This recording made by the Royal Holloway Choir celebrates the music of Ben Parry. His compositions and arrangements include the popular Faber Carol Book and a burgeoning catalogue of choral music for Peters Edition and Oxford University Press. He has enjoyed commissions from, among others, St John’s College, Cambridge, The Cathedral Choral Society of Washington DC, VOCES8, the BBC Singers, Chelmsford, Ely, Norwich and Worcester cathedrals, and his music has been heard at the BBC Proms and on the TV and radio. In this recording, he sets the words of poems by Garth Bardsley, who says about Ben’s work “all of my poems stand alone but given the Parry treatment, I know that they take flight.” The Choir of Royal Holloway is considered to be one of the finest mixed-voice collegiate choirs in Britain. Their recordings on the Hyperion label have attracted top reviews from all major music publications. The choir gives 50-plus concerts a year with a particular specialism in collaborating with living composers. The choir has collaborated, performed and recorded with many prestigious ensembles, including The King’s Singers, BBC Singers, London Mozart Players, Tallinn Chamber Orchestra, Onyx Brass, Fretwork, and the Britten Sinfonia.

‘Settecento’ is the style of art, music and architecture that emerged in Italy in the early 18th century, celebrated here by La Serenissima and Adrian Chandler with a collection of works from that era. The works are grouped by the areas of Italy where each composer worked, including the Kingdom of Naples (Scarlatti, Mancini), Republic of Venice (Dall’Abaco, Vandini, Tartini & Vivaldi) and the Papal States / Bologna (Brescianello). The ensemble La Serenissima is recognized as the UK’s leading exponent of the music of 18th-century Venice and connected composers. Uniquely, the group’s entire repertoire is edited from manuscript or contemporary sources. It has become synonymous with virtuosity, dynamism and accessibility, uncovering new repertoire and making it available to all through live performance, recordings and educational initiatives.

Robin Tritschler explores the origins of the Song Cycle. The creation of the Song Cycle as a new art form in the early 19th Century was paved with musical experiments and innovations. This album charts the progress made by the great Lied composers of the day toward the cyclical perfection finally achieved by Beethoven and Schubert, and since emulated by Schumann, Loewe, Wolf, Fauré, Britten, Shostakovich and so many others. Irish tenor Robin Tritschler graduated from the Royal Academy of Music and was a BBC New Generation Artist. He performed with the Welsh National Opera (Almaviva, Nemorino, Narraboth, Ferrando, Don Ottavio and Belmonte), Nantes Opera, Stadttheater Klagenfurt, La Monnaie Brussels and Teatro Colon Buenos Aires; in concert with the BBC Philharmonic, BBC Symphony and Scottish Chamber orchestras, London Philharmonic Orchestra (Jurowski, Nézet-Séguin and Stutzmann), Bournemouth Symphony Orchestra (Karabits), Hong Kong Philharmonic (de Waart) and at the BBC Proms (Sir Mark Elder). He performs regularly in recital at the Wigmore Hall, also appearing in Cologne, Amsterdam, Washington and for the Aldeburgh and Aix-en-Provence festivals. His recording of World War One songs on Signum with Malcolm Martineau is critically acclaimed.

-----

REVIEW:

Tritschler sings his programme as eloquently as he writes about it. Pride of place inevitably goes to the Beethoven, where he combines something of Fritz Wunderlich’s warmth with Christian Gerhaher’s altogether darker introspection, and is beautifully alert to the cycle’s constant shifts of emotion and mood. He and Martineau, meanwhile, very much form an equal partnership, and you get a real sense of almost instinctive give and take between them.

–Gramophone

Celebrated international pianist Peter Donohoe begins a new series of Shostakovich releases on Signum Classics with this new recording of Shostakovich's 24 Preludes and Fugues, Op. 87. All 24 of the preludes and fugues were composed within several months, after Shostakovich was inspired by the performance of Tatiana Nicolayeva, whom he heard as a jurist for the Leipzig Bach Competition in 1951. Although doubtlessly inspired by J.S. Bach's own 48 Preludes and Fugues in his use of form and counterpoint, Shostakovich's compositions are all deeply original and rooted in his own enigmatic and ambiguous style, moving from charming simplicity to dazzling virtuosity.

REVIEW:

Time and time again you hear, in this reading, passages that sound like pure Shostakovich bumping up against the numerous Bach homages, and being made to sound right at home there. Sample the “Prelude and Fugue in F minor,” neither deeply melancholy nor neutral, and quite moving in Donohoe’s hands. The massive D minor prelude and fugue at the end has plenty of power, but is kept within the sober confines of Donohoe’s overall interpretation. The intimate atmosphere created by Signum’s engineers is another draw, and overall this is a worthwhile entry in the crowded field of recordings of these works.

