Signed copies of our October release COLCD 141. Choral settings of Shakespeare, Wordsworth, James Weldon Johnson, Charles Causley and others, by John Rutter

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.

The three composers whose works appear on this album are interconnected: Ravel was a mentor to Lennox Berkeley, and Berkeley to Pounds. Le Tombeau de Couperin marks Ravel’s movement towards neoclassicism, its forms and style a re-invention of ones from the French baroque.

Originally written for solo piano, the movements of the suite were dedicated to friends whom Ravel had lost in the First World War. In 1919, he orchestrated four of the six movements (the version performed here). Berkeley met Ravel a number of times in the 1920s, working as an interpreter and tour-guide whilst Ravel was in London. Ravel advised him to study with Nadia Boulanger, which he did, between 1926 and 1932.

Commissioned by Sir Arthur Bliss for the BBC Symphony Orchestra in 1942, the Divertimento initially received a mixed reception, but has since found many supporters (including Pounds). The critic Peter Dickinson felt it showed an ‘instinctive and unimpassioned creativeness associated with the French aesthetic, but by no means restricted to it’.

Adam Pounds studied privately with Berkeley in London during the late 1970s, and in his own music has perpetuated the firm commitment of the two earlier composers to clarity and accessibility in everything they wrote. His Third Symphony was written in 2021 and is a response to the national lockdowns in 2020 and 2021 prompted by the Covid-19 pandemic. Pounds states that the piece captures the ‘sadness, humor, determination, and defiance’ which everyone faced at this time – not least musicians. Scored for relatively modest orchestral forces, the work is dedicated to Sinfonia of London and John Wilson who here give the work its world première recording.

I Fagiolini’s re-discovery and recording of Striggio’s long-lost Mass in 40/60 Parts was ground-breaking when it was released in 2011. The premiere recording won awards around the world including the Gramophone Early Music Award and a Diapason d’Or de l’Année in France and remains a trailblazing account of this Renaissance epic. It is complemented by Tallis’ Spem in alium which it is said to have inspired. The Gramophone citation particularly mentioned the new lustre brought to the piece by instrumental involvement and the clarity brought to the detail by the use of viols, cornetts, sackbuts, dulcians and more. Eight further works by Striggio are also included, each of them premiere recordings in 2011.

Following an album dedicated to the forgotten Renaissance master Vicente Lusitano (Gramophone Editor’s Choice, Der Preis der deutschen Schallplattenkritik Quarterly Critic’s Choice), The Marian Consort makes an enthralling leap forward to the present day. True to its core mission of expanding the vocal repertoire, A Winged Woman showcases the ensemble’s commissions from a crop of the UK’s finest composers – including seven world premiere recordings – with music by Dani Howard, James MacMillan, Electra Perivolaris, Howard Skempton, Chloe Knibbs and others. The works challenge traditions and tropes in imaginative and refreshing ways, bringing together a rich array of musical styles and textual approaches. As Perivolaris’s titular work makes clear, this album puts centre stage the compelling work of some of today’s most exciting women composers.

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What would singing be without words? When you combine wonderful poetry with exquisite music, the result is magical. In a rare break from the sacred collections they are famed for, this album from The Sixteen features a whole program of secular music devoted to English partsongs. From Stanford’s cycle of Eight Partsongs based on the sparing yet infectious poetry of Mary Elizabeth Coleridge to Bridges’ lyrically descriptive writing in Finzi’s Seven Poems of Robert Bridges and Imogen Holst’s six idyllic partsongs Welcome Joy and Welcome Sorrow using verses by John Keats, each setting captures the mood of the poem brilliantly.

