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Peter Harvey (bass), Sally Bruce-Payne (alto), Steven Liley (tenor), Edward Caswell (bass), Tessa Bonner (soprano), Catherine Bott (soprano)
The Purcell Simfony, The Purcell Simfony Voices
“If The Indian Queen is less ambitious than the other three 'operas' there's the sure touch here of the composer at his most mature and adept. The Prologue, in which he had the rare opportunity to set an extended dialogue, is beautifully balanced, and the music in Act 3 – when Zempoalla's illfated love is prophesied by Ismeron the magician in 'Ye twice 10,000 deities' – ranks alongside the finest moments in Purcell's output. The smallscale character of the work, compared to its siblings, is taken a stage further by the Purcell Simfony, which employs a minute chamber-size group of four strings, doubling oboe and recorder, single trumpet and drums. The soloists sing with airy restraint but each responds to these Hilliard-esque proportions with a rhythmic buoyancy and direct intimacy which projects a finely gauged overall conception of the work.
If the expressive power of the music is at times rather glazed, there's a sure atmosphere which is captured by recorded sound that's both warm and yet never imposing. The ensemble isn't always first-rate but there's nothing too worrisome and the instrumental numbers are elegantly shaped. Tessa Bonner gets the lion's share of the solo soprano numbers, ahead of the more colourful Catherine Bott, though the former's comparatively brittle sound has a crystalline quality which suits Catherine Mackintosh's consistent, if austere strategy.
In short, this release is consistently touching, one which in a paradoxical way gets under the skin despite the recessed emotional climate it conveys.” Gramophone Classical Music Guide, 2010
André Campra: Motets
Peter Harvey (Bass), Philippa Hyde (Soprano), Rodrigo del Pozo (Alto),
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Henri Pousseur Was, With Bério, Boulez, Maderna, Nono And Stockhausen, One Of The Dominant Figure Of The Darmstadt School. He Has Dedicated His Life - Which Has Been Enriched By Encounters With Notable People Such As Michel Butor - To Experimentation And To Musical Teaching, And Has Developed A Language That Forms A Bridge Between Pas And Future. His Childhood Love Of Dichterliebe Inspired Him To Compose A Vast Paraphrase, As Coherent As It Is Charming, That Explores The Innermost Secrets Of Schumann's Masterpiece. The Total Commitment Of The Vast Resources Involved - Soloists, Chorus, Orchestra - Makes This Recording An Event.
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Isabelle Poulenard (soprano), Pascal Bertin (alto), Gilles Ragon (tenor), Peter Harvey (bass)
Stradivaria, Daniel Cuiller
Born in Moravia, Franz Xaver Richter worked at the Court of Kempfen then of Mannheim as "chamber composer". During this period, he composed more than 80 symphonies, concertos, as well as many chamber music works, including string quartets. In 1769 he was appointed Choirmaster at Strasbourg Cathedral. He then proceeded to produce an impressive catalogue of religious works that includes 39 masses, 50 cantatas, 3 Requiems, etc., and, in 1773, he composed Leçons des Ténèbres or The Lamentations of Jeremiah to commemorate Christ's passion during the days preceding Easter. A veritable link between Baroque and Classical, Richter was one of those composers who pioneered a new, pre-classical symphonic style, admired throughout Europe for its instrumental virtuosity, dynamic effects, varied instrumentation, and a marked use of the winds. Cypres welcomes this first project of the ensemble Stradivaria with soloists of the first rank that make this CD a real event.
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“Solomon is universally recognised as one of Handel's finest masterpieces, not only with magnificent choruses, but more importantly containing rapturous love music, nature imagery, affecting emotion and the vividly portrayed dramatic scene of Solomon's famous judgement over the disputed infant. This is in fact the only dramatic part of the oratorio; and each of the female characters appears in only one of the work's three parts. Paul McCreesh, responsive to the work's stature, employs an orchestra of about 60 (including a serpent as the bass of the wind group) and presents the oratorio in the original 1749 version, full and uncut.
It's been argued that even in so splendid a work Handel was fallible enough to include some dead wood. McCreesh, however, stoutly defends the original structural balance. In one respect, though, he does depart from Handel's intentions.
