Volume 1 in a new collection of Charles-Marie Widor’s Organ Symphonies, performed by Joseph Nolan on the magnificent Cavaillé-Coll organ of L'église de la Madeleine, Paris. Bridging the generations from Mendelssohn to Messiaen, Empire to Republic, Widor was born to the organ. His Lyonnaise kinsfolk were organ-builders, he showed early talent for the instrument, and for decades was the embodiment of its might and splendour across the Gallic domain - his ‘Organ Symphonies’ were genre-defining in their influence.

Joseph Nolan is an internationally renowned organist, acclaimed as ‘brilliant and such an astute musician’ (Gramophone UK). He was appointed to Her Majesty’s Chapels Royal, St James’s Palace in 2004, and has since been invited to perform and record in some of the world’s premiere venues - including the refurbished Organ of Buckingham Palace Ballroom (SIGCD114) and the Organ of Saint-Sulpice in Paris (SIGCD167). The Cavaillé-Coll Organ of La Madeleine, Paris is a similarly renowned instrument, with former chief-organists including Camille Saint-Säens and Gabriel Fauré.

“These performances are full of spontaneity yet for all Nolan’s brilliance he allows the requirements of the composer always to take priority. The sympathy and expression that Nolan gives to this music and the assurance of his results will undoubtedly give this recital a special place amongst organ collectors” Musicweb International (for SIGCD167 – The Organ of Saint-Sulpice, Paris)

Greg Morris is Associate Organist of the Temple Church as well as conductor of the Collegium Musicum of London. In his former position as Assistant Director of Music at Blackburn he made well-received recordings for Lammas and Naxos (the organ music of Kenneth Leighton). His stated favourites include twentieth-century French and English organ music and we have both on this disc, the first recorded since the recent re-ordering of the Temple Church’s Harrison and Harrison instrument. Two of the pieces are litanies and two are chorals.

Dupré’s Cortège et Litanie was originally incidental music and then rearranged for several different media. Morris plays effectively, especially in the Litanie, one of the composer’s most dramatic creations. His performance is well-paced and brings out the contrast between the two main themes. In Alain’s Litanies Morris is on less firm ground - there is not as much contrast between themes as there is in the Dupré and not as much intensity overall. In Franck’s famous Chorale Morris’s conception is well thought out with especially fine playing in the middle section. This is accomplished without descending into the sentimentality that frequently hinders performances of this music. These qualities are also present in the reprise leading to the finale.

In his programme notes Morris tell us that he was anxious to record the Whitlock Organ Sonata for this first recording on the refurbished Temple Church organ, given the emotional contrasts of the piece and full exploitation of the capabilities of the English organ. With these factors and the music’s commanding range of thematic integration it seems more of an organ symphony than many works that bear that title. It is also a work with many lyrical and gentle moments and Morris is very aware of these in his overall approach and in the detail but not at the expense of the overall flow. This is especially true in his treatment of the second subject of the first movement as well as in the coda where he provides an excellent summing-up of the whole movement.

A major pitfall of the second-movement Canzona is its similarity to certain sections of its predecessor. Unfortunately Morris does not escape this trap but eventually recovers in the sections evocative of Whitlock’s admired Delius. The Scherzetto which follows is the Sonata’s supreme example of the afore-mentioned thematic integration, here combined with winning examples of Whitlock’s best popular style. Morris handles this movement expertly but never loses sight of its place in the overall work.

Whitlock’s Choral is immediately notable for its size. However its true importance lies in manipulation of formal structure to support the continuing development of its thematic material and that of the previous movements. Again Morris plays with full cognizance of these factors and is especially notable in the final pages where he conveys the scope of the work without resort to bombast.

All involved in the refurbishment of the Temple Church organ are to be congratulated, although there is the interesting fact, at least on this disc, that the organ now sounds better suited to English music than to French. Also praiseworthy is the recording quality of this disc which is clear and bright. Most of those who purchase this recording will do so for the Whitlock sonata, of which there are several other versions available including that of Philip Rushworth which I reviewed in 2012 (review) and John Scott (review). There is also one by Colm Carey and Volume 3 of Graham Barber’s set of the complete organ music (review). While I am still enthusiastic about Philip Rushworth’s version I happily endorse Greg Morris’ with equal enthusiasm due to the quality of the recording and his overall conception of the sonata.

