Anna Tilbrook

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Schumann: Song Cycles

Schumann: Song Cycles


Schumann:

Liederkreis, Op. 24

Liederkreis, Op. 39

Dichterliebe, Op. 48


James Gilchrist (tenor) & Anna Tilbrook (piano)

James Gilchrist's latest recording for Linn encompasses three of the greatest examples of the song cycle genre. Moving away from English song into the core Germanic Lieder repertoire,James's expressive tenor voice is ideally suited to showcase the emotional nuances of Schumann s vocal writing.

Liederkreis shows Schumann at his most lyrical and deeply romantic; incredibly Op.24 was his first published vocal composition. Dichterliebe,Schumann's best-known song cycle, is regarded as one of the finest in the German language, notable for its perfect pairing of Heinrich Heine's poetry with Schumann's music.

A prolific and versatile recitalist James has frequently performed Lieder repertoire, most recently Schubert's Schwanengesang and Beethoven's An die Ferne Geliebte at Wigmore Hall. James will return to Wigmore Hall in January 2016, to begin a three-concert recital series spanning two years, performing the Schumann song cycles Liederkreis and Dichterliebe.

James Gilchrist has appeared with many of the world's most prestigious ensembles and under several leading conductors at venues including Wigmore Hall, Snape Maltings and Perth Concert Hall. James is sought after for operatic roles, ensemble performances and as a respected recitalist. On both concert platform and operatic stage, his repertory ranges from Monteverdi to new commissions, and he has appeared with, among others, the Sixteen, the Academy of Ancient Music, the Royal Concertgebouw Orchestra and English National Opera. James has previously recorded works by Gerald Finzi, Ralph Vaughan Williams Kenneth Leighton, Ivor Gurney, Arthur Bliss and Peter Warlock and has uncovered the beautiful songs of Muriel Herbert.

Anna Tilbrook is one of Britain's most exciting pianists, with a considerable reputation in song recitals and chamber music. She made her debut at Wigmore Hall in 1999 and has since become a regular performer at Europe's major concert halls and festivals.

“Gilchrist sets the mood from the start, entering the world of the Op. 24 Liederkreis with a soft touch and confiding tone…in the Op. 39 Liederkreis Gilchrist's light tenor is good at painting the moonlit night of 'Mondnacht' and the more ominous twilight of 'Zwielight'…his Dichterliebe is the cycle of a kindly poet, who…shapes phrases that gently unfurl in the light of a summer morning. In all this he is well supported by the clean-cut, carefully detailed playing of Tilbrook, who modestly leaves any point-making to the singer.” Gramophone Magazine, September 2015

“[Gilchrist and Tilbrook] allow each cycle to unfold naturally, minutely adjusting the spaces between certain songs to allow the ear to absorb what it has just heard…Tilbrook's navigation of the playouts, those final bars in which it seems that Schumann is communicating something too profound for mere words, is unfailingly lovely, her accompaniments clearly articulated and self-effacing…[Gilchrist] is fearlessly expressive.” BBC Music Magazine, December 2015

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Britten: My Beloved is Mine

Britten: My Beloved is Mine

Song cycles by Benjamin Britten


Britten:

On this Island, Op. 11

The Holy Sonnets of John Donne, Op. 35

Seven Sonnets of Michelangelo, Op. 22

Canticle I - "My Beloved Is Mine And I Am His" Op. 40


James Gilchrist (tenor) & Anna Tilbrook (piano)

The greatly sought-after tenor, James Gilchrist, continues his highly acclaimed exploration of British song with his new recording of Benjamin Britten works.

His 2010 recording of Leighton Earth, Sweet Earth…(laudes terrae) and Britten Winter Words was called ‘outstandingly accomplished’ by Gramophone.

‘On This Island’ is strikingly fresh and Gilchrist sings these beautiful poems with a graceful insight.

Contrasting this opening set, Gilchrist gives a moving and heartfelt performance of Britten’s dark and profound song cycle ‘The Holy Sonnets of John Donne’.

My Beloved is Mine ends with what Peter Pears called ‘Britten’s finest piece of vocal music to date’; a psalm-like poem with energetically evolving rhythms and beautiful harmonies.

James Gilchrist has appeared with many of the world’s prestigious ensembles and under several leading conductors; he recently performed with Retrospect Ensemble for their recording with Linn Records, J. S. Bach Easter & Ascension Oratorios.

