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Szymanowski & Karlowicz: Violin Concertos

Szymanowski & Karlowicz: Violin Concertos


Karlowicz:

Violin Concerto in A major, Op. 8

Szymanowski:

Violin Concerto No. 1, Op. 35

Violin Concerto No. 2, Op. 61


This SACD recording brings together some of Chandos’ greatest artists in a spellbinding programme.

It follows performances that The Guardian described as ‘a thrilling show of ferocity and feistiness’, given by the same forces in January at the Barbican. After widely acclaimed recordings of Walton’s and Lutosławski’s violin concertos, Tasmin Little again joins the BBC Symphony Orchestra conducted by Edward Gardner, in intensely expressive interpretations of the concertos by the Polish composers Karłowicz and Szymanowski.

All were written within the space of a generation (1902, 1916, and 1933), and yet they belong to quite different worlds. One was composed at a time of national occupation, another in the throes of wartime, and yet another at a time of national renewal. The first inhabits the lyrical tradition developed by Mendelssohn and Tchaikovsky, the second escapes towards Debussy and the exoticism of Mediterranean influences, while the third is imbued with the folk culture of the Tatra Mountains.

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Elliott Carter: Late Works

Elliott Carter: Late Works


Carter, E:

Interventions

Pierre-Laurent Aimard (piano)

BBC Symphony Orchestra

Dialogues

Pierre-Laurent Aimard (piano)

Birmingham Contemporary Music Group

Dialogues II

Pierre-Laurent Aimard (piano)

Birmingham Contemporary Music Group

Soundings

Pierre-Laurent Aimard (piano)

BBC Symphony Orchestra

Two Controversies and a Conversation

Pierre-Laurent Aimard (piano), Colin Currie (percussion)

Birmingham Contemporary Music Group

Instances

BBC Symphony Orchestra

Epigrams

Pierre-Laurent Aimard (piano), Isabelle Faust (violin), Jean-Guihen Queyras (cello)


An impressive cast of artists are joining together in this Ondine recording dedicated to the late works by iconic American composer Elliott Carter (1908–2012). The album includes five premiere recordings, including Carter’s final work Epigrams (2012) for piano trio, featuring Pierre-Laurent Aimard, Isabelle Faust and Jean-Guihen Queyras. The album also features percussionist Colin Currie joined together with the Birmingham Contemporary Music Group and the BBC Symphony Orchestra conducted by Oliver Knussen.

“The pieces here provide a perfect introduction to the spare, regularly surprising world that Carter’s last works inhabit...No one has been a more committed champion than Oliver Knussen, and he conducts all the orchestral pieces here with his familiar feisty clarity. Pierre-Laurent Aimard is the equally quick-witted soloist in the piano works.” The Guardian, 2nd August 2017 ****

“No one hearing the pieces on this disc is likely to doubt their technical finesse or expressive refinement: qualities that go a long way towards the defining of ‘lateness’ in artistic terms...[Aimard] tackles this always demanding pianism with alacrity and perception...There are unlikely to be any better discs of contemporary music this year.” Gramophone Magazine, September 2017

“Elliott Carter’s music retained its intellectual grip right to the end and an all-star line-up of performers — pianist Pierre-Laurent Aimard, violinist Isabelle Faust, percussionist Colin Currie, and the BBC Symphony Orchestra under Oliver Knussen — does it proud.” Financial Times, 11th August 2017 ****

“brimming with youthful energy and Haydnesque, impish wit...Aimard brings fluent delicacy to the concertos and the orchestral soundings. He is matched in filigree precision by co-protagonists, percussionist Colin Currie, and the BBC Symphony Orchestra and Birmingham Contemporary Music Group under conductor Oliver Knussen. Carter’s very last, centenarian works...prove concise, poetic and delightfully mischievous as ever.” BBC Music Magazine, October 2017 *****

GGramophone Magazine

Editor's Choice - September 2017

BBC Music Magazine

Concerto Choice - October 2017

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Rubbra: Violin Concerto & Sinfonia Concertante

Rubbra: Violin Concerto & Sinfonia Concertante


Rubbra:

Sinfonia Concertante, Op. 38

Edmund Rubbra (piano)

City of Birmingham Symphony Orchestra, Hugo Rignold

Prelude and Fugue on a Theme of Cyril Scott, Op. 69

Edmund Rubbra (piano)

Violin Concerto, Op. 103

Endré Wolf (violin)

