Gramophone Magazine Editor's Choice

December 2016

Disc of the Month

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Beethoven: Piano Sonatas Volume 3


Gramophone Magazine

Disc of the Month - December 2016



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Release date:

28th Oct 2016




3 hours 31 minutes


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Beethoven: Piano Sonatas Volume 3


Piano Sonata No. 22 in F major, Op. 54

Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'

Piano Sonata No. 24 in F sharp major, Op. 78

Piano Sonata No. 25 in G major, Op. 79

Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'

Piano Sonata No. 27 in E minor, Op. 90

Piano Sonata No. 28 in A major, Op. 101

Piano Sonata No. 29 in B-flat major, Op. 106 'Hammerklavier'

Piano Sonata No. 30 in E major, Op. 109

Piano Sonata No. 31 in A flat major, Op. 110

Piano Sonata No. 32 in C minor, Op. 111

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Jean-Efflam Bavouzet’s fascinating journey through Beethoven’s complete sonatas now comes to an end with this third volume.

The prodigious exploration reaches its culmination in this three-disc set – sold for the price of 2 CDs as were its two predecessors – featuring the most mature and exploratory of Beethoven’s sonatas, including the heroic, two-movement ‘Appassionata’. Bavouzet’s distinguished interpretations reveal not only the technical virtuosity but also the emotional power of these contrasted works. With his characteristically fresh and energetic, yet expressive and profound approach, Bavouzet captures a Beethoven drawing the contours of romantic keyboard textures that would become the staple of the next generation.

This project will also resonate on the concert platform, as a series of recitals will take it to the most significant venues around the world.

Ludwig van Beethoven: Piano Sonata No. 22 in F Major, Op. 54

I. In tempo d'un minuetto

II. Allegretto - Più allegro

Ludwig van Beethoven: Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata"

I. Allegro assai - Più allegro

II. Andante con moto

III. Allegro ma non troppo - Presto

Ludwig van Beethoven: Piano Sonata No. 24 in F-Sharp Major, Op. 78 "À Thérèse"

I. Adagio cantabile - Allegro ma non troppo

II. Allegro vivace

Ludwig van Beethoven: Piano Sonata No. 25 in G Major, Op. 79

I. Presto alla tedesca

II. Andante

III. Vivace

Ludwig van Beethoven: Piano Sonata No. 26 in E-Flat Major, Op. 81a "Les adieux"

I. Das Lebewohl: Adagio - Allegro

II. Abwesenheit: Andante espressivo

III. Das Wiedersehn: Vivacissimamente

Ludwig van Beethoven: Piano Sonata No. 27 in E Minor, Op. 90

I. Mit lebhaftigkeit und durchaus mit Empfindung und Ausdruck

II. Nicht zu geschwind und sehr singbar vorgetragen

Ludwig van Beethoven: Piano Sonata No. 28 in A Major, Op. 101

I. Etwas lebhaft und mit der innigsten Empfindung

II. Lebhaft. Marschmäßig

III. Langsam und sehnsuchtsvoll - Zeitmaß des ersten Stuckes

IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit

Ludwig van Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 "Hammerklavier"

I. Allegro

II. Scherzo: Assai vivace - Presto -Prestissimo - Tempo I - Presto - Tempo I

III. Adagio sostenuto

IV. Largo - Un poco più vivace - Tempo I - Allegro - Tempo I - Prestissimo - Allegro risoluto - Fuga a tre voci, con alcune licenze - Poco adagio - Tempo I

Ludwig van Beethoven: Piano Sonata No. 30 in E Major, Op. 109

I. Vivace, ma non troppo - Adagio espressivo - Tempo I - Adagio espressivo - Tempo I

II. Prestissimo

III. Gesangvoll, mit innigster Empfindung: Andante molto cantabile ed espressivo - III. Variations 1-6

Ludwig van Beethoven: Piano Sonata No. 31 in A-Flat Major, Op. 110

I. Moderato cantabile molto espressivo

II. Allegro molto - Coda

III. Adagio ma non troppo

Ludwig van Beethoven: Piano Sonata No. 32 in C Minor, Op. 111

I. Maestoso - Allegro con brio ed appassionato

II. Arietta: Adagio molto semplice e cantabile - L'istesso tempo - L'istesso tempo

Gramophone Magazine

December 2016

“Bavouzet, in his prime, has two rare gifts as a Beethoven interpreter. He makes you feel that each sonata is not only all of a piece but that its structure and not just its surface has an audible power. Second, he conveys that what is experienced is indissolubly linked to its execution...He radiates generosity and balance as well as a delight in being able to play the piano so well.”

