I have walked out of the body and into the mountain. I am a manifestation of it's total life, as is the starry saxifrage or the white-winged ptarmigan.' Plain Air is a musical response to one of the most extraordinary and celebrated works of nature writing in English, The Living Mountain by the Scottish writer Nan Shepherd. This 53-minute work places Shepherd's stunning, crystalline prose within an expansive and elemental musical landscape. Pianist Siwan Rhys (GBSR Duo) creates an environment of spacious stillness, surrounded by a halo of electronic tone, while singer Lucy Goddard (EXAUDI) retraces Shepherd's path, reciting her text simply as she goes deeper into the mountain world and into herself. Plain Air's slow unfolding across almost an hour of music creates a deeply immersive listening experience in which Shepherd's unique poetic voice, and the transcendental beauty and mystery of the Cairngorms, are vividly brought to life.

Philip Moore is a prolific British composer, who was organist and Master of the Music at York Minster for 25 years. Before moving to York he held posts at Guildford Cathedral, Canterbury Cathedral and Eton College. He retired from the York Minster in 2008 and was appointed Organist Emeritus. The Archbishop of York awarded him the Order of St William. Moore's sacred choral music is extremely popular with church choirs around the world. This recording features a number of works specially written for St Albans Cathedral Choir and the album also includes five premiere recordings.

Following a successful concert series of Felix Mendelssohn's complete organ works at St Paul's Cathedral in 2021, Samuel Bristow marks the 30th anniversary of the installation of the Mander organs at Chelmsford Cathedral by recording Mendelssohn's revolutionary set of Organ Sonatas, Op. 65. The sonatas contain such a wide breadth of moods and textures that an equally wide range of colours can be explored on both contrasting yet complementary instruments. This album acts as a testament to the completion of a unique musical vision, with Mendelssohn's music a perfectly fitting vehicle to celebrate their strengths.

Domenico Scarlatti is one of the few composers from the age of Bach and Handel, whose year of birth he shared, to have enjoyed continuous fame and the presence of his keyboard music in the general repertoire since his lifetime. Though Scarlatti wrote over 500 sonatas for keyboard there is a wide variety in these works. Some are deeply serious others are light and almost humorous. Some sound like courtly dances others like street songs. This ability to cover a wide range of styles and moods is one of the hallmarks of Scarlatti's work. Asako Ogawa has chosen a varied and uplifting collection for this present album, presented in superb sound.

Isabelle Aboulker is a well published composer and this release coincides with the 2018 score publication of Isabelle Aboulker: Mélodies Pour Voix Et Piano [Alphonse Leduc] an anthology of melodies for voice and piano including some of the Aboulker's most popular songs. The majority of these songs feature on this present recording. There is something for everyone in this collection of Isabelle Aboulker's most beautiful melodies: the passionate vocalises of Je t'aime sit alongside limpid fables by La Fontaine (The Crow and the Fox, The Lion in Old Age and more), while the unnerving eeriness of the merchant of souls in Au Marché de Saint-Paul contrasts with the light humor of the Savoir-vivre cycle, and the melancholy accents of Lettre d'amour make way for the irresistible charm of L'Inconstante. Isabelle's prosodic clarity and voluptuous focus on the evocative power of words speak of a deep attachment to the legacy of French song composers. In turn impetuous or melancholy, this thrilling music knows how to aim straight for the heart.

First Hand Records presents violinist Sasha Rozhdestvensky in the world premiere commercial recording of Shostakovich's unfinished Violin Sonata. This recording includes an extra 28 bars of a development section found in Shostakovich's original manuscript that does not appear in the published score, and is completed by an eleven-bar coda written by conductor Gennady Rozhdestvensky. The work is coupled with the Violin Sonata Op. 43. The program also contains world premiere commercial recordings of Shostakovich's Andantino from the String Quartet No.4, his piano duet arrangement of Stravinsky's Symphony of Psalms and his chamber transcription of Gaetano Braga's La Serenata.

Classical Music

This historical release from First Hand features two major English orchestras and two acclaimed conductors in stereo recordings from the late 1950s, offered here for the first time on CD and for the first time ever in stereo. The recordings were transferred using original analogue session and master tapes from the EMI archive. The program includes American conductor Thomas Schippers leading the Philharmonia Orchestra in Tchaikovsky's Symphony No. 4, and English conductor Sir Eugene Goossens leading the orchestra in Scriabin's Reverie in the first recording of a Scriabin work ever made by a British orchestra. To conclude the disc, Goossens leads the Pro Arte Orchestra in Prokofiev's Symphony No. 1.

