was such that, at the height of his fame, several established musicians were commissioned by publishers to make piano transcriptions of his orchestral music. This was no mean feat, given that Elgar's scores are scrupulously marked as to how he wanted every phrase-sometimes even every bar or note within that phrase-to be played. It was the composer, arranger, and conductor, Otto Singer II, who made the transcription for piano four-hands of Elgar's 1905 Introduction and Allegro, scored originally for solo string quartet and string orchestra. Singer's insight and skill are evident in techniques like transferring string double-stopping to spread keyboard chords, and his piano four-hands version is admirably true to Elgar's evolving contrapuntal and harmonic ideas. In Victorian England, the marriage of a tradesman's son to the daughter of a Major-General in the British Army, who was eight years his senior, might not have appeared a perfect match. Yet, the marriage of Edward Elgar and Caroline Alice Roberts turned out to be a love-match. In 1888, as a wedding present, Edward presented to Carice, as he called her, Salut d'Amour. This enduring melody has inspired numerous arrangements for widely varying instrumental combinations, including this one for piano duet.

The newest release from SOMM Recordings is an unusual but exciting pairing of two string quartets by British and French contemporaries Sir Edward Elgar (1857-1934) and Gabriel Faure (1845-1924). Also included is a collection of shorter gems transcribed for string quartet by the British composer, arranger, and pianist Iain Farrington. These comprise Elgar's Carissima (originally composed for small orchestra) and selections from Faure's Piano Preludes: Nos. 4, 8, and 9, this last described by Aaron Copland as being "so absolutely simple that we can never hope to understand how it can contain such great emotional power." This recording features the Eusebius Quartet, formed in 2016 out of a passion for the extraordinary music written for this instrumentation, and praised as "excellent" by The Sunday Times. Their debut CD for SOMM of the Korngold Piano Quintet & Quartet (SOMMCD 0642) received critical acclaim: "Wit and clarity abound in the Quartet's Viennese-sounding performances, " The Strad; "The musicians seem to feel the music just as it is, complex on the surface, but direct and straight from the heart, " BBC Music Magazine. Elgar and Faure met once at the time of the London premiere of Elgar's First Symphony in 1908. Although Faure spoke no English and Elgar's French wasn't exactly conversational, it's fascinating to compare the musical language of their two quartets, both in the key of E minor, and written late in the composers' lives. Edward Elgar was a more than competent violinist, and he made several attempts throughout his career to write a string quartet. Finally, ill and depressed by war-time London in 1918, he completed his String Quartet, Op. 83. It is cast in three movements, the outer Allegro movements bookending one marked Piacevole (poco andante). This slow middle movement, which contains a quotation from Elgar's Chanson de Matin, was a favourite of Lady Elgar, who described it as "captured sunshine." It was played at her funeral in 1920. Gabriel Faure composed his only String Quartet, Op. 121 in 1924, shortly before his death at the age of 79. By this time, he had been totally deaf for some years, and the quartet suggests a mind driven within itself in a way that hints at Beethoven's Late String Quartets. This final work of Faure presents an extraordinary duality, which masks the romantic ideas of his earlier music with what the English composer and writer Robert Matthew-Walker calls "a soft steely twilight that at times appears almost menacing." As with Elgar's quartet, the central Andante movement particularly captures the imagination with it's musical colouration suggesting a world of half-lights.

Recorded in the recently restored 1875 Victorian Theatre at Alexandra Palace, Crouch End Festival Chorus and David Temple present Elgar's The Kingdom. Joined by London Mozart Players the soloists include Francesca Chiejina, Dame Sarah Connolly Benjamin Hulett and Ashley Riches. Arguably Elgar's least well-known choral work, The Kingdom is a mixture of gentle conversational sections and astonishing dramatic passages, and David Temple believes it is the quality of the orchestral writing that elevates it to justifiably sit alongside Elgar's other notable works. "I am so taken with it It is a gem from the first note to the last, and my desire to share this as widely as possible is reinforced by the present recording One thing that cannot happen in a concert performance is 'repeated listening'. A recording, by contrast, holds an open invitation at the end to return to the beginning! This drip-feed allows the music to be deeply absorbed, and it is this which I believe will enable The Kingdom's true quality to be more widely appreciated" - David Temple.