The Guardian

23rd November 2016


“The qualities that were so impressive in his polished performances of the early sonatas – warm tone, clean keyboard textures, smartly sprung rhythms and, above all, the pervading sense of freshness and enthusiasm – also emerge regularly in these works.”

Financial Times

December 2016

“The music is lit with quick wit as Jean-Efflam Bavouzet gives this cycle its special flavour”

BBC Music Magazine

January 2017


“As Bavouzet uses very little pedal, his characteristic sound is clean and dry, and when he gives us histrionics they are Beethoven’s own; there’s nothing vain or pretentiously ‘original’ in these interpretations”

International Piano

May 2017


“It is in the later, larger sonatas where Bavouzet’s interpretations impresses most…Chandos’ sound is warm and full…Strongly recommended.”

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Elgar: The Dream of Gerontius, Op. 38

Elgar: The Dream of Gerontius, Op. 38

Sir Adrian Boult was a supreme interpreter of Elgar’s music, winning accolades and awards for performances and recordings. Boult championed his music throughout his conducting life following the composer’s prophetic words in a letter to Boult in 1920, ‘I feel that my reputation in the future is safe in your hands’.

Boult only made one recording of The Dream of Gerontius, in 1975, of which the Penguin Guide enthused, ‘Boult’s total dedication is matched by his powerful sense of drama…the spiritual feeling is intense throughout’ while The Gramophone Guide ended their review with ‘Boult directs with commendable energy and typical humanity. A document to be treasured.’

This DVD represents the only existing film of Boult conducting The Dream of Gerontius filmed in Canterbury Cathedral in 1968.

The performance features a stellar cast of soloists: Dame Janet Baker, a leading interpreter of The Angel in The Dream of Gerontius, who recorded the role twice, in 1964 in Sir John Barbirolli’s famous recording, and in 1986 under Sir Simon Rattle; John Shirley Quirk who, with Boult, recorded a definitive interpretation of Peter in The Kingdom and about whom Boult said” J.S.-Q. […] was perfection and I don’t think any of the old guard could surpass [him]”; Peter Pears, who recorded the work in 1972 under the direction of his close friend Benjamin Britten.

The film uses the original BBC master which is far superior to the poor copies which have been in circulation over the years.

This was the first classical music production filmed in colour, for which Brian Large, “an understanding musician as well as a brilliant producer” in Boult’s words, had secured eight out of the nine colour T.V. cameras existing in the UK at that time. This DVD also features a 60-minute documentary on Sir Adrian Boult as a bonus. This film was produced in 1989 by the BBC to celebrate Sir Adrian Boult’s 100th anniversary.

The booklet includes a note written by Andrew Neil, from the Elgar Society, as well as a long extract from Sir Adrian Boult’s biography in which Boult gave his extended insight on the filming. The booklet also includes the sung text in English.

DVD format: NTSC

Picture format: 4:3

Running time: 100 mins (feature); 60 mins (bonus)

Subtitles: None

Menu languages: English

Booklet languages: English

Region code: 0

Territory Restrictions: None

“[Pears] is, in a word, magnificent. Shirley-Quirk is marvellous, too, in both his roles, and Janet Baker, inhabiting the Angel as only she could, is in a league of her own...the TV sound is remarkably good for its time and the quality of the solo performances... makes this a must-see.” Gramophone Magazine, December 2016

“A very important DVD release for Elgar lovers and admirers of Sir Adrian Boult.” MusicWeb International, 11th January 2017

“Boult’s handling of the Prelude, and his masterly accompaniment – especially to Janet Baker’s radiant final benediction – is so beautiful, so magisterial in its intensity, that it feels as though the score is simply being opened before us, its truths unclouded by any merely human ‘interpretation’…the accompanying documentary is excellent: full of fascinating, moving insights into Boult as man and conductor…a beautifully devised portrait of a great musician” BBC Music Magazine, February 2017 ****

GGramophone Magazine

DVD of the Month - December 2016

DVD Video

Region: 0

Format: NTSC

ica classics - ICAD5140

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Adams & Harris Violin Concertos

Adams & Harris Violin Concertos

Adams, J:

Violin Concerto

Harris, Roy:

Concerto for Violin and Orchestra

Violinist Tamsin Waley-Cohen continues her series of concerto recordings on Signum with two contrasting works by American composers.