Arcadian Dreams: the title conjures pastoral perfection, an idyllic vision rooted in Greek mythology. Equally, it references the Arcadian Academy established in Rome in 1690, a vibrant hub of intellectual and artistic creativity whose influence quickly spread across Europe. Arcadian Dreams assembles an exquisite group of composers-both esteemed and inspired-including the French luminaries Thomas-Louis Bourgeois, Louis Antoine Lefebvre, and Jean-Philippe Rameau; the Neapolitan maestro Domenico Scarlatti, who lived his last 35 years in Spain; and the German-born George Frideric Handel, whose early Italian career left an indelible mark on his masterpieces. The enchanting realm of Arcadian Dreams abounds with gods and goddesses, shepherds and nymphs, and bucolic dreamscapes, creating an aural tapestry of pictorial, secular cantatas intertwined with entrancing instrumental numbers. The fearless young soprano Hannah de Priest, making her recording debut, vividly captures the essence of these beguiling works, alongside the entrepreneurial early music ensemble Les Délices, whose members bring long-forgotten music alive for contemporary audiences. "[De Priest] sings with radiant tonal beauty ... always with compelling expressiveness. Her coloratura is both fluent and effortlessly produced... her colleagues in Les Délices ... help create vocal chamber music of the highest order. Together, their embrace of a variety of colors and subtle flexibility of phrasing add immeasurably to the quality of this recital... A most welcome release.” --Early Music America (Ken Meltzer) "I’m thrilled that more audiences will learn what we already know in Chicago: Hannah De Priest is a star... on an upward trajectory as a leading interpreter of 17th and 18th century repertoire, [she] caps a breakout season... with her debut solo album. Referencing both Greek mythology and the Arcadian Academy in 17th century Rome, Arcadian Dreams features secular Baroque cantatas by Rameau, Handel, Thomas Louis Bourgeois, and Louis Lefebvre with Les Délices, an early music ensemble founded by baroque oboist Debra Nagy. De Priest’s rise as a Baroque specialist is linked with Les Délices and their breakout debut at the 2023 Boston Early Music Festival... The album also includes Albinoni’s Oboe Sonata in C major and a keyboard sonata by Domenico Scarlatti, showcasing Nagy and harpsichordist Mark Edwards." --WFMT Classical (Oliver Camacho)

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)

Vikingur Olafsson / CONTINUUM As he continues his epic tour of J.S. Bach's equally epic Goldberg Variations, V�kingur �lafsson presents a series of six new Bach singles. Recorded at Reykjav�k's Harpa concert hall in January 2024, the tracks feature piano arrangements of sacred pieces by Bach, four of which have been realized by �lafsson himself. 12" EP, 45 RPM.

Finnish Kaija Saariaho and Estonian Helena Tulve, two composers with highly individual voices, both explore instrumental color as a core element of their work. Saariaho's vocal works particularly reveal the full expressive richness of her music. Early pieces like Suomenkielinen sekakuorokappale and Nej och inte established her unique grammar of disintegrating sonic and semantic units; later works such as Lumen valosta and Kesapaiva further develop this approach with extended vocal techniques. Tulve's music "grows out from simple primary impulses, being influenced by natural patterns, organics and synchronicity." I Am a River, based on verses by the 13th-century Persian scholar, poet and mystic Rumi, explores the connection between choral music in resonant church acoustics and sensorial mysticism. Nachtliche Gesange, based on texts by exiled German-speaking Jewish poets, draws it's sonic material from the phonetic properties of the German language. These works of unusual beauty are entrusted to the expert voices of the Helsinki Chamber Choir under Nils Schweckendiek. This GRAMMY-awarded collaboration, previously heralded for their Saariaho album Renaissance (BIS-2662), promises a profound interpretation of these contemporary works for choir.

In the late 16th century when vocal polyphony was developing into the excesses of the late Italian madrigal and the powerplay of multi-choir writing in Venice, Victoria, in Rome, chose to write his 18 Tenebrae settings with the simplest texture imaginable: four voices with internal sections for just two or three parts. These perfect miniatures force the question: how can so little mean so much?

Victoria’s austere yet profoundly moving setting of the Responsories for the services of Tenebrae (shadows) is one of the great classics of Renaissance music. In this new recording sung by solo voices it is restored to the low pitch and voicing intended by the composer.

These perfect miniatures are interspersed with nine of Christopher Reid’s heart-rending poems from his 2009 collection and Costa Book of the Year winner, ‘A Scattering’, a moving collection on the dying and death of his wife.

