Eric Coates was a master of refined and beautiful melodies, making him a household name during the golden years of British light music in the first half of the 20th century. The Four Ways Suite takes us to all four points of the compass, including exotic China and the jazz rhythms of America, while Springtime evokes both sweeping optimism and soulful memories of a lost age. The virtuoso Saxo-Rhapsody is one of the era’s major saxophone works, and Sleepy Lagoon remains famous as the signature tune to BBC Radio’s Desert Island Discs. High Flight March was to be Coates’ last composition. Since 1992, conductor Andrew Penny has made over 50 recordings for the Naxos and Marco Polo labels. Much of the repertoire is British music and includes symphonies by Arnold and Havergal Brian, film music by Vaughan Williams and Walton, theatre music by Sullivan and Holbrooke, and light music by Coates and Arnold. Penny has been on the instrumental music staff at Hymers College since 1977 and is the longest serving musical director of the Hull Philharmonic Orchestra. He was awarded the MBE for services to music in the Queen’s Birthday Honours of 2014.

Dark Spring is an opera about four young people under extreme pressure: the pressure to overachieve academically, to score high in the popularity contests at school or at college, and to perform romantically or sexually. The pressure has become entirely internalized as parents or teachers are absent and the protagonists are left alone with late capitalism’s demands of permanent self-optimization. The conflict between the expectation to succeed on the one hand and the sense of powerlessness and unattainable self-determination in an era of constant stagnation on the other hand grows increasingly acute until it eventually flips into violence: into Melchior’s sexual aggression and Moritz suicide. The opera focuses less on the narration of the four young protagonists’ story but rather on their attempt to articulate and understand the often contradictory feelings that come with it: Feelings of meaninglessness and alienation in a society that values only productivity and success but makes it unreachable for almost everyone; feelings of pain both as suffering and as sexual experience; feelings of love and kinship that briefly appear between the protagonists that nevertheless bring a sense of vulnerability. In a hyper-competitive world the display of emotions is seen as a weakness and a liability. The longing to open up to someone else, to reveal and feel oneself and one another, and to find an expression for that longing seems unsettling and dangerous. The four protagonists of Dark Spring sing songs. They articulate their feelings through the mask of the distancing formalization of rhyme, meter, stanza, and refrain. Under the surface of the objectified schemata of song an almost raw and undomesticated sound-world simmers, though, that breaks through at crucial points of the plot – a sound-world of noise, screams, and silence.

Raoul Steffani writes: “The album you have here is the culmination of a long-cherished desire – a program devoted to both Robert and Clara Schumann and the musical dialogue that blossomed between them during the early years of their married life, through their poems and song compositions. I am absolutely delighted and grateful for the opportunity to record this program along with a selection of Robert Schumann’s most beautiful duets, in a truly luxurious pairing with mezzo-soprano Magdalena Kožená and my regular piano accompanist Gerold Huber.”

For Russian musicians, the romances of Tchaikovsky and Rachmaninov have always been a test of their artistic maturity. The very name of the genre carries a great many shades of meaning in Russian, denoting what at times are very varied forms of musical utterance. The vocal chamber works by these two composers, who are usually mentioned in the same breath as luminaries of Russian music, really do exhibit the vast range in artistic expression of their creators. You listen to a recording by the young musicians Lena Belkina and Natalia Sidorenko, who have begun the difficult journey along the road that leads to a perfect blend of tone and the discovery of a personal inflexion in these diminutive, yet complex masterpieces. It is significant that the mezzo-soprano Lena Belkina - for whom Russian, with it's awkward intonation, is a mother tongue - lives and works in Austria, Germany, Italy and France. This has given her an awareness that romances by great Russian composers are part of a worldwide musical heritage. There are several themes running through the romances brought together on this disc that pose demanding artistic challenges for their performers. Spring: from tender green leaves that have barely sprouted to luxuriant blooms of flowering lilac, rushing streams and the burble of the nightingale's song. Night: descending on us with it's unexpected warmth, sometimes stifling, sometimes melancholy, giving rise even in the midst of a storm to cradle songs, serenades and dreams of a happy life, which often dissipate on awakening. Love: past and future, lamented and desired, 'familiar to everyone and eternally new', as one of the romances puts it.

