Classical Music

The Fitzwilliam String Quartet celebrates a remarkable milestone with this special fiftieth anniversary recording of Shostakovich’s last three string quartets. Fittingly, this landmark recording will look back to the music which first propelled the Fitzwilliam to international prominence. Shostakovich entrusted the Fitzwilliam with the western premieres of his last three quartets (Nos. 13, 14, 15), and before long they had become the first ever group to perform and record all fifteen, winning many international awards along the way. The highly innovative String Quartet No.13 is notable for its unique single-movement form and the virtuosic viola writing, which shines a spotlight on founding member Alan George. No.14, despite its twelve-tone structure, is perhaps the most accessible of Shostakovich’s late quartets with a wealth of identifiable melodies. The six movements of No.15 are profoundly melancholic and intimate, with the composer’s obsession with death a clear influence. The Fitzwilliam’s pre-eminence in the interpretation of these works has persisted: Benjamin Britten reported after Shostakovich’s death in 1975 that the composer had told him the Fitzwilliam were his ‘preferred performers of my quartets’.

Opus 2 & 4: Chamber Sonatas is the third in The Avison Ensemble’s celebration of Corelli’s chamber music and the fifth album in their critically acclaimed series of recordings with Linn. Released to mark the 300th anniversary of the death of the composer, the ensemble’s greatly anticipated series explores the six opera of the eminent Italian’s chamber music: the concerti grossi, violin sonatas, chamber sonatas and church sonatas. Popular since their publication, Corelli’s two sets of chamber sonatas are a pinnacle of Baroque Italian instrumental music. They demonstrate a superior level of craftsmanship; they are of the highest quality, exquisitely refined and a good example of perfection in music. Corelli’s contribution to the history of violin performance was immense: all six of his published collections of instrumental music demonstrate his exceptional skill as a violinist and composer, but it was in his chamber sonatas that he first used what was to be known as the ‘Corelli clash’.

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REVIEWS:

These performances occupy fresh ground. Beznosiuk and the Avison Ensemble have clearly given much thought and attention to their performances: beautifully understated, and allowing the music to speak for itself.

– Gramophone

The Avison Ensemble captures their essence in graceful, finely controlled performances - by turns lyrical, fleet, playful, imbued with an effortless style that eschews mannerisms and fireworks but rather lets the music speak for itself. The string sound is silky and clean; the ensemble neat and subtly articulated.

– BBC Music Magazine

"Cappella Nova present illuminating performances which perfectly capture MacMillan's profound sense of the sacred, but here the sense of looking back over the centuries is especially strong...[an] essential addition to the rapidly growing discography of one of Britain's most self-assured musical voices."

- Gramophone, February 13, 2012

Aside from being very rewarding to sing, James Macmillan's religious music makes such a refreshing change from what's usually offered in churches today. Approachable without being apologetic, emotional but with a sense of dignity, the best of these works can both delight and challenge. Wonderful surprises, like the string quartet's seagull effects in Who are these Angels?, or the Gesualdo-like harmonic shifts in Pascha nostrum immolatus est, rub shoulders with music that matches the unselfconscious directness of folk or even pop music - MacMillan's early experience in folk bands has done him no harm at all. At the same time, it must be stressed that we are worlds away here from the limply syncopated pseudo-pop that the church often seems to think will entice the people back into the pews.

The backbone of this programme is the second set of Strathclyde Motets, and this is where you'll generally find the most absorbing music. The Mass of Blessed John Henry Newman strikes this listener as a little more functionally liturgical - effective enough in context, but relatively short on the kind of ideas that make you catch your breath. At the other end of the scale is the simple but touching Think of how God loves you, written for the baptism of the composer's granddaughter. (James MacMillan a grandfather? Older readers take a deep breath!) Everything is performed with elegance and the requisite intensity., and the recordings are clear and atmospheric.

