Future Releases

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Tesserae

Tesserae


Duo Enßle-Lamprecht

Duo Enßle-Lamprecht

Released or re-released in last 6 months

Audax - ADX13712D

(Sorry, download not available in your country)

Henry James: The Ambassadors (Unabridged)

Henry James: The Ambassadors (Unabridged)


read by John Chancer

Released or re-released in last 6 months

Naxos AudioBooks - Complete Classics - NA0276

(CD - 16 discs)

$64.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

DH Lawrence: Women in Love (Unabridged)

DH Lawrence: Women in Love (Unabridged)


read by Paul Slack

Released or re-released in last 6 months

Naxos AudioBooks - Complete Classics - NA0277

(CD - 18 discs)

$69.75

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

More Great Inventors and Their Inventions (Unabridged)

More Great Inventors and Their Inventions (Unabridged)


read by Benjamin Soames

Released or re-released in last 6 months

Naxos AudioBooks Junior Classics - NA0281

(CD - 2 discs)

$11.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

More About Worzel Gummidge (Unabridged)

More About Worzel Gummidge (Unabridged)


read by Jessica Martin

Released or re-released in last 6 months

Naxos AudioBooks Junior Classics - NA0289

(CD - 3 discs)

$14.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Beethoven: Complete String Quartets Volume 8

Beethoven: Complete String Quartets Volume 8


Beethoven:

String Quartet No. 3 in D major, Op. 18 No. 3

String Quartet No. 10 in E flat major, Op. 74 'Harp'


The Quartetto di Cremona has spent over three years working on its gigantic recording series comprising all twenty string quartets as well as the two string quintets by Ludwig van Beethoven.

The success was so immediate that following the first volumes concert halls across Europe and the US invited the ensemble to perform.

Vol. VIII, the final volume of the edition opens with the third of the Op. 18 Quartets with which Beethoven introduced himself as a composer in 1800- six quartets which indeed all tell their own "story". From the tentative beginning, cautiously drawing the listener in, through to the

tempestuous concluding tarantella every bar of the Quartet in D major is replete and carefully considered. Beethoven's debut quartet is contrasted with the so-called "Harp" Quartet, which does not feature a harp but instead presents Beethoven on his way to modernism. Op. 74. A cunningly conceived first movement with prominent plucked "harp notes" is answered by the finale, where Beethoven reuses a (discarded) number from his incidental music to Goethe's freedom drama Egmont as a theme and variations - a clear indication of the fact that the composer in 1809 at the time of the Napoleonic Wars, lived through politically precarious times.

Released or re-released in last 6 months

Super Audio CD

Format:

Hybrid Multi-channel

Audite Quartetto di Cremona Beethoven String Quartets - AUDITE92688

(SACD)

$16.00

(also available to download from $10.00)

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available. (Available now to download.)

Jan Erik Mikalsen: Saan

Jan Erik Mikalsen: Saan


Mikalsen:

Saan

Oslo Philharmonic, Han-Na Chang

SongR

Oslo Philharmonic, Dalia Stasevska

Parts II

Norwegian Radio Orchestra, Miguel Harth-Bedoya


Jan Erik Mikalsen, one of the hot new names in contemporary music, presents three impressive orchestral works on here. The release depicts Mikalsen with orchestral music characterized by rich textures and that Nordic timbre. A unified musical vision with an almost maximalist utilization of big climaxes, and harmonic structures distorted by Mikalsen’s masterful touch.

Saan = Mountain

The album title track perfectly illustrates Mikalsen’s urge to challenge conventions. Here, the composer has placed the trio POING in front of the Oslo Philharmonic, a move which creates a fascinating dynamic between orchestra and ‘band’, in which both incorporate moods and instruments that convey associations to folk music. ‘Saan’ means ‘mountain’ in Korean, a symbol that according to Mikalsen befits the album well. The Korean influence is not only limited to the album title: A selection of Korean percussion instruments are used throughout, and the second movement even begins and ends with references to Korean court music. Commissioned by the Oslo Philharmonic, ‘Saan’ was premiered on January 12th, 2017, conducted by Han-Na Chang, and recorded the next day.