The present edition contains the complete productions released by cpo between 1993 and 2018 on the subject of Michael Haydn's symphonies and wind concertos. During the course of a quarter of a century, as might well be imagined, a wealth of material accumulated that could not be put to renewed use without considerable cuts. Nine authors had contributed information about the sources and special qualities of the music to the original releases, which necessarily led to duplications, repetitions, and other redundancies that were to be avoided in the compilation. Moreover, it took some time for the numbering system currently in use for the works to be implemented. The authors initially continued to refer exclusively to the �Thematisches Verzeichnis der Instrumentalwerke von Michael Haydn� (to which we have assigned the letter P) that Lothar Perger had presented in the Denkmaler der Tonkunst in osterreich (DTo). The �enumeration� by the American musicologist Charles H. Sherman (1929-2018) later began to Appear in the booklets. Sherman initially compiled a provisional catalogue and then in 1993 published Johann Michael Haydn: A Chronological Thematic Catalogue of his Works in collaboration with T. Donley Thomas. This chronological listing (MH) and the P numbers, which soon will be 120 years old, are used whenever possible for the identification of the works recorded here. Our wish is that this unique edition may bring you great pleasure.

Led by it's Director Matthew Martin, The Choir of Gonville & Caius College, Cambridge, joins forces with the Academy of Ancient Music in Michael Haydn's rarely heard masterpieces: the Requiem and Missa Sancti Hieronymi. The four soloists are all ex-choral scholars of Caius Choir, showcasing the distinguished musical tradition of this student group. Unjustly neglected, Joseph Haydn's younger brother was a talented composer in his own right. Written after the death of his infant daughter and his patron, the deeply emotional Requiem is a masterpiece that combines complex colourful textures and forms with imaginative orchestration and vocal writing. Mozart was a great admirer and it is thought that Haydn's Requiem formed the prototype for his own better known masterpiece. In contrast, the later Missa Sancti Hieronymi is lighter and more optimistic. Unusually scored for oboes, bassoons, trombones and continuo (with no upper strings), it exudes transparency and joyful energy. This recording will undoubtedly put these neglected works back into mainstream repertoire.

Giya Kancheli, one of Georgia's most eminent composers, became increasingly famous after the advent of glasnost in the Soviet Union, when his works, not least his seven symphonies, were heard internationally. Around the year 2000 Kancheli shifted away from the opulence of these pieces and moved towards a more restrained, introspective vein, which is exemplified by the three works on this album. Elements of folk and traditional music can be glimpsed in the abstract Ex contrario, while Middelheim is striking for it's overlapping succession of episodes. Tsutisopeli was Kancheli's final score.

Classical Music

SERENADE

Valentin Silvestrov is Ukraine’s leading composer and one of the most distinctive musical voices of our time. This album brings together the two superlative works of Silvestrov’s early maturity – Postludium for Piano and Orchestra and the Symphony for Violin and Orchestra ‘Widmung’. Recorded in the presence of the composer. The Lithuanian National Symphony Orchestra conducted by Christopher Lyndon-Gee can also be heard on 8.574123 in Silvestrov’s Symphony No. 7, Ode to a Nightingale and Piano Concertino.

REVIEW:

If you don't know [this] 86-year-old composer's music, a new album by conductor Christopher Lyndon-Gee and the Lithuanian National Symphony Orchestra makes a sonically satisfying place to start. It contains a pair of symphonic works that embody two recurring ideas for Silvestrov: that an end can also be a beginning, and that sweet, nostalgic music can thrive alongside concussive eruptions.

In Postludium for Piano and Orchestra, the composer essentially offers an ending, a "postlude," that becomes something brand new by mixing the avant-garde with old-school romanticism. The piece convulses in orchestral earthquakes of low brass (complete with aftershocks), but eventually gives way to delicate music that yearns for the long-ago beauty of Mozart.

The more expansive work on the album is a 44-minute symphony for violin and orchestra titled Dedication. Who's it dedicated to? Lyndon-Gee, writing in the album's booklet, treats it as an homage to the "life-force" of the human race — which encompasses not only tragedy, but also love and renewal. And yet for Silvestrov, he says, "Everything is a postlude to that which is slipping, inevitably and unceasingly, from between our fingers."

