Conductor Paul Spicer and the Royal Birmingham Conservatoire Chamber Choir return to SOMM Recordings with a ravishing, centuries- spanning recital of musical portraits of the Blessed Virgin Mary. Rosa Mystica takes its title from Benjamin Britten’s passionate setting of Gerard Manley Hopkins and forms the centrepiece of a programme ranging from the glorious Tudor polyphony of Nicholas Ludford’s motet Ave cujus conception via Bruckner’s dramatically contrasted Ave Maria to the Norwegian Ole Gjeilo’s apparently simple but sophisticated Second Eve, composed as recently as 2012. Two versions of the Magnificat are heard in George Dyson’s bewitchingly peaceful depiction of the Virgin Mary, composed just after the end of the Second World War, and Herbert Howell’s more troubled setting for Chichester Cathedral in 1967. The enduring fascination with and devotion to Mary in the modern era is represented by a diverse array of composers from the austere, hushed, mystical atmospheres of John Tavener’s Mother of God, here I stand, the jazz-Blues-accented Ave Maria of Carl Rütti, rich harmonic and colour palette of Judith Bingham’s Ave Virgo Sanctissima and Trond Kverno’s beautiful, unusual setting of Ave Maris Stella to Cecilia McDowall’s short but highly effective carol, Of a Rose. The RBCCC are joined by Spicer’s student in Birmingham, organist Callum Alger, currently an impressive young organ scholar at Westminster Cathedral. Paul Spicer and the RBCCC’s previous SOMM releases include Partsongs by Sir Charles Villiers Stanford (SOMMCD 0128), hailed by MusicWeb International as “indispensable listening for all lovers of British music” and The Glory and the Dream, choral music by Richard Rodney Bennett (SOMMCD 0184), to which Gramophone respectively extended an “enthusiastic” welcome as well as collections of choral music by John Joubert (SOMMCD 0166), Samuel Barber (SOMMCD 0152) and Herbert Howells (SOMMCD 0140).

SOMM Recordings announces an important new recording of two classic English song cycles by Sir Arthur Somervell – Maud and A Shropshire Lad – from the acclaimed partnership of baritone Roderick Williams and pianist Susie Allan. Hailed as “the English Schumann” for his mastery of song setting, song cycles in particular, Somervell’s music is marked by a distinctive blend of lyricism and harmony that makes itself indelibly felt in these two seminal works of the English song repertoire. His first cycle, Maud, setting 13 poems from Alfred, Lord Tennyson’s dark monodrama, was first performed in 1899 at the height of a fashion for recitals of songs sung in English. An intense, impassioned portrayal of infatuation, it is marked by remarkably eloquent and revealing relationships between voice and text, and voice and piano. Composed in 1904, the 10 poems from A.E. Housman’s A Shropshire Lad portray a young man wistfully contemplating nature, life and love at the age of 20 before following him through a life full of incident, the horror of the First World War and growing self-awareness. It prompted from Somervell texturally rich and varied music shot through with an aching lyricism all the more powerful and potent for its folk song-like simplicity and directness. Completing the recital are the enchanting, ever-popular lullaby Shepherd’s Cradle Song and wistful tale of childhood sweethearts with texts by Edgar Allan Poe, A Kingdom by the Sea. British music authority Jeremy Dibble provides informative booklet notes and Roderick Williams a revealing take on Somervell’s music from a singer’s perspective.

SOMM Recordings explores one of the most significant partnerships in 20th-century British music with Fa�ades, an album of piano-accompanied songs and music for four-hand piano by William Walton and Constant Lambert. Fa�ades takes it's title from Walton's era-defining "entertainment", heard here in arrangements for four-hand piano of it's two orchestral Suites by Lambert - regarded by Walton as the definitive reciter of Edith Sitwell's nonsense verses. Lambert's Trois pi�ces n�gres pour les touches blanches for piano duet are a kaleidoscopic, jazz-accented tour de force exploration of the piano's white keys. Described by the composer as an "idyll", Walton's Siesta (also for two-player piano) is, says Ronald Woodley in his entertaining and informative booklet notes, "infused with the clear light and open charm of Italy". The eight song settings by Lambert of poems by the eighth-century Chinese poet LI Po are "exquisitely crafted, restrained and often enigmatic miniatures [marked by an] elusive and allusive musical style". Completing the recital, a selection of songs by Walton range from Tudor pastiche (Under the Greenwood Tree) to the atonal-inflected Tritons and lyrically captivating Beatriz's Song. Making their SOMM debuts are tenor James Geer and his accompanist in the songs, pianist Ronald Woodley. The latter is joined at the keyboard in the four-hand piano arrangements by Andrew West whose previous SOMM recordings include three acclaimed volumes of Parry's English Lyrics.