- Stephen Johnson, BBC Music Magazine, March 1, 2012

This disc is a follow-up to the very fine 2007 Cappella Nova CD which included the first set of James MacMillan’s Strathclyde Motets. It contains the second and final set of seven motets. Most of the music here is of fairly recent vintage and the majority is designed for use in the Roman Catholic liturgy. That includes the short Mass of Blessed John Henry Newman. This sets the words from the new English translation of the Mass which the Roman Catholic Church brought into use towards the end of 2011. MacMillan says in the booklet that he is “really excited” by this new translation; well, he and I will have to differ there but it’s good that he’s moving quickly to compose some worthwhile music to fit the new words. Listeners should bear in mind that the mainly unison music has been specifically designed for congregational participation. That doesn’t mean that it’s in any way simplistic; I should think the average congregation would need to do a bit of work to master it but the effort would be worthwhile.

The remaining music is specifically to be sung by a choir. I was struck by Tota pulchra es. MacMillan’s response to this Marian text is like no other that I’ve heard. Most are gentle and prayerful or implicitly feminine in tone. MacMillan, by contrast, has composed a surprisingly dramatic, urgent piece. In his setting the devotion to Mary is exciting and fervent and Alan Tavener and his expert choir give it a thrillingly affirmative performance. Another fervent piece is the Easter proclamation Pascha nostrum immolatus est. Indeed, here the fervour is evident even when the music is quieter in tone.

O Radiant Dawn is about the only piece on the disc that I’ve heard previously. It’s become quite popular and I’m not surprised. It’s very attractive and its harmonic language is pretty straightforward. The music has an obvious – and beneficial – indebtedness to O nata lux by Tallis.

Os mutorum is one of the pieces on the disc that’s not specifically for liturgical use. This is an interesting piece which is sung by Canty, a four-voice female ensemble which is a spin-off from Cappella Nova. Rather like Anonymous 4 these ladies specialise in medieval music but they also do quite a bit of music of our own time. Here they sing with a regular collaborator, William Taylor, a specialist in the performance of ancient harp music. MacMillan’s piece is chaste and pure in tone. The textures are spare and the music moves slowly. It’s most effective. And lo, the Angel of the Lord was designed for performance by a group resourced to sing multi-part or antiphonal music; in this case the Birmingham-based Ex Cathedra. The piece sets the passage from St Luke’s Gospel in which the Angels announce the birth of Christ to the shepherds. The writing is imaginative and evocative, especially what I can only describe as the choral fireworks at the words “Glory to God in the highest”. This splendid piece is sung tremendously well by Cappella Nova.

I was intrigued to hear what MacMillan would do with John Donne’s wonderful lines in Bring us, O Lord. Sir William Harris is the exemplar here with his glorious setting of the same words. MacMillan’s music is very different and yet … to my ears he achieves the same ambience of longing and quiet intensity. I admire this piece very much indeed.

I’m not quite sure what I make of Who are these Angels? Although the piece is dated 2009 it appears that elements of it go back to when the composer was just seventeen. The new work into which he’s incorporated that early music is rather strange. There are three strands. The male voices declaim passages in Latin – the teenage music, if you like – while the ladies sing a simpler refrain in English. The third strand is provided by the string quartet whose music is mainly quiet and discreet. The c losing moments feature the quartet alone playing strange, high glissandi which, it is suggested in the notes, sound like bird cries.

This is an absorbing disc. It is full of interest and I admire greatly the way in which the composer responds to the words he is setting. Through his music he enriches and enhances them – as a good musical setting of words always should. We are challenged at times but it’s always accessible. The music is superbly performed by Cappella Nova and the recorded sound is excellent, as you’d expect from this label. As with the earlier release, the booklet notes take the form of a very interesting conversation between MacMillan and Rebecca Tavener. I suspect many of these pieces are receiving their first recordings here.