– MusicWeb International (William Kreindler)

“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.

Pianist Llyr Williams explores Wagner’s rich and evocative sound-world from a less well-known angle. Featuring insightful arrangements of Richard Wagner’s operas by Franz Liszt and Glenn Gould (as well as Williams’ own arrangement of music from 'Parsifal'), at the center of the program is a selection of Wagner’s own piano pieces – many of which were written earlier in his compositional career, hinting at the grand operatic masterworks which were yet to come.

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"Liszt’s transcriptions and fantasies on excerpts from Wagner operas are ingenious works that take you inside the music without the distractions, in a sense, of the orchestra and the voices, or 'Wagner Without Words,' to quote the title of this rewarding album by the splendid Welsh pianist Llyr Williams. Here he plays Liszt’s transcriptions ranging from the short, charming “Spinning Chorus” (from “The Flying Dutchman”) to the mesmerizing “Liebestod” (from “Tristan und Isolde”). Mr. Williams offers several of his own ambitious and impressive transcriptions, including his extended scenes from “Parsifal” and his tweaked version of Glenn Gould’s take on the Prelude to “Die Meistersinger.” There are also some piano pieces by Wagner, including a youthful 26-minute fantasy, a fascinating, if not great, work: you hear the 19-year-old Wagner beholden both to Beethoven and bel canto opera." – Anthony Tommasini, The New York Times

Soprano Mary Bevan and pianist Jopseph Middleton perform a programme exploring the genius of Baudelaire and Goethe, and how texts by them unlocked very specific musical landscapes in settings by Debussy, Duparc, Chausson, de Breville, Severac, Faure and Schubert. Praised by Opera for her “dramatic wit and vocal control” in stand out performances on opera and concert platforms, Mary Bevan is a winner of the Royal Philharmonic Society’s Young Artist award and UK Critics’ Circle Award for Exceptional Young Talent in music. Pianist Joseph Middleton specialises in the art of song accompaniment and chamber music and has been highly acclaimed within this field. Described in the BBC Music Magazine as “one of the brightest stars in the world of song and Lieder”, he has also been labeled “the cream of the new generation” by The Times and “a perfect accompanist” by Opera Now.

Includes christmas carol(s) by various composers. Ensemble: The Swingle Singers.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD
Esa-Pekka Salonen leads the Philharmonia Orchestra in a unique performance of Holst's The Planets Suite, captured in High Definition by 37 cameras. This immersive experience takes the viewer to the heart of the Philharmonia as they perform this well-loved piece, using cameras placed in a multitude of positions and angles to create an extraordinary glimpse of the orchestra at work from within. As well as Holst's The Planets, the filmed performance also includes a new commission by UK composer Joby Talbot, Worlds, Stars, Systems, Infinity.

Additional features include a 'Making of' documentary feature, listening guide films for each planet, audio commentaries from conductor Esa-Pekka Salonen and principal players of the Philharmonia, and (for Blu-ray only) a bonus view option that allows a simultaneous view of the conductor and orchestra in action.

The Philharmonia Orchestra is committed to bringing classical music to new audiences in creative and exciting ways, and to this end has become a technological trailblazer in its adoption and adaptation of new technology. In 2010 the Re-Rite project allowed members of the public to experience Stravinsky's Rite of Spring for the first time from within the orchestra through audio/visual projections. Their 'Universe of Sound' project from which this release stems debuted at the Science Museum in London last year, and is set to tour the country in new installations during 2013.

Includes work(s) by Michael Tippett. Ensemble: BBC Singers. Conductor: Stephen Cleobury.