This album gives a fascinating glimpse into courtly life during the reign of Queen Elizabeth I. It features music by the great William Byrd, Anthony Holborne and Alfonso Ferrabosco II, the beautiful Lachrymæ pavane by John Dowland and lively dance music by Thomas Morley as well as works by lesser known composers Elway Bevin and Hugh Aston. All of this sparkling music is performed here by The Flautadors on a beautiful renaissance consort of recorders made by Thomas Prescott after 16th century instruments in the Vienna Kunsthistorisches Museum.

Classical Music

Classical Music

Classical Music

This release is the first volume in a series of new recordings in which the illustrious pianist Roman Rabinovich will record all of the piano sonatas written by Haydn for FHR. Haydn was a prominent and prolific Austrian composer of the Classical period and composed 62 keyboard sonatas. Written over a 40 year period or so, and displaying a variety of styles, the earlier sonatas were written for harpsichord and the last for the newly developed hammer-action fortepiano. Rabinovich is a brilliant interpreter of Haydn. Indeed, The New York Times hailed Rabinovich’s Haydn performances as ‘admirable interpretations, performed with a rich, full-blooded sound, singing lines and witty dexterity’. Each album will feature artwork illustrated by the pianist. Rabinovich has earned critical praise for his explorations of the piano music of Haydn, which include his 42 sonata cycle at the 2018 Bath International Festival. Rabinovich has performed throughout Europe and the United States in venues such as London’s Wigmore Hall, Leipzig’s Gewandhaus, the Great Hall of the Moscow Conservatory, and the Millennium Stage of Kennedy Center in Washington DC. Lauded as ‘a master of tone-color’ (International Piano, 2018), Rabinovich made his Israel Philharmonic début under the baton of Zubin Mehta at age ten. He was a top prize winner at the 12th Arthur Rubinstein International Piano Master Competition in 2008.

Brigitte Fassbaender said: ‘Gundula Janowitz possesses one of those voices where you have only to hear a couple of notes and you immediately know who it is. Her elegant timbre and unmistakably instrumental way of forming the phrases is unique.’ Few singers have voices that approach the purity of Janowitz’s: with its very fast vibrato and ‘white’ production, the focused sound can soar, swoop and dip with astonishing ease and control, the vocal line becoming almost liquefied into a seemingly endless melisma. Janowitz’s recorded catalogue, tends to misrepresent the focus of her career because it downplays her work as a recitalist. Of course, she did tape all of Schubert’s songs for high voice but apart from a couple of late song recitals and a disc of Hindemith’s Das Marienleben, that is all we have to remember her by as a performer of song. So this album will be a welcome addition to her discography. For her Athens recital, Janowitz chose two composers absolutely at the centre of her song repertoire, Franz Schubert and Richard Strauss, with a third, Robert Schumann, forming a bridge between the two.

This beautiful new release is a live recording of Tatyana Nikolayeva’s 1989 Herodes Atticus Odeon Recital, and this is the first time the recording from that even has ever been published. Russian pianist Tatyana Nikolayeva was the greatest Bach performer of her generation, as well as an undisputed authority on the piano music of Dmitri Shostakovich. This recital was made in an open-air venue, and displays Nikolayeva’s impeccable technique and her interpretive sensitivity. Her chosen repertoire crosses genres and periods, and includes works from Bach, Prokofiev, Mussorgsky, Schumann, and more.

Classical Music

The Secret Life of Carols brings together a mixture of the earliest medieval English carols and traditional carols from across Europe. The title is inspired by the fact that many carols have intertwined roots, dating back centuries, often to the Middle Ages, with melodies being adapted and reinvented, and new sets of words written. In the Middle Ages the term "carol" didn't have the same meaning as today. It was merely an indication of the form of the piece which would start and end with a chorus (named a burden) and would be interspersed with verses which told the story. The word carol is derived from the Old French word carole, a circle dance accompanied by singers. Several medieval carols including The Coventry Carol and There is No Rose are also still sung in modern arrangements at Christmas carol concerts and church services across the country. And indeed these early English carols are very much "for the people". The programme on this album includes a selection of traditional carols from across Europe. Many, like the Burgundian carol Patapan, have roots going back centuries, some as far back as the Middle Ages. There is also a personal dimension to the choice of carols, drawing on three of the roots of the performers on the album- Finnish, German and Irish roots to include several carols which are not well known in the UK.

