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Johann Sebastian Bach: The Complete Organ Works Vol. 3

Johann Sebastian Bach: The Complete Organ Works Vol. 3


Bach, J S:

Fantasia & Fugue in G minor, BWV542 'Great': Fantasia

Chorale Prelude BWV717 'Allein Gott in der Höh sei Ehr'

Chorale Prelude BWV711 'Allein Gott in der Höh sei Ehr'

Chorale Prelude BWV715 'Allein Gott in der Höh sei Ehr'

Toccata & Fugue in F major, BWV540

Fantasia in C minor, BWV1121

Chorale Partita BWV767 'O Gott, du frommer Gott'

Fugue in G minor, BWV578 'Little'

Prelude & Fugue in C major, BWV545

Chorale Prelude BWV709 'Herr Jesu Christ, dich zu uns wend'

Chorale Prelude BWV726 'Herr Jesu Christ, dich zu uns wend'

Fantasia & Fugue in G minor, BWV542 'Great': Fugue


David Goode (organ of Trinity College Chapel, Cambridge)

Released or re-released in last 6 months

Presto CD

Signum - SIGCD803

(Presto CD)

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Johann Sebastian Bach: The Complete Organ Works Vol. 2

Johann Sebastian Bach: The Complete Organ Works Vol. 2


Bach, J S:

Prelude & Fugue in D major, BWV532

Chorale Prelude BWV721 'Erbarm' dich mein, o Herre Gott'

Chorale Prelude BWV731 'Liebster Jesu, wir sind hier'

Prelude & Fugue in G minor, BWV535

Trio Sonata No. 2 in C minor, BWV526

Organ Concerto in G major (after Johann Ernst), BWV592

Fugue in B minor on a theme by Corelli, BWV579

Chorale Prelude BWV690 'Wer nun den lieben Gott lässt walten'

Chorale Prelude BWV691 'Wer nun den lieben Gott lässt walten'

Prelude & Fugue in C major, BWV547


David Goode (organ of Trinity College Chapel, Cambridge)

“A compelling series-in-the-making.” BBC Music Magazine, November 2016

Presto CD

Signum - SIGCD802

(Presto CD)

$12.75

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Johann Sebastian Bach: The Complete Organ Works Vol. 1

Johann Sebastian Bach: The Complete Organ Works Vol. 1


Bach, J S:

Toccata & Fugue in D minor, BWV565

Trio Sonata No. 1 in E flat major, BWV525

Fantasia in G major, BWV572

Chorale Preludes II, BWV645-650 'Schübler Chorales'

Prelude & Fugue in E minor, BWV533

Chorale Prelude BWV727 'Herzlich tut mich verlangen'

Chorale Prelude BWV712 'In dich hab ich gehoffet, Herr'

Prelude & Fugue in C minor, BWV546


David Goode (organ of Trinity College Chapel, Cambridge)

Read Presto's complete review of this disc here.

“One thing that immediately leaps out is the use of some quite extensive ornamentation – not merely mordents and so forth, but brillante scalic flourishes leading into cadences...The range of colours Goode draws from the Trinity College Cambridge chapel organ is also impressive...Bach's compositional genius is shown in the best possible light by Goode's thoughtful performances.” David Smith, Presto Classical, 5th February 2016

Presto Disc of the Week

5th February 2016

Presto CD

Signum - SIGCD800

(Presto CD)

$12.75

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Haydn: String Quartets Op. 76 Nos. 1 - 3

Haydn: String Quartets Op. 76 Nos. 1 - 3


Haydn:

String Quartet, Op. 76 No. 1 in G major

String Quartet, Op. 76 No. 2 in D minor 'Fifths'

String Quartet, Op. 76 No. 3 in C major 'Emperor'


“The Lindsays crown their series of Haydn recordings with this superb disc of three of the supreme masterpieces...” The Guardian

“These are among the finest Haydn quartet recordings heard in years, performances which will quickly establish themselves as classics. They are consistently a degree more refined in texture and control of dynamic than the Lindsays' earlier live recordings, and the ensemble is more polished.
Yet the feeling of spontaneity is just as intense, with Haydn's witty moments pointed even more infectiously, as in the finale of Op 76 No 2, where in the main theme the little upward portamentos at the end of the eighth bar are delectably timed on each occurrence. The studio sound is fuller, too, and far better balanced, so that one can register far more clearly than before the first violin's rapid triplets in the finale of the Emperor; it's ideally crisp articulation. Matching the new performances of the Fifths and the Emperor, The Lindsays' account of Op 76 No 1 is just as strongly characterised. The sense of fun in the opening Allegro con spirito is deliciously brought out, leading on to an account of the sublime Adagio, both dedicated and refined, which conveys a Beethovenian depth of expression, making most rivals sound superficial.”
Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