BBC Symphony Orchestra, Rudolf Schwarz

Scott, C:

Consolation (1918) [W80]

Edmund Rubbra (piano)


The Sinfonia Concertante for piano and orchestra, Op.38, was written in 1934-1936 and revised and rescored in 1942-1943. The composer himself was the soloist in the premiere which took place in a Promenade concert with the BBC Symphony Orchestra conducted by Sir Adrian Boult on 10 August 1943. Rubbra also performed it with the London

Philharmonic Orchestra under Sir Malcolm Sargent on 4 July 1946 at the second Cheltenham Music Festival. The Prelude and Fugue on a theme of Cyril Scott for piano, Op.69, was composed in honour of Scott’s seventieth birthday in September 1949 and premiered by Margaret Good on 5 June 1950 in a BBC broadcast. It is based on three bars from the slow movement of Scott’s Piano Sonata no.1, Op.66. As part of the Northampton concert of Cyril Scott’s music which Rubbra organised in 1918, he programmed and performed four of Scott’s short solo piano works. Nearly fifty years later, he chose to perform another brief solo piano work by Scott to round off his BBC recital on 9 August 1967, Consolation. In his brief spoken introduction to the broadcast performance , Rubbra described this as ‘one of Scott’s maturest pieces’ written ‘at the height of his powers’ and characterised it as ‘a deeply felt ‘in memoriam’ written as a tribute to a close friend’. In 1958 he began work on the Violin Concerto, Op.103, finishing it in the summer of the following year. It was premiered at the Royal Festival Ha ll on 17 February 1960 when the soloist was Endré Wolf with the BBC Symphony Orchestra conducted by its Principal Conductor at the time, Rudolf Schwarz. This first performance was relayed live and the BBC repeated the work in a Maida Vale performance three days later. A recording of that impressive second performance is presented here.

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Crosse: Orchestral Works

Crosse: Orchestral Works


Crosse, G:

Elegy for small orchestra Op. 1

BBC Symphony Orchestra, Norman Del Mar

Concerto for Chamber Orchestra Op. 8

Budapest Symphony Orchestra, Gyorgy Lehel

Concertino Op. 15

Melos Ensemble

Violin Concerto No.2 Op. 26

Manoug Parikian (violin)

BBC Symphony Orchestra, Colin Davis


‘If [a composer] has “something to say”, it can be said only through his technique; he has no control over “inspiration”. The surest way of writing dull music is to sit down with one’s head full of “Beauty” or “Socialism” instead of crotchets and quavers’. This no-nonsense approach to his craft has served Gordon Crosse well during his long career as a creative artist. Crosse was born in Bury, Lancashire on 1 December 1937. He won a place at Oxford University, where he studied with Egon Wellesz and Bernard Rose between 1958 and 1963. In the spring of 1962, following the advice of Peter Maxwell Davies, he studied for three months with Goffredo Petrassi in Rome. From 1964 onwards he combined composition with various teaching appointments at the Universities of Birmingham, Essex and King’s College Cambridge. After growing disenchantment with his profession, he gave up composition altogether between 1990 and 2007. The five works presented here all date from the 1960s. It was a period of great success and acclaim – in 1966 he was granted the Vaughan Williams Composer of the Year Award for his ‘outstanding contribution to British music’ and in the same year an article in The Times devoted to his output began with a quote referring to him as ‘the most exciting composer to have appeared in Britain since Richard Rodney Bennett’.

“Fifty years ago Crosse was at the forefront of his generation and this judicious overview of his 1960s output affirms why...Much the most substantial work here is the Second Violin Concerto (1969), where Crosse's motivic skill combines with the dramatic sense evident in the choral and theatrical pieces that preceded it...This impressive work benefits from the advocacy Manoug Parikian manifestly instils into it.” Gramophone Magazine, July 2017

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Elgar Rediscovered: An Anthology of Forgotten Recordings

Elgar Rediscovered: An Anthology of Forgotten Recordings


Elgar:

Elegy for strings, Op. 58

Sonatina

May Grafton (piano)

Serenade, Op. 73 No. 2

La Capricieuse, Op. 17

Coronation March, Op. 65

Coronation Ode, Op. 44: Crown the King

The Dance (No. 1 from Scenes from the Bavarian Highlands, Op. 27)

Lullaby (No. 3 from Scenes from the Bavarian Highlands, Op. 27)