SOMM Recordings is delighted to announce the release of an intriguing new recording, introducing the melodious, rhythmically vibrant choral music and songs of Penelope Thwaites. Featuring 19 premiere recordings, From Five Continents celebrates a lifetime of making music around the world to showcase Thwaites’ distinctive compositional signature. The album’s centrepiece, a moving new Missa Brevis, is coupled with four Psalm settings, songs influenced by the sounds of Indian and African music, folk-styles from the Americas and an evocation of the vast Australian outback. From Five Continents features three outstanding singers venturing into new musical territory. Making their debuts on SOMM are Carolyn Sampson – whose brilliant soprano ranges from shimmering choral solos to guitar- accompanied folk song – and baritone William Dazeley, who vividly conjures the inherent anger of the much-set Fear no more the heat o’the sun, one of five Shakespeare settings. Enveloped by drums and saxophone, tenor James Gilchrist returns to SOMM for a stirring tribute to Nigeria’s second-largest city, Kano. The composer herself provides exceptional accompaniment on piano throughout the album. Also returning to the label is Ex Cathedra under their inspiring conductor Jeffrey Skidmore to demonstrate again a rare versatility and the most beautiful of choral sounds while reveling in the punchy, rhythmic vivacity and telling colors of Thwaites’ music. Thwaites’ previous release on SOMM was the premiere recording of the concert version of her musical co-written with Alan Thornhill, Ride! Ride! (SOMMCD 017) which featured Keith Michell as the 18th-century religious and social reformer John Wesley. “The strength of Alan Thornhill’s libretto and the sheer variety of Thwaites’ music combine to create a compelling aural drama”, said Gramophone.

The third volume of Peter Donohoe's acclaimed survey of Mozart's Piano Sonatas for SOMM Recordings focuses on three works from the second half of the 1780s - including his last exercise in the form, Sonata No.18 (K576) - together with two exquisite miniatures. Although likely composed as teaching materials, the sibling Sonatas Nos.10 (K330) and 11 (K331) eloquently push their intended student- players with considerable technical challenges that point to Mozart's own development as a composer. The C major Sonata No.10 opens in an unabashedly didactic frame of mind before blossoming into a rich and satisfying work, by turns playfully intimate, operatic and always testing the abilities of soloist and piano. As Christopher Morley notes in his informative booklet notes, the Sonata No.11 in A major, with it's tradition-defying structure, seems "more like a suite than a conventional sonata". Opening with variations on Rechte Lebensart ('The right way of living'), a song from southern Germany where Mozart's father Leopold had his roots, it ends with the effervescent, ever- popular 'Rondo Alla Turca'. Interspersing the sonatas, the K574 Gigue pays homage to Bach and echoes the finale to Mozart's own Symphony No.40 while the K540 Adagio is, says Morley, "one of the most inwardly personal of Mozart's compositions". This new release follows critical acclaim for Volume 1 (SOMMCD 0191) including the accolades of MusicWeb International's Recording of the Year and BBC Music Magazine's Recording of the Month which declared: "It was high time someone blew the cobwebs off this still under-appreciated repertoire, and Donohoe is clearly the person to do it". Musical Opinion described Donohoe in Volume 2 (SOMMCD 0198) as "an ideal interpreter", adding "no finer accounts of these still neglected masterpieces will have been offered to the public".