Founded by Jeroen Finke in 2015, the Ensemble La Protezione della Musica has quickly developed into a recognized ensemble for the performance of music from the late 16th and early 17th centuries. With this double album, the musicians dedicate themselves to the St. Matthew Passion by Johann Cyriacus Kieling (1670-1727), a composer from baroque Saxony-Anhalt. This Passion is written in a mixed style between Schütz and Bach, which is partly very emotional, and contains many short, song-like, expressive arias, figuratively designed recitatives and virtuoso choirs. The Gospel text is very arios and is strongly reminiscent of the sound aesthetics of the histories of the 17th century. In it's musical structure with choirs, chorales, recitatives and commentary arias, the Passion also points in advance to the monumental, high baroque settings of the St. Matthew Passion, for example by Johann Sebastian Bach, which was composed around 20 years later. The very young musicians from the area, including the Thomanerchor in Leipzig and the music academies in Leipzig, Bremen and Weimar, play extremely lively and gripping music, and after listening to this world premiere you will be looking forward to further projects with this ensemble.

Shortlisted for the Gramophone Awards!

This programme marks the eagerly awaited return of Véronique Gens to Baroque music and Lully, in which she made a name for herself at the start of her career. It presents airs from Atys, Persée, Alceste, Proserpine, Le Triomphe de l’Amour and other works by Louis XIV’s famous composer, but also several by Marc-Antoine Charpentier (Médée), Henry Desmarets and Pascal Collasse. Whether well known, rare or in some cases even unpublished, all of them present roles for powerful women whose love is unrequited: dark passions, bitter laments, jealousy, vengeance, the type of dramatic characters that Véronique Gens embodies with all the charisma that has made her reputation. This recording is also the result of an encounter with the youthful ensemble Les Surprises, founded and directed by Louis-Noël Bestion de Camboulas. Together they conceived this programme, which mingles airs, dances and choruses, in collaboration with the Centre de Musique Baroque de Versailles.

 

REVIEW:

 

The voice remains in remarkable condition, as strongly radiant, firm and secure as ever with powerful chest notes. And of course the characteristics that have made her so prized in this repertoire, the perfect shaping of line and outstanding diction, remain, still more finely honed.

 

– Opera

During the more recent past, finds in libraries have made it clear that Johann Sebastian Bach held his Gotha colleague Gottfried Heinrich Stölzel in high regard. But what was it about Stölzel’s music that made Bach and some of his contemporaries so interested in it? As in the text of the famous Brockes-Passion, which was set to music by Telemann and Handel and then later by Stölzel, what is involved here is not a biblical text expanded by arias but a free poetic composition based on the Passion. While the Evangelist, like a live reporter, documents Jesus’s last hours, the “Faithful Soul” and the “Christian Church” act from the perspective of knowledge of how events will turn out. The oratorio is divided into twenty-two “Reflections” concentrating the perspectives of the three allegorical figures on particular moments in the action. This impressive music beyond doubt will have a very individual effect on each and every hearer – as was also the case with Bach, who some years later once again took the manuscripts from his music library and used the aria of the thirteenth meditation, “Dein Kreuz, o Bräutigam meiner Seele,” as the basis for his own aria “Bekennen will ich seinen Namen” (BWV 200).

The ‘Yiruma phenomenon’, which has seen hundreds of millions of album and track sales, stands on the foundations of the South Korean composer and pianist’s 20-year career, which includes film music and sell-out tours throughout Asia, Europe and the US. Performed by the award-winning virtuoso Giacomo Scinardo, this programme features pieces from a variety of Yiruma’s albums and soundtracks. These include the global hit River Flown in You, and capture the essence of a style that conveys peace and serenity to the listener, from a composer who has declared that he wants his music ‘to be the energy that makes people want to live a better life’.

Following a highly personal and splendidly reviewed Brahms recording, Fabian Müller follows up with Passionato, an album centering not on a single composer, but on a "central masterwork of Western piano music": Beethoven's "Appassionata". Radiating from this hub, Müller weaves a programme that shows why he is regarded as one of Germany's most promising young pianists. It stands to reason that he is not the first pianist to apply his energies to this great work laid out on the grand scale, and Fabian Müller is well aware of this. "Each generation is entitled to rediscover these pieces for itself. Apart from that, it is simply not possible to play a piece the same way twice. So even if I know my favourite performances back to front, mine will still be the 'Appassionata' of Fabian Müller." This is the starting-point of his new album, geographically as well as musically. Having grown up between the Beethovenhaus and Schumannhaus in Bonn, he sees "much more of the Rhinelander than the Viennese" in Beethoven, flanking the Appassionata with Schumann's G minor Sonata - a work of extremes. When Schumann requires the artist to play "as fast as possible" in the first movement, then "even faster" in the coda, Müller has his own personal answer: "It is more a feeling that is too strong to be expressed in a 'normal' manner. Drop everything and play for your life. That is the key. A feeling that something is flooding out of you."