-- John Quinn, MusicWeb International

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Widely acclaimed as one of the finest recordings of Claire Martin's career, Too Much in Love to Care (Claire Martin sings with Kenny Barron) was named 'Best New Album' at the 2013 British Jazz Awards and 'One of the Best Albums of 2012' by Jazz History Online. Upon it's release, Too Much in Love to Care received several five star reviews with Jazz Times describing her vocal talent equal to that of Ella Fitzgerald and Shirley Horn, two of Claire's idols. Too Much in Love to Care is a collection of classic romantic songs and beautiful ballads from The Great American Songbook including Gershwin's Embraceable You and How Long Has This Been Going On? and the title track from Sunset Boulevard. Too Much in Love to Care was recorded in New York and guest stars Kenny Barron, 'one of the top jazz pianists in the world' (LA Times) alongside bassist Peter Washington and drummer Kenny Washington. The chemistry was immediate and many of the tracks were recorded in just one take, remarkable as it was the first time Claire and Kenny had played together.

Full of challenges, from the pioneering mathematical influences, to unusual notation and virtuosic performance requirements, many classify Xenakis' compositions as unplayable, but KUNIKO's unrivalled prowess sees her perfectly realise the composer's vision. Pléïades explores a rich variety of percussive sounds and textures; marimba, vibraphone, xylophone, xylo-marimba and drums create a sound world of rhythmic complexity and vibrant colours. Uniquely, Pléïades also requires a SIXXEN, an instrument designed by Xenakis and customised by KUNIKO, who hand-selected 120 metal bars to craft the perfect sound.

Since becoming a percussion soloist, Rebonds is a piece that KUNIKO has been playing and performing throughout her entire career. After hearing this performance of Xenakis' popular piece, renowned percussionist Sylvio Gualda congratulated KUNIKO on her ‘marvellous' interpretation.

Ensemble Marsyas' recording of Johann Fasch's finest chamber music demonstrates why the man and his music were so appreciated in his own lifetime. Founding member Peter Whelan and "the queen of the recorder" (BBC Radio 3) Pamela Thorby are the soloists challenged with meeting the virtuoso demands of this engaging music. The four-movement Quartet in B flat major for recorder, oboe, violin and continuo is among one of Fasch's most popular works; full of catchy tunes and contrapuntal ingenuity in equal measure, virtuosity is demanded from all concerned. The Concerto in F major for recorder and strings was only recently attributed to Fasch. It is full of characteristic Fasch-isms and of the same dramatic quasi-recitative style as his Bassoon Concerto. Upon release Fasch: Quartets and Concertos was named a Chamber Choice by BBC Music Magazine and awarded the maximum five stars for both Performance and Recording.

Following his acclaimed Linn debut, One Byrde in Hande, Richard Egarr turns to the music of Jan Pieterszoon Sweelinck for his new recording of fantasias, toccatas and variations. As well as being a notable composer Sweelinck was a skilled improviser and keyboard virtuoso whose knowledge of the stylistic innovations of his English contemporaries, such as Byrd and Morley, was evident in his work. Egarr performs on a harpsichord designed after Ruckers (1638); it's strict �-comma meantone tuning highlights the amazing chromaticism present in Sweelinck's music. This is particularly evident in the famous Fantasia Crommatica, a highly improvisatory, boundary-pushing work that showcases many of Sweelinck's innovations in keyboard composition. Within his lifetime Sweelinck was most celebrated for his variations on the popular tune Mein junges Leben hat ein Endt; Egarr relishes the intricate counterpoint which builds from the simple theme into a masterpiece of inexhaustible invention and limitless variety. A selection of fantasias and toccatas complete the programme in which Egarr's passion for the harpsichord and Sweelinck's music are enthusiastically conveyed.

