Edward William Elgar

“Following eight highly acclaimed discs of 'Organ Fireworks', the winning combination of Christopher Herrick and Hyperion turn their attention towards the calmer and more reflective repertory grouped under the title 'Organ Dreams'. Volume 2 consists mostly of original organ music spanning the period 1815-1952, all of which fits the instrument in Ripon Cathedral like a well-tailored glove.
Not every title reflects a dream-like state, though the disc's opening track – Dubois' Inparadisum creates an aura of calm. Frank Bridge's oft-played Adagio in E is also smoothly shaped, with its grand climax carefully controlled. Guilmant's 'Rêve' of 1902 is delicious, its impressionistic perfume wafting effortlessly.
With a running time of 19 minutes, Elgar's rarely heard Vesper Voluntaries of 1889 form the centrepiece of Herrick's programme. What charmers they are: mostly mezzopiano in dynamic, with occasional fuller-bodied outbursts, none of them outstays its welcome. They are followed by Howells' rambling Siciliano (the most recent piece on the disc), which Herrick keeps moving. However, he does allow himself plenty of time for William Strickland's convincing arrangement of Barber's Adagio.
The Liszt is a shameless piece of kitsch which borrows freely from Allegri's Miserere and Mozart's Ave verum corpus. More worthwhile are Schumann's Study and a quartet of miniatures by Samuel Wesley. The only fault with the whole package is that the portrait purporting to be that of Wesley senior is, in fact, that of his natural son, Samuel Sebastian.
In summary, this thoroughly enjoyable disc is sensitively and affectionately played, and works well at a single hearing.” Gramophone Classical Music Guide, 2010

‘Breathtaking … another splendid disc’ (Gramophone)

Diapason d'Or Award

“a passing of the musical baton from one generation to the next if ever there was one, and a very moving one at that. Elgar's reading is an aptly broad, reflective one, while Menuhin's playing still astonishes for its technical ease and maturity of insight.” BBC Music Magazine, January 2012

“Elgar's conducting for Menuhin in the Violin Concerto's opening orchestral tutti is magnificent, as is his solicitous, attentive accompaniment throughout the work. Menuhin's youthful, wonderfully intuitive musicianship in fact needed little 'instruction', and the success of the recording may be judged from the fact that there have been few periods in the years since it was first issued when it hasn't been available in some shape or form. Beatrice Harrison first studied the Cello Concerto for an abridged, pre-electric recording with Elgar conducting. So impressed was the composer then that he insisted that she should be the soloist whenever he conducted the work again. Their authoritative performance is deeply felt and highly expressive, but it has a quality of nobility and stoicism which comes as a refreshing change from some overindulgent modern performances.
Since the original matrices were destroyed, EMI's engineers had to return to the 1957 tape for this transfer; although the 1957 engineers did not quite capture all the body of the originals there's an impressive clarity in the transfer, now brightened a little more for CD. The 1970s transfer of the Harrison/Elgar Cello Concerto was impressively managed, and this reissue has given still more presence to the sound without any sense of falsification.” Gramophone Classical Music Guide, 2010

'A radical version that sweeps away preconceived notions about the work. The headiness of Davis’s approach is matched by the lushness of the LSO’s playing and a sumptuous recording.' The Guardian

“Larger than life, but capturing every mood with humanity and tenderness.” BBC Music Magazine, December 2005

“Not only do Davis and his excellent band distil a remarkable level of concentration in this nobly defiant, dark hued essay, they also locate a heartache and intimacy that touch to the very marrow.” Gramophone Magazine

“A beautiful disc of sacred motets from one of this country’s finest choirs” Classic FM Magazine