James is sought after for operatic roles, ensemble performances and as a respected recitalist.

Anna Tilbrook is one of Britain's most exciting pianists, with a considerable reputation in song recitals and chamber music. She made her debut at Wigmore Hall in 1999 and has since become a regular performer at Europe’s major concert halls and festivals.

“His immaculate diction – in Italian as well as English – is more than ample compensation for a slight feeling that sometimes the vocal lines are treated with just a little too much respect...But Gilchrist's restraint also proves to be the perfect counterpart to Tilbrook's piano playing, which relishes every bit of the athleticism that Britten built into accompaniments that he wrote to play himself.” The Guardian, 2nd August 2012 ****

“Gilchrist is a greatly sensitive interpreter, his tone liquid yet urgent, his diction immaculate and august, his choices admirable.” Sunday Times, 5th August 2012

“Gilchrist, well matched by by Anna Tilbrook's clean-cut playing, offers gentle sensitivity and words that are crystal clear...Well recorded, with a duo that is perfectly matched, this recital has its virtues. Even so, my preference is for a singer with richer vocal resources.” Gramophone Magazine, Awards Issue 2012

“Gilchrist is as agile as his pianist and evidently attuned to the importance of her role...the mystic union of ground-bass piano with confident vocal line in the concluding 'Death, be not proud' set this interpretation of The Holy Sonnets on a footing with that of tenor Peter Pears and Britten...It's in the most introspective moments...the simple-seeming 'Nocturne' in On This Island, for instance...that Gilchrist's unique artistry is heard to best advantage.” BBC Music Magazine, November 2012 *****

“everything about it emanates thoughtfulness, intelligence and good design...His enunciation is superb throughout...[The Holy Sonnets] are given robust performances. These are full of passion and commitment, and are superbly communicated.” MusicWeb International, January 2013

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James Gilchrist sings Leighton & Britten

James Gilchrist sings Leighton & Britten


Britten:

Winter Words, Op. 52

Leighton:

Earth, Sweet Earth


James Gilchrist (tenor) & Anna Tilbrook (piano)

“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

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On Wenlock Edge

On Wenlock Edge


Bliss:

Elegiac Sonnet

Gurney:

Ludlow and Teme

Vaughan Williams:

On Wenlock Edge

Warlock:

The Curlew


James Gilchrist (tenor), Anna Tilbrook (piano), Michael Cox (flute), Gareth Hulse (cor anglais)

Fitzwilliam String Quartet

“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 Magazine

“…a wonderfully imaginative account of On Wenlock Edge and The Curlew. The developing tale of Bredon Hill has never been more vividly told on records, and the desolation of Warlock's masterpiece becomes more poignant still because of the beauty evoked. ...Gurney's Housman cycle has also its finest performance on record. Strongly recommended.” Gramophone Magazine, September 2007

“...invigorating stuff from the off, and far from the pastoral legato of some other interpretations...Gilchrist’s no-nonsense vocal style meets the folk-based contours of the music with a convincing respect – his vowels more fluid and natural than some in the English tenor tradition, and his delivery all the more vivid for it.” Andrew Mellor, bbc.co.uk, 5th July 2007

GGramophone Awards 2008

Finalist - Solo Vocal

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Schubert: Winterreise D911

Schubert: Winterreise D911


James Gilchrist (tenor) & Anna Tilbrook (piano)

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

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James Gilchrist sings Schubert & Beethoven

James Gilchrist sings Schubert & Beethoven


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Schubert:

Schwanengesang, D957


James Gilchrist (tenor) & Anna Tilbrook (piano)

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

“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 ****

“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

“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 ****

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Wolf-Ferrari: Susanna's Secret & Serenata

Wolf-Ferrari: Susanna's Secret & Serenata


Wolf-Ferrari:

Il segreto di Susanna

Dora Rodrigues (Susanna), Marc Canturri (Count Gil)

Royal Liverpool Philharmonic Orchestra, Vasily Petrenko

Serenata - Cinque Canti Per Baritono

Marc Canturri (baritone), Anna Tilbrook (piano)


Vasily Petrenko, the RLPO and the European Opera Centre reunite for a rare, live recording of the one-act opera Susanna’s Secret by Wolf-Ferrari, uniquely coupled with the composer’s Serenata: Five Songs for Baritone.