Reminiscences is a collection of Chopin's best loved works for solo piano, each one of personal significance to Portuguese pianist Arthur Pizarro, who in turn delivers sensitive and thrilling performances. Originally released in 2005, Chopin: Reminiscences is re-issued as part of Linn's ECHO series that offers a second chance to enjoy the best of the label's award-winning catalog. The inspiration for the title came from Arthur's experience of Chopin frequently being played in his childhood home, as well as being the original name of the C sharp minor Nocturne. Arthur plays a Bluthner grand piano, which responds phenomenally to his dazzling articulation, while giving huge sonorous depth to the sound.

Martin Taylor is recognized as among the world’s foremost exponents of solo jazz guitar playing. Spirit of Django (1994) embraces the legacy of Django Reinhardt and Gypsy Jazz. Taylor delivers a world-class swinging, virtuoso performance on this, one of his most enduringly popular albums. Among his many awards are a record fourteen British Jazz Awards. ‘A new and entirely original way to explore and extend the musical world of Django Reinhardt.’ (The Observer) ‘Martin Taylor is one of the most awesome solo guitar players in the history of the instrument.” (Pat Metheny)

"• Critics uniformly adored Barb Jungr’s reflective rendition of Ray Davies’ title track • Originally released in 2003, now re-issued as part of Linn’s ECHO series • This collection of classic and original material includes songs by Richard Thompson and Bob Dylan • Ms. Jungr has been compared to her heroine Nina Simone, as well as Edith Piaf and Peggy Lee"

Originally released on Avie, the viol consort Phantasm’s ‘Four Temperaments’ is now part of Linn’s ECHO re-issue series. Representing the golden age of Elizabethan England are four distinct musical personalities - or ‘temperaments’ - the dissonant Robert Parsons, the cool Ferrabosco the Elder, the warm and sanguine Thomas Tallis, and the polar opposites of ecstasy and melancholy of William Byrd. Critics have described the award-winning ensemble’s performances and recordings as 'intoxicating', 'revelatory', 'electrifying' and ‘pervaded by a truly burning spirit'.

The first thing you notice is the vibrant sound, the ensemble's immediacy and depth, giving a realistic spatial and sonic picture of the array of musicians and instruments performing in a very complementary acoustic. Then you have to appreciate the robust rhythmic character and clean articulation in the opening March K. 189, the companion piece to the following Serenade K. 185. Indeed, throughout the program you get the sure impression that these performers know and love Mozart, putting sufficient energy into each movement of each piece, granting each the appropriate character of Menuet or March, Andante grazioso or Allegro. The orchestra's gentle way with the thematic rhythms in the Serenade's Andante grazioso and the subtlety with which the players (and conductor) highlight this movement's slight but important mood shifts is a pure pleasure to hear.

Violinist/director Alexander Janiczek asks for tempos that neither blaze nor plod nor obscure the happy spirit of these primarily youthful works. As a soloist in the two Rondos and the lovely Adagio K. 261 Janiczek also provides tasteful cadenzas that highlight his expertly executed, personable, open-hearted style. And who can fail to be impressed with the Divertimento K. 113, a remarkably "mature" piece of orchestral writing that shows a 15-year-old composer already in control of techniques and thematic devices that would reappear in later, more famous, more extensively developed forms. This is a very well-played, thoughtfully programmed recording of works that are all too often ruined by casual, matter-of-fact treatment; if its primary purpose is entertainment, which it should be, then it succeeds admirably.

– ClassicsToday

Markku Luolajan-Mikkola has a reputation for excellence and already has two Gramophone Awards. With a fan base to match, Luolajan-Mikkola is at the top of his game. In Luolajan-Mikkola’s Linn debut, he tackles the pinnacle of Bach’s productions for violinists: the Partitas and Sonatas. Luolajan-Mikkola transcribed these works for cello. His goal with this recording has been to encapsulate expression and emotion according to the character of each movement. A historically informed musician, he performs on baroque cello.

Review:

Luolajan-Mikkola is nothing if not resolute, and he seems to embrace the struggle as an expressive end in itself. His staunch approach to articulation is tricky to love, but the payoff comes in the slow movements: Sarabandes sung low and husky, unadorned, flawed, and beautiful.