In Dedication, the violin — played with unwavering detail by Janusz Wawrowski — is not battling against the orchestra for domination, as in a typical concerto. Instead, the two protagonists complement each other, breathing as a single organism in Silvestrov's colossal exhalations of sound. Great waves of percussion crest over a spiky violin, a reminder that Silvestrov's early works from the 1960s were considered too avant-garde for Soviet-era officials.

Silvestrov has created his own sound world, charged with turbulence and bittersweet fragments of melody that can seem like quotes from other composers, but aren't. Near the end of Dedication, an elegiac theme, reminiscent of Mahler, emerges in the strings, struggling to rise ever higher through a dark cloud of roiling harmonies.

-- NPR Classical (Tom Huizenga)

What happens when the illustrious brass sections of the Berlin and Vienna Philharmonic come together? The answer: The Philharmonic Brass Making it's debut in Vienna's Musikverein in April 2023 the group will come together for recording, tours and education work. Comprising some of the best-known faces in the brass world from Berlin, Vienna and their friends, the group includes Sarah Willis, horn and Paul Halwax, tuba. Their Debut album 'Overture!' was conducted by Tugan Sokhiev and released through Decca Classics. Now it's time for the following up album through the new label Supreme Classics: Italiana! Conducted by Maestro Riccardo Muti includes virtuoso arrangements of some of the best-known music including Verdi's Sinfonia di Nabucco, Rossini: Guillaume Tell - Overture and many more.

Johannes Ockeghem (c. 1420-1497) was one of the most celebrated musicians of the fifteenth century and one of the greatest composers of all time. He was every bit the equal of J.S. Bach in contrapuntal technique and profound expressivity, and like Bach able to combine the most rigorous intellectual structure with a beguiling sensuality. His two dozen songs set French lyric poetry in the courtly forms of his era—rondeau, virelai, and ballade—to exquisitely crafted polyphony in which all voices are granted equally beautiful and compelling melodies.

This CD is the companion to Blue Heron’s 2019 release, Johannes Ockeghem: Complete Songs, Volume 1, which was named to the Bestenliste of the Preis der deutschen Schallplattenkritik and acclaimed in Gramophone as “performances of absolute clarity, beautifully in tune, beautifully balanced and beautifully recorded”; Early Music enthused that “the Boston-based ensemble is at its finest—a summit quite sublime.… The group’s extraordinary rapport with the music is evident everywhere in the recording; each melodic line is not only clear and precise but also imbued with obvious affection.”

Besides twelve of Ockeghem’s songs, the disc includes two related works (Gilles Binchois’s Pour prison, quoted by Ockeghem in his song La despourveue, and Johannes Cornago’s Qu’es mi vida, arranged by Ockeghem) and an anonymous instrumental arrangement of Ockeghem’s Je n’ay dueil. The CD booklet contains complete texts and translations, and notes by music historian Sean Gallagher and Blue Heron’s artistic director, Scott Metcalfe.

