Drawing international media attention following their founding in 2014, the Girls’ Choir of Canterbury Cathedral have quickly become leading lights in the British choral music landscape. For their first recording with Signum – led by their director David Newsholme – they draw on the rich catalogue of what have become British cathedral anthems from the 16th Century to the 20th, performing works by composers including Tallis, Byrd, Stanford, Parry and Howells. They are joined on this recording by the Men of Canterbury Cathedral choir, as well as organists Aidan Bawtree and Nicholas Wearne. Canterbury Cathedral’s Girls’ Choir, formed in 2014, sings at Evensong in the Cathedral twice every month, frequently with the lay clerks. The majority of the girls attend local schools in Canterbury and they rehearse each Wednesday evening. Their first performance at Evensong, on the occasion of the feast of the Conversion of St Paul, in January, was attended by more than 600 people and widely covered by the international press.

Classical Music

Tamsin Waley-Cohen continues her series of concerto recordings on this release with works by contrasting American composers. Already considered by many to be a mdoern classic, John Adams' Violin Concerto was described by the composer as having a "hypermelody", in which the soloist plays long phrases without stop for the uration of the piece. Although composed in 1949, the first performance of Roy Harris's Violin Concerto didn't occur until 1984. Since then it has been championed for it's "luminous orchestration and exalted tone."

REVIEW:

Roy Harris' 1949 Violin Concerto is an ambitious work, sprawling but dynamic. Slower sections are rhapsodic, drawn-out and soariing, while more driven passages have the wide open landscape sound so evocative of the US. The exuberant opening and abrupt ending sound more modern; they could almost be by John Adams, whose dense, multi-layered 1993 concerto is the other work recorded here. Tamsin Waley-Cohen handles its grueling solo part with athleticism and conviction, and both pieces benefit from the punchy playing of the BBC Symphony Orchestra and insightful conducting of Andrew Litton.
– Guardian (UK)

This new and highly-anticipated release of three symphonies of Franz Joseph Haydn follows the Royal Northern Sinfonia and Rebecca Miller's acclaimed recording of the works of CPE Bach with the Orchestra of the Age of Enlightenment: "Self-critical perspective is clearly not a problem for these artists... The unfurling description of a lover's kisses permit all kinds of glorious opportunities for the singers' seemingly telepathic understanding for chiaroscuro, impeccable tuning and innate grammatical sense" (Gramophone, Editor's Choice, May 2015)

Favourite carols in varied and attractive arrangements, well sung and recorded.

There are a few surprises right from the start of this disc. First, an introduction to the carol "Hark the herald angels sing" by an unnamed brass group, second the use of a new (to me) arrangement, and finally the sound of a well trained and well recorded choir but singing with polished Southern vowels. Whilst I regret the loss of some of the individuality which a more characteristically Yorkshire sound used to give this splendid choir, it is by no means a serious defect, and the other surprises I have mentioned are positive gains. The brass group are used sparingly in a small number of carols, but there they do add a distinctive colour of a kind familiar to devotees of Songs of Praise. The new arrangements (again, to me) of many of the carols are generally welcome, especially most of those by the excellent organist, Darius Battiwalla. The contrasting "Little Jesus, sweetly sleep" and "I saw three ships" show him able to grasp the essence of a tune and embellish it without swamping or contradicting that essence. Unfortunately this does not apply in the final item – "Christians awake" – which loses its wonderful rough dignity in gaining a regrettable Broadway Musicals sound.

Many of the other arrangements are by the conductor, Joseph Cullen, who shows a similarly approach and skill to Darius Battiwalla. Older arrangements are by no means completely neglected, and "Gabriel’s message" in Edgar Pettman’s lovely arrangement and Harold Darke’s "In the bleak midwinter" are highlights for me. Less so are John Rutter’s perversion of Adophe Adam’s delightful song or the pleasant but by now hackneyed arrangements by David Willcocks. One surprise is the inclusion of Reginald Spofforth’s Glee, "Hail! smiling morn". Even if it does sound better with single voices to a part, it makes a delightful effect here, and I hope that other choirs may be tempted to include it in carol concerts, even if the words have absolutely nothing to do with Christmas.

The problem of the order in which to perform carols to ensure a good variety of character is solved very well, so that the disc can be enjoyed when listened through as a whole. All in all, if you want a recording of most of your favourite carols (but no "Good King Wenceslas" or "While shepherds") in varied and mainly attractive arrangements, well sung and recorded, this may well be exactly what you are after.

