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Bach - Lutheran Masses Volume 2
“The absurd prejudice that long deprived us of adequate recordings of Bach's four Lutheran Masses (or short Masses, as they're also known because, in accordance with Lutheran usage, they set only the Kyrie and Gloria) seems finally to have died a death. The Masses' crime has been to be made up almost entirely of paraphrases of cantata movements from the 1720s, yet Bach is Bach, whatever the circumstances, and this is wonderful music which, like the B minor Mass, offers sober old-style polyphonic choral movements of impressive cumulative power alongside choruses of almost physical excitement and clamour and some first-rate arias with instrumental obbligato.
As with volume 1, a one-to-a-part approach is taken, with the four vocal soloists also forming the choir and the Purcell Quartet being augmented by whatever extra instruments are needed. The result doesn't sound at all underpowered, and gains considerably over Herreweghe's typically well-turned but more traditional choral approach in vividness of texture and harmony, crispness of attack and a madrigalian litheness of expressive response.
The recording allows just the right amount of bloom without becoming washy. There are times when the two higher voices sound further forward than the others, and Michael Chance occasionally disappears a bit towards the bottom of his range, but in general this release brings nothing but pleasure both in the music and in the stylish and lively performances.” Gramophone Classical Music Guide, 2010
(also available to download from $10.00)
Usually despatched in 2 - 3 working days. (Available now to download.)
Henry du Mont - Motets à la Chapelle de Louis XIV
Les Pages de la Chapelle/Muasica Aeterna/Olivier Schneebeli, Muasica Aeterna (plg unknown participant), Howard Crook/Hervé Lamy/Peter Harvey/Pierre Farago/Les Pages de la Chapelle/Maîtrise du Centre de Musique Baroque de Versailles/Muasica Aeterna/Bratislava Baroque Orchestra/Olivier Schneebeli, Raymond Buttin (tonmeister), Oliver Schneebeli (lead vocals), Bratislava Baroque Orchestra (lead vocals), Alain Duchemin (producer), Andre Lamy (vocals), Peter Harvey (bass-baritone), Howard Crook (vocals), Bernard Lagnel (tonmeister), Les Pages De La Chapelle (lead vocals), Peter Zajlicek (director), Peter Harvey (lead vocals), Hervé Lamy (tenor vocals), Pierre Farago (lead vocals), Peter Harvey (vocals), Muasica Aeterna (lead vocals)
Les Pages De La Chapelle, Ensemble Musica Aeterna, Les Pages & Les Chantres De Versailles (Matrîce Du Centre De Musique Baroque De Versailles), Oliver Schneebeli, Olivier Schneebeli
C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu Wq 240
Chorus of Collegium Vocale, Ghent/Orchestra of the Age of Enlightenment/Philippe Herreweghe, Hillevi Martinpelto (boy soprano), Christoph Pregardien (vocals), Chorus of Collegium Vocale, Ghent (chorus), Stephen Keavy (trumpet), Peter Harvey (bass), Andrew Watts (bassoon), Philippe Herreweghe (lead vocals), Christoph Prégardien (tenor vocals), Hillevi Martinpelto (soprano vocals), Chorus of Collegium Vocale, Ghent (featured vocalist), Chorus of Collegium Vocale, Ghent (lead vocals), Philippe Herreweghe (featured vocalist), Orchestra Of The Age Of Enlightenment (lead vocals), Orchestra Of The Age Of Enlightenment (featured vocalist), Peter Harvey/Orchestra of the Age of Enlightenment/Philippe Herreweghe, Peter Harvey (featured vocalist), Peter Harvey (lead vocals), Christoph Prégardien/Orchestra of the Age of Enlightenment/Philippe Herreweghe, Christoph Prégardien (lead vocals), Hillevi Martinpelto/Orchestra of the Age of Enlightenment/Philippe Herreweghe, Hillevi Martinpelto (lead vocals), Hillevi Martinpelto (featured vocalist), Hillevi Martinpelto/Peter Harvey/Orchestra of the Age of Enlightenment/Philippe Herreweghe
Orchestra Of The Age Of Enlightenment, Chorus of Collegium Vocale, Ghent, Philippe Herreweghe
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.
Usually despatched in 4 - 5 working days.
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