– Guardian (UK)

The first of two Haydn recordings from Robin Ticciati and the Scottish Chamber Orchestra presents a “D Major” overview of Franz Joseph Haydn’s symphonic repertoire. From Haydn’s early period the Baroque influenced Symphony No. 31, ‘Horn Signal’ has an almost Gothic tinged feel with highly contrapuntal elements. Counterpoint is found in abundance throughout Symphony No. 70, a work written in the devastating aftermath of a fire on the Esterházy grounds, destroying buildings, instruments and consuming music scores. One of the famous ‘London Symphonies’, No. 101, ‘The Clock’ has its focus firmly on the future. Robin Ticciati is in his fifth season as Principal Conductor of the SCO. Gramophone named Robin one of the top ten young ‘conductors on the verge of greatness’ and one of 'Tomorrow's Icons'. “[an] exhilaratingly free performance of The Clock…the tick-tock Andante had a fragile grandeur that was disarming and poignant.” (The Guardian)

Freeman-Attwood's playing is notable for the beauty and freedom of line of his lyrical phrasing.' Gramophone

'He somehow manages to combine ringing clarity with creamy smoothness, pin-point intonation and effortless agility.' International Record Review

'Outstanding playing with a dynamic range of lively dialogue and solo lyricism in virtuoso style.' The Observer

'A multi-talented trumpeter.' BBC Music Magazine


Renowned for his outstanding technical and musical ability, as well as his unique re-workings of chamber repertoire, this latest album from Jonathan Freeman-Attwood introduces some fresh and unusual arrangements of well-known Romantic music for the under-explored medium of trumpet and piano duo.

The choice of Mendelssohn and Schumann, originally written for cello and violin respectively, allows Freeman-Attwood to demonstrate the melodic lyricism of the instrument as well as the thrilling execution a brass instrument can bring to intricate passage-work.

Grieg?s Holberg Suite has attracted arrangers since its composition; the opening Preludium is a brilliant vehicle for the trumpet and piano, fully showcasing the skills of the duo that have honed their skills over three albums.

These new transcriptions are beyond anything previously imagined for trumpet; they expand the boundaries of the trumpet as a solo instrument and deserve to take their place in the standard repertoire for the instrument.

As a trumpet player, Jonathan Freeman-Attwood has performed and recorded both as a soloist and as a member of various ensembles and has attracted plaudits from the press for his solo recordings.

Jonathan broadcasts regularly for BBC Radio 3 and is Principal of the Royal Academy of Music in London.

South African born Daniel-Ben Pienaar is an award-winning pianist whose live performances and recordings have won him widespread acclaim: 'a kaleidoscope of colours and textures' (International Piano).


Track Listing:
Edvard Grieg
1. Holberg Suite, Op. 40 - Praeludium
2. Holberg Suite, Op. 40 - Sarabande
3. Holberg Suite, Op. 40 - Gavotte
4. Holberg Suite, Op. 40 - Air
5. Holberg Suite, Op. 40 - Rigaudon

Robert Schumann
6. Sonata No. 1 in A minor, Op. 105 - Mit leidenschaftlichem Ausdruck
7. Sonata No. 1 in A minor, Op. 105 - Allegretto
8. Sonata No. 1 in A minor, Op. 105 - Lebhaft

Felix Mendelssohn-Bartholdy
9. Sonata No. 2 in D Major, Op. 58 - Allegro assai vivace
10. Sonata No. 2 in D Major, Op. 58 - Allegretto scherzando
11. Sonata No. 2 in D Major, Op. 58 - Adagio
12. Sonata No. 2 in D Major, Op. 58 - Molto allegro e vivace

Karl Pilss
13. Sonata for Trumpet and Piano - Allegro appassionato
14. Sonata for Trumpet and Piano - Adagio, molto cantabile
15. Sonata for Trumpet and Piano - Allegro agitato