Indian classical music has certain modes and ragas dedicated to the seasons, which have been explored by many generations of musicians. In accordance with the Indian calendar, spring runs from mid-February to mid-April, and is known as Vasant (or Basant). The festival Holi celebrates spring’s arrival. In this album, Baluji captures the rapture of spring, expressing seasonal feelings of renewal and hope through the subtle nuances of the chosen ragas. He celebrates his mastery of the sitar with wonderful sensitivity and dexterity. There are also some thrilling moments enthused by the distinctive tabla playing of Sukhvinder Singh “Pinky”, with his vivacious renditions of 1relas and 2chakradas. Baluji cannot see the colors of flowers but he has heard their voices, and they sing out through this joyous album – Voice of Flowers.

Anna Lucia Richter returns to PENTATONE after her acclaimed Schubert album Heimweh with Il delirio della passione; a recording full of Monteverdi treasures, from heart-wrenching opera scenes (Lamento d’Arianna, ‘Pur ti miro’ from Poppea and the Prologue of L’orfeo) and religious music (Confitebor) to bucolic songs (Si dolce è il tormento). Richter works together with Ensemble Claudiana and Luca Pianca, one of the most eminent Monteverdi interpreters of our age. They offer a fresh perspective on Monteverdi’s music by penetrating deeply into the original sources. Their interpretation of the famous Lamento d’Arianna, salvaged fragment of the lost score of the opera L’Arianna, is exemplary in that regard. Richter’s passionate delivery is inspired by what precedes in the libretto, while Pianca has composed short, “madrigalistic” instrumental interludes between the solo sections, replacing the choral commentaries, of which only the original texts have survived. Altogether, the pieces on Il delirio della passione demonstrate Monteverdi’s exceptional skill to express the most complex emotions, in music of timeless beauty. Anna Lucia Richter belongs to the most exciting young singers of her generation. Il delirio della passione is the second fruit of her exclusive collaboration with PENTATONE, after Heimweh (2018), and her last soprano recording, as she will continue her career as a mezzo-soprano. Luca Pianca and Ensemble Claudiana both make their PENTATONE debut.

REVIEW:

Some purists won’t like Luca Pianca’s approach to unwritten ornamentation, which allows the virtuoso members of the Ensemble Claudiana unbridled freedom, and some may cavil at his imaginative and at times almost cavalier attitude to instrumentation. But there is no doubting the freshness of Pianca’s interpretative stance.

Richter’s bright, clean, focused tone, precise diction and keen sense of drama will be familiar from her performances in an impressively wide-ranging portfolio, stretching from Schubert lieder to Mahler’s Wunderhorn songs, and Idomeneo to Henze’s Elegy for Young Lovers.

The heart of her achievement on this recording is undoubtedly the lament from Arianna. With its sure-footed command of the patterns and cadences of the Italian language, this is a powerful reading. It is surely the only serious competition in the catalogue to Cathy Berberian’s classic performance with Nikolaus Harnoncourt from the 1970s.

– Gramophone

Resonating across more than five centuries, expressions of personal piety and prayer fill these works by a quartet of Franco-Flemish composers, all born in the 15th century, and their modern-day colleagues, Estonian Cyrillus Kreek (1889—1962) and British-Norwegian Andrew Smith (b. 1970). For those familiar with the vocal ensemble New York Polyphony and its previous, acclaimed releases on BIS, this exploration of the intersection of ancient and modern music is far from surprising: the group is known for its innovative programming. On And the sun darkened the four members follow Josquin’s celebrated motet Tu pauperum refugium with Andrew Smith’s setting of Psalm 55 – composed for NYP, it is a lament which nevertheless closes with an expression of confidence in God’s justice. Sung in Estonian another biblical psalm is heard in Kreek’s Taaveti laul 22 (‘David’s 22nd Song’), the text ‘My God, why have you forsaken me’ preparing the listener for the work that has given the disc its title. Officium de Cruce by Loyset Compère is a setting of a 14th-century hymn which follows the episodes of the Passion in a continuously flowing musical narrative: from the betrayal of Christ to his death – when the sun darkened – and entombment.

