Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | |  | Monteverdi - The Sacred Music 2
“... there are joys here to melt icebergs ... I want Volume 3 immediately” The Times | | | In stock - usually despatched within 1 working day. |
|
|
| |  | Proms 2012 - Music from the 2012 Proms Season
Mireille Delunsch (soprano), Helene Jossoud (mezzo-soprano), Gerard Theruel (baritone), Manfred Fink (tenor), Ruxandra Donose (mezzo-soprano), Hasmik Papian (soprano), Claudio Otelli (bass-baritone), Simon Lindley (organ), Christopher Purves (baritone), John Cheek (bass), Claire Rutter (soprano), James Gilchrist (tenor), Chen-Ye Yuan (baritone), Thomas Hammons (bass-baritone), Robert Orth (baritone) Polish National Radio Symphony Orchestra, Lille National Orchestra, Capella Istropolitana, Nicolaus Esterhazy Sinfonia, Nicolaus Esterhazy Chorus, San Diego Symphony Orchestra, Lyon National Orchestra, New Zealand Symphony Orchestra, Leeds Philharmonic Ch, Adrian Leaper, Jean-Claude Casadesus, Bohdan Warchal, Bela Drahos, Yoav Talmi, Jun Markl, James Judd, Paul Daniel, Michael Tippett, Marin Alsop, Kees Bakels, Vasily Petrenko, David Hill, Michael Halasz | |
|
| |  | Hugo Wolf: The Complete Songs Volume 2Mörike-Lieder Nos. 27-53
This is the second volume of the first complete recording of the songs of Hugo Wolf. All the works are performed by internationally renowned lieder singers and were recorded live at the Oxford Lieder Festival. Sholto Kynoch is the founder and director of the festival and is in demand as a chamber musician and song accompanist. “As the palette of voices is varied, Kynoch is able to group the Lieder thematically without risking tedium...Gilchrist alert to [the songs'] volatility and drama; Daneman capturing every elusive and sensuous breeze of emotion and tale-telling; Grevelius discovering the inner angst darkening the songs; and Loges the Sehnsucht of late-Romantic yearning.” BBC Music Magazine, December 2011 **** “[Kynoch] is among the finest accompanists around. Sophie Daneman’s bright soprano is always a pleasure to hear but here she is not always ideally steady and her vibrato is at times too prominent. Her floated pianissimos sometimes make me forgive some of the unsteadiness...Best of all, to my mind, is Anna Grevelius. Her voice is a flexible instrument, beautiful and even from top to bottom, and with a wide range of nuance and expressivity.” MusicWeb International, June 2012 “The four excellent singers...show a vivid understanding of the texts (translated in helpful CD notes by Richard Stokes). Sholto Kynoch steers the performances with secure, expressive playing, especially in dark moods – "Der Jäger" (Gilchrist) – or in the sardonic wit of the last song, "Abschied" (Loges).” The Observer, 9th October 2011 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  |
Third and final recording in renowned British tenor James Gilchrist’s series of Schubert song recitals for Orchid Classics, following on from Die schöne Müllerin (ORC100006) and Schwanengesang (ORC100013) Both earlier releases have been received with much critical acclaim, with Andrew Mellor in BBC Music referring to “Gilchrist’s treasure-trove of a voice” “he is now unsurpassed amongst lyric tenors in sweetness and technical security, and for his musical intelligence” The Independent Texts/translations included. Notes in English and German. “Gilchrist rejects the declamatory style of delivery currently fashionable...adopting instead a more subtle, understated and - in the long run - more moving approach...he makes a believably vulnerable journeyman...Tilbrook again proves an inspired, imaginative collaborator and the Potton Hall recording is superb.” Classical Music, 22nd October 2011 ***** “Gilchrist and Tilbrook deliver some of the more expansive songs very well...Gilchrist's voice is admirably suited to gentle, lyrical singing.” International Record Review, January 2012 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Hugo Wolf: The Complete Songs Volume 1Mörike-Lieder Nos. 1-26
