Although he had initially declined the commission, Delius was persuaded to write the incidental music for Hassan by the actor and director Basil Dean in July 1920, for performances he was planning for His Majesty’s Theatre, London, the following year. Much of the music was drafted within a few weeks, and the score would eventually prove one of the greatest successes of Delius’s career. Dean’s plans for the project encountered significant obstacles and delays, however, and he had to commission additional music from Delius to cover the production’s complex scene changes. The London première eventually took place on 20 September 1923 and was a critical sensation.

Flecker’s play is a sinuous double-narrative that intertwines the twin stories of the lovelorn but worldly-wise Hassan, confectioner at the court of the cruel and vindictive Caliph Haroun al Rashid (called Haroun ar Rashid in Flecker’s play), and the young lovers Pervaneh and Rafi, caught up in the aftermath of a failed uprising and condemned to a terrifying and brutally protracted death. In tone and setting, Flecker’s text drew on nineteenth-century English translations of One Thousand and One Nights as well as other heavily fictionalized accounts and travel literature. Very much a product of the racial and class-based attitudes of its time, the play revels in imaginary scenes of a despotic Eastern court and its gruesomely barbaric practices.

Contains Delius' most essential statements. Summer Night on the River, On Hearing the First Cuckoo, Brigg Fair and the Irmelin Prelude are simply magical in their effect, and Beecham's interpretations arise out of the depths of the music itself... passages such as the introduction to Brigg Fair, seem to be outside time, one yet again wonders at the poetic rightness of every nuance, the delicately exact textural balance. His identification with the composer is so complete that one is not sure whom to credit for some features... This (collection) must surely be recognised as a gem. Sleigh Ride and the Marche Caprice are entertaining enough, but all the rest are wonderful Delius - and conducted by someone who has remained the one and only Delius interpreter. Each performance is superb. (Gramophone)

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.

SOMM Recordings is delighted to release the next CD of it's ongoing, glowingly reviewed Beecham Collection. The label's initiative in issuing this collection is widely regarded by critics and music historians as a superb and invaluable endeavour. Focusing on live performances, radio broadcasts, and rare recordings-often featuring the Royal Philharmonic Orchestra-the series has been described as a "ground-breaking" enterprise that unearths "buried treasure" for enthusiasts of Sir Thomas Beecham. This 36th issue includes live performances from two of Beecham's last concerts in 1959 and 1960, as well as one from 1954. Once again, producer and audio restorer Lani Spahr 'has done wonders with the restoration,' to quote John Quinn, Music Web International. This release opens with two of Beecham's signature musical lollipops, which he described collectively as 'delightful little pieces.' By the River comes from the Florida Suite by Frederick Delius. Though written in Leipzig, the suite was inspired by Delius's sojourn on an orange plantation in Florida, where his father had sent him in a vain attempt to try to dissuade him from pursuing music. Beecham championed the suite, and this piece, recorded live at the Royal Festival Hall on 24 April 1960, is an especially poignant document, as it was taped at what turned out to be Beecham's last concert in London. The second of the four Symphonic Dances by Edvard Grieg is the earliest performance on this CD, recorded live at the Royal Festival Hall on 26 October 1954. Grieg noted on the title page of the autograph manuscript that the dances were 'based on Norwegian motifs,' and this second dance, marked Allegretto grazioso, was an especial favourite of Beecham. The works of Leonard Salzedo, an English composer of Spanish descent, include seventeen ballets, the most successful of which was The Witch Boy from 1956, based on the 'Ballad of Barbara Allan.' Beecham's exciting and clearly committed concert performance three years after the premiere was described on the programme as 'Scenes and Dances from the Ballet, The Witch Boy,' and this recording faithfully reproduces the section titles as they were printed in the original Royal Festival Hall programme on 14 November 1959. That performance also included the Symphony No. 3 by Pyotr Ilyich Tchaikovsky-his only completed symphony in a major key, and the only one with five movements instead of the traditional four. Nicknamed 'The Polish' after the Tempo di polacca marking of the fifth and last movement, it is a lighter work than his other symphonies and considered by some less masterful. Beecham never saw it that way, and he always made a persuasive case for the symphony. By the time of the present performance, he had been playing the 'Polish' symphony for decades, and his conducting reveals a deep engagement with the work.