Total Timing: 70 minutes

Say It Isn't So is a joyful celebration of the impeccably crafted songs of Irving Berlin and the unique partnership between Claire Martin and the late Richard Rodney Bennett. Lifelong friends on and off stage, Martin and Bennett recorded three studio albums and enjoyed acclaimed concert performances in a collaboration that flourished over two decades. Recorded in New York, Say It Isn't So is their last recording together and one of which Claire is immensely proud. Bennett's skillful arrangements highlight why Berlin was widely considered one of the greatest American songwriters of all time and brilliantly showcase Claire's assured and expressive voice. Claire and Richard's previous duo albums, When Lights are Low and Witchcraft, received wide critical acclaim, 'their albums set the standard for classic interpretations of popular songs' (The Observer).

Originally released in 2007, James MacMillan’s ‘Tenebrae’ is now available once again as part of Linn’s ECHO re-issue series. Tenebrae Responsories is scored for vocal octet and speaks to all of every faith and none, of the power of love and redemption through personal sacrifice. The famed Scottish group Cappella Nova has enjoyed a 25-year association with MacMillan. ‘Tenebrae’ was previously chosen a Gramophone ‘Editor’s Choice’ album. Mr. MacMillan’s international career was launched at the BBC proms in 1990 with The Confession of Isobel Gowdie.

The disc’s title refers to the fate of the outspoken and for a time widely popular 15th-century friar Girolamo Savonarola, executed in Florence in 1498 following his continued calls for church reforms, his criticism of papal corruption, and finally his direct defiance of papal orders. Awaiting execution, he composed a meditation on Psalm 50, Miserere mei, Deus, and another on Psalm 30, In te, Domine, speravi, texts that were secreted out of the prison and eventually disseminated throughout Europe. During the next century composers latched on to these writings and many of the works on this program include settings of Savonarola’s meditation texts.

A notable feature of these works is their length: the shortest is nearly six minutes; the longest more than 17. Most fall in the nine to ten-minute range. Whatever the timing, writing polyphonic works of this scope, not only sustaining momentum over long-breathed phrase after long-breathed phrase–indeed, full cadences are few and far between!–and keeping the music interesting while articulating the texts within the greater musical framework takes more than ordinary skill.

The mastery on display here, by composers such as Josquin, Palestrina, Gombert, and Byrd, expertly supported by the talented and distinguished voices of Magnificat (long-time choral fans will notice a few familiar names in the 16-voice ensemble), is clear from the beginning of Josquin’s Miserere mei, and certainly needs no defense nor explanation to serious choral music listeners. Conductor Philip Cave, in his excellent perfomance note, describes these works as “extraordinarily intense”, and as you listen you won’t disagree with him.

Although Cave also claims Josquin’s Miserere, which opens Disc 1, as the “heart of the program”, I suggest skipping to Disc 2 and going right for Jean Lhéritier’s Miserere mei, Domine. To hear this exquisite, lesser-known work first, without distraction or the influence of previous listening, is worth upsetting Cave’s undoubtedly well-thought-out program order. Every time I hear a piece by Lhéritier (whose name doesn’t even appear in some music dictionaries) I wonder why his motets do not have wider advocacy by world-class choirs. (Notably, most of the performing editions used here, including the Lhéritier piece, are the work of musicologist, veteran professional choral musician, and member of Magnificat, Sally Dunkley, who has been responsible for bringing many works from manuscript obscurity to the concert hall and recordings.)

Lhéritier, who, according to Patrick Macey, the writer of the disc’s first-rate liner notes, “may have been a student of Josquin in the early 1500s”, and who spent most of his career in Italy, creates works like those of his contemporary Gombert, that draw you in and then surround you in a world of sound that’s at once sensuous and spiritual, that glories in rich harmonies, complexly interweaving melodies, and the timbre of combined voices. Exactly what we should expect from really good choral music sung by world-class singers.