Already considered by many to be a modern classic, John Adams 1993 Violin Concerto was described by the composer as having a ‘hypermelody’, in which the soloist plays longs phrases without stop for the duration of the 35 minute piece. Although composed in 1949, the first performance of Roy Harris’s Violin Concerto didn’t occur until 1984. Since then it has been championed for its “luminous orchestration and exalted tone”.

For this recording Tamsin Waley-Cohen is joined by the BBC Symphony Orchestra under American conductor Andrew Litton.

“Roy Harris may be the most all-American composer you have never heard of...Waley-Cohen handles [the Adams's] gruelling solo part with athleticism and conviction, and both pieces benefit from the punchy playing of the BBC Symphony Orchestra and insightful conducting of Andrew Litton.” The Guardian, 29th September 2016 ***

“It’s a very welcome work, with much to like, to be thrilled and moved by, and is given here with commitment and colour by all concerned.”

“Tamsin Waley-Cohen brings the lyrical sweetness and breadth of tone Harris needs, while the sweeping vistas and exuberant rhythms are supplied by the BBC Symphony Orchestra and Andrew Litton.” Record Review

“There is some tremendous playing from Waley-Cohen … with impressive accuracy from both soloist and orchestra, a real rapport … This is a fabulous performance of a very fine concerto. These two concertos sit remarkably well together. The recording is excellent as are the booklet notes.” The Classical Reviewer

“Her interpretation [of the Adams] is technically beyond reproach and musically imaginative. What makes this recording indispensible is the coupling...Harris’s Concerto is a major (re-)discovery, and Waley-Cohen outclasses Fulkerson’s pioneering version in every respect. Andrew Litton and the BBC Symphony provide superb, supple support.” Gramophone Magazine, December 2016

“Waley-Cohen brings magnetic performances and an enthusiast’s passion to this splendid disc…his Violin Concerto duly bubbles with folk melodies, modal harmonies and open-hearted expression, and Waley-Cohen and the BBC Symphony Orchestra bring tremendous warmth and verve to their performance…[her] laser-bright tone and effortless agility drives this outstanding account” BBC Music Magazine, Christmas 2016 *****

“very welcome new recordings full of verve and vigour … Waley Cohen plays vigorously throughout … an essential listen.” Classical Music, December 2016

GGramophone Awards 2017

Shortlisted - Concerto

GGramophone Magazine

Editor's Choice - December 2016

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As Dreams - Choral Music

As Dreams - Choral Music

Janson, A:



Consolation II (Wessobrunner Gebet)



Singe die Gärten



Nuits, adieux



Norwegian Soloists' Choir, Oslo Sinfonietta, Grete Pedersen

Night, dreams, and farewells with an outstanding choir. Although different in many respects – compositional approach, geographical origin, language – the works that make up this adventurous programme from the Norwegian Soloists’ Choir and its artistic director Grete Pedersen are all, to quote Shakespeare, ‘such stuff as dreams are made on’. In various ways they refer to night and dreams, to the distant past or to an uncertain future. With composers from Denmark, Norway, Finland, Germany and Greece, and texts ranging from fragments of ancient Assyrian and Sumerian (in Xenakis’s Nuits) and the 8th-century Wessobrunner Prayer (Lachenmann) to poems by Balzac (Saariaho), Nietzsche (Janson) and Rilke (Nørgård), the concept of ‘here and now’ becomes blurred and, indeed, dreamlike. The choir and Grete Pedersen released their first disc for BIS in 2007 – an all-Grieg programme awarded a Diapason d’or and with interpretations described in Le Monde de la Musique as ‘so beautiful as to make you lose your breath’. The five titles that have followed since then range from the folk-inspired ‘White Night’ (‘some of the most striking and moving singing put down on disc for years’, Gramophone) and most recently a programme combining works by the Norwegian composer Knut Nystedt (1915 – 2014) with motets by Bach (BIS2184). Meeting the different challenges posed by such varied repertoire with flawless and always idiomatic performances, the Norwegian Soloists’ Choir is a wonderful instrument in the hands of Grete Pedersen. On the present disc musicians from Oslo Sinfonietta join the team in the accompanied works, which include Nørgård’s Singe die Gärten for eight-part choir and 8 instruments and Janson’s Nocturne for double choir, 2 cellos, harp and 2 percussionists.