SOMM Recordings pays tribute to the remarkable flourishing of British Violin Sonatas in the 20th century with a collection of music for violin and piano by six key figures of the modern chamber music renaissance in Britain. Making her debut on SOMM, violinist Clare Howick’s championing of this repertoire prompted iClassical to declare “the record-buying public owe [her] a debt of gratitude”. She is accompanied by pianist Simon Callaghan. From the middle of the century, and commissioned for Yehudi Menuhin, William Walton’s Violin Sonata is unique in the composer’s oeuvre with its almost constant sense of nervous uncertainty. Composed the same year (1948), Kenneth Leighton’s youthful First Violin Sonata is the product, as Robert Matthew-Walker comments in his authoritative booklet notes, of “a deep-thinking musician of whom everything he was to write, from his earliest compositions onwards, is genuinely felt and unaffectedly original”. William Alwyn’s beautifully proportioned Sonatina (1933) receives only its second appearance on album here. Composed the following year, Alan Rawsthorne’s Pierrette: Valse Caprice is best remembered from its quotation in the composer’s soundtrack for the 1947 film Uncle Silas. The contrasted Elegy and Toccata from Lennox Berkeley’s 1951 Op.33 reveal a master craftsman in miniature, while three pieces by Gordon Jacob – Little Dancer (1959), Caprice (1969) and Elegy (1972) – all make their first appearances on album here. Somm gratefully acknowledges the support of the William Alwyn Foundation, the Lennox Berkeley Society, the Delius Trust, the Rawsthorne Trust and the RVW Trust in making this recording.

SOMM Recordings continues its acclaimed championing of neglected British composers with Dame Ethel Smyth: Songs and Ballads – 17 vocal works with piano and chamber orchestra accompaniment composed between 1886 and 1913. Contralto Lucy Stevens has a long relationship with Smyth, portraying the composer, political activist and writer in her widely admired stage show Ethel Smyth: Grasp the Nettle. She is joined by her long-time stage companion, pianist Elizabeth Marcus, and Odaline de la Martinez conducting the Berkeley Ensemble. All four are making their debuts on SOMM. Published in 1886 and receiving their first recordings in English are the five Op.3 Songs and Ballads. Dedicated to Livia Frege, the singer to whom Mendelsohn and Schumann dedicated some of their finest songs, they blend images of the natural world with themes of lost love to reveal Smyth as a songwriter of already considerable gifts. Dedicated to Smyth’s mother and exploring themes of motherhood while shot through with images drawn from troublesome dreams, the five Op.4 Lieder, settings of German texts, exalt in an emotional palette that ranges from tenderness to trenchant emotion. Three Songs from 1913, composed during the period of Smyth’s suffragette activity – which saw her jailed for two months for throwing a stone through a cabinet minister’s window – deftly combine the political and personal. With lyrics by the suffragist Ethel Carnie Holdsworth, Possession is dedicated to Emmeline Pankhurst, On the Road: a marching tune to Pankhurst’s daughter, Christabel. The Clown sets a text by Maurice Baring, whose biography Smyth wrote in 1938. Written for voice and chamber orchestra, the Four Songs from 1908 boast exquisite orchestrations that revel in Smyth’s associations with artistic circles in France and were hailed by Debussy as “tout à fait remarquables”. Stevens, who devised the album’s programme, Martinez and Christopher Wiley provide informative booklet notes.

SOMM Recordings presents Treasures from the New World - a compelling collection of late-Romantic and contemporary works for piano and string quartet from the Americas brimming with all the colour, energy, and emotion of that great continent. Rio de Janeiro-born piano virtuoso Cl�lia Iruzun teams up with the Coull Quartet for a varied and vital programme championing the music of her Brazilian compatriots Henrique Oswald and Marlos Nobre and the pioneering American Amy Beach. Influenced by Brahms and Schumann, Beach's Piano Quintet in F-sharp minor (1908) is stamped through with a lyrically melancholic and pensive signature all it's own. For her Romance for Violin and Piano (1893), a work of hypnotic gracefulness and aching emotions, Iruzun partners with the Coull Quartet's first violinist, Roger Coull. Receiving it's first recording outside of Brazil, Henrique Oswald's Piano Quintet in C major (1895) was composed in Florence. Imprinted with the European influences he absorbed there, it is lit up by his own gift for heartfelt melody. Marlos Nobre's Poema XXI - here in it's premiere recording - carries itself with a distinctive character drawing on traditional South American dances to produce something effusive, elegant and exotic in equal measure. Gavin Dixon provides illuminating, informative booklet notes. Cl�lia Iruzun's previous recordings for SOMM include two volumes of music by Federico Mompou and Piano Concertos by Albeniz & Mignone with the RPO and Jac van Steen - nominated for an International Classical Music Award in 2019 and hailed by International Piano: "Cl�lia comes into her vivid own, playing with a superb mastery and empathy; it is difficult to imagine... greater skill and affection". The Coull Quartet's long association with SOMM has produced admired recordings of Mozart, Nicholas Maw and Britten, Sibelius, Ian Venables, and settings of John Ruskin.