The Dream of Gerontius, Op. 38, Part I: Kyrie eleison

Fringes of the Fleet No. 1. The Lowestoft Boat

Fringes of the Fleet No. 2. Fate's Discourtesy

The Pipes of Pan

Sea Pictures, Op. 37 - Where Corals Lie

Violin Concerto in B Minor, Op. 61 (abridged version)

Albert Sammons (violin)

Salut d'amour, Op. 12

Albert Sammons (violin)


May Grafton (narrator & piano), Alfredo Campoli (violin), Harold Pedlar (piano), Stanley Roper (organ), Baker (piano), Fred Taylor (baritone), Frederic Austin (baritone), Maartje Offers (contralto), Albert Sammons (violin), Gerald Moore (piano)

BBC Symphony Orchestra, Alfredo Campoli & His Salon Orchestra, London Philharmonic Orchestra, The Imperial Bandsmen, Sheffield Cathedral Choir, Leeds Cathedral Choir, Edward Elgar, Landon Ronald, Henry Coward, John Barbirolli, Henry Wood

We are proud to issue a CD of Elgar recordings including the first ever release of Elgar’s April 1933 recording of his Elegy Op. 58 with the BBC Symphony Orchestra. In August 1933 Elgar recorded the work for a second time with the London Philharmonic Orchestra and it was this recording that was released shortly after Elgar’s death in 1934. In 2015 a test pressing of the earlier recording was discovered and is now being released for the first time. There is no doubt that this recording has more energy with a greater sense of ‘line’ and ebb-and-flow than the later performance and its neglect by Elgar and HMV is something of a mystery. In addition the CD contains a recording of the composer’s Sonatina played by its dedicatee, Elgar’s niece May Grafton. Privately recorded in 1958 at her home by the Elgar biographer, Jerrold Northrop Moore, this is an enchanting reminder of a close relationship that flourished particularly when Miss Grafton acted as Elgar’s secretary. The great violinist Albert Sammons performed the Elgar concerto with the composer over many years. However, they were each contracted to different record labels so in 1929 Sammons recorded the concerto complete with the New Queen’s Hall Orchestra conducted by Sir Henry Wood. Sixteen years earlier, in October 1916, Sammons and Wood made the first recording of the concerto in a version cut by Wood to fit on four sides of 78 rpm discs which Columbia released at the end of 1916. This recording has not been reproduced in any other form since its release in 1916, until now. Sammons’s masterly technique is also displayed in his final Elgar recording — Salut d’amour which concludes this CD but there are several other treasures on the same disc. SOMM is now filling in the gaps with recordings which have not been heard since their original release.

“Copiously detailed presentation and judicious transfers grace a fascinating issue that all experienced Elgarians are sure to appreciate.” Gramophone Magazine, July 2017

“Not essential listening, perhaps, but intriguing.” Sunday Times, 9th July 2017

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Elgar: Symphony No. 1 & Introduction and Allegro

Elgar: Symphony No. 1 & Introduction and Allegro


Elgar:

Introduction & Allegro for strings, Op. 47

Doric String Quartet

Symphony No. 1 in A flat major, Op. 55


This new Elgar surround-sound recording brings together some of Chandos’ finest exclusive British artists for the first time.

The Doric String Quartet – highly praised for its series of Haydn and Schubert quartets – joins the BBC Symphony Orchestra under Edward Gardner in the Introduction and Allegro, one of Elgar’s masterpieces. Gardner here captures the subtle contrast between the solo quartet and the string ensemble, while also reconciling a wide variety of musical ideas and tempo fluctuations, not least the ever-popular ‘Welsh’ solo viola melody. The full Orchestra then appears in a passionate account of the majestic Symphony No. 1, a much-loved work ever since its premiere in 1906. As well as highly praised Walton and Britten recordings, the enduring relationship between Edward Gardner and the BBC Symphony Orchestra has seen successful series of works by non-British composers such as Szymanowski and Lutosławski. Edward Gardner is also involved in recording projects with many other orchestras, including the Bergen Philharmonic, the CBSO, and the National Youth Orchestra of Great Britain, his latest new collaboration.

