Following from Ash Wednesday, this album is the second live Evensong album from the Choir of St John’s College, Cambridge and marks the next great season of the Church’s Year, Eastertide. This celebration of Jesus’s resurrection also initially spans forty days, taking us up to Ascension Day, and culminates on the fiftieth day with the Feast of Pentecost. Where the previous album reflected the tradition of using no organ from Ash Wednesday until the Gloria of the Easter Vigil, the instrument is fully utilized here by the Chapel’s organ scholars Glen Dempsey and James Anderson Besant. The Choir of St John’s College, Cambridge is one of the finest collegiate choirs in the world, known and loved by millions from its broadcasts, concert tours and recordings. Founded in the 1670s, the Choir is known for its distinctive rich, warm sound, its expressive interpretations and its breadth of repertoire. Alongside these musical characteristics, the Choir is particularly proud of its happy, relaxed and mutually supportive atmosphere.

Mixing iconic choral works with music by some of today's most exciting composers, this varied programme is centred around themes of rest. Joel Thompson's virtuosic new work is a particular highlight: written in 15 parts, A Prayer for Deliverance perfectly showcases Tenebrae's core values of passion and precision. The second half features Herbert Howells' Requiem - surely one of the most moving works in the English choral repertoire. Associated with the untimely death of Howells' young son Michael, the work remained unknown until it was finally published just three years before Howells' own death in 1983.

Imperial College Chamber Choir and conductor Patrick Allies present This Place, a beautifully-curated programme of choral works exploring themes of home, belonging, spiritual refuge, love, respite and peace. While the theme relates principally to the repertoire, it also acknowledges the chamber choir's own position within Imperial College London, and the musical home that it's members find in the choir.

“Inspirations and imaginings, evolving, changing English usage, landscapes, friendships and passings lie behind this album... Loosely, the songs we’ve selected embrace multiple interpre- tations and nuances of ‘divine’. As well as, I could argue, that sentiment of English song and English speaking composers embodying the [Blake/Parry] ‘Jerusalem-Builded-Here’ trope. The world I came from (singing in choir stalls), along with how countertenors are perceived generally, has been hard to escape. So here perhaps I’m taking on the challenge. As well as an opportunity to include songs written for me that for some while I’ve been needing to put down on disc.” (Iestyn Davies) ‘Divine Music’ marks Iestyn Davies’ third recital album on Signum Classics. The ‘Four Songs’ (Purcell/ Adès), Spoons Aria (Adès), Four Traditional Songs and Old Bones (Muhly) are world premiere recordings. Muhly’s Four Traditional Songs were also written dedicated to Iestyn Davies.

REVIEW:

It’s lovely to hear Butterworth’s Shropshire Lad songs in this pairing, a countertenor voice adding a wan fragility to ‘Is my team ploughing?’ and a wistful sense of perpetual youth and innocence to ‘The lads in their hundreds’.

-- Gramophone

The award-winning East Carolina University Chamber Singers, under the direction of James Franklin, perform a nuanced musical meditation of hopeful celebration and comfort. The album represents a journey through a period of silence; isolation gives way to the sounds of voices singing.

Previously released on The Gift of Music label. David Hill is widely respected as a choral conductor. This album features music for Advent, Christmas and Epiphany for mixed voice choirs, blending the old (O come, o come, Emmanuel; Coventry Carol) and the new (Eric Whitacre’s Lux aurumque), in a superb celebration of the festive season.

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

Continuing their Magnificat series, and the last album of Andrew Nethsingha's tenure as director, The Choir of St John's College Cambridge present Magnificat 4 with works from composers including Judith Weir, Jonathan Dove, Joanna Forbes L'Estrange and Charles Villiers Stanford. The album also features 'Magnificat & Nunc Dimittis' by Piers Connor Kennedy, commissioned for the choir.

The Book of Psalms is an ancient corpus of 150 texts exploring thanksgiving, lamentation, penitence, and spirituality, which have significantly influenced mythical and secular poetry. Including several premiere recordings, this album features well-loved settings of these treasured words, together with fresh compositions by emerging composers.