-- AllMusic Guide (James Manheim)

Among other things about Peter Donohoe’s Opus 87, I do like the sense of shape he gives to the whole, with a real sense of arrival at the final magnificent Prelude and Fugue No. 24 in that most Bachian key of B minor, and some remarkable experiences along the way beforehand. The intensity of that tremolando for instance in Prelude No, 14 pushes all the buttons, and with impeccable musicality and a fine ear for all of Shostakovich’s moods Donohoe never puts a foot wrong—and indeed, tasteful pedalling also deserves a mention. Hesitate not. This is a recording of Shostakovich’s 24 Preludes and Fugues you’ll want to keep close and guard well.

-- MusicWeb International

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)

Following the huge success of their recent album release 'Timelapse' (Jan 2021), Orchestra of the Swan presents Vivaldi Sleep, a project that was initiated by the orchestra during the first national lockdown of 2020. Eleven artists from a broad range of genres - including klezmer, folk, electronica and jazz - were invited to add a solo part in response to the orchestra's recording of the second movement of Autumn from Vivaldi's Four Seasons. Guest artists recorded their solo parts at home and were given free rein to start prior to the orchestra's recording and continue after it had finished if they wished. Manipulation of the source material was also allowed. Formed in 1995, Orchestra of the Swan is a British chamber orchestra which, under the artistic direction of David Le Page, is passionate about audience inclusivity and blurring the lines between genres through it's adventurous and accessible programming. This album demonstrates this ethos exactly.

This album marks the second release of the Carducci’s Shostakovich 15 project, which includes performances of the complete cycles of the Shostakovich Quartets in cities including Washington DC, London, Oxford, Cardiff, Bogota and concerts throughout the UK to mark the 40th anniversary of the composer’s death. Described by The Strad as presenting “a masterclass in unanimity of musical purpose, in which severity could melt seamlessly into charm, and drama into geniality”, the Carducci Quartet is recognized as one of today’s most successful string quartets. This release contrasts Shostakovich’s first two string quartets with the seventh – composed in memory of his late wife Nina. In composing his quartets prior to No. 7, Shostakovich had scrupulously followed a predetermined sequence of keys: according to this, the work should have been in E flat major. However Shostakovich, significantly, chose to break this pattern by writing his new quartet in F sharp minor, the key associated with such anguished music as Peter’s remorse in Bach’s St John Passion, and – particularly close to Shostakovich’s heart – Mahler’s unfinished Tenth Symphony.

Based at Windsor Castle, the members of The Queen’s Six make up half of the Lay Clerks of St George’s Chapel, whose homes lie within the Castle walls. This rare privilege demands the highest musical standards, as they sing regularly for the Royal family at both private and state occasions. In 2018 this included the weddings of Princess Eugenie and Mr Jack Brooksbank, and Prince Harry and Ms Meghan Markle, both held in St George’s Chapel. Most significantly however, it is the familiarity of living and singing together in Chapel every day that lends this group its distinctive closeness and blend, as well as an irresistible informality and charm. Individually, members of The Queen’s Six have appeared in many of the most prestigious vocal ensembles on the circuit, including The Tallis Scholars, Tenebrae, and The Sixteen. Their repertoire extends far beyond the reach of the choir stalls: from austere early chant, florid Renaissance polyphony, lewd madrigals and haunting folk songs to upbeat Jazz and Pop arrangements.

-----

REVIEW:

The Queen's Six do not attempt to outdo the King's Singers' famously intricate arrangements, preferring to steer things back a bit toward the middle of the road. Your reactions to this may depend on your larger ones toward the idea itself, but the execution is solid. The program consists of folk songs of the British Isles, and as the album title suggests, the Queen's Six make sure to put a generous helping of the repertory's greatest hits on the program. Other attractions include the large variety of arrangers, with just a few names repeated; the arrangements are well-chosen such that each one shows distinctive traits, but all fit together generally well.

– All Music Guide (James Manheim)

After the success of their debut disc, ‘Voyages’, Mary Bevan and Joseph Middleton present their second recital disc exploring Lieder in German and Italian by Schubert, Haydn and Wolf. The programme is woven around songs inspired by the ‘muses’ of the day, both mythological and divine.