Building a Library

First Choice - February 2000

Presto CD

ASV - CDDCA1076

(Presto CD)

$13.75

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Byrd Edition Volume 5 - The Masses

Byrd Edition Volume 5 - The Masses


Byrd:

Fantasia MB46

Mass for four voices

Voluntary a3

Mass for three voices

Fantasia in C (Bk 25)

Mass for five voices


These intimate, dark, mystical settings are creations of great feeling, expressing the sorrow of deprivation. All three masses reach an intensity rarely equalled in Renaissance times, and culminating in Agnus Dei settings which are among the most poignantly beautiful in all music. These will remain definitive performances for many years to come. Each mass in preceded by an organ Fantasia. Suprisingly there is only one other modern issue currently to present all three masses on a single CD.

“The singing is technically polished, the tuning faultless and the overall sonority rounded and rich.” Choir & Organ

“This is incomparable music by one of the great est English composers and it was high time for someone to take a fresh look at these works in the light of more recent research and of changing attitudes to performance practice.
Byrd had composed his three settings of the Ordinary of the Mass in troubled times for the small recusant Catholic community that still remained in England in spite of persecution.
The settings would have been sung, in all probability, during festive, albeit furtive, celebrations of the old time-honoured Roman liturgy, in private chapels in the depths of the country, at places such as Ingatestone, the seat of Byrd's principal patron, Sir John Petre. Andrew Carwood has recorded them in the Fitzalan Chapel of Arundel Castle, a small but lofty building with a clear resonance that enables the inner voices of the part-writing to come through straight and clean. It hasn't the aura of King's College Chapel, but is probably easier to manage than, say, Winchester Cathedral or Merton College Chapel.
Carwood uses two voices to a part in all three Masses. In comparison with rival recordings he's alone in selecting high voices for the three-part Mass, transposed up a minor third, which introduces a note of surprising lightness and grace. He, too, is alone in taking the initiative of using an allmale choir for the four-part Mass – alto, tenor, baritone, bass. This close, low texture, together with the transposition down an augmented fourth, adds a fitting sense of gravity to the performance.
In particular, it heightens the poignancy of such passages as the 'dona nobis pacem' in the AgnusDei, with its series of suspensions in the drooping phrases leading to the final cadence.
That dimension of understanding is precisely what this recording by The Cardinall's Musick so keenly demonstrates. Theirs is a simplicity of style that belies simplistic criticism. Vibrato is used sparingly: 40 years on, some listeners might consider its constant use by a King's Choir of the late 1950s almost too overpowering. Carwood chooses his tempos with care, avoiding the modern tendency to speed everything up inordinately.
The interesting historical note on the whole background is a good pointer to what the listener may experience as the music unfolds.”
Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

Building a Library

First Choice - December 2003

Building a Library

First Choice - June 2013

Presto CD

Gaudeamus Cardinall’s Musick Complete Byrd Edition - CDGAU206

(Presto CD)

$13.75

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Frank Martin: Complete Music for Piano & Orchestra

Frank Martin: Complete Music for Piano & Orchestra


Martin, F:

Ballade for piano & orchestra

Piano Concerto No. 1

Piano Concerto No. 2

Dance of Fear for two pianos & chamber orchestra


Sebastian Benda, Paul Badura-Skoda (pianos)

Svizzera Italiana Orchestra, Christian Benda

“What Martin's music needs is performances of understanding but also affection, and ASV deserves congratulation for the shrewd casting of this disc. Sebastian Benda was a composition pupil of Martin's, and once recorded the Ballade with him conducting. The Second Piano Concerto was written for Paul Badura-Skoda, and he too recorded it with the composer. The conductor here is too young to share the two pianists' warm memories of Martin, but he's Sebastian Benda's son, and the sense of all three collaborating in a tribute is strong.
Martin is often described as a serialist, but this isn't true. He used 12-note rows, but only to discipline his melodic language, which is tonal, strong and lyrical. The First Concerto might just as well have been subtitled 'The Dramatic' and Benda plays it with flair and great enjoyment, as he does the gentler but no less varied Ballade. The Second Concerto, a late work, is one of Martin's finest, with a profusion of bold, striking ideas and opportunities for grand rhetoric.
Badura-Skoda plays it as though he were delighted to make its acquaintance again.
Perhaps the orchestra could have done with two or three extra desks of strings, but the recording is excellent and the performances all that could be desired.”
Gramophone Classical Music Guide, 2010