Folk influence

‘Songr for Orchestra’ was commissioned and premiered by The Norwegian Radio Orchestra in 2014. The work was awarded the prestigious Rostrum of Composers in 2015, which in turn led to it being broadcast in more than 30 countries. A strong influence from Norwegian folk music shines through, as Mikalsen moves from the ominous and grotesque, to the sensitive and beautiful. The last piece, ‘Parts II for Orchestra’, achieved a Toru Takemitsu Composition Award in Tokyo in 2011, the Grieg Prize the year after, and is considered Mikalsen’s breakthrough.

New voices championed by Norwegian orchestras

This release arrives as a result of a trend where Norwegian orchestras acknowledge the value of cooperating with composers, resulting in a constant advancement of contemporary music. When the Oslo Philharmonic invites emerging international conductors both to perform and record new Norwegian music, they award the work and the composer a unique and entirely necessary opportunity for exposure – which in turn will lead to more performances. With the Norwegian Radio Orchestra, the chief conductor grants new music both breadth and possibilities. This commitment provides better conditions – both for musicians and audience.

Released or re-released in last 6 months

Aurora - ACD5092

(CD)

$15.00

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Mozart: Litanies, KV195 & 243

Mozart: Litanies, KV195 & 243


Mozart:

Litaniae Lauretanae, K195

Litaniae de venerabili altaris sacramento, K243


Jennifer Vyvyan (soprano), Nancy Evans (contralto), William Herbert (tenor), George James (bass) & Ralph Downes (organ)

The St. Anthony Singers & Boyd Neel Orchestra, Anthony Lewis

As a church musician in Salzburg, the young Mozart was required to turn out a regular diet of masses and settings of the Vespers and Litanies. Sung at afternoon services on feast days, the Litany was a favourite form of Catholic devotional music in the eighteenth century. In the first complete recordings of two such litanies, a quartet of English soloists make contributions notable for beauty of both line and tone. ‘Jennifer Vyvyan sings with pure tone, sensitivity and admirable phrasing’ was Gramophone’s verdict on her leading role in the Litaniae Lauretanae, KV 195, of 1774, and the more extensive Litaniae de venerabili altaris sacramento, KV 243, of 1776.

Like much of Mozart’s Salzburg church music, the Litaniae Lauretanae, KV 195 (not to be confused with his earlier setting of the same text, KV 109) is in a cheerful, Italianate style, indebted as much to dramatic gestures familiar from concert-hall and opera house as to the pleading or prayerful idiom of the cathedral. The line between sacred and secular is blurred in a gently lilting ‘Sancta Maria’, whose opening soprano solo is exquisitely floated by Vyvyan. She won critical acclaim early in her career for the poise and grace of her singing in Mozartian roles such as Constanze and Ilia which test the singer with precipitous leaps and florid embellishment. The opening solo of the concluding ‘Agnus Dei’ has a similarly flamboyant vocal line which Vyvyan sings here with ringing tone and vividly expressive attention to each phrase.

The most overtly operatic movements of KV 243 are the striding tenor aria ‘Panis vivus’, whose coloratura flourishes on ‘Miserere nobis’ make this just about the most joyous plea for mercy in existence, and the two soprano arias, ‘Dulcissimum convivium’ and ‘Agnus Dei’. In both, Vyvyan displays what The Daily Telegraph, in a review of the original LP, called her ‘serene artistry and soaring clarity of line’. She is joined by three colleagues who also made regular appearances on London’s operatic stages in the mid-1950s when these two LPs were first issued.