“A stunning achievement by all concerned. Difficult, challenging music, performed with brilliance and dedication.” MusicWeb International, 16th November 2016

“There is delicacy, sensitivity, richness and detail in each performance here (no prizes for guessing the disc’s theme) and excellent sound that gets to the many corners of each score. Add to that extraordinary imagination in the singing, individually and collectively.” Gramophone Magazine, December 2016

“There is much beauty here, often clothed in the most adventurous harmonies and vocal ideas. The Norwegian Soloists’ Choir under their Music Director, Grete Pedersen achieve the most wonderful results, taking choral singing to a new level.” The Classical Reviewer, January 2017

“Mixed themed programmes can be hit and miss, but this lovely set by the fearless Grete Pedersen explores nocturnal and oneiric modes with logic and confidence” Choir & Organ, February 2017 ****

GGramophone Magazine

Editor's Choice - December 2016

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Dvorak: Slavonic Dances

Dvorak: Slavonic Dances


Slavonic Dances Nos. 1-8, Op. 46 Nos. 1-8

Slavonic Dances Nos. 9-16, Op. 72 Nos. 1-8

“[Belohlavek’s] return to the Czech Philharmonic Orchestra as music director has brought him back to his emotional and musical heartland. In works by Dvořák and Smetana, unbounded lyricism and Czech melancholy emerged with the authenticity that only this orchestra can bring.” The Guardian

Maestro Belohlavek and the Czech Philharmonic Orchestra return to Decca with the unforgettable Slavonic Dances from one of the most melodious, harmonious and evocative late 19th Century composers - Dvorak.

Decca’s acclaimed 2014 Complete Dvorak Concertos and Symphonies release was named as one of the Top Recordings of 2014 by the New York Times: “…the set as a whole stands as eloquent testimony to this eminent orchestra’s triumphant return to international prominence...” James R. Oestreich, New York Times.

Performed and recorded by musicians who have an innate understanding and deep-rooted love for this music of their homeland, this is a first-rate recording, bringing great passion and lyricism to Dvorak’s spellbinding Slavonic Dances.

There is no more authentic team today to play these works: the leading Czech orchestra with the leading Czech conductor, recording in the fine acoustic of the famous Rudolfinum in Prague.

In two sets, the Op.46 Slavonic Dances were such a success on release (in the late 1800’s) that Dvorak’s publisher immediately commissioned a further set (to become the Op.72) – which inspired an equally enthusiastic reception

Lively and colourful, both sets feature a variety of traditional forms of dance; Dvorak expertly working with the leaping gallop, polka odzemek and skocna, contrasted alongside luscious mazurkas and sousedsky.

“The lilting affection for this glorious music is unsurprising from these Czech artists — it’s in their blood.” Sunday Times, 23rd October 2016

“Bělohlávek is especially effective in the Brahmsian contours of the second and eighth of the Op 72 dances...As to Op 46, Bělohlávek offers weighty, purposeful accounts of the faster dances and brings a discernible pastoral element to the slower ones.” Gramophone Magazine, December 2016

GGramophone Magazine

Editor's Choice - December 2016

Decca - 4789458



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Vivaldi: Concertos for 2 violins

Vivaldi: Concertos for 2 violins


Concerto For 2 Violins In C RV 507

Concerto for 2 Violins in B flat major, RV 529

Concerto for 2 Violins in C minor, RV510

Concerto in C major for Two Violins, RV 505

Concerto for strings No. 8, RV 127

Concerto for 2 Violins in B flat major, RV527

Concerto for Two Violins, RV513

Vivaldi’s double concertos resemble jousts: there is bound to be comparison between the two protagonists, but in the end the triumph will be collective. And the least one can say is that Amandine Beyer and her illustrious guest Giuliano Carmignola, in his hm debut, have breathed new life into this dazzling form of musical theatre!