Duarte’s Partita was completed in 1974. It’s a substantial work in four movements, using all original material. As in the Variations on a Theme of Štepan Rak he adopts a four-note motif, which may be heard forwards, backwards, inverted and stretched. Variations on an Italian Folk Song Op. 139 was written in 2000. It draws on the second movement, “Canzona”, of Duarte’s prior Suite piemontese, which was based on a combination of two tunes: Il testamento dell’avvelenato and Re Gilardin. This gentle theme is characterised by simple movements of a step or a fourth. The six variations all begin with this stepwise movement but they quickly gain individual characters. Valse lyrique (2000) is one of the three short dances Duarte wrote late in his career. The second theme, clearly derived from the first, includes some hemiolas as well as combined harmonics and natural notes. The central section features the melody in the bass. Valse en rondeau was written in 1997 for the American guitarist David Starobin. Duarte stated: “I decided to make reference to my origin as a jazz musician and to my interest in early music (the Rondeau form) and to exercise my unshakeable belief in melody.” The origin of the Variations on a Theme of Štepan Rak Op. 100 is unique. In 1984, Rak was staying with Duarte when Vladimir Mikulka performed a lunchtime concert in London. At the end of the concert, Mikulka announced that he was going to perform an unusual encore – a theme, but without variations that had yet to be written. Afterwards he announced that Rak, Koshkin and Duarte should exchange themes with each other to create six new variation works, and he presented Duarte with Rak’s theme on a piece of manuscript paper. Andres Segovia, a supreme Anglophile, married his third wife in Gibraltar (“under the British flag, on Spanish soil”), and their son was born in London. Duarte’s 3 Songs without Words for Carlos Andres were a present to the happy couple. Danza eccentrica (2000) was dedicated to the Italian guitarist Domenico Lafasciano with the note, “Here is your dance. It may not be what you expected, but it’s what I’ve written – not another ‘cloned’ rumba, tango, waltz or whatever, but something with more individual character.” The unexpected aspects include dissonant harmonies, bass notes which move in ¾ against the treble in 6/8 and sections more reminiscent of a hurdy-gurdy. The Italian guitarist Angelo Gilardino wrote to Duarte about his Fantasia and Fugue on Torre Bermeja Op. 30: “…the melodic and rhythmic feeling is of the sort to easily produce the fascination of the public”. The Torre Bermeja in question is the piano piece by Isaac Albeniz, Op. 92 No. 12. Although it carries Op. 62 (1974) on its cover, the little Prelude en arpèges was written in 1954/5 and intended as the first movement of a Harp Suite Op. 18 that was never completed.

UBIQUE lives on the border between enigmatic lyricism and atmospheric distortion. Through a combination of sounds, pitches, and textural nuances, low deep drones envelop lyrical materials and harmonies that breathe in and out of focus throughout the progress of the piece. The flow of the music is primarily guided by continuous expansion and contraction - of various kinds and durations - as it streams with subtle interruptions and frictions but ever moving forward in the overall structure. The work is inspired by the notion of being everywhere at the same time, an enveloping omnipresence, while simultaneously focusing on details within the density of each particle, echoed in various forms of fragmentation and interruption and in the sustain of certain elements of a sound beyond their natural resonance - throughout the piece, sounds are both reduced to their smallest particles and their atmospheric presence expanded towards the infinite. As with my music generally, the inspiration is not something I am trying to describe through the music as such - it is a way to intuitively approach and work with the core energy, structure, atmosphere and material of the piece. UBIQUE is 45 minutes in duration and is written in 11 parts, for flutes, grand piano, 2 cellos and pre-constructed electronics. - Anna Thorvaldsdottir

The Amsterdam-based recorder quintet has done it again: an original concept, featuring several first recordings, and superb performances which confirm them among the top-tier of today’s early-music chamber ensembles. The present album arises from a concert devised in 2018 for a festival in Bruges celebrating notable female figures from history.

Seldom Sene chose to focus on Margaret of Austria (1480–1530), who was governor of the Habsburg Netherlands for almost 20 years. Margaret had grown up with the benefits of a first-class education afforded to very few of her female peers: she was adept in all the humanities, and her library of books was reckoned one of the most extensive and learned at the time, a fit place to welcome distinguished guests such as Albrecht Dürer. From around 1515, one of the volumes in Margaret’s library was her newly commissioned personal songbook: a collection of 55 chansons and motets, richly decorated with high-quality miniatures and initials.

Many of the song texts speak of loss, sorrow and loneliness, perhaps reflecting her status at the time as a noble widow, following the death of her second husband, Philibert II of Savoy, in 1504. Margaret herself seems to have written several of them, and may also have been involved in their musical setting. Marian devotion is another theme of the songbook reflected in this selection made and transcribed and recorded by Seldom Sene. Sacred hymns are balanced out by secular laments, but also lighter and more cheerful numbers such as ‘Brunette m’amiette‘ and ‘La jonne dame’. Many of the composers are now lost to us and effectively anonymous, but the names that survive are worthy of Margaret’s elevated status, including Josquin and Pierre de la Rue.

