Sometimes known as 'The Tragic' - a title suggested but then withdrawn by the composer - Mahler's Sixth Symphony embodies much of the inner turmoil and superstition of its composer. Conceived at perhaps one of the happiest periods of Mahler's life, it seems to foreshadow the personal tragedies that would later befall him - with his wife Alma writing that "The music and what it foretold touched us deeply." Esa-Pekka Salonen's work with the Philharmonia for the City of Dreams: Vienna 1900-1935 concert series has produced a number of powerful, live concert recordings for the Philharmonia series, including Schoenberg's Gurrelieder, Berlioz's Symphony Fantastique and Mahler's Symphony No.9 - all of which have been praised by criticsfollowing their release on Signum. ' ... the orchestral playing was of a very high order ... his command of the intensely difficult finale was wholly admirable, moving towards that astounding, deeply moving, coda with fine artistry.' Robert Matthew-Walker, Classical Source.com (Review of the concert of this recording)

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An attractive assemblage of powerfully emotive music.

This is the second CD to be inspired by Armonico Consort’s ‘Naked Byrd’ concert programme, which, to quote the Signum publicity material, ‘features music by Tavener, Purcell, Barber and Byrd, composers who wore their hearts on their sleeves, and whose art saw their emotions laid bare, in an atmospheric concert where magical musical moments are intertwined with sublime passages of plainchant and violin improvisation’ It’s similar in manner to Volume 1 which I reviewed in May 2010.

Let me say at once that, having cut though the publicity hype, I found the whole of this programme as beautiful and as excellently sung as the first. It also introduces the listener to some unfamiliar music, but let me also get two small complaints out of the way. The first is that 53 minutes is rather short value for a full-price CD, however good.

Secondly, as was the case with Volume 1, someone picking up the CD in a browser might buy it on impulse under the impression that the music is all or mostly by Byrd, when, in fact, there is only one 4-minute item by him. I’m afraid that the titles of Naked Byrd 1 and 2 do rather beg the question.

What we do have more than compensates – a very wide-ranging and eclectic programme of some of the most beautiful music ever composed, from the opening Salve Regina, attributed to the 11 ^th-century composer Hermannus Contractus, via the two works by the wonderful Abbess Hildegard, to whose music I could listen all night, through the renaissance and baroque, Samuel Barber’s own arrangement of his Adagio and two by-now familiar John Tavener works, to three new compositions here receiving their first outings.

One of these new works is a re-working of an old one by the Consort’s artistic director Christopher Monks, revisiting the same piece from Thomas Tallis’s English settings in Archbishop Parker’s Psalter which Vaughan Williams employed for his Fantasia on a Theme by Thomas Tallis. The result is not quite as magical as that VW composition, partly because Monks stays closer to the original – Tallis was stuck with setting some fairly banal English words and had to set them in a fairly limited manner, unable to make settings of English his own in quite the same way that his younger contemporary Byrd was able to do. Nevertheless, the Phrygian mode of the original is haunting and Monks’ reworking is impressive. I don’t always react favourably to this kind of reinterpretation of earlier music – Jan Garbarek’s realisations on ECM, Officum Novum* and its predecessors, leave me feeling profoundly depressed – but I found Kelly McCusker’s violin weaving around Anna Sanderson’s voice here very moving. As with most of the music here, both ancient and modern, from the soaring opening Salve Regina onwards, the epithet ‘ethereal’ is highly appropriate.

Even if you have the complete Byrd four-part Mass from which the Agnus Dei (tr.12) is excerpted or the complete Victoria Requiem whence Versa est (tr.10) is derived, you shouldn’t feel short-changed. You may, however, note that, as on Volume 1, slower tempi than usual are adopted for these and for most of the medieval and renaissance pieces, even by comparison with the Tallis Scholars, themselves no speed merchants.

The performance of Versa est takes 4:56 against the Scholars’ 4:37 – recently reissued in a wonderful budget-price 3-CD box to celebrate Victoria’s quatercentenary (GIMBX304) – and the Consort’s Agnus Dei weighs in at 4:05 against 3:20 ( The Tallis Scholars sing William Byrd, 2 CDs for the price of one, CDGIM208). The contrast with The Sixteen in Victoria is even more extreme – they take just 4:05 for Versa est. (Coro CORSACD16033 or on a recent 4-CD set COR16089.)** For all that the Consort milk some of the music in this way, the effect is highly attractive. The singing is excellent and the recording does it full justice.

If Naked Byrd and Naked Byrd 2 lead you to explore some of the composers further, so much the better. There’s nowhere better to start than with Hildegard’s music A Feather on the Breath of God – Hyperion CDA30009, the first of my top 30 choices from Hyperion – see review – now at mid price and no overlap with the works on Naked Byrd 2.