“Complex, multi-faceted, subtly changeable Elgar…Gardner is a master of transitions: the gradual transformation of scherzo to slow movement is only the most striking, but there are plenty of others. And what’s most marvellous is the way Gardner, having opened out so many different vistas, draws them all together into a single coherent statement…I’ve rarely heard a performance of this Symphony in which the human triumphs over the monumental so convincingly” BBC Music Magazine, July 2017 *****

“Edward Gardner presides over a dashingly articulate, enviably integrated and deeply-felt account of Elgar's mighty A flat major symphony featuring the BBC Symphony Orchestra at the very top of its game” Classical Ear, 5th April 2017 *****

“a finely nuanced recording of the Introduction and Allegro. In the symphony, Gardner’s feeling for pace and for colour really are top drawer, more measured than some performances but never losing sight of the overall shape of the work, never letting tension slip” Classical Music, July 2017 *****

“Edward Gardner leads a lyrical and bracing account [of the Introduction and Allegro], vying nostalgic reverie with intense drive, Is dotted and Ts crossed yet with plenty of bittersweet ardour and impulsive vitality. The First Symphony is just as impressive. Gardner directs a flowing if flexible account that is very listenable and is particularly revealing of detail, dynamics and sonority.” classicalsource.com, May 2017 *****

“Edward Gardiner has been a dedicated Elgarian since the beginning of his career, and this reading, with the BBC Symphony Orchestra, is strikingly mature…traditional in the best sense: brisk, with no exaggerated tempi or dynamics, and especially good at not becoming becalmed in the long first movement, and in the finale” Daily Mail, 23rd April 2017 ****

“The BBCSO under Edward Gardner keeps a grip on the composer’s lavish detail.” Financial Times, 28th April 2017

“[these readings] can and should be applauded for their lucidity and clarity and insightful honesty. There is a major talent at work here – of that there can be no doubt” Gramophone Magazine, May 2017

“The British conductor is a seasoned Elgarian, and he coaxes playing of special splendour here from the brass and strings, which reveal richer sonorities in the saturated textures and brilliant contrapuntal writing.” Sunday Times, 14th May 2017

“Edward Gardner definitely puts refinement before moment-by-moment impact in his first venture into Elgar on disc. His treatment of the Introduction and Allegro…is notable more for its clarity and carefully graded textures than for its bracing athleticism, though it does finally deliver a real punch in the peroration. Gardner adopts a similar slow-burn approach to the First Symphony” The Guardian, 13th April 2017 ****

“Here the BBC Symphony Orchestra is joined by the Doric Quartet, and the result is certainly excellent…Edward Gardner shapes the work [Introduction and Allegro] beautifully.” The Strad, July 2017

BBC Music Magazine

Orchestral Choice - July 2017

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Bellini: Adelson & Salvini

Bellini: Adelson & Salvini


Daniela Barcellona (Nelly), Enea Scala (Salvini), Maurizio Muraro (Bonifacio), Leah-Marian Jones (Madame Rivers), Simone Alberghini (Lord Adelson), Kathryn Rudge (Fanny), Rodion Pogossov (Struley), David Soar (Geronio)

BBC Symphony Orchestra, Opera Rara Chorus, Daniele Rustioni

Read Katherine's exclusive interview with Daniele Rustioni about the recording here.

On Friday 3 March, Opera Rara releases Bellini’s first opera Adelson e Salvini, written in 1825 while the composer was still a student at the Naples Conservatory. Marking the company’s third complete opera recording by Bellini, following La straniera and Il Pirata, up and coming bel canto specialist Daniele Rustioni leads the BBC Symphony Orchestra in their fourth collaboration with Opera Rara. Daniela Barcellona sings the role of Nelly and is joined by Enea Scala as Salvini and Simone Alberghini as Lord Adelson.

Inspired by Baculard d’Arnaud’s 1772 series of novellas, Les Épreuves du sentiment, Adelson e Salvini was so popular that the students of the Naples Conservatory performed it every Sunday for a year and its impact was such that the intendant of the Teatro di San Carlo immediately commissioned Bellini’s first professional opera. While the influence of the older composer Rossini is evident, Adelson e Salvini exhibits a young Bellini already in the midst of developing his very own original style. Several revisions were made to this student work in the years followings its first performances but it was not until 1985 when Adelson e Salvini was staged by the Teatro Metropolitan in the composer’s hometown of Catania that the work received its first professional performance.