By the time Solomon was written, he was using no castratos in his oratorios, and the title-role was deliberately designed for a mezzo-soprano; but here the chance to secure the pre-eminent countertenor Andreas Scholl was irresistible. The colour of Handel's predominantly female vocal casting (only Zadok and the smaller-part Levite being exceptions) is thus slightly modified. This historical infidelity is one of the few possible reservations about the set, which is a notable achievement. McCreesh is fortunate in his cast, too. Predictably, Scholl becomes the central focus by his beauty of voice, calm authority, charm and intelligent musicianship. Inger Dam-Jensen, as Solomon's queen, sounds suitably ecstatic in the florid 'Blessed the day' and amorous in 'With thee th'unsheltered moor', and her duet with Solomon flows with easy grace. To Susan Gritton falls the sublime 'Will the sun forget to streak', with its wonderful unison oboe-and-flute obbligato.
As the high priest Zadok, Paul Agnew shines in the ornate 'See the tall palm'. A more positive and audible keyboard continuo would have been welcome, but this is a minor shortcoming, and the effect of the performance as a whole is deeply impressive, with such things as 'Will the sun', the grave interlude to 'With pious heart' and the elegiac chorus 'Draw the tear from hopeless love' haunting the listener's mind.” Gramophone Classical Music Guide, 2010
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Mondonville: Les Fêtes de Paphos
Sandrine Piau, Veronique Gens, Jean-Paul Fouchécourt, Olivier Lallouette, Peter Harvey, Christophe Rousset (Director), Olivier Lallouette (Baritone), Jean-Paul Fouchécourt (Tenor), Jean Fournet (Tenor), Veronique Gens (Soprano), Sandrine Piau (Soprano), James Oxley (Tenor), Peter Harvey (Baritone), Agnus Mellon (Soprano)
Les Talens Lyriques, Choeur de Chambre' Accentus, Chorus, Christophe Rousset
Bach Masterworks Vol. 1
Various Artists, Edith Mathis (Soprano), Ernst Haefliger (Tenor), Dietrich Fischer-Dieskau (Bass), Anna Reynolds (Contralto), Peter Schreier (Tenor), Theo Adam (Bass), Anthony Rolfe Johnson (Tenor), Olaf Bär (Baritone), Nancy Argenta (Soprano), Timothy Mason (Cello), Petra Lang (Mezzo-Soprano), Anthony Robson (Oboe), Alison Bury (Baroque Violin), Thomas Quasthoff (Bass-Baritone), Rainer Kussmaul (Musical Director), Members of the RIAS-Kammerchor (Chorus), Trudeliese Schmidt (Contralto), Anthony Robson (Baroque Oboe), Richard Earle (Baroque Oboe), Ruth Holton (Soprano), Stephen Varcoe (Bass), Alison Bury (Violin), Crispian Steele-Perkins (Trumpet), Michael Chance (Counter-Tenor), Richard Earle (Oboe), Christine Schäfer (Soprano), Reinhard Goebel (Musical Director), Emma Kirkby (Soprano), Rogers Covey-Crump (Tenor), David Thomas (Bass), Kathleen Battle (Soprano), Itzhak Perlman (Violin), Maria Stader (Soprano), Hertha Töpper (Alto), Hertha Töpper (Contralto), Kieth Engen (Bass), Dietrich Fischer-Dieskau (Baritone), Stephen Varcoe (Baritone), Cornelius Hauptmann (Bass), Valerie Darke (Oboe), Gill Ross (Soprano), Andrew Murgatroyd (Tenor), Simon Birchall (Bass), Nicolas Robertson (Tenor), Neill Archer (Tenor), Rufus Muller (Tenor), Richard Campbell (Viola Da Gamba), Deborah York (Soprano), Ulla Munch (Soprano), Julia Gooding (Soprano), Magdalena Kozená (Mezzo-Soprano), Susan Bickley (Contralto), Mark Padmore (Tenor), James Gilchrist (Tenor), Peter Harvey (Bass), Stephan Loges (Bass), Stephan Loges (Bass-Baritone), Anne Sofie von Otter (Mezzo-Soprano), Anthony Robson (Oboe d amore), Olaf Bär (Bass), Crispian Steele-Perkins (Natural Trumpet), Hans Peter Blochwitz (Tenor), Lisa Beznosiuk (Traverso), Valerie Darke (Oboe d amore), Katie Pringle (Soprano), Maya Homburger (Baroque Violin), Hanns-Martin Schneidt (Musical Director), Karl Richter (Organ)