The booklet contains the texts and translations, though some of these are a little rough. Spiritus Sanctus (track 6) is especially inaccurate, with est (it is) mistaken throughout for es (you are). Substitute the following translation: ‘The Holy Spirit is the life which gives life;/moving all things, its root is found in all creation,/and it washes everything from impurity, wiping sins clean, it anoints wounds./Thus it is a shining and praiseworthy life,/awakening and re-awakening everything’. The text of Lotti’s Crucifixus etiam pro nobis (tr.8) is translated as ‘he was crucified even for us’ when etiam here means ‘also’, not ‘even’. This passage is especially familiar, since it is taken from the Nicene Creed, so the mistranslation is all the more inexplicable. At least the texts are there this time, when they were conspicuous by their absence from Volume 1.

Minor grumbles about the lack of Byrd in the programme and about the quality of the translations apart, this second volume may be confidently recommended. As with Volume 1, the works from widely different periods sit much better together than I might have predicted. If in any doubt, subscribers to the Naxos Music Library can try it first and read the booklet there.

-- Brian Wilson, MusicWeb International

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Patrick Hawes has quickly established himself as one of the UKs leading composers, writing in a personal and thoroughly English style that has endeared him to the listening public. This new disc of choral and organ works centers on the mystery and beauty of the words of the Old Testament with stunning performances from Welsh soprano Elin Manahan Thoms, alongside Patricks own choral group Conventus and the English Chamber Orchesta.

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ROBERT WHITE Gallicantus/Gabriel Crouch. ROBERT WHITE - HYMNS, PSALMS & LAMENTATIONS - SACRED MUSIC: Christe qui lux es et dies (I); Ad te levavi oculos meos; Exaudiat te, Dominus; Miserere mei, Deus; Chrite qui lux es et dies (IV); Domine quis habitabit (III); Manus tuae fecerunt me; Lamentations (a6).

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The great patriotic opera of the 17th century, recorded here in a lively new performing edition after two decades in the Gabrieli’s touring repertoire. Notoriously difficult to present on recording or in concert, this version presented by Gabrieli was created to allow an obvious musical narrative, despite Purcell’s music often being completely dislocated from much of the original theatre context. Gabrieli have been performing the music from King Arthur for nearly a quarter of a century, evolving their interpretation over time. With the score having to be pieced together using separate versions (due to Purcell’s originals being lost), and with Gabrieli’s evolved interpretation of the music, the end product of this recording is truly unique. Their next release on Signum will be with the semi-opera by Purcell, Fairy Queen, in April next year, which is an adaptation of A Midsummer Night's Dream.

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REVIEW:

The eight soloists with two additional singers form an excellent chorus that is adept in every context. Throughout the opera McCreesh’s speeds are relaxed rather than driven – no bad thing, to my mind, and it results in Dryden’s wonderful poetry being acted with personable clarity, and the lucidity of musical gestures ensures that affection and intimacy are the hallmarks of a performance that conveys a humane smile.

– Gramophone

Tamsin Waley Cohen is joined by pianist Huw Watkins for a new disc exploring folk-inspired Bohemia from before the First World War – featuring works by Antonin Dvorak, Josef Suk and Leoš Janacek. This release follows Tamsin’s recent critically-praised album of Roy Harris and John Adams’ Violin Concertos with the BBC Symphony Orchestra, as well as previous discs with Huw Watkins exploring some lesser-known gems of the violina and Piano repertoire. Born in London in 1986, Tamsin Waley-Cohen enjoys an adventurous and varied career. In addition to concerts with the Royal Philharmonic, London Philharmonic and BBC orchestras, amongst others, she has been associate artist with the Orchestra of the Swan and works with conductors including Andrew Litton and Tamás Vásáry. She enjoys a duo partnership with Huw Watkins, whose Concertino she premiered, and together they have recorded for Champs Hill and Signum Records, for whom she is a Signum Classics Artist.

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REVIEW:

Above all, it feels as though these performers have got the scale of this music just right: nothing forced, no obvious straining for effect, just fresh, thoughtful and committed interpretations shot through with poetry and alertness. This is real chamber music.

– Gramophone

The Sacconi Quartet record the string quartets of British composer Graham Fitkin, The Composer writes in the introduction to this disc: “The string quartet medium seems to me to thrive in contexts of both poignant intimacy or extrovert forceful information overload. (And indeed all those delicate shades in between.) I feel it has a strength of purpose that I relish, an honest homogeneity to it, a good wide pitch range and quite frankly the ability to play decent long sustained notes or short pizzicati. It’s been all too tempting.” Composed between 1992 and 2007, this disc compiles Fitkin’s complete works for String Quartet, performed by one of the UK’s most dynamic and versatile string quartets.

