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)

Classical Music

Classical Music

Classical Music

Classical Music

Igor Stravinsky (1882-1971)Anatoly Liadov (1855-1914) BBC National Orchestra of WalesThierry Fischer Stravinsky: PetrushkaLiadov: Baba-yagaLiadov: The Enchanted LakeLiadov: Kikimora

Celebrated international pianist Peter Donohoe continues his series of Shostakovich releases on Signum Classics, following his recent release of the 24 Preludes and Fugues, Op. 87 (SIGCD396). For this new recording he is accompanied for the concertos by the Orchestra of the Swan under their artistic director David Curtis. In the years since his unprecedented success as Silver Medal winner of the 1982 7th International Tchaikovsky Competition in Moscow, Peter Donohoe has built an extraordinary world-wide career, encompassing a huge repertoire and over forty years’ experience as a pianist, as well as continually exploring many other avenues in music-making. He is acclaimed as one of the foremost pianists of our time, for his musicianship, stylistic versatility and commanding technique.

Classical Music

Classical Music

World Premiere Recording. Tolstoy's Anna Karenina is a mastework of 19th Century literature; a parable on the struggle for personal freedom against the conventions of a hostile society, play our in a tragic love story. Contains a libretto by director Colin Graham after the novel by Leo Tolstoy.

Classical Music

Classical Music

'The King's Singers, the superlative vocal sextet that has retained immaculate blend, perfect tuning and crystal diction...' (The London Times, October '05) have combined one of the greatest vocal compositions of all time with modern recording technology and customary style to produce a truly stunning recording of Thomas Tallis' 'Spem in alium'. This is a unique opportunity to hear every part in 'Spem' sung and recorded to perfection, with the six King's Singers diving the forty parts of 'Spem in alium' between them, in this multi-track recording. (CD single - SACD/CD Hybrid recording)

JOHANN SEBASTIAN BACH - MOTETS VOCES8SENESINO PLAYERS JOHANN SEBASTIAN BACH - MOTETSSINGET DEM HERRN EIN NEUES LIED, BWV 225FURCHTE DICH NICHT, ICH BIN BEI DIR, BWV 228LOBET DEN HERRN, ALLE HEIDEN, BWV 230JESU, MEINE FREUDE, BWV 227KOMM, JESU, KOMM, BWV 229DER GEIST HILFT UNCER SCHWACHHEIT AUF, BWV 226

VARIOUS VOCES8 ACES HIGHTracks: Goldeneye; Slap That Bass; What A Difference A Day Makes; Good Vibrations; Dream A Little Dream Of Me; Feeling Good; Anything Goes; From Russia With Love; Cloudy; Losing My Mind; Mack The Knife; Love Of My Life; For Your Eyes Only/You Only Live Twice;Thunderball; Smooth Criminal; Nobody Does It Better.

An impressive display of heartfelt grief.

When Princess Diana died in 1997 foreign observers were astonished at the public expression of grief. They hadn't expected that from the British, with their famous stiff upper lip. It was considered a sign of the times that people were not ashamed to show their emotions. But apparently there was a precedent in history. In 1612 Prince Henry, the eldest son of King James I, died at the age of just 18. "Certainly the flood of written memorials - epistolary, poetic and musical - which followed his unexpected death and which outnumbered those penned for Queen Elizabeth nine years previously, and the vast crowd of mourners which attended the prince's body on its final journey to Westminster Abbey, attest to the hope which the people had invested in this young man", Gabriel Crouch writes in his liner-notes.

This disc presents a selection of pieces which for the occasion. It is a small selection, since more than 100 poems and more than 40 compositions were written in connection with Henry's death. In addition to pieces which are specifically related to Prince Henry, as his name appears in the dedication or in the text itself, a number are sung which could be linked to this event. Most prominent among these are compositions on the text of the lament of King David for his son Absalom. Gabriel Crouch acknowledges that "the evidence linking it to Henry's death, though compelling, is only circumstantial".

The analogy is inspired by the fact that there was clear disharmony between James and Henry, and there were even rumours about Henry being poisoned by agents working for his father. The identification of Henry and Absalom is not very plausible, though. According to the Bible Absalom was a rebel who plotted against David, the Lord's Anointed, and also his character isn't pictured very favourably. It is very unlikely that the composers whose pieces are an expression of admiration for Prince Henry would compare him to Absalom. The identification of James and David - because of the above-mentioned rumours - isn't plausible either: David specifically ordered his army not to kill Absalom, and it was his general Joab who ignored his order.