--John Sheppard, MusicWeb International

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Lorin Maazel and the Philharmonia Orchestra perform Mahler’s Fourth, Fifth and Sixth Symphonies. This four-disc box is the second set in a series that will encompass Mahler’s Nine Symphonies, featuring live orchestral recordings from London’s Royal Festival Hall of Maazel and the Philharmonia’s much-lauded Mahler Cycle.

Classical Music

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It's hard to believe that this is the King's Singers' 40th anniversary season, but this newly recorded program comes as part of the celebration. Of course, over the years the names have changed, the record labels have changed, but the group of six male singers continues to do what it's always done: perform a near-limitless range of repertoire with exceptional technical polish, assured sense of style, and captivating personality, spiced with occasional humor and always conveying the sheer joy of singing, whether in a Byrd motet, a folksong arrangement, or a Beatles tune.

For listeners who primarily identify with the King's Singers' classical-oriented programs, you should know that this is definitely not a "classical" album. Rather, nearly half of the songs are pop tunes (from James Taylor to Billy Joel to Paul Simon and Sting), and the rest--spirituals, ballads, and folksongs--feature arrangements that place them squarely in that genre. Of course, those arrangements are typically first-rate, owing primarily to the expertise of current ensemble member Philip Lawson and former King's Singer Bob Chilcott, both of whom have long experience supplying the group with fresh, original musical creations. New to this CD are Lawson's settings of Sting's "Valparaiso", Paul Simon's "April Come She Will", Randy Newman's "When She Loved Me", and James Taylor's "You Can Close Your Eyes".

Besides appreciating the impeccable vocals and clever, invariably entertaining arrangements of well-known songs ("Deep River", "Steal Away", "She's Always a Woman"), you can't help but notice--and possibly be distracted by--the sound, whose highly processed quality and close perspective can make the voices seem both uncomfortably near and otherworldly. It's a sonic cast--all done in a studio--that's quite different from other King's Singers recordings; some listeners will love it, others will, well, have to get used to it. And certainly, if you love this group--and who doesn't?--you've probably already reserved a place on the shelf.

--David Vernier, ClassicsToday.com

Tracks:
She’s Always a Woman (Billy Joel, arr. Philip Lawson)
You Can Close Your Eyes (James Taylor, arr. Philip Lawson)
Greensleeves (Trad. English, arr. Bob Chilcott)
The Gift to be Simple (Trad. American, arr. Bob Chilcott)
Swing Low, Sweet Chariot (Trad. Spiritual, arr. Peter Knight)
Helplessly Hoping (Stephen Stills, arr. Philip Lawson)
Deep River (Trad. Spiritual, arr. Philip Lawson)
Black is the Color (Trad. American/Scottish, arr. Bob Chilcott)
I Love my Love (Trad. English, arr. Philip Lawson)
The Water is Wide (Trad. English, arr. Philip Lawson)
When She Loved Me (Randy Newman, arr. Philip Lawson)
Valparaiso (Sting, arr. Philip Lawson)
The Turtle Dove (Trad. English, arr. Philip Lawson)
April Come She Will (Paul Simon, arr. Philip Lawson)
Steal Away (Trad. Spiritual, arr. Bob Chilcott)
You are the New Day (John David, arr. Peter Knight)

A film drama about a man who, by his death at 36, had composed some of the most perfect gems of English songwriting and elevated hedonism to an art form.

Recorded following an acclaimed solo concert tour, renowned performer, composer and conductor Thomas Adès performs a collection of Leos Janácek’s works for piano. Nearly all of the music for solo piano written by Leoš Janácek (1854-1928) dates from before the First World War and thus belongs to the period before the composer’s remarkable late creative surge, which was triggered by the hugely successful 1916 production in Prague of his third opera, Jenufa (1894-1903; rev. 1907-8), and facilitated by his retirement from his teaching position at the Brno Organ School. Nevertheless, all three of Janácek’s major solo piano works – On an Overgrown Path (1900-1911), From the Street 1 October 1905 (1905-6) and In the Mists (1912-13) – contain music that is both profoundly individual and also integral to the now widespread view of the composer as one the most original musical voices of early twentieth-century music.