Vasily Petrenko and the RLPO first collaborated with the Liverpool-based European Opera Centre on a Russian double-bill of Shostakovich’s The Gamblers and Rothschild’s Violin by Fleishman. The resulting 2-CD set on Avie garnered a Gramophone Editor’s Choice and contributed to Petrenko’s winning the Young Artist of the Year accolade at the 2007 Gramophone Awards. The team reunites for a rare, live recording of Wolf-Ferrari’s humorous one-act opera, Susanna’s Secret. Wolf-Ferrari’s neo-classical score is as seductive as the Edwardian plot in which the new wife of a jealous Count attempts to hide her smoking habit. When he catches her, their improbable reconciliation results in a rather different sort of smouldering. The young singers of the EOC throw themselves into their roles with appropriate passion. The recording is uniquely rounded out with Wolf-Ferrari’s Serenata, five songs extracted from his seldom-heard Italian Songbook.

“This addictive entertainment was as much a showcase for Vasily Petrenko and the Liverpool Phil as it was for Canturri’s incisive, handsome baritone and Rodrigues’s smooth, well-focused soprano” The Independent on Sunday (on the live performance of Susanna’s Secret in Liverpool)

“The songs, a set of five, are as charming as the opera, and like the opera are full of elusive musical allusions. The excellent Anna Tilbrook accompanies, and in the opera the Liverpool Philharmonic plays stylishly for its young conductor Vasily Petrenko.” Gramophone Magazine, September 2010

“This live Liverpool performance (2008) goes swimmingly under Vasily Petrenko. Soprano Dora Rodrigues has allure as Susanna, with baritone Marc Canturri graceful as her volatile husband...Canturri is solid [in the songs] too, with Anna Tilbrook supplying spirited accompaniments.” BBC Music Magazine, September 2010 ****

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Schubert: Die schöne Müllerin, D795

Schubert: Die schöne Müllerin, D795


James Gilchrist (tenor) & Anna Tilbrook (piano)

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

GGramophone Magazine

Editor's Choice - November 2009

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Songs of Lennox Berkeley

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


James Gilchrist (tenor), Anna Tilbrook (piano) & Alison Nicholls (harp)

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.

“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

“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 ****

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The Far Country: 26 English Songs by John Jeffreys

The Far Country: 26 English Songs by John Jeffreys


Jeffreys, J:

Awake thee my Bessy

The Song of Love

Under the leaves green

She is all so slight

Brown is my love

Three Roses

Passing by

Horror follows Horror

Severn Meadows

From Omiecourt

The Falcon

I am the gilly of Christ

Drop, drop slow tears

O my dere hert

Corpus Christi

Full fathom five

When that I was

O Mistress Mine

Black Stitchel

The Far Country

All night under the moon

The Salley Gardens

Little Trotty Wagtail

The Whin

She is ever for the new

Jillian of Berry


John Jeffreys is a British composer who specialises in music for solo voice and his songs, exemplified by this fine collection, are masterworks of the genre, directly in the tradition inherited from Moeran, Delius, Finzi, and especially Warlock. Beautifully performed by James Gilchrist and Anna Tilbrook these works are timeless and will have lasting appeal.

“This is music for a quiet evening – in contemplation of some of the less complex emotions aroused by things fine and beautiful – all beautifully sung by James Gilchrist with Anna Tilbrook accompanying.” MusicWeb International

“Jeffreys could be counted among the great songwriters of the second English Renaissance… his sparse, evanescent accompaniments are incredibly evocative and his melodies…release the fragrant depths of his chosen texts with seemingly effortless grace. Beautifully realised by tenor James Gilchrist.” International Record Review

“Worthy of comparison to much better-known composers....[Jeffreys] has an exceptional ability to create a variety of musical expressions that fit the words. You will not want to pass this up. Gilchrist's voice has a gentleness, warmth and sweetness that is just right, and his enunciation is impeccable. Good notes and texts.” American Record Guide

“Advocacy such as this is great for any composer, and still more so for one whose music has not yet attracted the attention it deserves. In James Gilchrist these present songs have an excellent advocate. Overall this is a very good disc indeed. These songs deserve the exposure that discs like this make possible. They are in the best traditions of the English song genre and collectors... will find this disc has many rewards.” MusicWeb International

“Not ‘fashionable’ perhaps, but a composer sensitive both to words and music. The programme includes eight first recordings. Tenor James Gilchrist has a warm voice, and has the support of a fine pianist.” Gramophone Magazine

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