This is the first disc in a series that will be the first ever complete edition of the songs of Hugo Wolf. These performances were recorded live at the Oxford Lieder Festival (in the Holywell Music Room) on 22nd October 2010. “their performances are acutely sensitive to Wolf's musical nerve system. And, best of all, a sense of intimacy, of close confiding with the audience, really does come over - invaluable for private listening...Festival director Sholto Kynoch is a vivid and sentient accompanist.” BBC Music Magazine, September 2011 **** “Grevilius’s mezzo rises to the challenge of “Seufzer” and Daneman’s soprano brings sweetness to “Zitronenfalter im April”.” Financial Times, 25th June 2011 ** “The team of four singers is first-rate, responsive in every way, and if anything even more remarkable is the work of their pianist, Sholto Kynoch, displaying an exceptional expressive range, not only ideally agile but with the most subtle range of tone and dynamic...Altogether an impressive achievement from an enterprising new company.” Gramophone Magazine, January 2011 “Daneman, Grevelius, Gilchrist and Loges are top-flight lieder singers, with Oxford Lieder founder and pianist Sholto Kynoch offering sensitive support. Richard Stokes provides excellent notes and translations.” The Observer, 22nd May 2011 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  | James Gilchrist sings Leighton & Britten
“Gilchrist's bright, ringing tenor voice is compelling from the first note, but it's the range of expression and unaffected musicality that leave the lasting impression.” BBC Music “As an interpreter of English song, Gilchrist is often in a class by himself.” The Times Tenor James Gilchrist adds to his widely acclaimed series of albums celebrating British song with this programme by Kenneth Leighton and Benjamin Britten. Alongside pianist Anna Tilbrook, Gilchrist excels in a programme that includes the first modern recording of Leighton’s Earth, Sweet Earth and Britten’s popular and touching song cycle Winter Words. Leighton’s Earth, Sweet Earth was commissioned in memory of Peter Pears – tenor and life-long partner of Benjamin Britten. This is the first modern recording of this work since the original recording by Neil Mackie for whom the work was written. Earth, Sweet Earth requires astonishing virtuosity from both vocalist and pianist; the piano taking on an almost orchestral role in settings of text by Ruskin and Hopkins. Britten wrote Winter Words for Peter Pears. Set to eight poems by Thomas Hardy, this is the composer’s most popular song set. James Gilchrist emotively conveys one of Britten’s favourite themes: the conflict between innocence and experience. Gilchrist has established a reputation as the leading figure in English song interpretation following countless concert performances of works by Vaughan Williams, Britten, Purcell, Finzi, Warlock and Leighton. James Gilchrist is in demand as a recitalist and chorus member and is a regular voice on BBC Radio 3 and a popular performer at the BBC Proms and UK festivals. Pianist Anna Tilbrook (“An eloquent partner.” Daily Telegraph) displays her substantial talents as an accompanist providing flawless support to long-term performing partner James. “[Earth, Sweet Earth is] a compelling musical span, and makes great demands on both performers; the piano writing in particular is hugely virtuosic, but Tilbrook meets its challenges superbly. Winter Words...is more familiar territory, and Gilchrist and Tilbrook judge its scale perfectly, making every detail of the musical and verbal imagery precise” The Guardian, 23rd September 2010 *** “vividly nuanced performances by the British tenor and his regular duo partner Anna Tilbrook. Each word is clear, each pianistic colour brought out. Paired, fittingly, with Winter Words by Leighton's contemporary Benjamin Britten, this haunting disc provides a fierce elegy to our lost Eden.” The Observer, 26th September 2010 “Visionary and lyrical” Financial Times, 25th September 2010 “Gilchrist is an impressively rounded advocate. His enunciation is superb, his melodic phrasing is always wonderfully musical; he can be seductive, but at times there's an eloquent astringency not unlike the late Philip Langridge.” BBC Music Magazine, December 2010 ***** “Gilchrist and Tilbrook are an outstandingly accomplished and sensitive modern combination...the Leighton is a great gift.” Gramophone Magazine, January 2011 “Perhaps most impressive of all in this performance is Tilbrook's profoundly sensitive piano playing. She is a perfectly poised partner to Gilchrist's vocal intensity...Gilchrist is sufficiently his own man to put a stamp of individuality on these songs, which doesn't seek to evoke the Pears style yet still sounds totally right for this music.” International Record Review, December 2010 | | | Usually despatched in 4 - 5 working days. |
|
|
| |  | James Gilchrist sings Schubert & Beethoven