This could have been just another viol consort disc, but instead it manages to offer some unique and worthwhile perspectives on works by the Couperins--Louis, François, and Armand-Louis--and throws in some very attractive pieces by Jacques Duphly, Marin Marais, Louis-Antoine Dornel, Pierre Dumage, and Michel Corrette. Don't worry if most of these names aren't familiar: the music, some presented in its original form, the rest in artful arrangements by members of the early music ensemble Charivari Agréable ("pleasant tumult"), is eminently listenable and musically satisfying. The Couperins composed mostly for organ and harpsichord, and several of the works here are arranged or adapted from keyboard pieces, most notably François' "Les barricades mistérieuses", whose sensuous, flowing, suspension-laden lines prove well-suited to a solo theorbo. The bass viol also figures prominently--and unusually--in Corrette's Le Phénix, a concerto for four bass viols, and in François Couperin's La Sultane (for two bass viols), the composer's "attempt" to write a piece in the style of Corelli. Perhaps the most striking of all the works on this program are two by Duphly, "La Madin" and "La Casaubon". Originally for keyboard, the composer also included violin accompaniments; but in this version, harpsichordist Kah-Ming Ng has created settings for two solo treble viols and keyboard that are so thoroughly engaging that you'll likely want an immediate repeat performance.

The seven performers from the UK-based Charivari Agréable are experienced early music practitioners who have made their mark particularly in performances and recordings of French baroque music. They certainly have a knack for finding appropriate repertoire and, where useful or necessary, adapting it for their own style and instrumentation--a practice fully consistent with that of 17th and 18th century musicians. The sound is bright and resonant, wanting only a bit more warmth. This is an intelligently created and expertly played program that shouldn't be overlooked by fans of Baroque instrumental chamber music.

--David Vernier, ClassicsToday.com

Following on the success of Joseph Nolan's appearance in Music for the Coronation of James 2nd (SIGCD094), he returns to Signum with a solo disc of organ music, capturing music from some of the finest composers of the instrument. With J.S. Bach's famous Passacaglia in C Minor to Noel Rawsthorne's Dance Suite, with inspiration from Michael Flatley's 'Lord of the Dance' this disc certainly pushes the boundaries of organ music. 'A debut disc of a player demonstrating considerable & technical assurance, we should look forward to his next disc.' - Organists Review on SIGCD094 'Music for the Coronation of James 2nd'

VARIOUS The King's Singers. LIVE AT THE BBC PROMSTracks: Chansons Francaises; Scenes in America Deserta; Dessus le marched'Aeeas; Il est bel et bon; Toutes les nuitz; La Guerre; Hears not my Phyllis; Phillis is my only joy; The Little Green Lane; The Goslings; Greensleeves; Blow Away the Morning Dew; The Turtle Dove; Widdicombe Fair; The Long Day Closes.

All of the pieces chosen for this new release center around the theme of evening time. Mark Williams and his Choir of Jesus College Cambridge have released four prior albums with Signum, all of which have gained critical praise. The programme of this album blends ancient and modern, featuring works from Thomas Tallis, William Harris, Gustav Holst, and many more.

A unique disc from one of Scotland's most dynamic and versatile groups – the Scottish Ensemble is a tight-knit band of outstanding string players from around Europe who perform regularly together under Artistic Director, Jonathan Morton. This disc – one of their first solo releases following acclaimed discs with artists such as Alison Balsom and Toby Spence – contrasts Vivaldi's timeless Four Seasons with Piazzolla's tango-inspired The Four Seasons of Buenos Aires.

Combining Vivaldi and Piazzola together like this underlines the meteorological and cultural differences between Mediterranean Europe and the heart of South America. To have them performed side by side creates a fascinating programme of similarities and contrasts.

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

Australian soprano Elena Xanthoudakis is forging her career in Europe to many accolades. She has been described as “intoxicating with her cut-diamond clarity of tone, elegant legato, even crescendos and aching trills.” (Herald Sun) Accompanied by clarinetist Jason Xanthoudakis and pianist Clemens Leske, brilliant musicians in their own right, this new album from Signum features German romantic pieces for soprano, clarinet, and piano. Especially intriguing amongst these titles, are three world premier recordings: Die gefangene Nachtigall (The Captive Nightingale), Er, der Herrlichste von allen (He, the Noblest of All), and Der Hirt und das Meerweib (The Shepherd and the Mermaid).