Gyorgy Sebok (1922-1999) was a Hungarian-born American pianist who was also renowned as a teacher and giver of masterclasses. He made more than 16 recordings for the Erato label as a soloist early on in his career. He has received countless honors and awards throughout his career in recognition of musical life. His fellow Hungarian pianist Livia Rev said of him: “one of the greatest pianists in the second half of the century, if not the greatest.” Cellist Janos Starker, with whom Sebok played for more than six decades, pulled even fewer punches: “First hand, second hand, or in recordings, Gyorgy Sebok is the greatest pianist who ever lived,” and also “one of the greatest teachers of all time.” This live recording was made at the 1991 Grange de Meslay Recital, Parcay-Meslay, France.

Since their first concert together in 2011, Polish oboist Monika Dawidek and English guitarist Russell Poyner have captivated audiences with their energy, vitality and charming interaction on stage. In this, their debut album, the German-based Dawidek-Poyner Duo presents a delightful program of Latin American classics, including the popular Libertango by Astor Piazzolla. Interspersed between the duo tracks, Poyner performs a selection of favorite South American works for solo guitar.

Classical Music

John Dowland (1563–1626) is recognized as the greatest English composer of lute music and songs. Michael Butten presents a collection of the composer’s most popular and beautiful songs arranged for the classical guitar. A whole album of Dowland performed on classical guitar is rare, usually heard on the lute, so FHR are pleased to be able to present this release. In this recording, Butten plays with a very beautiful sound, incredible colors, lovely melodic phrasing and immaculate control of tone, which draws you right in. This is a spellbinding album, wonderfully recorded. Born in Berkshire, Michael Butten studied at Junior Academy, where he twice won the Lower Strings Prize, before being awarded a scholarship at the Academy to continue his studies with Michael Lewin. In his first year he won the Julian Bream Prize, adjudicated by Julian Bream, and, shortly afterwards, gained the Nervi/Bodrato Prize as the youngest semi-finalist at the Michele Pittaluga Guitar Competition in Alessandria. On completing his BMus degree with first class honours, he received from the Academy one of the Regency Awards for Notable Achievement and in June 2014, as a postgraduate with a scholarship from Help Musicians UK, he became the first guitarist ever to win the R.A.M. Club Prize. He was the 1st prize winner at the 2016 Ivor Mairants Guitar Award, and is a Yeoman of the Worshipful Company of Musicians. Upon leaving the Academy in 2016 he also won the David Russell Prize.

Classical Music

Howard Skempton was born in Chester in 1947 and has worked as a composer, accordionist and music publisher. He studied in London with Cornelius Cardew which helped him to discover a musical language of great simplicity. Since then he has continued to write undeflected by compositional trends, producing a corpus of more than 300 works- many pieces being miniatures for solo piano or accordion. Skempton calls these pieces ‘the central nervous system’ of his work. His catalogue of works is as diverse as it is long, ranging from pieces for solo cello and guitar to the Chamber Concerto for fifteen players, the Concerto for Hurdy-Gurdy and Percussion, and Lento, premiered by the BBC Symphony Orchestra in 1991. His works are performed on this new release by Ensemble 360 alongside pianist Tim Horton, and vocalists Roderick Williams and James Gilchrist.

Of arms and a woman is a chronicle of love, loss, chivalry and memory built around the late medieval wind music of Dufay, Binchois, Ciconia, Landini and Machaut, performed on shawms, slide trumpet, recorders, sackbut, bagpipes and percussion. The album is inspired by the writing of Christine de Pisan, whose work touched on every aspect of courtly life, from romantic poetry to military strategy and feminist critiques of the position of women in society. It includes rousing calls to battle, arresting love songs, and the heartbreakingly beautiful Dueil angoisseux, the only contemporary musical setting of any of de Pisan's poems. Blondel performs ceremonial fanfares and intimate chansons, dances and theatre music on reconstructions of historical instruments.