SOMM Recordings is delighted to announce a thrilling first collaboration between long-time SOMM stablemates, baritone Roderick Williams and the Coull Quartet, joined by tenor James Gilchrist and soprano Sophie Bevan. With six world premiere recordings, On This Shining Night is a ravishing recital focusing revealingly on a 20th-century phenomenon: works for voice and string quartet. It takes its title from a James Agate setting by Samuel Barber (whose masterly "Dover Beach" is also heard), here in a sublime arrangement by Roderick Williams. Williams also provides arrangements of Barber’s "Sleep Now" and three Frederick Delius pieces from his Seven Songs from the Norwegian: the evocative "Twilight Fancies," vivacious "Young Venevil" and exotic "I-Brasil." They serve, as Robert Matthew-Walker’s erudite booklet notes observe, as companions to 11 songs by Delius’s close friend and associate, Peter Warlock, including the gentle intimacy of "Corpus Christi," the “mini-cantata” "Sorrow’s Lullaby," and unique free-recitative of "My gostly vader."

Composed for Williams and the Coull Quartet, Sally Beamish’s five-part Tree Carols offer striking, variegated settings of poems by Fiona Sampson in their premiere recording. Roderick Williams’ SOMM catalogue include the acclaimed three-volume Twelve Sets of English Lyrics by Hubert Parry (SOMMCD 257, 270, 272), Sally Beamish’s Four Songs from Hafez (Birdsong, SOMMCD 0633), and the classic English song cycles A Shropshire Lad and Maud (SOMMCD 0615), which MusicWeb International declared a “game changer… in terms of our appreciation of Arthur Somervell’s songs”. The Coull Quartet has recorded a wide repertoire for SOMM. Their recording of Nicholas Maw and Benjamin Britten quartets (SOMMCD 065) was a Gramophone Editor’s Choice and a BBC Music Magazine Benchmark Recording. Gramophone declared their recent SOMM release with Clélia Iruzun, Treasures from the New World, featuring piano quintets by Amy Beach and Henrique Oswald (SOMMCD 0609), “a delight”.

Guy Braunstein, who was concertmaster of the Berlin Philharmonic Orchestra for nearly fifteen years, pursues an international career as soloist, conductor and composer. His lifelong passion for the music of the Beatles led him to compose this suite for violin and orchestra which includes all the greatest hits of John Lennon, Paul McCartney and George Harrison, performed here with the Liege Royal Philharmonic under a longstanding musical partner, the Mexican conductor Alondra de la Parra. This large-scale rhapsody, based on a dozen Beatles songs, pays tribute to a group of musicians who were greatly influenced by Classical and Romantic composers. To accompany this first recording, two English works for violin and orchestra, The Lark Ascending by Ralph Vaughan Williams and the rarely performed Violin Concerto of Frederick Delius, which - like so many Beatles hits - was recorded at Abbey Road Studios in London!

I made my first public appearance as a soloist the same year I graduated and pursued advanced studies in Copenhagen with Emil Telmányi and in Berlin with Willy Hess from 1919 until 1921, and when I returned home, I succeeded in securing a position as a violinist in the Royal Danish Orchestra." But already not long afterwards in 1923 he presented himself as a candidate for the leader of the Berlin Philharmonic, which after the death of Artur Nikisch in the previous year now had Wilhelm Furtwängler as it's chief conductor. He won the position over 14 competitors and relates himself: "That was quite something for an enthusiastic young violinist! From the last desk of the second violinists on Kgs. Nytorv to the highly responsible first desk in Bernburger Strasse, enjoying a close working relationship with such a great figure as Wilhelm Furtwängler.

The year 2005 marked the bicentennial anniversary of Hans Christian Andersen's birth, whose's writing has been the treasury of the world. Internationally renowned tenor Poul Elming compiled an album of Lieder by great composers inspired Andersen's poetry.

This keenly anticipated album from Sinfonia of London and John Wilson features two of the greatest British works for string orchestra: Ralph Vaughan Williams’s Fantasia on a Theme by Thomas Tallis, and Sir Edward Elgar’s Introduction and Allegro. Elgar’s ground-breaking work, commissioned for the newly formed London Symphony Orchestra and premièred in 1905, is inspired by the baroque concerto grosso, and features a solo string quartet contrasted with the full symphonic string section. These orchestral forces were also adopted by Herbert Howells in his Concerto for String Orchestra, from 1938. Delius’s Late Swallows is the only piece not originally composed for string orchestra; it was arranged (from the slow movement of Delius’s String Quartet) by his amanuensis, Eric Fenby. Recorded in Surround Sound and available as a Hybrid SACD, and digitally in Spatial Audio.