‘Like Margaret,’ concludes María Martínez Ayerza in her booklet note, ‘like her courtiers and visitors, we see and hear the music and texts in this songbook and we are moved, stirred. These artworks make us change, as we relate the texts, even the titles, and the rather abstract beauty of the music to ourselves.’ Ayerza and her colleagues in Seldom Sene bring this music and Margaret’s world back to life with intense sympathy. The album is sure to receive the glowing reviews accorded to the group’s discography on Brilliant Classics. ‘Commitment, technical versatility, unanimity of ensemble and near-immaculate tuning on display.’ (Gramophone) ‘An excellent release from an ensemble I hope we’ll hear a lot more from in the future.’ (Fanfare)

John W. Duarte was born in Sheffield, England on 2 October 1919. He started playing the ukulele, but soon moved to the guitar at the age of 15. The advent of guitar phenomenon John Williams, whom Duarte taught for 18 months before the young musician’s entry into the Royal College of Music, London, gave the composer an opportunity to expand his chamber music oeuvre.

The Concertante Quartet Op.22, a substantial work in four movements. In 2021 the composer’s son, Christopher Duarte, discovered some folk songs arranged for guitar and small orchestra among his father’s manuscripts. There is no mention of these arrangements in his list of works and no correspondence relating to their creation, but from the composer’s handwriting these probably date from the mid-late 1950s and may have been written for John Williams to play with fellow RCM students.

Next Market Day, scored for piccolo, snare drum and strings, is an energetic rendering of an Irish love song which Duarte revisited several times. The Coolin of Rùm (or, The Rùm Cuillin), scored for flute, oboe and strings, is a tune from the Isle of Rùm, one of the small islands near the Isle of Skye in the Hebrides. Cuillin is the name for a range of mountains in this area and Duarte may have been alluding to the name of a previous owner of Rùm, Maclean of Duart.

Duarte began work on what became A Tudor Fancy in early 1967. Following A Tudor Fancy, a concerto in all but name. The Concierto alegre Op.101 (1986) is deliberately light in woodwind (2 flutes, one each of the rest), a trumpet, strings, but with a battery of percussion, including two vibraphones. As with A Tudor Fancy, the music proceeds in a variety of ‘conversations’, with the orchestration kept deliberately light when the guitars are playing.

To mark the 400th anniversary of Orlando Gibbons's death, organist and harpsichordist Stephen Farr presents a stunning tribute to one of England's greatest composers of the early seventeenth century. Gibbons, who served at the Chapel Royal and Westminster Abbey, was celebrated for his virtuosity and innovation, bridging the Renaissance and Baroque eras. This album explores the full breadth of his keyboard oeuvre, from intricate fantasias and evocative pavans to lively dances and variation sets. The album includes the Fantasia for Double Organ, showcasing Gibbons's mastery of contrapuntal invention, and the poignant Pavan and Galliard Lord Salisbury, composed in honour of the composer's noble patron. Farr's insightful interpretations reveal the expressive depth and technical brilliance of Gibbons's music. A compelling homage, this recording underscores Gibbons's lasting influence on English keyboard music.

Christmas simply wouldn't be Christmas without the iconic voices of The Sixteen providing a soundtrack to the season. Celebrated for collections that provide an alternative to the customary festive offerings, this new album from the world-renown choir is no exception. No other festival in the Christian year has inspired so many composers and such a variety of musical styles as Christmas. The Wise Men and the Star features a veritable cornucopia of yuletide music from the premieres of three new works to traditional carols including Away in a manger and In the bleak midwinter, and modern classics such as Eric Whitacre's Lux aurumque and Mykola Leontovich's Carol of the bells. This new album promises something for everyone.

Imitation is the ultimate compliment. To take inspiration from someone else’s work, to borrow and rework it to form another piece…what could be more flattering? This technique, known as ‘parody’, was hugely popular in late 16th-century Europe and Orlande de Lassus was one of its most famous advocates. The Sixteen’s programme showcases the master of parody at work and also features a new commission from the extraordinarily inventive composer Bob Chilcott parodying one of Lassus’ finest secular madrigals.