“you can hear the way these two stylish and inventive violinists strike sparks from one another, never satisfied to just play the dots, every phrase explored for expressive potential and thrown sometimes challengingly from player to player with the ensemble reacting colourfully around them. It’s the kind of Vivaldi playing that reminds you that these kind of confrontations and conspiracies are an essential part of the music … richly recorded.” Record Review, 24th September 2016

“Are there still revelations to be heard in new Vivaldi concerto recordings? There certainly are in this dazzling, extrovert collection of concertos all for two violins – like a tennis match in music, the two protagonists toss figures, rhythms and phrases across the net with ever-increasing excitement and intensity.” The Guardian, 9th October 2016 ****

“Gli Incogniti are another of those extraordinary groups for whom Vivaldi's virtuoso writing holds no terrors...This issue is to be bought immediately by all lovers of the Italian baroque!” MusicWeb International, 16th November 2016

“These are performances that burst with life, and right from the unaccompanied sparring between the soloists at the beginning of the first track...The tone of soloists and orchestra alike is rich and vital, and the recording has the right mix of clarity and bloom.” Gramophone Magazine, December 2016

“The musical chemistry between Carmignola and Beyer is intuitive and gratifying. Outer movements sparkle with playful vigour while centrally placed solo movements are poetically declaimed...soloists and ripieno alike respond to this wonderful music with passion, insight and a feeling for the idiom that emerges as second nature” BBC Music Magazine, January 2017 *****

GGramophone Awards 2017

Finalist - Baroque Instrumental

GGramophone Magazine

Editor's Choice - December 2016

BBC Music Magazine

Concerto Choice - January 2017

Harmonia Mundi - HMC902249



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A Violin for All Seasons

A Violin for All Seasons

Panufnik, R:

Four World Seasons

premiere recording


The Four Seasons

Encapsulating the voluptuous sound of the BBC SO’s strings, Tasmin Little is both the soloist and conductor in this unique coupling: Vivaldi’s ever-popular ‘Four Seasons’ meets Roxanna Panufnik’s Four World Seasons, the premiere recording of a set of highly inspirational pieces.

As a complete cycle, ‘The Four Seasons’ offers a set of vivid tableaux, imaginative, enticing, and wonderfully contrasted, with ample chance for the violin soloist to display technique, sensitivity, and colour. These are qualities that the British composer Roxanna Panufnik also sought for her own Seasons tribute, Four World Seasons, written for the violinist. Three of the pieces are dedicated to her, while the fourth, ‘Autumn in Albania’, is dedicated to the memory of Panufnik’s father, the Polish composer Sir Andrzej Panufnik, who, his daughter says, was born, loved, and died in autumn.

“The addition of Roxanna Panufnik’s ‘World Seasons’ adds to the attraction of this modern-instrument recording of Vivaldi.” MusicWeb International, 1st November 2016

“Although Tamsin Little isn’t a Baroque specialist there is some influence from historically informed performance: rubato is used discreetly, and vibrato, although more present than might be expected from an ‘authentic’ performance, is subtly varied…these are engaging performances, captured in warm but detailed sound” BBC Music Magazine, Christmas 2016 ****

“These are modern-instrument performances of Vivaldi with a big symphonic string section. And if you haven’t already run screaming for your Fabio Biondi or La Serenissima sets, you’re going to enjoy this disc a lot...No Kennedy-like deconstruction here: Little simply responds to the music with an open-eyed freshness and fantasy…she is lively and conversational, and conveys a vivid sense of character to her colleagues” Gramophone Magazine, December 2016

“The two Seasons form a most attractive contrast and reflect well on all concerned.” MusicWeb International, 16th January 2017

GGramophone Magazine

Editor's Choice - December 2016

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Couperin: Ariane consolée par Bacchus

Couperin: Ariane consolée par Bacchus

Couperin, F:

Ariane consolée par Bacchus (cantata)

L'Apothéose de Lulli

Apothéoses: Le Parnasse ou L'apothéose de Corelli, Grande Sonade, en Trio

Apollon persuade Lully et Corelli que la réunion des Goûts français et italien doit faire la perfection de la musique. Essai en forme d'ouverture

Couperin came from a dynasty of musicians very much in the public eye, starting with the beginning of the reign of Louis XIV. This dynasty would remain important after the death of Francois Couperin, known as Couperin le Grand ('the Great'). Chosen personally by the Sun King for the Chapelle Royale at Versailles, he was quickly forgotten after his death, being eclipsed by Rameau. However history would consider him the most accomplished expression of French genius in the 18th century.