SOMM Recordings is delighted to announce Hush!, the second release by the “extraordinary voices” (BBC Radio 3) of female quintet Papagena following their internationally acclaimed, Amazon classical chart-topping debut, The Darkest Midnight. Hush! unearths a treasure trove of songs largely neglected on disc to deliver a stunning follow-up to The Darkest Midnight. Where it hymned the cold, harsh glamour of sun-starved winter, Hush! – playful, poignant, poetic and primed with the expectation of joy – celebrates the warmth and light of love. Typically for Papagena, Hush! is a centuries-spanning, genre-defying, culturally diverse recital marrying sacred and secular, ancient and modern, classical, traditional and even stadium rock. The result is an often gorgeous, always intelligent exploration of “hush” as a harbinger of consolation, of tranquil release and of mild admonition to pause, listen, feel and relish the quietly exultant glories of being alert and alive to the fleeting moment. Papagena’s beautifully blended, pristine vocal signature illuminates ecstatic heights, anguished depths and love in all its multi-hued splendour with a becoming thread of wit and humor. First recordings include The Woman’s ‘If’, Jim Clements’ knowing setting of Caitlin Moran’s wickedly arch re-imagining of Rudyard Kipling’s If from a modern female perspective, Papagena’s Suzzie Vango’s arrangement of American rock icons Guns N’Roses’ anthemic Sweet Child O’Mine and Geoffrey Weaver’s exquisite re-working of Tchaikovsky’s touching depiction of the Christ-child, Legend (The Crown of Roses). Traditional songs from English and Celtic sources are heard alongside pieces drawn from the profoundly moving religious heritage of Eastern Europe and Sephardic music. Hailed by arts site The Prickle as “a young female Hilliard Ensemble”, Papagena’s The Darkest Midnight was judged “stimulating, varied and full of interest” by MusicWeb International, adding: “What sets the album apart is the superb singing [of] an outstanding ensemble”.

SOMM Recordings’ historic complete survey of Charles Villiers Stanford’s String Quartets by the Dante Quartet reaches its end with a third volume focusing on Nos. 1 and 2, and the first recording of No. 6. Already acclaimed as a composer of choral music, Stanford came relatively late to the string quartet form, composing his first two at the age of 39 in 1891. Six more followed over the next three decades, including the Op. 122 String Quartet, No. 6 in 1910. This final volume features the early String Quartets, Opp. 44 (No. 1) and 45 (No. 2) which share a concern for meticulous use of individual instrument voices and a leaning towards lyricism. Allusions to Beethoven and Mozart are contained within Stanford’s own beautifully crafted music. Heard here in its premiere recording, the Sixth String Quartet is a work of rich contrasts, restless energy and some of Stanford’s most expressive writing for the medium. Volume I (SOMMCD 0160) was admired as “an excellent disc in every respect” (MusicWeb International), applauded as “most enterprising and thoroughly likeable” (Classical Ear) and acclaimed “a really worthwhile release” (Gramophone). Volume II (SOMMCD 0185) was described as “essential listening... SOMM and the Dantes have broken important new ground with impressive commitment” by Gramophone and by Limelight as being “played with great élan and sensitivity by the excellent Dante Quartet”.

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REVIEW:

The Dante Quartet play splendidly throughout the album, with noticeably clean articulation and gratifying intonation. Unerringly accomplished, these Dante performances, combined with spirited interpretations that breathe vitality and enthusiasm, would pass the most rigorous examination. The engineering team, recording in St Nicholas Parish Church, Thames Ditton, has provided first class sound quality. Stanford biographer Jeremy Dibble has written the booklet notes. Lovers of British music, and Stanford in particular, need not hesitate in acquiring this superb album.