This album is one of five recordings released by Eloquence in September 2017 celebrating the art of Jennifer Vyvyan. All Decca recordings from the 1950s, many appearing for the first time on Decca CDs, they include ‘Mr. Bach at Vauxhall Gardens’ (ELQ4825387), the first recording of Purcell’s The Fairy Queen (ELQ4827449), ‘Songs of England’ (ELQ4825045) and two litany settings by Mozart (ELQ4825041). Further Vyvyan recordings will appear in 2018.

‘Jennifer Vyvyan sings with pure tone, sensitivity and admirable phrasing, and William Herbert, everywhere excellent, darts up and down his scale passages with great agility … Anthony Lewis conducts the two works with perception, fervour and affection, and the recording gives a very good balance and string tone with a nice bloom on it.’ Gramophone, August 1955

“Jennifer Vyvyan sings with pure tone, sensitivity and admirable phrasing, and William Herbert, everywhere excellent, darts up and down his scale passages with great agility … Anthony Lewis conducts the two works with perception, fervour and affection, and the recording gives a very good balance and string tone with a nice bloom on it.” Gramophone Magazine, August 1955

Released or re-released in last 6 months

Australian Eloquence - ELQ4825041

(CD)

$9.25

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Songs of England

Songs of England


includes

Howells:

Gavotte

Purcell:

Fairest Isle (from King Arthur)

Nymphs and Shepherds, Z600

Vaughan Williams:

The New Ghost


Jennifer Vyvyan (soprano)

In the August 1953 issue of Opera magazine, the editor looked back on outstanding vocal achievements in the preceding season of opera. Drawing largely from stagings in London, he could pick out Maria Callas as Norma, Kathleen Ferrier as Orpheus and Nicola Rossi-Lemeni as Boris Godunov. In this exalted company he placed a young English soprano who had made her professional debut just five years previously, singling out Jennifer Vyvyan as Konstanze in Mozart’s Die Entführung aus dem Serail.

Vyvyan’s penetrating soprano, ready dramatic wit and imposing presence had also caught the attention of Benjamin Britten. That professional debut was made in the premiere of his arrangement of The Beggar’s Opera, and just two months prior to Opera magazine’s editorial seal of approval, she had appeared as Lady Penelope Rich in the much-anticipated premiere of Gloriana. As a recorded complement to this Coronation opera, she had gone into the Decca studios in April and May (while Gloriana was in rehearsal) and recorded this survey of English song which was duly rush-released with a crown on the cover and an advertising legend on the back cover, ‘to commemorate the coronation of Her Majesty Queen Elizabeth II’.

Aside from its incidental place in recorded history, however, ‘Songs of England’ has many charms of its own. The repertoire spans four centuries, from an anonymous lute-song and the evergreen madrigal by Thomas Morley, Now is the month of maying through to contemporary songs by Britten, Quilter and Vaughan Williams. In his booklet note, the critic Richard Wigmore draws particular attention to Vyvyan’s singing of Purcell: finding an instrumental purity of tone in Fairest Isle and lending both grace and agility to Nymphs and Shepherds.

Two years later, Decca issued a 10-inch LP of ‘Traditional Songs’ with the mezzo-soprano Norma Procter, who like Vyvyan had studied at the Royal Academy of Music with the doyen of British vocal coaches, Roy Henderson. Procter died in May 2017, and this reissue of her first solo recital on record is a fitting tribute to the memory of a singer whose ‘exquisite contralto’ was critically recognised right from her distinguished debut on disc as part of Sir Adrian Boult’s recording of Messiah.

This CD is one of five recordings released by Eloquence in September 2017 celebrating the art of Jennifer Vyvyan. All Decca recordings from the 1950s, many appearing for the first time on Decca CDs, they include ‘Mr. Bach at Vauxhall Gardens’ (ELQ4825387), the first recording of Purcell’s The Fairy Queen (ELQ4827449), arias by Mozart and Haydn (ELQ4825049) and two litany settings by Mozart (ELQ4825041).