Renowned British tenor James Gilchrist presents his second recording for Orchid Classics, “Schwanengesang” (Swan Song), Schubert’s final song cycle, coupled with Beethoven’s “An die ferne Geliebte” (To the Distant Beloved), widely considered to be the very first song cycle ever written. Gilchrist is one of Britain’s most popular and sought after singers. This is the first time he has recorded Schwanengesang and it makes a wonderful and much awaited addition to his extensive discography. Gramophone advertising will support this release. Gilchrist has also recorded “Die Winterreise” for release in 2011. The CD booklet contains full German texts with English translations, a personal note from James Gilchrist, and an essay by Richard Stokes giving fascinating insight into both Schwanengesang and An die ferne Geliebte. “he is now unsurpassed amongst lyric tenors in sweetness and technical security, and for his musical intelligence” The Independent Full texts and translations included. Note in English and German “Gilchrist has that smoothness characteristic of British tenors, but is surprisingly versatile, and his sensitivity to the subtlest nuance is unfailing elegant — as it is in Beethoven’s miniature cycle An die ferne Geliebte.” Sunday Times, 26th September 2010 **** “Gilchrist's approach is intelligent, nuanced, accurate and well-enunciated...The best moments, such as the final song of the Beethoven, involve a beautiful, hushed stillness” Classic FM Magazine, December 2010 ** “Tilbrook plays with a touch that seems infallibly to discover the right balances for accompanying figures and melodic strands...Gilchrist is wonderfully skilful in leading his voice through awkward places...He encompasses all moods in Beethoven's amazingly comprehensive mini-cycle, and in Schwanengesang rises heroically to the supreme challenges of the Heine songs.” Gramophone Magazine, December 2010 “James Gilchrist and Anna Tilbrook take great care to sense the lightness of touch and the emotional fragility of these songs of vernal yearning...The performers' art really does conceal art: Gilchrist's tenor skilfully voicing a hushed wonder, and Tilbrook's fingers, rid of sentimentalising cliche, moving with the fleet freedom of air and birdsong.” BBC Music Magazine, May 2011 **** | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  |
Buxtehude’s cantata cycle, Membra Jesu Nostri, is a totally unique work. Based on texts from a medieval Latin hymn, ‘Salve mundi salutare’, the cycle contains seven cantatas each dedicated to a different part of Christ’s crucified body. The texts are based on the concept of an observer contemplating Christ’s body on the cross starting with his feet and moving up to his knees, hands, side, breast, heart and finally his head. Buxtehude plays cleverly with musical colours and textures and changes the mixture of voices and instruments to dramatic effect as the work develops. Harry Christophers and The Sixteen are joined by some fine soloists on this disc including Carolyn Sampson, Robin Blaze and James Gilchrist. (Originally recorded for and released on Linn Records.) "Encapsulates everything that is wonderful about the Baroque era." Sunday Herald “Inspired music matched by intensely heartfelt one-to-a-part performance.” BBC Music Magazine, August 2010 ***** | | | Usually despatched in 2 - 3 working days. |
|
|
| |  |
Renowned British tenor, James Gilchrist, presents his first recording for Orchid Classics, “Die Schöne Müllerin” (The Beautiful Maid of the Mill”), Schubert’s classic a setting of poems by Wilhelm Müller – generally accepted to be a masterpiece of the song genre. Gilchrist has performed this cycle many times, to great acclaim, in concert in the UK and abroad – usually in partnership with Anna Tilbrook. He is one of Britain’s most popular and sought after singers. This is the first time he has recorded “t Die Schöne Müllerin “ and will make a wonderful addition to his already extensive discography The CD booklet contains full German text with English translation, and an essay by Richard Morrison of The Times giving a fascinating insight into both Schubert and Die Schöne Müllerin. “he is now unsurpassed amongst lyric tenors in sweetness and technical security, and for his musical intelligence” The Independent “…worthy to stand with the best. Gilchrist's light tenor, with its springing rhythmic life, makes us feel that the young lad is living very much in a wide-eyed emotional present, as elusive and ever-shifting as the delightful chiaroscuro