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Jean Guyot: Te Deum laudamus

Jean Guyot: Te Deum laudamus

& other sacred music


Guyot:

Te Deum Patrem

O florens rosa

Amen, amen dico vobis

Accepit Jesus panem

Prudentes virgines

Omni tempore benedic Deum

Adorna thalamum

Noe, noe, genuit puerpera

Ave Maria … Signum magnum

Te Deum laudamus


Jean Guyot was another of the composers of the post-Josquin generation active in the Low Countries in the mid-sixteenth century. (He was also a priest, author and teacher, although the details of much of his life remain vague.) Cinquecento has previously explored his secular music (on Amorosi pensieri), but it was Guyot’s sacred music which was largely responsible for the high reputation he seemingly enjoyed in his lifetime. Cinquecento proves equally authoritative in both.

“Guyot emerges from this disc as a marvellously fluent composer, perhaps a touch unvaried in texture but always pleasing…the five adult men of Cinquecento – here joined by the countertenor David Allsopp – are, as always, absolutely flawless in the performance of this music. Even by the best standards of today their ensemble, balance and intonation are beyond reproach” Gramophone Magazine, May 2017

GGramophone Awards 2017

Shortlisted - Early Music

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Bruch: String Quintets & Octet

Bruch: String Quintets & Octet


Bruch:

String Quintet in E Flat, Op. posth (1918)

Octet in B flat major, Op. post. (1920)

String Quintet in A minor, Op. posth (1918)


Read Presto's complete review of this disc here.

Music which belies the date and circumstances of its composition. All three works were written in the immediate aftermath of World War I, yet inhabit a sound world of Brahmsian richness and warmth—very much the product of the composer of the famous Violin Concerto. The Nash Ensemble are ideal interpreters.

“The always rewarding Nash Ensemble add warmth and grace to the sprightly String Quintet in E flat major and bring verve and attack to its edgier A minor companion, but it is in the magnificent String Octet that the players finally allow the sun to truly shine. Recommended.” The Observer, 26th March 2017 ****

“they have a yearning lyricism that harks back to the G minor Violin Concerto...and the rich texture of five and eight parts gives the sound a depth and mellowness. Although all three are in the ‘concertante’ style, ensuring that first violinist Stephanie Gonley enjoys the majority of the limelight, there’s no shortage of interplay between the parts as well as some delightful melodic turns of phrase.” David Smith, Presto Classical, 31st March 2017

“The Nash ensemble have a natural feeling for the music's ebb and flow, and while they're not afraid of big gestures and the bite of horsehair and rosin, they play beautifully as an ensemble...Together, these performances go to the top of a not exactly crowded field; in fact his disc needs to be heard by everyone who loves German Romantic chamber music.” Gramophone Magazine, May 2017

“These three very likeable chamber offerings by Max Bruch…receive joyously assured treatment from the distinguished members of The Nash Ensemble on this truthfully engineered Hyperion release…Tully Potter supplies a personable and authoritative booklet-essay, and collectors with a sweet tooth will find the disc as a whole well worth seeking out.” Classical Ear, 14th April 2017 ****

“The Nash Ensemble members (including Stephanie Gonley, Laura Samuel, Lawrence Power and Adrian Brendel) play superbly and devotedly and are tangibly recorded. Highly recommended.” classicalsource.com, May 2017 *****

Presto Disc of the Week

31st March 2017

GGramophone Awards 2017

Finalist - Chamber

GGramophone Magazine

Editor's Choice - May 2017

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Music for the 100 Years' War

Music for the 100 Years' War


Alanus:

Sub Arturo plebs

Fons Citharizancium

In omnem terram

anon.:

Anglia tibi turbidas spera lucem post tenebras

Ianuam quam clauserat

Pastor cesus in gregis medio

Opem nobis, o Thoma...Salve, Thoma

De flore martyrum...Deus tuorum militum

Ave miles celestis curie / Ave Rex patrone patrie / Ave Rex

Gaude martyr...Collaudemus venerantes

Ecce mitto angelum

The Agincourt Carol

Kyrie … Domine miserere – Ab inimicis nostris

Dunstaple:

Preco Preheminencie

Precurscor premittitur

Inter natos mulierum

Missa Da gaudiorum premia

Veni Sancte Spiritus

Power, L:

Gloria 'Ad Thome memoriam'


Music of predominantly royal association spanning the reign of Henry V, the Battle of Agincourt and its aftermath, and the coronations in England and France of the boy king Henry VI. The Binchois Consort under Andrew Kirkman bring this music vividly to life, while the copiously illustrated booklet is a pleasure in itself.