Also included are two mini masterpieces by Maddalena Casulana - the first female composer to have had a whole book of her music printed and published in the history of western music and whose work was widely admired, not least by Lassus.

12 years after his album entitled ‘Italian Virtuosi of the Chitarrone’ (BIS-1899), Jakob Lindberg returns to his magnificent theorbo, specially built for him by the luthier Michael Lowe, based on an instrument preserved in the Musée de la Musique in Paris.

One of the most spectacular instruments of the early baroque owing to its length and great number of strings, the theorbo was originally designed to accompany the voice but is also ideally suited to solo performance.

For this disc, Lindberg has chosen pieces by Robert de Visée, one of the great French masters of the lute, theorbo, and guitar repertoire and a favorite of Louis XIV. The recording features dances as well as character pieces, including a moving ‘Plainte’ in memory of his two deceased daughters. It also includes de Visée’s arrangements of compositions by Lully, Couperin, and Purcell as well as his own version of Les Folies d’Espagne, a very popular chord progression that inspired so many composers of his time.

Jakob Lindberg writes: ‘I can’t help but be seduced by the grace of the instrument’s lines, the resonance of its sonorities, and by the unmistakably French elegance of this remarkable composer.’

Josquin des Prez: the name evokes beautiful, brilliant, even magical music—but more than five centuries since he composed his last note, we are still discovering how to hear him. In this album, originally conceived to mark the composer’s quincentenary in 2021, Cut Circle strives to treat Josquin not as a sleepy relic of the distant past but as a stylish, sensitive, playful, ecstatic composer. We foreground his revolutionary precision and drive while embracing reactions to the music that are visceral and emotional.

The troubled life of English composer Ernest John Moeran (1894 - 1950) ended 75 years ago, when he fell into the water at Kenmare in Ireland, and his death was officially recorded as a cerebral haemorrhage. To honour the life of E J Moeran, SOMM Recordings is releasing broadcasts that were privately recorded by Lionel Hill, author of Lonely Waters - the diary of a friendship with E�J�Moeran. This commemorative release, with outstanding audio restoration by Lani Spahr, includes Moeran's Symphony in G minor conducted by Sir Adrian Boult and his Violin Concerto with the incomparable�Albert Sammons as soloist. Additionally, Moeran's Cello Concerto, written for his wife Peers Coetmore, is available as a download. E J Moeran was born to an Irish Protestant priest and a Norfolk-born mother, and the duality of his nationality finds expression in his music. He wrote of his Symphony in G minor that it "may be said to owe it's inspiration to the natural surroundings in which it was planned and written. The greater part of the work was carried out among the mountains and seaboard of Co. Kerry, but the material of the second movement was conceived around the sand-dunes and marshes of East Norfolk." On 9 February, 1949, Moeran and his friend Lionel Hill attended a performance of the symphony at the Royal Albert Hall, with Adrian Boult conducting the BBC Symphony Orchestra. That is the performance heard on this CD. The first movement of Moeran's Violin Concerto, written in Co. Kerry, was similarly inspired by the calm of Kenmare Bay in fine weather, while the Lento last movement reflected a period of seasonal colour and beauty along the Kenmare River. The second movement Rondo is unmistakably imbued with the spirit of Kerry fairs and Irish fiddlers. Moeran wrote that "Albert Sammons is the only living violinist I would like to have interpret it." This recording, a BBC Home Service broadcast from Norfolk on 28 April 1946, is Sammons' last public concerto performance. One cannot overemphasise the importance of this recording; it is, as far as we know, Sammons' only known live recording. In December 1943, eighteen months before their marriage, Moeran wrote to the Irish cellist Peers Coetmore, "Please write and tell me you would like me to write a concerto especially for you, and I give you my promise that I will put my whole heart into it." The result is a work of considerable beauty, especially memorable for the typically Irish tune that introduces the slow movement. Following the premiere in Dublin, Coetmore gave it's first London performance in April 1946-available here as a download-with Adrian Boult conducting the BBC Symphony Orchestra.