– MusicWeb International

Cellist Bozidar Vukotic and pianist Alissa Firsova make their debuts on SOMM Recordings with Russian Visions, a revealing survey of chamber duets by three 20th-century giants: Stravinsky, Schnittke and Dmitri Smirnov. Five contrasting works reveal the diversity of stylistic approaches in modern Russian music while also paying tribute to the country’s revered school of cello playing in pieces dedicated to legendary Russian cellists of the last century – Gregor Piatigorsky, Natalia Gutman and Mstislav Rostropovich. The modernism of Schnittke’s Second Cello Sonata is heard alongside the romantic lyricism of his First Sonata and Smirnov’s Tiriel, and against the neo-classical leanings of Stravinsky’s Suite Italienne and Schnittke’s Musica nostalgica. Heard here in its first recording, Dmitri Smirnov’s Tiriel – one of many pieces inspired by the artist William Blake – was drawn from his similarly titled 1985 opera and takes the form of a lilting, lyrical lullaby welcoming the release from sorrow afforded by sleep. Bozidar Vukotic is a founder-member of the Tippett String Quartet and has been guest principal cellist with leading orchestras in the UK and Europe. He studied with Rostropovich protégé Stefan Popov at the Guildhall School of Music, where he was awarded the prestigious Premier Prix, completing his studies with William Pleeth in London and Alexander Kniazev in Moscow. He teaches at the Purcell School and is Cello Professor at Trinity Laban Conservatoire. A much in demand pianist who made her Wigmore Hall and BBC Proms debuts in 2009, Alissa Firsova is also a former BBC Proms Young Composer whose music has enjoyed widespread international exposure in the concert hall and on disc. Her solo performing is complemented by chamber collaborations with distinguished artists such as Stephen Kovacevich, Steven Isserlis, Tim Hugh and Andrew Marriner. She also has a burgeoning career as a conductor. Dmitri Smirnov is her father.

SOMM RECORDINGS announces the release of Kathleen Ferrier in New York, historic performances of Mahler and Bach by the much-loved contralto during her triumphant visits to the United States in 1948 and 1950. Recorded live on Ferrier’s only appearances in Carnegie Hall in January 1948, four months after her acclaimed performance at the inaugural Edinburgh International Festival, Mahler’s Das Lied von der Erde reunited her with the conductor Bruno Walter and saw her making first appearances with tenor Set Svanholm and the New York Philharmonic Orchestra. Re-mastered by Norman White and Adrian Tuddenham, this remarkable account pre-dates Ferrier’s often-reissued 1952 recording by four years and finds her in exhilarating fresh voice – a vivid, vital display of a great artist at her peak. Accompanied by pianist John Newmark in New York’s Town Hall in 1950, three songs by JS Bach – Vergiss mein nicht, Ach dass nicht die letzte Stunde and his arrangement of Gottfried Stölzel’s Bist du bei mir – are taken from Ferrier’s final visit to the US. Also included are excerpts from a revealing 80th birthday interview with Bruno Walter in which he discusses his friendship and collaborations with Mahler and recalls his first meeting and subsequent association with Kathleen Ferrier. Illuminating booklet notes are provided by Ferrier authority and discographer Paul Campion, who also compiled the disc. SOMM’s previous Ferrier releases include Bach’s Mass in B minor, songs by Brahms, Chausson and Mahler and Kathleen Ferrier Remembered, a first release of BBC Radio recordings of Lieder and British songs. Kathleen Ferrier in Celebration of Bach was acclaimed by Gramophone as “an important addition to Ferrier’s discography... one of the most beautiful things she ever committed to album”.

SOMM RECORDINGS is pleased to announce a sparkling recital of Virtuoso Piano Transcriptions spanning two centuries from Bach to Gershwin by pianist Alessandro Taverna. During it's peak popularity in the century from 1820, the art of transcription provided access in both the home and the concert hall to the riches of the symphonic and operatic repertoires through the conduit of the piano. Recorded as part of the 2018/2019 Piano Series at Turner Sims, Southampton, Alessandro Taverna celebrates a lost art that made great music available to the widest audience in an era before the first recordings and radio. Treated to a masterly re-imagining by Rachmaninoff, Bach's Third Violin Partita opens a recital that also showcases Taverna elegant virtuosity at the keyboard. A characteristically combustible re-working of themes from Mozart's Don Giovanni, Liszt's R�miniscences de Don Juan takes full advantage of the piano's full orchestral range and sounds all the more remarkable in Taverna's by turns poetic and powerful performance. Liszt's transcriptions of three Schubert songs reveal his sensitivity to the originals and his appreciation of the piano's ability to conjure fantasy to mesmeric effect, his 'paraphrase' of Verdi's Rigoletto a miniature marvel for the piano. Echoes of Liszt can be heard in Ernst von Dohn�nyi's delightfully dancing re-working of Johann Strauss the Younger's Schatz Walzer and in George Gershwin's electric, effervescent arrangement of his own Rhapsody in Blue, a thrilling display of pianistic fireworks brilliantly realized by Taverna. Alessandro Taverna's previous recordings for SOMM include Sonatas by Nicolai Medtner and music by Debussy and Ravel, of which Fanfare magazine said: "Boldness and refinement keeps the playing interesting at every moment... Taverna distinguishes every textural strand with clarity... this superb release will add lustre to his reputation"."