REVIEWS:

The vocal quartet New York Polyphony has excelled with a fine vocal blend and programs of Renaissance and contemporary choral music that often touch on underrepresented repertory. Josquin is present, but only with a single piece, and the focus is on his much less often heard contemporaries and successors, Loyset Compère, Pierre de la Rue, and Adrian Willaert. The one-voice-per-part forces of New York Polyphony may be an obstacle for some, inasmuch as this is not how Josquin was meant to be performed; the group's singing has a madrigalesque quality, and that's not everyone's cup of tea, but this might be the album to check out for those who have been wanting to sample New York Polyphony's work. Another attraction is BIS's sound, captured in Princeton Abbey in New Jersey; it's entirely distinct from that of the big English chapels where most recordings this repertory are made, and it's absorbingly inward.

– AllMusicGuide.com (James Manheim)

The four member, standard setting chamber vocal ensemble New York Polyphony continues to transfix listeners with their pure, dynamically balanced and deeply expressive a cappella singing. It's hard to believe how a group of only four male voices can sound like much more than the sum of its parts. Regardless of which century the members of New York Polyphony happen to explore at any given moment, you can sense their deep respect and understanding of both the text and music at all times. Their perfectly matched voices create a sonic canopy akin to the nave of a gothic cathedral, with audio engineering to match. Guaranteed you will feel the urge to listen to this recording many times over.

– Classical Music Sentinel (Jean-Yves Duperron, 2021)

The St. Matthew Passion by Johann Sebastian Bach is one of the greatest works in the history of music. Whenever I study this epochal composition, I always ask myself the question: How can a work of music, which is performed each year in thousands of performances, has been scientifically and artistically interpreted for decades, and worshiped for centuries, remain a new, contemporary, and at the same time universal and supreme idea? It can be achieved if that which is defined as established and comprehensive, and appears or is accepted as unshakeable, is set in motion without capping the connections to the work itself and it's musical- historical, intellectual and theological foundations. Says Hans-Christoph Rademann about one of the monumental sacred works of music history. In November 2020, Rademann and the Gaechinger Cantorey ensemble and chorus, together with an extraordinary group of soloists, set out to lend a new and fresh perspective to Bach's timeless masterpiece of raging choirs, intimate chorales, and emotionally charged arias, which, with it's drama and pictorial quality, allows the listener to experience the well-known Passion story again and again as something completely new and unheard-of.

Spring Garden celebrates the abundant musical seeds planted more than a century ago by Igor Stravinsky in the Rite of Spring. Danko’s liner notes reveal his long-standing fascination with Stravinsky’s masterpiece and details involved in the creation and recording of this ambitious project. “While he has arrived at his own sound, there's still a sense of adventurousness and discovery about Danko's approach to music …. Danko is fundamentally a deeply lyrical and swinging pianist, who combines the virtues of inside and outside playing, and he is still perfecting his music, learning new ways of approaching it. It's a process that started long time ago.” (Jakob Baekgaard - AAJ)

Another SteepleChase debut album this month is by a New York-based young and upcoming tenor saxophonist Anthony Ferrara. Ferrara while still studying at NYU in Steinhard’s Jazz Studies Program participated in the veteran bassist and his teacher Ron McClure’s highly acclaimed 2019 recording session (SCCD 31877 Lucky Sunday). He was invited to record his own album for SteepleChase and the recording session was scheduled April 14, 2020. Then the pandemic hit NY and the world. The session materialized finally November 21. Ferrara used the pandemic downtime to prepare this outstanding first leader release. McClure noted on the album’s linernotes, “Anthony Ferrara’s music speaks for itself. Early Spring is a testimony to his deep respect for and knowledge of his predecessors on the tenor saxophone as well as the maturity and confidence this body of work defines at age 23.”.

Boris Bloch writes: “This release is called "Aveu passionné.” On the one hand because of the Tchaikovsky piece with the same title (in English "Passionate Confession"), on the other hand because of my deepest connection to Russian music, especially Russian opera, and last but not least because of my great love for the singer Galina Vischnevskaya. It may not seem obvious at first glance, but on closer inspection of the pieces selected here, this connection can be better understood. For Borodin, Mussorgsky, Rimsky-Korsakov, but also Glinka and Tchaikovsky are first and foremost opera composers. Every time I perform their music on the piano, the whole cosmos of their operas is before my eyes. Since I have been fortunate enough to conduct some of these great operas myself - for example, Glinka's "Life for the Tsar", Dargomyshsky's "The Stone Guest", Mussorgsky's "Boris Godunov", Borodin's "Prince Igor", as well as some operas by Rimsky-Korsakov and Tchaikovsky - they form for me the elixir of life that always fires my imagination.”