The programme also contains pieces on the text of David's lament for his friend Jonathan. There were rumours that James preferred the company of young men over his wife, and Crouch mentions that "some commentators (...) assert that the two young men [David and Jonathan] were lovers", "so perhaps the use of this story of loss and grief from earlier in David's life could be seen as another opportunistic barb to throw at the unpopular king". But to which commentators Crouch does refer? Modern writers have expressed this view, but I am pretty sure this interpretation was absent in the early 17th century. Moreover, where is Henry in this explanation? Wasn't this music written in honour of him? Why would pieces expressing grief about his death be used to throw barbs at his father?

There is really no reason to look for explanations like that. These texts have been frequently used by composers in the renaissance and baroque to express grief. The simple reason is that they are highly expressive and moving, and that in those times everyone knew these texts by heart and also their biblical context. That made them very appropriate to express the grief at Prince Henry's death.

That justifies the inclusion of the various settings of David's lament over Absalom by Robert Ramsey, Thomas Weelkes, Richard Dering and Thomas Tomkins, whether they were specifically written at the occasion of Henry's death or not. All of them are strongly expressive. Whereas Weelkes and Tomkins belong to the standard repertoire of English polyphony, Robert Ramsey is far less known. He was organist and master of the choristers at Trinity College in Cambridge from 1615 until his death in 1644. In his compositions as well as in some others on this disc the influence of the Italian style of the early 17th century is noticeable. And that is reflected in the performance, which includes dynamic gradation, for instance at the words "and wept" and at "o my son" (When David heard). The pieces by Dering are also not that well-known, and in particular his motet, Contristatus est David, the only piece on a Latin text in the programme. The word "flevit" (wept) is set to strong dissonances.

Robert Ramsey also composed a piece on the text of the lament of David over Jonathan, How are the Mighty Fall'n. He and Thomas Weelkes, in O Jonathan, Woe is me, concentrate on David's lament, whereas Thomas Tomkins' Then David Mourned contains just one line from the Biblical text: "Then David mourned with this lamentation over Saul, and over Jonathan his son".

The other pieces were specifically written on the occasion of Prince Henry's death. John Coprario even devoted a cycle of seven Songs of Mourning to this event. Every stanza is dedicated to those who grieved over Henry's death. Four of them are performed: O Grief, "to the most sacred King James", So Parted You, "to the most princely and virtuous Elizabeth" (sister of Henry), When Pale Famine, "to the most disconsolate Great Britain", and O Poor distracted World, "to the World". They are for solo voice and lute, and they are sung with great sensitivity by four members of Gallicantus: Amy Moore, Mark Chambers, Matthew Long and Gabriel Crouch respectively. There are other pieces for solo voices: Robert Ramsey's What tears, dear Prince? is sung by Christopher Watson, Melpomene, Bewail by Clare Wilkinson and Mark Chambers. This piece ends with the words: "Farewell, the Muses' King". The word "farewell" is repeated a number of times, and the closing of this madrigal is highly expressive.

The other works are all polyphonic. The items by Thomas Ford, William Cranford and John Ward belong together. The former two are incomplete, and could only be recorded thanks to reconstructions by Francis Steele. One has to be grateful for that, because these two pieces - as well as Ward's - are very moving tributes to Henry. Cranford's Weep, weep Britons contains the line: "He whose triumphing name was loudly echoed by the trump of fame". It is set in a very evocative way, with fanfare motifs and repetitions suggesting an echo. Italian influences are traceable here as well. The last piece to be mentioned is again by Robert Ramsey, Sleep Fleshly Birth, which confirms the quality of his music. I would definitely like to hear more from him.

Gallicantus's first disc was devoted to music by Robert White, which greatly impressed me. This disc is of the same high standard. Gallicantus produces a beautiful sound, clear and well-balanced. They sing here with great sensitivity, and the expression of this mournful repertoire is fully explored. The Italian influences are also clearly notable. I have already indicated that the lute songs are beautifully sung. The singers are sparing in the addition of ornaments, and considering the character of the songs that is definitely right.

This disc is an impressive display of heartfelt grief. My advice: purchase this disc, let the music move you, and take the liner-notes with a grain of salt. The booklet includes the complete lyrics. The track-list doesn't give the dates of birth and death of the composers, which is a serious omission.

-- Johan van Veen, MusicWeb International

Joseph Nolan marks his 10th release on Signum Classics with a recording on the remarkable 1738 Christian Muller organ of St Bavo in the Dutch city of Haarlem. Housed in one of the most spectacular organ cases in the world, the instrument's renowned clarity of tone makes it perfectly suited to Reubke's Sonata on the 94th Psalm, which forms the heart Nolan's programme alongside works by Bach, Buxtehude and Mendelssohn. British-Australian organist and choral conductor Dr Joseph Nolan has been hailed by ABC Classic FM as ‘an extraordinary musician’, by BBC Radio 3 Record Review as ‘Magnificent’ and by Gramophone as ‘perceptive and intensely musical’. A nominee for Artist of the Year, Limelight Magazine also awarded Joseph its coveted ‘Recording of the Month’ for his ninth album for Signum Records from St Etienne du Mont, Paris, the church and organ of Maurice Duruflé – the first time in the history of the magazine that an organ release has been awarded this distinction.