Münchener Bach-Orchester, Münchener Bach-Chor, English Baroque Soloists, The Monteverdi Choir, Berliner Barock Solisten, Musica Antiqua Köln, The Academy of Ancient Music, Orchestra Of St Luke's, Gabrieli Players, Die Regensburger Domspatzen, Capella Acad, Karl Richter, John Eliot Gardiner, Christopher Hogwood, John Nelson, Paul McCreesh
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The All-Baroque Box Vol. 2
Various Artists, Reinhard Goebel (Musical Director), Simon Preston (Organ), Trevor Pinnock (Harpsichord), Christophe Rousset (Harpsichord), Nathan Milstein (Violin), Nathan Milstein (Interprète Instrumental), Pierre Fournier (Cello), Trevor Pinnock (Director & Harpsichord), Simon Standage (Violin), Elizabeth Wilcock (Violin), Peter Harvey (Bass), Anthony Robson (Baroque Oboe), Richard Earle (Baroque Oboe), Anthony Rolfe Johnson (Tenor), Ruth Holton (Soprano), Stephen Varcoe (Bass), Alison Bury (Violin), Anthony Robson (Oboe), Crispian Steele-Perkins (Trumpet), Michael Chance (Counter-Tenor), Richard Earle (Oboe), Deborah York (Soprano), Magdalena Kozená (Mezzo-Soprano), Mark Padmore (Tenor), Julia Gooding (Soprano), Susan Bickley (Contralto), James Gilchrist (Tenor), Stephan Loges (Bass), Ulla Munch (Soprano), Stephan Loges (Bass-Baritone), Paul McCreesh (Director), Nancy Argenta (Soprano), Mary Nichols (Mezzo-Soprano), Ashley Stafford (Alto), Wynford Evans (Tenor), Lynne Dawson (Soprano), Carol Hall (Soprano), Jane Fairfield (Soprano), Jean Knibbs (Soprano), Collin Patrick (Alto), Andrew Murgatroyd (Tenor), Lloyd Morgan (Bass), Howard Milner (Tenor), Lisa Beznosiuk (Flute), Sophia McKenna (Oboe), Michael Thompson (French Horn), Patrizia Kwella (Soprano), Michael Chance (Alto), Valerie Darke (Oboe d amore), Anne Sofie von Otter (Mezzo-Soprano), Bejun Mehta (Counter-Tenor), Pascal Bertin (Counter-Tenor), Jean-Michel Ankaoua (Baritone), Alan Ewing (Bass), Marijana Mijanovic (Mezzo-Soprano), Guido Larisch (Cello), Michel Maldonado (Double Bass), Pascal Monteilhet (Lute), Jory Vinikour (Harpsichord), Mirella Giardelli (Harpsichord), Charlotte Hellekant (Mezzo-Soprano), Howard Crook (Tenor), John Tomlinson (Bass), Anne Sofie von Otter (Contralto), Arleen Augér (Soprano), Trevor Pinnock (Director), The English Concert Choir (Chorus), Diana Montague (Contralto), Leigh Nixon (Tenor), Simon Birchall (Bass), Trevor Pinnock (Organ), Emma Kirkby (Soprano), James Bowman (Counter-Tenor), Simon Preston ()
Musica Antiqua Köln, The English Concert, The English Concert, English Baroque Soloists, The Monteverdi Choir, Gabrieli Players, Les Musiciens du Louvre, The English Concert Choir, Orchestra of Westminster Abbey, The Choir Of Westminster Abbey, The Academ, John Eliot Gardiner, Paul McCreesh, Marc Minkowski, Trevor Pinnock, Simon Preston, Christopher Hogwood
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