REVIEW:

As ever, the brilliance of the playing makes this essential listening, the precision and attention to detail alive and exhilarating. The entire disc holds the listener in its grip, but the last movement of the Elgar, urgent and impassioned, has you on the edge of your seat: a tour de force.

-- Guardian (UK)

A MusicWeb International Recommended Recording

I think that this is tenth disc to be issued by Chandos in their series of recordings by The Sinfonia of London under John Wilson. All are Super Audio CDs recorded at 24 bit/96 kHz, and in order to appreciate the full glory of the sound, it is necessary to play them through an SACD player, although I hasten to add that they will reproduce at CD quality when played through a standard CD player. If you have multi-channel Hi-Fi, the extra fullness of surround sound can also be experienced.

Given that the Sinfonia of London was re-established in 2018 as a recording orchestra, staffed by top players from British and international ensembles, the superb ensemble playing is not surprising, and the Chandos recording engineers have given it the very fullest of service...A mildly reverberant acoustic provides a perfect cushion for the orchestra, and, as elsewhere, the strings in the vigorous outer movements of the Howells Concerto are splendid in their unanimity and fullness of tone. The necessarily less aggressive playing in the slow movement has a lovely bloom to the playing.

The disc closes with a fine performance of Elgar’s Introduction and Allegro, and as in the Tallis Fantasia, I soon became aware of the extremes of dynamic achieved. This lovely, utterly memorable work is so familiar that I just sat back and let it wash over me.

The presentation of the SACD is up to Chandos’ normal high standards, with a detailed analysis of the gestation and structure of each work (particularly of the Howells) and a history of the orchestra, accompanying a brief biography of John Wilson, all in English, French and German.

-- MusicWeb International (Jim Westhead)

Following the success of 10 Famous Cathedral Organs, this release Includes more Famous Cathedral organs with splendid sound. The Cathedrals are Westminster, Winchester, Salisbury, Hereford, Wells, Liverpool Anglican, St. Giles Edinburgh, Coventry and also King's College Chapel. Westminster Abbey, York Minster.

The String Quartet in E minor by Ethel Smyth, one of the most innovative and original figures in English music, has a masterful coherence and consistency. With eloquent writing for the viola in particular, it is both playful and reverential, and ends with a flourish – forthright, bold and uncompromising, like Smyth herself. Delius wrote the early String Quartet in 1888 but it was rejected for performance and he was later to reuse the Scherzo for his mature Quartet of 1916–19. In 2018 the score of the two opening movements of the 1888 Quartet, long assumed lost, reappeared at auction and have been edited and reunited with the final two in this premiere recording, which adds significantly to our understanding of Delius’s early compositional directions.

REVIEWS:

A Delius discovery is brought to life with compelling musicianship…The Villiers Quartet gives it a fine first recording, captured in warm and well-balanced sound.

-- The Strad

Full marks to the Villiers Quartet for bringing this new and challenging repertoire to life.

-- Gramophone

...what I like about this quartet very much is its questing nature – this is a kind of musical laboratory for Delius to test out ideas, nascent harmonies and textures that would define his mature music in the years ahead.

-- MusicWeb International

SOMM Recordings is delighted to announce the release of Gardens, Fables, Prisons, Dreams, eight first recordings of music by Penelope Thwaites paying homage to “the heroes, the witty wordsmiths, the dancers, the poets, and the visionaries; and two great composers” who have influenced her musical life. Thwaites is joined by fellow pianist Benjamin Frith for the exuberant six- part A Lambeth Garland, the enchanting eight-part retelling of Oscar Wilde’s fable The Selfish Giant and Thwaites’ arrangement of Delius’s In a Summer Garden, the first to be made for two pianos. She is heard with John Mills (violin) and Bozidar Vukotic (cello) on Vijay’s Fable, drawn from her culture-fusing score for Indian choreographer Vijaylakshmi Subramaniam, and the atmospheric Mazurka: au Tombeau de Chopin. The Tippett Quartet contribute three memorable performances: Jan Palach’s Theme, recalling the self-immolating student protestor against the Soviet Union’s 1968 invasion of Czechoslovakia; For Irina, a tribute to dissident Russian poet Irina Ratushinskaya who survived imprisonment but died of cancer in 2017; and with double bassist Laurence Ungless for To the Hills, a string quintet version of Thwaites’ earlier choral setting of Psalm 121. Since her 1974 London debut at Wigmore Hall, she has performed in more than 30 countries, and is internationally known as an acclaimed pianist and editor of The New Percy Grainger Companion (Boydell Press, 2010), the standard reference book on performing his music.

'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.