Penguin Guide

Rosette Winner

Presto CD

ASV - CDDCA1082

(Presto CD)

$13.75

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Schubert: Piano Sonata No. 21 & Klavierstücke D946

Schubert: Piano Sonata No. 21 & Klavierstücke D946


Schubert:

Piano Sonata No. 21 in B flat major, D960

Klavierstücke (3), D946


“Uchida's concentration and inwardness are of a rare order in her absorbed, deeply poetic reading of the B flat Sonata. No pianist makes you so aware how much of the first two movements is marked pp or even ppp; and none conjures such subtlety of colour in the softest dynamics: listen, for instance, to her playing of the three unearthly C sharp minor chords that usher in the firstmovement development, or her timing and colouring of the breathtaking sideslip from C sharp minor to C major in the Andante. Other pianists may find a stronger undercurrent of foreboding or desperation in these two movements – though Uchida builds the development of the initial Molto moderato superbly to its dramatic climax.
But none probes more hauntingly the music's mysterious contemplative ecstasy or creates such a sense of inspired improvisation. And her limpid cantabile sonorities are always ravishing on the ear. She's equally attuned to the less rarefied world of the Scherzo and finale, the former a glistening, mercurial dance, con delicatezza indeed, the latter graceful and quixotic, with a hint of emotional ambiguity even in its ostensibly cheerful main theme and a tigerish ferocity in its sudden Beethovenian eruptions.
The coupling is generous: the three Klavierstücke, D946, composed, like the sonata, in Schubert's final year, 1828, and assembled by Brahms for publication. She brings a wonderfully impassioned sweep, with razor-sharp rhythms, to the opening of the E flat minor, No-1, and mesmerically floats its slow B major episode. She also restores the beguiling barcarolle- like episode in A flat that Schubert excised from his autograph manuscript. The recording finely captures Uchida's subtle, pellucid sound world. A revealing disc from a Schubertian of rare insight and spirituality.”
Gramophone Classical Music Guide, 2010

Building a Library

First Choice - August 2005

Presto CD

Philips - 4565722

(Presto CD)

$13.75

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Thomas Hewitt Jones: Christmas Party

Thomas Hewitt Jones: Christmas Party


Hewitt Jones, Thomas:

Christmas Party

Simon Hewitt Jones (violin)

Royal Ballet Sinfonia, Gavin Sutherland

Child of the Stable’s Secret Birth

Choir of Clare College Cambridge

Court Lane Ensemble, Thomas Hewitt Jones

Cameron's Lament - Christmas Version

Thomas Hewitt Jones


British composer Thomas Hewitt Jones (former BBC Young Composer of the Year) and his brother, acclaimed violinist Simon Hewitt Jones, collaborate on their first Christmas violin concerto. Titled 'A Christmas Party', the concerto is based on well-known Christmas themes, and provides a pot- pourri of festive music to make the season sparkle. As well as the concerto, the release also includes one of Hewitt Jones’ seasonal choral works 'Child of the Stable’s Secret Birth', performed by the Choir of Clare College, Cambridge and the Clare Lane Ensemble alongside a Christmas version of 'Cameron's Lament' - Thomas's response to David Cameron's humming which became a viral hit online in July 2016.

Released or re-released in last 6 months

Presto CD

Signum - SIGCD821

(Presto CD)

$6.50

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Christmas Presence

Christmas Presence

Recorded Live from King's College Chapel, Cambridge


Byrd:

Beata Viscera

Chilcott:

A Thanksgiving

also featuring The National Youth Chamber Choir of Great Britain

Lasso:

Resonet in Laudibus à 5

Pearsall:

In dulci jubilo

The National Youth Chamber Choir of Great Britain

Pierpont:

Jingle Bells

Praetorius, M:

Es ist ein Ros' entsprungen

Smith, Clive:

I saw three ships

Sweelinck:

Hodie Christus natus est

Torme:

Chestnuts roasting on an open fire

arr. Peter Knight

trad.:

Hodie Christus natus est

God Rest Ye Merry, Gentlemen

arr. Geoffrey Keating

La peregrinaçion

arr. Peter Knight

Still, still, still

arr. Alexander L'Estrange


Recorded live in the Chapel of King’s College, Cambridge, on 4th December 2015 - an exclusive Presto CD title. (International Delivery Available).

Presto CD

Signum - SIGCD801

(Presto CD)

$9.25

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Beethoven: Missa Solemnis in D major, Op. 123

Beethoven: Missa Solemnis in D major, Op. 123


Presto CD

DG Presto CDs - 20% off

DG - 4357702

(Presto CD - 2 discs)

Normally: $21.50

Special: $17.20

(also available to download from $16.75)

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