Opera Rara’s revival of Adelson e Salvini is based on a new critical edition using Bellini’s original score. The opera was recorded in the studio a week prior to a concert performance given at the Barbican last May. As The Observer commented, “Opera Rara, busy since the 1970s unearthing forgotten operas, chose Adelson e Salvini for a second, fruitful collaboration this season with the BBC Symphony Orchestra... Energy exploded from [Daniele Rustioni’s] every limb, eliciting spry, lively playing from the BBCSO even in rumpty-tum longueurs...”

“the young conductor pinpoints the lyrical cantilena – so much admired by Wagner – that distinguishes Bellini’s bel canto from that of Rossini or Donizetti...The principals here are mostly Italian and bel canto specialists... giving the set an authentic flavour. Rustioni’s idiomatic style sets the seal on its success.” Sunday Times, 19th February 2017

“Bellini’s first opera is a belter!...the manner in which he juggles a complex bitter-sweet comedy-drama is masterly, so a recording of this quality is much to be welcomed…Barcellona’s heroine Nelly and Scala's dashing Salvini stand out: the former dignified yet melting, the latter stratospheric; while the electricity Rustioni generates from the podium is striking. Excellent sound and presentation.” Classical Music, April 2017 *****

“With this recording Opera Rara continues its mission to promote excellent recordings of forgotten operas, mainly bel canto repertoire of the ninetieth century. Daniele Rustioni’s well prepared cast excels and the advantage of having native Italian speakers in the principal roles is very evident.” MusicWeb International, 6th April 2017

“The singing is impressive…Enea Scala, a light tenor with a touch of metal at the top, does a terrific job as the temperamental artist…Rodion Pogossov has a nice bite to the voice as the wicked Struley and Maurizio Muraro enjoys himself enormously as the Rossinian buffo character, Bonifacio” Gramophone Magazine, May 2017

“The young conductor Daniele Rustioni conducts Adelson as if it were a masterpiece, and the forces at his disposal respond appropriately” BBC Music Magazine, June 2017 ****

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Adams & Harris Violin Concertos

Adams & Harris Violin Concertos


Adams, J:

Violin Concerto

Harris, Roy:

Concerto for Violin and Orchestra


Violinist Tamsin Waley-Cohen continues her series of concerto recordings on Signum with two contrasting works by American composers.

Already considered by many to be a modern classic, John Adams 1993 Violin Concerto was described by the composer as having a ‘hypermelody’, in which the soloist plays longs phrases without stop for the duration of the 35 minute piece. Although composed in 1949, the first performance of Roy Harris’s Violin Concerto didn’t occur until 1984. Since then it has been championed for its “luminous orchestration and exalted tone”.

For this recording Tamsin Waley-Cohen is joined by the BBC Symphony Orchestra under American conductor Andrew Litton.

“Roy Harris may be the most all-American composer you have never heard of...Waley-Cohen handles [the Adams's] gruelling solo part with athleticism and conviction, and both pieces benefit from the punchy playing of the BBC Symphony Orchestra and insightful conducting of Andrew Litton.” The Guardian, 29th September 2016 ***

“It’s a very welcome work, with much to like, to be thrilled and moved by, and is given here with commitment and colour by all concerned.” classicalsource.com

“Tamsin Waley-Cohen brings the lyrical sweetness and breadth of tone Harris needs, while the sweeping vistas and exuberant rhythms are supplied by the BBC Symphony Orchestra and Andrew Litton.” Record Review

“There is some tremendous playing from Waley-Cohen … with impressive accuracy from both soloist and orchestra, a real rapport … This is a fabulous performance of a very fine concerto. These two concertos sit remarkably well together. The recording is excellent as are the booklet notes.” The Classical Reviewer

“Her interpretation [of the Adams] is technically beyond reproach and musically imaginative. What makes this recording indispensible is the coupling...Harris’s Concerto is a major (re-)discovery, and Waley-Cohen outclasses Fulkerson’s pioneering version in every respect. Andrew Litton and the BBC Symphony provide superb, supple support.” Gramophone Magazine, December 2016

“Waley-Cohen brings magnetic performances and an enthusiast’s passion to this splendid disc…his Violin Concerto duly bubbles with folk melodies, modal harmonies and open-hearted expression, and Waley-Cohen and the BBC Symphony Orchestra bring tremendous warmth and verve to their performance…[her] laser-bright tone and effortless agility drives this outstanding account” BBC Music Magazine, Christmas 2016 *****

“very welcome new recordings full of verve and vigour … Waley Cohen plays vigorously throughout … an essential listen.” Classical Music, December 2016

GGramophone Awards 2017

Shortlisted - Concerto

GGramophone Magazine

Editor's Choice - December 2016

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A Violin for All Seasons

A Violin for All Seasons


Panufnik, R:

Four World Seasons

premiere recording

Vivaldi:

The Four Seasons


Encapsulating the voluptuous sound of the BBC SO’s strings, Tasmin Little is both the soloist and conductor in this unique coupling: Vivaldi’s ever-popular ‘Four Seasons’ meets Roxanna Panufnik’s Four World Seasons, the premiere recording of a set of highly inspirational pieces.