REVIEWS:

Adès’s account of On an Overgrown Path eschews sentimentality and refuses to duck the suppressed violence that occasionally erupts. His care shown over Janácek’s inner part writing is often revelatory, and he seems very much at one with the near improvisatory nature of these pieces. There is perhaps less delicacy in his approach to the more elusive soundworld of In The Mists, but his performance is impressive for its clarity and cohesion.

– BBC Music Magazine

It’s apparent from the get-go that Adès is determined to check all expressive clichés at the recording studio door, accept Janácek’s plain-spoken syntax and lack of artifice for what they are, and simply play the music straight. Adès seems less interested in colour or moody subtext than rendering text with intensive clarity in the two-movement Sonata. An illuminating release.

– Gramophone

Early music consort Contrapunctus returns on Signum for their second release in the series centered on music of the Baldwin Partbooks. John Baldwin was a member of the choir of St. George's chapel, Windsor, and his transcriptions during the 1570's and 80's create one of the greatest surviving collections of Marian polyphony, composed during the reigns of Henry VIII and Mary Tudor. This volume explores texts celebrating Mary as Mother of God, and on the Virgin and her child. Contrapunctus, led by Owen Rees, couple powerful interpretations with pioneering scholarship. Currently Vocal Consort in Residence at Oxford University, the ensemble's first two recordings, Libera nos and In the Midst of Life, were both shortlisted for the Gramophone Early Music Award.

A double album of new works to confirm Chilcott’s status as one of the most popular choral composers of today. The Angry Planet ('An Environmental Cantata' commissioned for the BBC Proms in 2012) sees the precision and skill of the BBC Singers and The Bach Choir conflated with the exuberance of a veritable army of young singers.

The sublime Choir of St. John’s College, Cambridge return with the second volume in their Advent series - celebrating the advent season from within the Christian tradition; a season celebrated since at least the sixth century. This splendid live recording, from within the Chapel of St. John’s College itself, features Christmas favorites, including Britten’s Deo Gracias from A Ceremony of Carols as well as gorgeous performances of lesser known works by modern composers including Jonathan Dove, Arvo Pärt and Paul Manz. The Choir of St John’s College, Cambridge (link is external) is one of the finest collegiate choirs in the world – known and loved by millions from its broadcasts, concert tours and over 90 recordings. Founded in the 1670s, the Choir is known for its rich, warm and distinctive sound, its expressive interpretations and its ability to sing in a variety of styles. Alongside this discipline, the Choir is particularly proud of its happy, relaxed and mutually supportive atmosphere. The Choir is directed by Andrew Nethsingha following in a long line of eminent Directors of Music, recently Dr George Guest, Dr Christopher Robinson and Dr David Hill.

 

REVIEW:

 

‘Advent Live, Vol 2’ is a real album, the mystery and expectation of Advent coursing through a repertoire that never stoops below this ensemble’s judicious idea of what constitutes high-quality music, whatever the century. There is unhackneyed Telemann, Wolf, Goldschmidt, Britten and some poised works, new to me, by McCabe, Milner and Manz. Cecilia McDowall’s A Prayer to St John the Baptist brilliantly unifies otherwise autonomous organ and choir. Judith Bingham’s introduction to Hark, the glad sound! is like a modernist narthex to an ancient cathedral. The qualities of the choir hardly need repeating. It sounds like a string quartet flexing as much as an organ breathing, with no room for show or antiquated ‘look at us’ habits.

 

– Gramophone

• “Into the Ravine” is the first release on Signum from the Carducci Quartet, one of the UK’s most dynamic string quartets. • The quartet is joined by oboist Nicholas Daniel for three world premieres from well-established UK composers, and all written specially for them. • The Carducci quartet run their own festival and recording label, and are international competetion winners.

Classical Music

A self-critical composer, Tchaikovsky once said “‘I listened to the Delibes ballet Sylvia... what charm, what elegance, what wealth of melody, rhythm, and harmony. I was ashamed, for if I had known of this music then, I would not have written Swan Lake.” It is ironic that Tchaikovsky’s own words should actually be applied to Swan Lake itself; “what charm, what elegance, what wealth of melody, rhythm, and harmony.”