In contrast to the St. Matthew Passion, Bach repeatedly changed and supplemented parts of the St. John Passion, but apparently never found a final version. The earlier parts in particular have their charm: less sublime in tone, but more spontaneous, angular and intimate. "In its more intimate tone, the second version of the St. John Passion of 1725 seemed to us to be ideal for a recording which, without a conductor, is controlled entirely from the inner life of the musical lines, from listening to one another, in the giving and taking of spontaneous ideas". So much for the Ensemble Wunderkammer, which certainly lives up to its name and even with Bach still finds something unheard-of.

The starting point for Barbara Hannigan’s third recording for Alpha is a work by Gérard Grisey (1946-98) that is particularly close to her heart. Grisey wrote: ‘I conceived the Quatre Chants pour franchir le seuil [Four songs for crossing the threshold] as a musical meditation on death in four parts: the death of the angel, the death of civilization, the death of the voice and the death of humanity... The texts chosen belong to four civilizations (Christian, Egyptian, Greek, Mesopotamian) and have in common a fragmentary discourse on the inevitability of death.’ Luigi Nono (1924-90) was a politically engaged composer. His stunning monody Djamila Boupacha, a heart-rending cry for solo soprano, pays tribute to a freedom fighter tortured by French paratroopers during the Algerian war; Picasso also portrayed her in charcoal. Once again Barbara Hannigan both sings and directs this pair of twentieth-century works with her friends of the Ludwig Orchestra. She has chosen to couple them with a Classical symphony by the master of the genre, Joseph Haydn, which also deals with the theme of the Passion. Her interpretation is extremely intense and highly personal.

Winner of the 2020 GRAMMY award for Best Choral Performance and a nominee for Best Contemporary Classical Composition!

Richard Danielpour’s dramatic oratorio The Passion of Yeshua- a work which has evolved over the last 25 years- is an intensely personal telling of the final hours of Christ on Earth. It incorporates texts from the Hebrew Scriptures and the Christian gospels inspiring extraordinarily beautiful music that stresses the need for human compassion and forgiveness. Danielpour returns to the scale and majesty of Bach in the oratorio, creating choruses that are intense and powerful, and giving both Mary the mother of Jesus and Mary Magdalene a central place in a work of glowing spirituality. Conductor JoAnn Falletta considers The Passion of Yeshua to be “a classic for all time.”

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REVIEW:

Naxos’ world première recording of The Passion of Yeshua (2017) does full justice to Danielpour’s vision, thanks to the strong involvement and fine vocal talents of half a dozen soloists and the highly committed, knowing and knowledgeable conducting with which JoAnn Falletta shapes the performances of the UCLA Chamber Singers and the Buffalo Philharmonic Chorus and Orchestra.

– Infodad.com

The king of the violinists, lauded as "The fastest-fingered fiddler in the world" by The Daily Telegraph, the unique Roby Lakatos is back with a stunning new double album: La Passion! Entirely recorded live at the iconic Sydney Opera House, La Passion will allow music lovers to discover Gypsy supernatural violinist Roby Lakatos in an all new program including never previously recorded pieces such as Meadowlands (Songs of the Plains), the Flight of the Bumblebee, Valse Triste, Oblivion, Chiquilin, Those Were the Days, Du Schwarzer Zigeuner and many more gems new to Roby's discography. The second album is devoted to the most famous bits of Roby's repertoire with such beloved pieces as Two Guitars, Fire Dance, Black Eyes (Ochi Chornyje), Brahms Hungarian Dance No 5, Monti's Csardas... This album also features a phenomenal L'Alouette (The Lark) lasting more than twelve minutes and catching Roby Lakatos in a jubilatory improvisation. This recording will furthermore allow many listeners to discover an all rejuvenated Ensemble featuring an amazing array of young Hungarian musicians aged from only 19 to 25! La Passion captures the unique energy that emanates from Roby Lakatos' live performances. This double album constitutes a unique opportunity to immerse yourself in a world marked by musical freedom, warmth, matchless virtuosity and surprising repertoire ideas with long forgotten melodies set in totally new and original arrangements.