The organ loomed large from early on in Bach’s life. The foundations of his multifaceted career as a professional musician were clearly laid in the careful cultivation of Bach’ prodigious talent as an organist whilst he was still a child. - See more at: http://www.signumrecords.com/catalogue/david-goode/johann-sebastian-bach:-the-complete-organ-works/sigcd800.html#sthash.gfLILMva.dpuf

Magnificat & Nunc Dimittis was recorded to explore the breadth of imagination with which composers have approached the texts, which have been sung in Christian worship for over 1000 years. Stanford’s starting point was the Germanic symphonic tradition; Howells took his inspiration from the architecture and acoustics of the Cathedral in Gloucester; Tippett was inspired by the unique Spanish trumpet stop at St John’s. The Evening Canticles chosen for this record relate to a particular period of music making in the life of St John’s conductor, Andrew Nethsingha; his time at the Royal College of Music; at Truro and Gloucester Cathedrals, and lastly his time at St John’s. Founded in the 1670s, The Choir of St John’s College, Cambridge, is one of the finest collegiate choirs in the world – known and loved by millions for its rich, warm and distinctive sound, expressive interpretations and ability to sing in a variety of styles.

This programme explores that vast twentieth-century secular English choral repertoire which goes under the generic title ‘partsongs’. It is an extraordinarily rich repertoire to which almost all the famous composers contributed. Buried amongst vast quantities of slightly twee pastoralism – the much-derided “cow-pat” school – are to be found many settings of glorious poetry, forming a corpus of sublime twentieth-century madrigals at least as fine as their famous renaissance forebears. However, this programme has another particular theme: how poets and composers reflect upon the natural world as a metaphor for our own emotional experience. At the heart of this programme is the complex relationship between man and nature, the bitter-sweetness of a radiant and beautiful dawn creating the same unbearable sadness of a ravishing song, and both with intimations of mortality.

Permutations is a new work by Freya Waley-Cohen, commissioned as part of a Aldeburgh Festival’s 2017 season and exploring the relationship between architecture and music. The music for six recorded violins, performed by Tamsin Waley-Cohen (Freya’s sister), has been composed in parallel with the design of six chambers, each housing one violin part. The chambers are adaptable, so that each audience member creates their own piece by the path they take through the space and the way they interact with the chambers. It is as if the structure was itself an instrument and the listener, their own performer. Born in London in 1986, Tamsin Waley-Cohen enjoys an adventurous and varied career. In addition to concerts with the Royal Philharmonic, London Philharmonic and BBC orchestras, amongst others, she has been associate artist with the Orchestra of the Swan and works with conductors including Andrew Litton and Tamás Vásáry. She enjoys a duo partnership with Huw Watkins, whose Concertino she premiered, and together they have recorded for Champs Hill and Signum Records, for whom she is a Signum Classics Artist. In 2016-2017 she will be a recipient of the ECHO Rising Stars Awards. She studied at the Royal College of Music and her teachers included Itzhak Rashkovsky, Ruggiero Ricci, and András Keller. Freya Waley-Cohen’s music has been performed by the Manson Ensemble at the Royal Academy of Music, conducted by Oliver Knussen, the Orchestra of the Swan, conducted by David Curtis, CHROMA ensemble, The Hermes Experiment, Reverie Choir, Richard Watkins, Huw Watkins and others, at venues including the Sage Gateshead, Spitalfields Festival, The Ryedale Festival, The British Film Institute, Snape Maltings Aldeburgh, Dartington, The National Portrait Gallery, and Kew Gardens.

Classical Music

The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wroclaw, Poland with a new version of Haydn’s great oratorio The Seasons. Using a new performing edition by Paul McCreesh, this recording is the first to feature the large orchestral forces that Haydn called for, including a string section of 60, 8 horns and a choir of 70. As well as the combined forces of the Gabrieli Consort & Players, Wroclaw Baroque Orchestra and National Forum of Music Choir, the recording features solo performances from British singers Carolyn Sampson, Jeremy Ovenden and Andrew Foster-Williams. All physical and digital booklet texts are provided in both English and Polish translations.

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REVIEW:

In the cataclysmic thunderstorm, rasping, minatory brass to the fore, the terrified populace evokes Verdi's 'Dies Irae', while the autumn hunt, raucously fuelled by anarchic natural horns, has never sounded more uninhibitedly exuberant. In the wine harvest, with its final tipsy fugue, McCreesh conjures a Burgenland bacchanalia to rival Jacobs -high praise indeed. McCreesh and his massed Anglo-Polish forces have given us a Seasons that thrillingly catches both the work's bucolic exhilaration and its invocations of the sublime. And for sheer sonic splendour it's in a class of its own.

– Gramophone

This new release is a celebration of the music of the British Isles. Spanning the breadth and width of the Isles, this is some of the most beautiful folk music ever written. The arrangements by Geoffrey Webber and Toby Young are mesmerizing. Performing these songs is the Armonico Consort, directed by Christopher Monks.