The last album with the current line-up, The King's Singers present a new album of choral music from the early 20th century, with a feature from sopranos Grace Davidson and Victoria Meteryard. "Such stuff as dreams are made on is an exploration of European choral music from the early 20th century (and a bit either side), much of it shaped and scarred by the spectre of conflicts that dominated the continent in that period. For us, the album has been a chance to develop and exercise new and different colours in our singing, to dive deeply into text-centric interpretations and historical context, to savour and cherish the four languages in which we sing here, and - in one instance - even to expand our forces a little. " - The King's Singers PRAISE FOR SIGCD912 CLOSE HARMONY 5 stars "The current line-up of King's Singers demonstrates their continued pre-eminence with these outstanding recordings of often very difficult arrangements. The Singers deliver with their usual mix of charm and skill" - Choir & Organ

She questions the simplicity in this program of "simple" piano sonatas and demonstrates her virtuosity by filling the few notes with as much musicality as possible. Shows different interpretations and styles of the genre "Sonatine" with works by Beethoven (No. 25, op. 79), Reynaldo Hahn (IRH90), Ravel (M. 40), Mozart (KV 545), Hermann Goetz (No. 1, op. 8) and Nikolai Medtner (op. 56)

'If you want to know who, for me, is the greatest living composer, I'll tell you without hesitation - it's Elgar, whom I place on the same level as my idols Beethoven and Brahms!' So said the great virtuoso Kreisler.' Nicolas Dautricourt continues: 'This Concerto, with it's unbridled lyricism and unique proportions, is an Everest for any violinist.' In this, his first recording for Channel Classics, the French violinist brings together three works by two English composers. In 1888, in the same year Elgar wrote the famous Salut d'amour for his fiancee Caroline Alice Roberts, Frederick Delius composed his Suite for Violin and Orchestra, one of his very first works. The Suite, which only received it's premiere in 1984, is heard here in this insightful arrangement by Frederic Chaslin for violin, piano and string quartet.

Johannes Moser's acclaimed interpretation of Elgar's profoundly elegiac and lyrical Cello Concerto and of Tchaikovsky's elegant Rococo Variations returns to the market in an affordable stereo edition. The programme also contains Tchaikovsky's Nocturne and Morceau de Concert for Cello and Orchestra, as well as an arrangement of the famous Andante cantabile from his First String Quartet. Performed together with Orchestre de la Suisse Romande under the baton of Andrew Manze, Moser's rendition was praised by Gramophone as "one of the finest we've had in years."

This is the best of me wrote Edward Elgar in 1900 at the end of the manuscript of The Dream of Gerontius. This impressive and modern new recording of Elgar's magnum opus by the Finnish Radio Symphony Orchestra and conductor Nicholas Collon features alongside mezzo-soprano Christine Rice, tenor John Findon and baritone Roderick Williams, singers from five different choirs: Helsinki Music Centre Choir, Cambridge University Symphony Chorus, Dominante, Helsinki Chamber Choir and Alumni of the Choir of Clare College Cambridge.