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REVIEW:

His performance of Messerer’s arrangement of the Bach chaconne has grandeur and bite.

– BBC Music Magazine

Also available from Llyr Williams on Signum Classics: Wagner Without Words

A stunning release, Beethoven Unbound is presented to mark the completion of Llyr Williams’ monumental Beethoven cycle at Wigmore Hall and the Royal Welsh College of Music and Drama, and was recorded live at Wigmore Hall over three years and nine recitals. As well as the complete piano sonatas, the release also features other works including the 32 Variations in C minor, Eroica Variations, Opus 126 Bagatelles and the Diabelli Variations, a total of almost 14 hours of music.

This is Williams’ fourth album on Signum Classics. Williams comments on the album and the partnership with Sherman: “Rather than adopt the chronological approach, I have arranged the works roughly in the order that I played them in the concerts... This has sometimes allowed for creativity in putting the pieces together. Working with Judy on this project has been a joy and a privilege. It was sad to reach the end – but at least we still have a Schubert cycle to look forward to!”

Williams has developed a reputation as one of the finest exponents of Beethoven, since giving his first Beethoven cycle in Perth in 2010, and winning a South Bank Sky Arts Award in 2012 for an epic two-week marathon in Edinburgh. The Guardian said of one of his RWCMD cycle recitals in 2016: “Williams’ already considerable stature as a Beethoven interpreter seems to grow with every performance” (Rian Evans, 25 March 2016) and The Independent commented on a Wigmore recital: “Williams treats it [the keyboard] as an extension of his body, and with the three Opus 10 sonatas plus the Diabelli Variations he took us onto an altogether higher plane” (Michael Church, 12 October 2016).

Winner of the 2002 Grawemeyer Award for Music Composition, 1998 Pulitzer Prize, and 2011 Nemmers Award, Aaron Jay Kernis is one of America’s most honored composers. His music appears prominently on concert programs worldwide, and he has been commissioned by America’s preeminent performing organizations and artists, including the New York Philharmonic, San Francisco, Toronto, and Melbourne (AU) Symphonies. The Viola Concerto – composed for the soloist Paul Neubauer – was in its first instance inspired and informed by the viola music of Robert and Clara Schumann, but takes on a number of other influences. Taking the performers own interest in folk music as an influence too, the final movement A Song My Mother Taught Me is based on the well-known Yiddish song Tumbalalaika. Dreamsongs also follows folk influences, following inspiration from sources including aboriginal ‘dreamsongs’ and the West African djembe drum. A virtuosic work, it was developed in collaboration with the cellist Joshua Roman who features as soloist in this recording. Conductor Rebecca Miller leads the Royal Northern Sinfonia in the final work Concerto with Echoes, inspired by the Sixth Brandenburg Concerto.

On this new release, pianist Emmanuel Despax performs Chopin’s timeless collection of 24 Preludes, Op. 28, alongside the Berceuse in Op. 57 and Barcarolle Op. 60. Working from the latest editions as well as original facsimiles of Chopin’s scores, Despax’s brings his own passion for the works into performances that seek to remain as truthful to the composer’s intentions as possible on a modern instrument. He writes: “Chopin the composer has always fascinated me- multifaceted, complex, a man of paradoxes. His music has huge scope yet at the same time is incredibly intimate and poetic. He sometimes has a reputation for being merely a writer of sentimental salon music; I wanted to correct this through this recording, and demonstrate how timeless and relevant, indeed modern his message is…” Emmanuel Despax is establishing himself as an artist whose interpretations bring a rare sincerity and imagination to the music. He performs internationally and is regularly broadcast on many radio stations including France Musique, BBC Radio 3 and Medici TV. Recent highlights include recitals in Paris, Amsterdam, and a performance of three piano concertos at Cadogan Hall.

Even though Jonathan Dove is best known as a vocal or choral composer, with operas and works for children forming the backbone of his output, his chamber music reveals similar predilections for narrative, drama, atmosphere and a sense of the personal. His new commission from the Sacconi Quartet In Damascus was inspired by the violinist Hannah Dawson’s suggestion for a work that should reflect aspects of the conflict in Syria; not because music can offer any political solution, but simply as an expression of empathy, sorrow, even outrage at those terrible events. Featuring a performance by tenor Mark Padmore, the text is taken from prose-poems by Ali Safar that draw on his first- hand experiences in Syria, eloquently translated by Anne-Marie McManus. The Sacconi’s present this new work alongside his string quartet work Out of Time, and his Piano Quintet – performed with pianist Charles Owen.