SOMM Recordings is proud to present The Mira Ensemble, taking it's name from the Latin word meaning "wonderful" or "admirable" and comprising professional singers from across the UK. The group was founded in 2025 to champion the extensive, yet little known and often-neglected body of music for upper voices. Their debut disc focuses on the upper-voices repertoire by Herbert Howells, and it features entirely premiere recordings that shine a light on a rarely discussed part of his output. The ensemble is directed by Newcastle-born conductor, composer, academic, editor, and orchestrator Tom Edney. They're accompanied by pianist Nick Salwey, who has performed live on BBC Radio 3, ITV, Channel 4, and Classic FM. Nick taught at Oxford, Eton College, and Winchester College, where he was Head of Piano from 2005 to 2025, and where he continues to teach and work as accompanist. Herbert Howells (1892-1983) composed a significant body of lyrical, often pastoral partsongs characterized by rich harmony and expressive text-setting. Early partsongs featured on this disc include The Shepherd, a setting of William Blake; A Croon from an old cradle song; An Old Man's Lullaby by Elizabethan Thomas Dekker; and A Tinker's Song, an anonymous old London song from 1667. Two unison songs from the 1920s-an old rhyme The Wonderful Derby Ram and a Spanish Lullaby-hint at Howells's own childhood singing experiences. A Golden Lullaby is another setting of An Old Man's Lullaby by Dekker, and Howells's different approaches to voicing are striking. My Master Hath a Garden, on an anonymous text, reflects the influence of Gustav Holst, while the old rhyme Sing Ivy evokes some of Holst's folk song arrangements-though it shifts midway to a sound reminiscent of Tudor keyboard music. Howells's interest in dance forms grew from his fascination with English Tudor music, and he adopted a Sarabande in setting a text by the late-Elizabethan Thomas Campion, Tune thy Music. In the early 1930s, Howells dedicated a setting of one of Walter de la Mare's miniatures, Bunches of Grapes, to his two children. In similarly light-hearted vein, Sea Urchins with texts by Gladys Balcomb describes a seaside holiday across ten movements. Two poetic meditations on Elizabeth texts-Sweet Content by Robert Greene and To Music Bent by Campion-also come from this decade. Howells lost his nine-year-old son to polio in 1935, and Piping down the Valleys Wild-William Blake's depiction of a divine child asking the piper to continue to play-is the bittersweet offering of a grieving parent. Howells composed fewer upper-voices partsongs after the Second World War. Featured among these are The Key of the Kingdom, another de la Mare text adapted from an old rhyme; Pink Almond, with a text by the Irish writer Katharine Tynan, in Sarabande form; and the delightful A Christmas Carol, to a text by 17th century writer George Wither, composed on Christmas Day in 1957.

In the first volume of this series (Naxos 8571382), Matthew Schellhorn surveyed six decades of Herbert Howells’ compositions for the piano. This second volume reprises the journey, tracing the composer’s stylistic development from the charming poetic miniatures of his youth through to the resonant modal quirkiness of his later dances. The survey includes a centrally important work, the Sonatina of 1971, performed here in Schellhorn’s own edition compiled from the manuscript sources, which includes variants not heard for half a century.

REVIEW:

Howells is renowned for his choral and organ music. His piano music is less well known and these releases are very welcome. As in the first volume Matthew Schellhorn surveys this music over the whole of Howells’ career. Mostly miniatures, there is much to enjoy here and it is interesting to see the development in compositional style throughout. The CD ends with the longest work, his 1971 Sonatina and also includes A Little Book of Dances from 1928. Beautiful performances of this well crafted music in what are, incredibly, almost exclusively world premiere recordings.

-- Lark Reviews (Stephan Page)

SOMM Recordings is thrilled to announce an exciting new album from the London Chamber Ensemble and violinist and director Madeleine Mitchell of premiere recordings of early 20th century English string music by Herbert Howells and his Royal College of Music teacher Charles Wood, including the recently discovered earlier version of "In Gloucestershire", thought lost, alongside two delightful short pieces, Luchinushka and Chosen Tune, newly arranged by Madeleine Mitchell. Herbert Howells first composed a string quartet entitled "In Gloucestershire" in 1916, though the score was immediately lost. He began re-composing the work a few years later before announcing it's completion in 1920. Following early performances and revisions, this version also disappeared. However, in the 1980s it emerged that a set of parts of the original 1920 version had survived, and it is this version, newly constructed and edited by the author of the booklet notes, Jonathan Clinch, and cellist Joseph Spooner who also features on this disc. Howell's Three Pieces for Violin and Piano, Op. 28 is also from this same period. The title of No. 2, "Chosen Tune", refers to Chosen Hill, Howell's birthplace near Gloucester, which affords beautiful views of the surrounding countryside where he enjoyed walking. Mitchell first performed these three pieces at the St. Petersburg Festival of British Music in 2009. Having played the Three Pieces... in many countries since 2009, Mitchell arranged two of these, "Chosen Tune" and "Luchinushka" for a quartet program to be given at a Victoria and Albert Museum exhibition in London in January of 2022. The Charles Wood Quartet in D major was his last string quartet and most likely composed during the years of the First World War after the premiere of his Quartet in F major on 7 March 1916. This well crafted work incorporates Irish jigs, folk tunes and laments which reflect both his Irish roots and the growing sense of nationalism celebrating British Music during the period. Woods' music, along with many other early 20th century writers of tonal music, fell out of fashion during the decades that followed, but as this recording shows, SOMM considers the music very well worth re-discovering and plans to record Wood's remaining five numbered quartets in future.