As a complete cycle, ‘The Four Seasons’ offers a set of vivid tableaux, imaginative, enticing, and wonderfully contrasted, with ample chance for the violin soloist to display technique, sensitivity, and colour. These are qualities that the British composer Roxanna Panufnik also sought for her own Seasons tribute, Four World Seasons, written for the violinist. Three of the pieces are dedicated to her, while the fourth, ‘Autumn in Albania’, is dedicated to the memory of Panufnik’s father, the Polish composer Sir Andrzej Panufnik, who, his daughter says, was born, loved, and died in autumn.

“The addition of Roxanna Panufnik’s ‘World Seasons’ adds to the attraction of this modern-instrument recording of Vivaldi.” MusicWeb International, 1st November 2016

“Although Tamsin Little isn’t a Baroque specialist there is some influence from historically informed performance: rubato is used discreetly, and vibrato, although more present than might be expected from an ‘authentic’ performance, is subtly varied…these are engaging performances, captured in warm but detailed sound” BBC Music Magazine, Christmas 2016 ****

“These are modern-instrument performances of Vivaldi with a big symphonic string section. And if you haven’t already run screaming for your Fabio Biondi or La Serenissima sets, you’re going to enjoy this disc a lot...No Kennedy-like deconstruction here: Little simply responds to the music with an open-eyed freshness and fantasy…she is lively and conversational, and conveys a vivid sense of character to her colleagues” Gramophone Magazine, December 2016

“The two Seasons form a most attractive contrast and reflect well on all concerned.” MusicWeb International, 16th January 2017

GGramophone Magazine

Editor's Choice - December 2016

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Ralph Vaughan Williams: Discoveries

Ralph Vaughan Williams: Discoveries


Vaughan Williams:

Three Nocturnes for Baritone and Orchestra

Numbers I and III orchestrated by Anthony Payne

Roderick Williams (baritone)

A Road All Paved with Stars

arranged by Adrian Williams

Four Last Songs

orchestrated by Anthony Payne

Jennifer Johnston (mezzo-soprano)

Stricken Peninsula

arr. P. Lane


From Ralph Vaughan Williams’s earliest compositions to the works written near his death in 1958, this new release from Albion, Discoveries, explores his lesser known works from top to bottom. + All of the works here are world premiere recordings. Modern composers have jumped on board to make this project a reality. Anthony Payne has orchestrated Numbers I and II of the Three Nocturnes for Baritone and Orchestra, as well as Four Last Songs for Mezzo-Soprano and Orchestra, and celebrated arrangers Adrian Williams and Philip Lane have also contributed. + Two of Britain’s finest singers are featured on this release, Roderick Williams and Jennifer Johnston. These artists are joined by the BBC Symphony conducted by Martyn Brabbins. This project was made in conjunction with BBC Radio 3. + The Financial Times named Jennifer Johnston the “Face to Watch in Opera,” and she was called by both the Observer and BBC Music Magazine “a rising star.” She is a graduate of Cambridge University as well as the Royal College of Music, and has appeared in operas at the Teatro alls Scala, Salzburg Festival, Opera de Lille, and many more. + Roderick Williams has appeared as a soloist alongside the Scottish Opera, English National Opera, and at The Royal Opera House. In September 2014, he was a featured soloist at the Last Night of the Proms.

“Three Nocturnes is the stand-out for me – performance, music itself, everything” BBC Music Magazine, January 2017 ****

“Roderick Williams and Jennifer Johnston are on stellar form, while Martyn Brabbins and the BBC SO give of their very best both here and in two purely orchestral offerings…exemplary production values bolster the appeal of [this Albion release] which can be cordially recommended to all RVW acolytes” Gramophone Magazine, November 2016

“An important collection of Vaughan Williams discoveries. The Three Nocturnes make it a mandatory purchase.” MusicWeb International, 28th November 2016

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