of Anna Tilbrook's piano accompaniment.” BBC Music Magazine, November 2009 **** “…in place of the youthful impetuosity of Werner Güra is the anxiety of a man to seize what he can while he can. His jealousy - "Eifersucht and Stolz" - gains thereby a specially manic edge, and leaves him almost shouting at the end of "Die Böse Farbe" before he takes his leave of love and life in both sorrow and anger over the ever-more-painful course of the last triptych. How aptly Anna Tilbrook's pedalling poses the question to the brook at the beginning of "Die Neugierige", and how graciously Gilchrist waits until the last verse before slowing down to ask himself.” Gramophone Magazine, November 2009 “There’s a touching simplicity to Gilchrist’s delivery...“Eifersucht und Stolz” and the “liebe/böse Farbe” songs are riveting…” The Independent on Sunday, 15th November 2009 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |  | Songs of Lennox Berkeley
Berkeley, L: | Cocteau’s Tombeaux D’un vanneur de blé aux vents Automne, Op. 60, No. 3 Sonnet, Op. 102 Night covers up the rigid land, Op. 14, No. 2 Bells of Cordoba How Love Came In Five Poems of W.H. Auden, Op. 53 (1958) Autumn’s Legacy, Op. 58 Five Chinese Songs, Op. 78 Five Herrick Poems, Op. 89 |
Acclaimed as a concert soloist, recitalist and a recording artist, James Gilchrist is one of the finest British tenors of today. In his first solo disc for Chandos, he performs a representative survey of the songs of Lennox Berkeley which demonstrates the distinctly Gallic flavour inspired by his time in France along with a spiritual intensity from his devotion to Roman Catholicism. James is accompanied by Anna Tilbrook on piano and Alison Nicholls on harp. This collection, of complete song cycles and individual songs is offered in a more-or-less chronological layout and presents five premiere recordings: Autumn’s Legacy, Cocteau’s Tombeau, Bells of Cordoba, Five Herrick Poems and Sonnet Op. 102. The miniature cycle, Cocteau’s Tombeau dates from Berkeley’s first year in Paris where he went to study with Nadia Boulanger and is characteristic of Les six. Autumn’s Legacy is recognised as Berkeley’s most ambitious cycle, commissioned by the Cheltenham Festival. The seven songs draw on a variety of poets including Beddoes, Lawrence Durrell, Tennyson and Hopkins – which show the range of Berkeley’s reading. James Gilchrist writes of the recording project, ‘I was enormously excited to be given this opportunity to record some of Berkeley’s songs. I’ve long known and loved many. But putting together this disc has allowed Anna and me to study his songs in some detail and find many new treasures. There is a strikingly varied approach to his setting of song, from sparse simplicity to almost over-egged lusciousness. But throughout is a truly individual voice. Recording the monumental Autumn’s Legacy was a huge challenge, and Berkeley is able to find a convincing musical voice for Hopkins, a poet whom I feel often sees composers stumble. And it’s striking how Berkeley kept coming back to setting French poems, with great success.’ This collection helps to reveal the status of Berkeley’s vocal music, which makes an unrivalled contribution to the central repertoire of songs in the English – and partly French – tradition. Peter Dickinson provides extensive booklet notes about each individual song. “The tenor James Gilchrist sings sweetly and cleanly, without affectation, and Anna Tilbrook is finely responsive to the subtleties of the piano parts.” The Telegraph, 25th June 2009 **** “Gilchrist's smooth, lightish tenor is the ideal voice for this repertoire: few singers have his ease in floating a line without guttural interruption - in the melisma of 'De Socrate' from the Cocteau cycle Tombeaux, for example. Anna Tilbrook partners with insight and a subtle ear for capturing a song's mood through timbre; and Alison Nicholls proves equally involving in the harp-accompanied Five Herrick Poems.” BBC Music Magazine, September 2009 **** “They are songs for a fastidious ear and a mind that shuns overstatement… There is a kinship with Britten, and in some of the later songs one may guess at a little of Tippet. …Gilchrist is his own man: a fine artist and particularly well suited to these songs. Anna Tilbrook is the totally admirable accompanist, with Alison Nicholls the harpist in the attractive Herrick settings.” Gramophone Magazine, September 2009 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |
|
Gramophone Magazine