SOMM Recordings’ The Deeper the Blue offers an intriguing exploration of colour and timbre in music and a revealing investigation of the connections between four very different composers over a near-100-year period. Taking its title from painter Wassily Kandinsky’s assertion that a deepening colour ultimately “turns into silent stillness and becomes white”, the recording illuminates the intimate relationship between student and teacher: Vaughan Williams and Maurice Ravel, Kenneth Hesketh with Henri Dutilleux and the influence on Dutilleux of Ravel. Hailed by The Washington Post for her “riveting” playing and “exquisite tone”, virtuoso violinist Janet Sung and the Britten Sinfonia – one of the UK’s “most flexible chamber orchestras” (Evening Standard) – make their SOMM debuts alongside long-time label artists, conductor Jac van Steen and pianist Simon Callaghan, the latter partnering Sung in Ravel’s jazz- and Blues-accented Sonata for Violin and Piano. The last chamber music Ravel composed, it is a colouristic extravaganza brimfull with joy and irrepressible energy. The harmonic language of Dutilleux’s piano suite Au gré des ondes boasts a wide colour palette enhanced in brilliance and charm by his former pupil Kenneth Hesketh’s orchestral arrangement, here in its first recording. Harmonic and instrumental colour is central to Hesketh’s own music. Also receiving its first recording, and composed in 2016 for Janet Sung, Hesketh’s Inscription-Transformation for violin and orchestra is a richly intricate weaving together of the textures and tones of violin and orchestra. Commemorating Dutilleux and Hesketh’s grandmother, who died during its composition, it’s a febrile, endlessly mutating work that pits stratospheric violin against agitated orchestra in music as complex as it is gratifying in the intensity of its expression. Ralph Vaughan Williams’ compact, muscular, Bach-influenced Concerto for Violin and Orchestra combines meditative repose with dance-like extroversion, Maurice Ravel’s ever-popular Tzigane a fiery, virtuosic homage to Hungarian folk music.

The acclaimed Italian guitarist Gianluigi Giglio makes his debut on SOMM Recordings with The 19th Century Guitar, a scintillating recital of music by Fernando Sor, a pioneering champion of the guitar in the vanguard of raising it's profile out of the tavern and into the concert hall. Giglio's wide-ranging recital explores Sor's innate feeling for the guitar and charts the increasing demands he placed on the instrument in a body of work that transformed it's standing with public and pundits alike. From the early Op. 9 masterpiece that charted a new and expressive landscape for the guitar - Introduction and Variations on a Theme by Mozart - to the late Elegiac Fantasy (Op. 59) with it's leanings towards newly-emerging Romanticism, this is a textbook display of the instrument's many abilities given eloquent voice by a master guitarist. Other notable pieces include the Introduction and Variations on 'Malbrough s'en va-t-en guerre' (Op. 28), a deliciously knowing exercise in re-creating 18th-century style, the possibly unique programmatic caprice Le calme (Op. 50) and the no less singular �tude The movement of a religious prayer from the Op. 31 24 Progressive Lessons for Beginners which is distinguished by it's beautiful sense of polyphony. Gianluigi Giglio plays a guitar made by the noted Parisian luthier Ren� Lac�te in Paris in 1834. SOMM's previous recordings of Fernando Sor include Eros Roselli's recital Studies for Guitar (SOMMCD 021) and 12 Seguidillas performed by Craig Ogden on a disc of Spanish Songs featuring soprano Patricia Rozario (SOMMCD 078).