Oliver Davis graduated from the Royal Academy of Music in 1994 and has since composed numerous concertos, ballet scores, albums, soundtracks and television scores working with many of the major London orchestras. The Infinite Ocean was composed for choreographer Edwaard Liang and was commissioned by San Francisco Ballet for the Unbound festival, 2018. Liang requested the work to be in six sections and to feature a solo violin. The aim of Arcadia was to create a piece which evoked an idyllic serene place. Gemini was specifically composed for violinist Kerenza Peacock and was designed to explore the contrasting styles of her playing.

The Suite for piano and orchestra was written for Huw Watkins on piano and heavily involves thematic development throughout. Inferno began life as a short orchestral sketch, which gradually evolved into a full, single-movement piece. Lastly, The Elements was commissioned by The Hanke Brothers, who specifically wanted a piece describing the four elements. The ensemble containing piano, viola, recorder and tuba, produces a unique timbre, and the piece explores the possible various aspects of this timbre.

After completing a quintet for wind instruments in 1922 that would become one of his most celebrated works, Carl Nielsen hit upon the ideas of writing a full orchestral concerto for each of the instruments included in that quintet. Nielsen certainly unlocked something in those five individual instruments that few composers had before him o rindeed would after. "Now I think on the basis of instruments themselves...in a way I creep into them" he wrote around the time of the quintet; "it can surely be said that instruments have a soul". The two concertos of the planned five that did materialize - for flute and clarinet - certainly echo those sentiments. The Philharmonia Orchestra is one fo the world's great orchestras. Widely acknowledged for its pioneering approach to the role of an orchestra in the 21st century, the Philharmonia leads the field for the quality of its playing and its innovative work with residencies, music education, audience development and the use of new technology to reach a global audience.

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REVIEW:

Paavo Järvi presides over a splendidly stylish and invigorating Nielsen anthology featuring the Philharmonia at the top of its game throughout. Both concerto performances deserve the widest plaudits. First-rate annotations and production values add to the attractions of a thoroughly recommendable release.

– Gramophone

Los Angeles based string quartet The Calder Quartet releases an album of works by Thomas Adès, including the British composer’s first ever work for string quartet, Arcadiana; The Four Quarters (World Premiere Recording) and Ade?s’s single movement Piano Quintet with Adès himself at the piano.

"***** A series of ingenious and alluring snapshots. The Calder Quartet perform all three with energy and sensitivity. Highly recommended." – Financial Times

I had the good fortune, last week, to see someone buy this CD in my local music shop. She studied the back of it for some time, scratched her head, and tentatively handed over her credit card to pay for it. The man at the counter said. “You won’t regret this; it is lovely,” to which the lady buying it responded, “I hope so.” I hoped so, too: It promises so much with that glossy front cover.

It is quite a comprehensive anthology of overtures. There are 17 of them in total. The range of composers is also satisfying, from Albioni to Ziani. Music ranges from the outré and the slapstick, to the coy and simple. Alexander Pope, in his large epic The Dunciad, once called Italian opera a “harlot form, with mincing step and languid eye,” which is a witticism amply revealed here in the range of aural tricks. As overtures, they are designed to arrest, and like Pope’s “harlot form” the overture has enough to cover the subject, but little enough to remain interesting. We flit between composers, works, time periods, tones, methodologies, keys and characters throughout the course of CD, and it is a genuine pleasure to be thrown hither and thither. A highlight, for me, was Bononcini’s sad and threatening Cefalo, which is full of a cello player’s sense of darkness.

Great credit has to go to Charivari Agréable, the group whose technical proficiency has given life to a series of very obscure opera overtures. This CD is a worthy companion piece to other opera anthologies, both popular and obscure, since it nestles happily in the genre of “introductory” rather than “exhaustive”: an intention highlighted by the obvious fun the orchestra has with its solo moments and general camaraderie. As a window into the period, it makes one realise just how formulaic and repetitive the vogue for Italian opera could be, but it is also refreshingly representative of the variety and nuances composers could inject into the form. It is a confusing collection, in many ways: Scarlatti, Ariosti, Bononcini, Pasquini, and Ziani on one CD is a little baffling. But, I suggest, that is irrelevant, and that the CD is satisfying regardless.

– Dan Sperrin, Fanfare [5-6/2015]