Hearing Josquin’s five-part, 17-minute-plus setting of Psalm 50, it’s easy to understand Cave’s choice of this piece as an anchor and inspiration for the selection of other works on the program. It’s also easy to hear how the kind of musical standard Josquin set–in his particular attention to text, its clarity, and its specific musical treatment; to the organization of musical structure both in use of voices and in the larger context of contrapuntal and alternating homophonic sections–would demand much from his contemporaries and followers.

That they succeeded–at least those featured on this recording–is quite clear, and the tribute to the music’s excellence is confirmed in these performances, so sensitively phrased and caringly inflected, carried by an exceptionally well-balanced ensemble of compatible voices. Highly recommended.

- ClassicsToday

This album is the debut release from the Irish Baroque Orchestra. The tracks chosen take the listener on a journey through the German courts of the 18th century. Concertos by Fasch, Telemann, Heinichen, Vivaldi, and Graupner have been chosen for this programme. “…what really makes the IBO so worth hearing is the unified artistry and joyous, focused energy of its music-making under Huggett.” (The Sunday Times)

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Awarded 'Best British Vocalist' on more than one occasion, singer Liane Carroll has a 'deeply soulful' voice and a fearless approach to singing. 'Seaside' is a mix of original songs and covers broadly following a seashore theme, with sterling accompaniment comprising piano trio, guitar and brass. Liane brings a refreshing approach to Billie Holiday's 'I Cover The Waterfront', Kurt Weill's 'My Ship' and Nina Simone's 'Wild is the Wind', plus 'Almost Like Being In Love' - famous as the closing track to the blockbuster hit Groundhog Day. The title song, 'Seaside', was specially written for Liane by Joe Stilgoe which sees the singer return Liane's favour of guesting on his cover of Brian Wilson's 'I Just Wasn't Made For These Times' from his latest album 'New Songs For Old Souls'. The album reunites Liane with multi-GRAMMY nominated producer and trumpeter James McMillan who worked on her previous two albums. Liane's rhythm section comprises Malcolm Edmonstone (piano), Mark Edwards (piano), Ian Thomas (drums) and Steve Pearce (bass) with guest musicians Rob Luft (guitar) and Andy Wood (brass). Liane Carroll is a multi award-winning jazz singer described by Jamie Cullum as 'one of the greatest singers we have in this country'. Her awards include 'Best British Vocalist' (BBC Jazz Awards, 2005 & 2013), 'Best Female Jazz Vocalist' (Ronnie Scott's Awards, 2007) and 'Best Jazz Album of the Year' (Parliamentary Jazz Awards, 2013). A popular live performer, Liane has headlined at the legendary Ronnie Scott's Jazz Club for over two decades, as well as performing at the 2007 Glastonbury Festival with her trio in a headline performance broadcast to over 300,000 listeners on BBC Radio 3.

This is the premiere recording of J.S. Bach’s John Passion, heard for the first time within its original liturgical context. Director John Butt succeeds in giving listeners a refreshing outlook on one of the best-known pieces of the choral repertoire. The recording also features works by Jacob Händl Gallus, J. Crüger and J.H. Schein from an original Leipzig hymn book performed by a congregational choir and the University of Glasgow Chapel Choir. John Butt takes centre stage to perform organ chorale preludes by Bach and Schütz on the Collins organ at Edinburgh’s Greyfriar’s Kirk. The impressive cast includes Nicholas Mulroy (Evangelista), Matthew Brook (Jesus), Robert Davies, Joanne Lunn and Clare Wilkinson. The recording was named a Gramophone Award Finalist, ‘Recording of the Month’ by three separate publications and topped the UK Specialist Chart upon its release in 2013. Dunedin Consort’s recreation of this recording at the 2017 BBC Proms was a highlight of the summer, earning critical acclaim for the ‘revelatory’ and ‘vital’ performance.