There Is Sweet Music is the idyllic title of the first AVIE release by the eight-voice Proteus Ensemble and their conductor Stephen Shellard, which surveys a selection of relatively rare part-songs by Sir Edward Elgar. Elgar maintained his dedication to composing part-songs throughout his life and imbued each of them with an inimitable character. Like the composer's celebrated "Enigma Variations", his part-songs bear an array of inspirations and dedicatees, including his wife Caroline Alice who penned the poem of the album's closer, "O Happy Eyes", shortly after she and Elgar were married. This early work became a companion to the song "Love," written eight years later and also dedicated to Caroline Alice. Elgar turned to famous poets and peers - Lord Byron for "Deep in my soul", Percy Bysshe Shelley for "O wild West Wind!", and Alfred Lord Tennyson whose poem "The Lotos-Eaters" provides the album's title track. English translations of Russian poems lend themselves to "Death on the Hills", "Love's Tempest" and "Serenade". Elgar frequently found inspiration in Italy, where he composed "Angelus', a song dedicated to his close friend Alice Stuart Wortley whom he called "Windflower" and whose spirit is enshrined in his Violin Concerto. Stephen Shellard's Elgarian epiphany began in 1990 when he joined Dr. Donald Hunt's choir at Worcester Cathedral as an Alto Lay Clerk. Dr. Hunt's inspired and devoted expertise in performances of works by Worcester's most famous musical son cast a life-long spell on Stephen that manifests itself in these beautiful performances with his Proteus Ensemble.

Harriet Krijgh is one of today's most exciting and promising young cellists. Her grace and expressiveness touch her audiences as soon as she is on the concert platform. Her discography also comprises of six discs, all released by Capriccio in the last six years, featuring music by Kabalewski, Haydn, Brahms, Rachmaninoff as well as several French composers. Krijgh is winner of numerous competitions. She was chosen "Rising Star" of by the European Concert Hall Organisation (ECHO) and was artistic director of the Utrecht Chamber Music Festival in 2017 and 2018. With the present CD she made a long-held wish come true and presents two of the most popular cello concertos by Dvorak and Elgar.

After tackling Schumann, Liszt, Brahms, Schoenberg and Hindemith, Ulf Wallin and Roland Pontinen now focus their attention to the late-romantic English composer Edward Elgar. 'Mot d'amour', which takes it's title from one of his early compositions for violin, presents a substantial part of Elgar's output for violin and piano, which spans his entire career. Best known for his symphonic and choral works, Elgar is also the composer of chamber works that, although few in number, attain a high standard. The Violin Sonata, a mature composition contemporary with his two other major chamber pieces, is regarded by Elgar connoisseurs as one of his masterpieces. Inspired by Brahms's sonatas, Elgar's own, composed in the peaceful surroundings of his rented cottage in the countryside, is a work of wide expressive range and emotional impact in which every superfluous note has been eliminated from the overall design. As for the other pieces that appear here, they show a lighter side to the composer, sometimes playful, sometimes melancholy. Unashamedly belonging to the genre of salon music, these works testify to Elgar's versatility as well as to his melodic gift and his ability to turn a seemingly light genre into a vehicle for secret emotion, often charming but always devoid of sentimentality.

That there is indeed something of the ethereal, of the timeless, and of the indefinable pervading all of the music heard on this CD instantly calls into question our shared notions of what the term Elegy actually signifies. Here the listener will encounter none of the unutterable despair of, for example, Samuel Barber's great Adagio for Strings, or the tortured valediction of Richard Strauss' Metamorphosen, but rather an introspection and wistfulness of an altogether gentler sort. As the poet Thomas Gray expressed it in his Elegy Written in a Country Churchyard (1751), "Perhaps in this neglected spot is laid some heart once pregnant with celestial fire; Hands that the rod of empire might have swayed, or waked to ecstasy the living lyre

Harry Christophers has been at the forefront of choral music for the last 45 years and this album, in celebration of his 70th birthday, demonstrates the breadth of his musical passions and the wealth of repertoire he has recorded over the years. Featuring 39 tracks hand-picked by the conductor, the works on this collection document Harry Christophers' life in music-from his early years as a chorister at Canterbury Cathedral, through his time at Magdalen College, Oxford, and subsequent founding of The Sixteen, to more recent years as Artistic Director of America's renowned Handel and Haydn Society. This collection charts his discovery as a boy of Purcell and Poulenc to his enduring love for the music of Victoria and Handel and his celebrated partnership with James MacMillan. Each track holds special significance and the stories behind the choices are documented in notes especially written by Harry Christophers for this album.