Here, the cantata 'Ariane consolée par Bacchus' is unveiled and served by a dream cast led by Christophe Rousset. This first release on the Aparté label is the forerunner of a boxed set to celebrate the occasion of Couperin's 250th birthday.

“The acoustic of the Eglise Saint-Pierre (Paris) allows us to enjoy both the warmth of [Degout's] voice and the detail of his fluent ornamentation....These works have been recorded many times but rarely so well. Rousset’s vision for his ensemble... is sublime, as too are his harpsichord realisations. This is a landmark recording to treasure.” Gramophone Magazine, December 2016

“A newly discovered, charming cantata for baritone and continuo is lovingly rendered alongside stylish chamber works in praise of Lully and Corelli.” BBC Music Magazine, January 2017 ***

GGramophone Awards 2017

Shortlisted - Baroque Vocal

GGramophone Magazine

Editor's Choice - December 2016

Aparté - AP130



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Mozart: Mass in C minor, K427 'Great'

Mozart: Mass in C minor, K427 'Great'


Mass in C minor, K427 'Great'

Olivia Vermeulen (mezzo), Makoto Sakurada (tenor), Christian Immler (bass)

Exsultate, jubilate, K165

from the revised Salzburg version of K165

Following on from the 2015 release of Mozart’s Requiem, Masaaki Suzuki and his Bach Collegium Japan have gone on to record the composer's Mass in C minor, K427 – the ‘Great Mass’. As the nickname indicates, it is a work of unusual proportions for a mass of the Classical period – or would have been so, had Mozart completed it. It is not known, for what occasion Mozart intended the work, but a letter to his father Leopold, dated 4 January 1783, indicates that he may have committed himself to writing it in connection with his marriage to Constanze and a planned visit to Salzburg. A performance of parts of the Mass did take place in Salzburg in October 1783, with Constanze performing the prominent soprano part. Two years later Mozart reused the music from the Kyrie and Gloria sections in the sacred cantata Davidde penitente, K 469, but the Mass itself was left incomplete. The present performance includes the sections completed by Mozart himself, as well as those sections, for which extensive sketches by Mozart provided a basis for completion (by Franz Beyer in 1989). Three of Suzuki’s soloists also took part in the recording of the Requiem, while the Dutch mezzo-soprano Olivia Vermeulen makes her first appearance on BIS, shining in the aria ‘Laudamus te’. The disc closes with the celebrated cantata Exsultate, jubilate in which the soprano Carolyn Sampson glitters in the virtuosic solo part. As an appendix to the programme, she and the Bach Collegium Japan orchestra also repeats the initial aria, in a less well-known later version with a slightly different text and with flutes replacing the oboes of the original.

“The Mass survives as one of the great unfinished works. Suzuki’s famed period forces are significantly enlarged here (24 choristers), but are quite small for this work. His tempi are surprisingly spacious, but the dramatic impact of the double-choir Qui tollis in the Gloria comes across with full force.” Sunday Times, 13th November 2016

“Period-instrument C minor Masses get better and better. ...The choir are well drilled and the two female soloists are matched as well as any on disc...Suzuki is no speed merchant, and maintains the through line in more strenuous movements.” Gramophone Magazine, December 2016

“Stripping the score right back, Suzuki makes musicianship dominate. He taps into the subtle arts of his fellow performers, especially Carolyn Sampson, to create a benchmark performance…Sampson arabesques effortlessly up to the stratosphere in a slow dance with solo woodwinds…the three other vocal soloists equal Sampson’s elegance, forging a blissful euphony in their ensembles” BBC Music Magazine, January 2017 *****

“A tremendous achievement.” MusicWeb International, 10th January 2017

“playing and singing are excellent throughout, especially from the vocal soloists, all giving florid and characterful performances. The Exsultate, Jubilate makes an ideal filler, not least for the further opportunity it provides to hear soprano Carolyn Sampson, here on excellent form. The SACD audio is atmospheric and clear, giving an ideal audio image for the orchestra and soloists” Classical Ear, 27th March 2017 ***

GGramophone Awards 2017

Winner - Choral

GGramophone Magazine

Editor's Choice - December 2016

BBC Music Magazine

Disc of the month - January 2017

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