“I have no hesitation in giving pride of place this month to “Songs of England”… Miss Vyvyan is always good and often very good, Ernest Lush is an admirable partner and the recording is of excellent quality.” Gramophone Magazine, September 1953

Released or re-released in last 6 months

Australian Eloquence - ELQ4825045

(CD)

$9.25

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

Mozart & Haydn: Scenes & Arias

Mozart & Haydn: Scenes & Arias


Haydn:

Berenice, che fai? (Scena di Berenice), Hob XXIVa:10

Mass, Hob. XXII: 5 in C major 'Cäcilienmesse': Laudamus Te

Mass, Hob. XXII: 5 in C major 'Cäcilienmesse': Quoniam

Mozart:

Ah, lo previdi... Ah, t'invola agl'occhi miei, K272

Ch'io mi scordi di te?... Non temer, amato bene, K505

Peter Wallfisch (piano)

Ah se in ciel, benigne stelle, K538

Credo & Et incarnatus est (from the Mass in C Minor)

Exsultate, jubilate, K165 - Alleluia


Jennifer Vyvyan (soprano)

Haydn Orchestra & London Philharmonic Orchestra, Harry Newstone & Peter Maag

The role of Constanze in Die Entführung aus dem Serail is famously one of the most demanding, not only among Mozart’s operas but in the entire dramatic coloratura repertoire. The singer should have youth on her side, yet the technique to master two long and taxing arias placed almost back to back, and the emotional maturity to convey the character’s plight as a prisoner and slave. ‘One rarely finds a singer to do it justice,’ as the Opera magazine reviewer remarked of a Sadler’s Wells production in October 1952. And yet, in Jennifer Vyvyan, he did: ‘her voice is excellently placed … she is already a highly accomplished singer, and there is every possibility that she will become a great one.’

Entführung has never commanded the record catalogues like the Da Ponte trilogy, and thus the opportunity was lost to capture Vyvyan in the this and the other Mozartian role which she often sang near the start of her career, Elettra in Idomeneo. By way of partial compensation, she recorded for Decca in 1957–58 a studio album of dramatic scenes and arias by Haydn and Mozart, which are distinguished by the qualities noted above of her work on stage. ‘Ah, lo previdi’ and ‘Ch’io mi scordi di te’ are hardly less technically challenging than Constanze’s arias, but Vyvyan sings them with sovereign authority and the penetrating tone that contributed to her imposing stage presence.

Indeed her particular combination of authority and vulnerability, both on stage and in life, were qualities captured by Benjamin Britten in the several principal roles he wrote for her such as the Governess in The Turn of the Screw and Tytania (spelled thus in honour of Vyvyan herself) in A Midsummer Night’s Dream. They are also aspects of the abandoned Berenice in Haydn’s extended and unusually melodramatic scena.

Giving stylish backing to Vyvyan was a London pick-up band under the name of the Haydn Orchestra and conducted by the Classical-era specialist Harry Newstone, who made many pioneering recordings of Haydn symphonies in the UK. Filling out this new collection are three items from an album first released in May 1956, when the soprano was accompanied by the LPO and Peter Maag who made an international reputation as a Mozart conductor with regular appearances at festivals such as Aix and Salzburg from the early years of his long career.

This CD is one of five recordings released by Eloquence in September 2017 celebrating the art of Jennifer Vyvyan. All Decca recordings from the 1950s, many appearing for the first time on Decca CDs, they include ‘Mr. Bach at Vauxhall Gardens’ (ELQ4825387), the first recording of Purcell’s The Fairy Queen (ELQ4827449), ‘Songs of England’ (ELQ4825045) and arias by Mozart and Haydn (ELQ4825049).

Released or re-released in last 6 months

Australian Eloquence - ELQ4825049

(CD)

$9.25

Scheduled for release on 29 September 2017. Order it now and we will deliver it as soon as it is available.

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