REVIEW:

Mary Bevan is not just an exceptionally fine soprano. She’s also a superb actress. Those dramatic qualities – and her keen care for diction – shine in her latest album. She is at her best in the sprinkling of Wolf’s Mörike Lieder, including an ecstatic ‘Gebet’. Middleton’s playing is always sensitive, never overwhelming the singer.

– Gramophone

Award-winning Vibraphonist Lewis Wright returns to Signum following the success of his recording 'Duets' in 2018, with a selection of new compositions this time performed with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums). "The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then color the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The color of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they'll seep, often unpredictably, into everything that ends up being realized. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that's both a reflection of my intentions and also infinitely more sophisticated than it's possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians." (Lewis Wright)

In a word I feel myself the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again, and who in sheer despair over this ever makes things worse and worse instead of better... but I have tried my hand at several instrumental things... in fact, I intend to pave the way towards a grand symphony in this manner. These extracts from a letter of 1824 epitomize the paradox of Schubert, the manic-depressive composer. On the one hand his music has that world-weary element of profound grief - 'the most wretched creature in the world' - and on the other a life-affirming exuberance bordering on the manic that characterizes the Wanderer-Fantasie and parts of the D major sonata D.850. In this final volume Llyr Williams plays a selection of Franz Liszt's evocative Schubert song transcriptions, including works from Die sch�ne M�llerin, Wintereise and Schwanengesang.

Coupling powerful interpretations with path-breaking scholarship, Contrapunctus presents music by the best-known composers as well as unfamiliar masterpieces. The group’s repertoire is drawn from England, the Low Countries, Spain, Portugal and Germany, particularly in the sixteenth and seventeenth centuries. The scholarly facet of the group’s work – including the discovery of long-lost music and reconstructions of original performing contexts – allows audiences to experience the first performances of many works in modern times. Owen Rees is both an acclaimed choral director and an internationally recognized scholar of Renaissance music, particularly from Spain, Portugal, and England. His scholarship consistently informs his performances in exciting and revelatory ways. He has brought to the concert hall and recording studio substantial repertories of magnificent Renaissance and Baroque music, including many previously unknown or little-known works, and he has played a leading role in revealing the glories of Portuguese Renaissance polyphony to an international audience. His interpretations have been acclaimed as ‘revelatory and even visionary’ (BBC Music Magazine) and as ‘rare examples of scholarship and musicianship combining to result in performances that are both impressive and immediately attractive to the listener’ (Gramophone). During the 16th century, the music of Josquin Desprez became hugely sought after. Large quantities of his music were published in cathedral music books and instrumental anthologies (a huge step in this period of history). This inspired three of the greatest Spanish composers of this age - Morales, Guerrero and Victoria. In this new Signum recording, Contrapunctus and Owen Rees explore the repertoire which was produced as a result of this inspiration.

-----

REVIEW:

Although he includes only one piece by Josquin – the celebrated Salve regina – Contrapunctus’s director, Rees, ingeniously illustrates in this recital how the great man’s work influenced that of three of his finest Spanish Renaissance successors. The connections are sometimes arcane, but device always serves expressivity in this music. These singers give unfailingly shapely, touching performances.

– Sunday Times (UK)

Alexandra Dariescu makes her concerto debut with Tchaikovsky's Piano Concerto No. 1 with the Royal Philharmonic Orchestra. Alexandra Dariescu has garnered an impressive reputation for her outstanding solo recordings and concert performances and was recently named as one of 30 pianists under 30 destined for a spectacular career in the International Piano Magazine.

Literally meaning ‘rooster song’ or ‘cock crow’, Gallicantus takes its name from monastic antiquity; the name of the office held just before dawn, it was a ceremony which evoked the renewal of life offered by the coming day. Dedicated to renaissance music and directed by Gabriel Crouch, the membership of this early music group boasts a wealth of experience in consort singing. Renowned for their critically-acclaimed and researched programmes, Gallicantus presents Sibylla. At the heart of the programme is Orlandus Lassus’s 16th Century Prophetiae Sibyllarum, which sets to music the texts of ancient Sibylline prophecies telling of the coming of Christ. One of the composer’s most renowned and celebrated works, it is performed alongside settings by the ‘Sibyl of the Rhine’ Hildegard von Bingen, as well contemporary responses to Lassus’s work. Dmitri Tymoczko’s Prophetiae Sibyllarum sets poems by Jeff Dolven which recast the sibyls’ role: this time to the teller of grim truths of present life in post-industrial America. As an epilogue the album finishes with Elliot Cole’s ‘I saw you under the fig tree’ (part of his suite Visions) – a simple 4-part setting beneath an extraordinary countertenor glissando, setting Jesus Christ’s response to Nathaniel.