In the 2019/20 season Santtu-Matias Rouvali continued as Chief Conductor of Gothenburg Symphony and as Principal Conductor Designate of the Philharmonia Orchestra, where he succeeds Esa-Pekka Salonen as Principal Conductor in 2021/22. Alongside these posts he retains his longstanding position as Chief Conductor with Tampere Philharmonic Orchestra, close to his home in Finland. His international profile continues to flourish. He debuted the season with the New York Philharmonic, Berlin Philharmonic and Royal Concertgebouw orchestras in wide-ranging repertoire. He conducted the New York premiere of Bryce Dessner’s Wires, and at the Concertgebouw he conducted the world premiere of Ariadne by Theo Verbey, as well as Stravinsky’s Oedipus Rex. He has built a loyal following internationally after successful tour concerts last season with Gothenburg Symphony in Vienna, where he returned in December to conduct the Wiener Symphoniker and Nicola Benedetti. In 2019/20 he returned to several orchestras across Europe, including the Orchestre Philharmonique de Radio France and Deutsches Symphonie-Orchester Berlin.

REVIEW:

Rouvali is a most agreeable Tchaikovskian, shaping the Act I Valse with a danceable lilt, and bringing rhythmic verve to the Dance of the Cygnets, and flamboyance to the Spanish and Neopolitan Dances.

– Sunday Times (UK)

“I could compare my music to white light which contains all colours. Only a prism can divide the colours and make them appear; this prism could be the spirit of the listener.” Arvo Pärt O/Modernt, Swedish for ‘Un/Modern’, is the concept devised by violinist Hugo Ticciati that explores vital connections between artistic and intellectual creations, old and new. At the heart of White Light is a dialectic between contemplation and ecstatic joy: a journey that leads within and without. The enso (Japanese for ‘circle’) drawn by Antony Gormley on the front cover invites us into the prismatic now of listening. (enso: a continuous brushstroke that expresses a moment in time when the mind is released, leaving the body free to listen and create.) Looking inwards, we embrace that which we find outside ourselves before finally returning to inner peace and silence. The sound worlds of Arvo Pärt, John Tavener, Peteris Vasks, The Beatles, and the rhythms and melodies of India are woven together through improvisation to invite a two-way sense of reflection and surprise.

The Italian-born pianist and Leeds competition winner Alessio Bax returns with his third solo recital disc for Signum. His programme surveys a selection of highlights from Brahms' pianistic output, charting his development from the early lyrical collection '4 Ballades' (1854) through to the 'eight perfect gems' that are the 8 Klavierstücke Op.76 (1871-78). Bax also tackles Brahms' fiendish set of 'Variations on a Theme of Pagainini, Op.35', which Bax describes in the programme notes as one of 'the most fearsome works ever written for piano'.

David Goode performs the complete organ works of Johann Sebastian Bach on the renowned Metzler Söhne organ of Trinity College Chapel, Cambridge, in a new a set spanning 16 albums and over 17 hours and 40 minutes of music. Covering the multiplicity of genres and stylistic influences that typified Bach’s organ music, the set includes complete recordings of the Chorale preludes, the six Sonatas, and the many preludes, toccatas, fugues, fantasias, chorales and partitas. The accompanying 136-page booklet includes background information on each work by organist George Parsons, along with an introduction to the set by David Goode. As well as a tracklisting, the booklet includes indexes to the works by BWV number and alphabetical order. “This series is notable for the flair, clarity and spontaneity that Goode brings to this timeless music” (Gramophone)

REVIEW

This cycle of Bach's Complete Organ Works occupied David Goode between January 2015 and August 2016 and was originally issued as separate volumes, but now Signum Classics have released them as a 16 CD set. Centre stage is the magnificent Metzler organ of Trinity College Chapel, Cambridge, which ranks as one of the finest in the UK. The Signum engineers have done a sterling job with the sound quality. The cycle certainly stands shoulder to shoulder with some of my favorite traversals, including those by Christopher Herrick, Peter Hurford, Lionel Rogg and André Isoir.

--MusicWeb International

On their premiere recording, the Old Royal Naval College Trinity Laban Chapel Choir, directed by celebrated choral conductor Ralph Allwood, perform the works of British Choral Award winner Roderick Williams. Based in Greenwich, East London the choir is comprised of both students from the conservatoire (including several choral scholars) as well as outstanding volunteer singers. It is unique amongst cathedral, church and collegiate choirs in the UK in that it has ready access to the wide range of musical resources at the Conservatoire, collaborating frequently in a wide variety of genres as well as performing for services at the beautiful 18th Century Chapel of St Peter & St Paul. As well as being renowned as a singer Roderick Williams is also well-respected as a composer, and his works have been premiered at the Wigmore and Barbican Halls, the Purcell Room and live on national radio.