This month we are happy to present to you a great Passion oratorio that Johann Sebastian Bach in all likelihood pieced together for his last Passion service. He took a work by Carl Heinrich Graun, a composer whom he admired, and expanded it to produce a magnificent two-part Passion. To it he added compositions of his own authorship and others by his friend Georg Philipp Telemann. The result was a pasticcio, a new work consisting of set pieces. This practice was very common during Bach’s times. Both composers on whose works Bach drew were contemporary stars who did not at all object to this practice, especially since they occasionally operated in precisely the same way. The composer Georg Philipp Telemann saw no reason to complain about the reuse of his works. Although we do have quite a bit of background information about the Passion, the riddle surrounding it is only beginning to be solved. Accordingly, Bach scholarship can only hope that additional sources will be found and prove Johann Sebastian Bach’s authorship once and for all. The work perhaps even offers evidence pointing to one of his lost Passions, and it might even be his last Passion oratorio – which, as the current state of research knowledge sees things – can only have been written during the years following 1733.

'The Passion according to Mark-A Passion after Auschwitz,' premiered in April 2017. The project was commissioned to French composer Micha�l Levinas by the Swiss association "Musique pour un temps pr�sent", as part of the events commemorating the 500th anniversary of Luther's reform. This original oratorio is not only a reinterpretation or a mere revisitation of the Passion, it painfully faces, indeed, the irreconcilable nature of the Passion and the Holocaust. What is the object of this Passion after Auschwitz, which revolves around what can link two musical traditions, two religions that have been separated by barbarism. Which music, which tradition, which language can the composer use in order to express this double silence, both historical and theological, both human and divine? "After the Holocaust, is it possible to compose without crying and trembling?", Micha�l Levinas asks. It is not about anger or compassion. Because of the subtle polyphonies written for the chorus, the voices and the orchestra, and also because of the way the different languages - Old French, Yiddish, Aramaic, German - create meaning out of one another, both the structure and the musical language of this Passion are incredibly intricate. But they are so for a reason: by putting side by side western musical traditions and the tragic component of modern history, Levinas manages to "shake," during the artistic process, the future of the Holy Language and of the Gospel after Auschwitz. What separates therefore the Gospel of Mark from the Jewish prayer for the dead (Kaddish) or from the El male Rahamim, or from the two poems by Paul Celan ending the work, is not so much a question of representation, but more accurately it is a way to make the tragedy resound, without any artifice and without any safety net.

When Tora Augestad releases a musical portrait together with the Oslo Philharmonic, there's nothing less than Kurt Weill, Marcus Paus, and Charles Ives on the menu. Augestad's repertoire for "Portraying Passion" takes the musical qualities of modernist, individualistic composers and places them squarely within the context of the 21st century. Paus' contemporary composition enhances Ives' visionary dissonance as well as the contrasting melodic shifts of Weill's orchestrations, yet brings something entirely new to the table, with it's startling text and cabaretesque presentation. Parker and Brecht could just as well walk arm in arm down the conceptual pathway of understated satire, counterbalanced by the ethereal, transcendental text of Ives' songs, forming a complementary whole. Add Augestad's unique approach to these works into the equation, and the listener is served with a program certain to make them re-examine any former assumptions, and delight at the outcome. And therein lies the timeless dimension of this mezzo-soprano's considerable artistry. Tora Augestad is an artist equally at home in concert halls, theater and cabaret stages, and contemporary music arenas. Through commissioning new works and through collaboration with her various ensembles, she continuously seeks new challenges and the exchange of artistic ideas. Theatrically convincing with a compelling personality, her vocal capabilities defy easy classification.

Sir John Eliot Gardiner's personal curation of Easter Choral music inspired by his family's annual Easter Play at his home in Springhead, Dorset. A companion to the Monteverdi Choir's 1998 recording Once as I remember, which told the story of the Springhead Christmas Play. Structured around a series of tableaux, narrating through a combination of the different Gospel accounts, it is a dramatic retelling of the Resurrection story, employing disparate musical styles and frequent shifts of focus and perspective, all held together by the creative vision of a Dorset mother and her son. He writes: "This personal selection of music for Easter from the 11th to the 20th centuries tells the story of the Resurrection and Christ's appearances to his disciples. It is based on my experience of compiling and directing the music for a mimed Easter play, performed in village churches in Dorset every year between 1963 and 1984, the brainchild of my mother, Marabel Gardiner, to whose memory this recording is dedicated."