“The mysterious and influential John Dunstaple (c1390-1453) is the best known of the composers here. His Missa Da gaudiorum premia and Veni Sancte Spiritus are highlights on a fascinating disc…we are lucky to have the Binchois Consort – here, two altos, four tenors – to bring this haunting, often jubilant early English repertoire to full-blooded life” The Observer, April 2017 *****

“The Orlandos sensibly espouse the music’s rough edges (as in the Kyrie Cuthberte), courting roughness themselves in a good cause. Where a more mellifluous tone is required, as in the top-voice-driven Credo by Excetre, they give Matthew Venner’s expressive countertenor full rein.” Gramophone Magazine, April 2017

“A fascinating musical account of the English court from the late 14th century onwards. The Binchois Consort is on stellar form.” BBC Music Magazine, May 2017 ****

GGramophone Awards 2017

Finalist - Early Music

GGramophone Magazine

Editor's Choice - April 2017

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The Romantic Piano Concerto 70 - Beach, Chaminade & Howell

The Romantic Piano Concerto 70 - Beach, Chaminade & Howell

Beach, Chaminade & Howell: Piano Concertos


Beach, A:

Piano Concerto, Op. 45

Chaminade:

Concertstück for Piano and Orchestra, Op. 40

Howell, D:

Concerto for Piano and Orchestra in D minor


International Women’s Day falls on 8 March, celebrating the ‘social, economic, cultural and political achievements of women’. Volume 70 in our Romantic Piano Concerto series champions three female composers, and three works whose in-the-face-of-it-all joie de vivre makes them irresistibly worthy of our attention.

“Pick of the bunch is the Concerto by Amy Beach…Danny Driver is a highly accomplished soloist, if occasionally lacking in Romantic flexibility; the BBC Scottish Symphony Orchestra under Rebecca Miller makes a telling contribution” BBC Music Magazine, March 2017 ****

“If Driver offers a robust, muscular view of the Beach, he is certainly in touch with his feminine side in the highly attractive single-movement Concerto by Dorothy Howell...but even more appealing is Cécile Chaminade’s Concertstück in the same key as the Beach...In Driver’s hands it is enchanting.” Gramophone Magazine, March 2017

“[Beach's] Piano Concerto has the heft and torrent of music that needs to be written and Danny Driver plays it with clarity and steel, absolutely unsentimental but flecked through with empathy...the sturdy weft Rebecca Miller gets from the BBC Scottish Symphony Orchestra generally suits Beach’s broad-stitch writing.” The Guardian, 2nd March 2017 ***

“Its exotic features anticipate Saint-Saëns’s ‘Egyptian’ Concerto, and overall it is colourful, capricious and charming.” classicalsource.com, May 2017 ****

GGramophone Awards 2017

Finalist - Concerto

GGramophone Magazine

Editor's Choice - March 2017

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Hyperion - The Romantic Piano Concerto - CDA68130

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JS Bach: Cantatas Nos 54, 82 & 170

JS Bach: Cantatas Nos 54, 82 & 170


Bach, J S:

Cantata BWV170 'Vergnügte Ruh, beliebte Seelenlust'

Cantata BWV54 'Widerstehe doch der Sünde'

Cantata BWV82 'Ich habe genug'

Sinfonia: Cantata BWV174

Cantata BWV52 'Falsche Welt, dir trau ich nicht': Sinfonia


Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.

“Davies’s singular gifts of open-hearted expression, reined in to perfection and with no excess or indulgence, are expertly balanced by Arcangelo’s prominent solo musicians. Early in the year, a favourite disc already.” The Observer, 8th January 2017 *****

“The dominant virtue in this fine collaboration between the outstanding Davies and Arcangelo lies in an unsentimental perspicacity, reassuring in its intelligence and deep sensitivity.” Gramophone Magazine, January 2017

“The main pleasure in this album is the partnership between the eloquent soloist and the tangy playing of Arcangelo, wonderfully led by Jonathan Cohen, who doubles as a fizzing organist...Davies’s cool concentration heats up for a compelling Ich habe genug, finely weighted between religious ecstasy and resignation.” The Times, 13th January 2017 ****

“Iestyn Davies [gives a] poised, sober performance…Arcangelo’s strings have a beautifully firm sound, with plenty of bow and intelligent details from the lute, while oboist Katharina Spreckelsen plays elegantly” BBC Music Magazine, January 2017 ****

“If his German is not entirely idiomatic, his words are invariably clear and he relishes the interplay with the Arcangelo ensemble’s soloists...Best of all is the rapt singing of Schlummert ein (Go to sleep), in the well-known BWV82…Overall, a lovely disc.” Sunday Times, 15th January 2017

“Iestyn Davies is intently communicative with the words in the much-loved ‘Vergnügte Ruh’ and ‘Ich habe genug’” Financial Times

“A simply outstanding Bach disc.” MusicWeb International, 12th January 2017

“Davies sails serenely on through all vocal obstacles” Early Music Today, May 2017 *****

GGramophone Awards 2017

Winner - Baroque Vocal

GGramophone Magazine

Editor's Choice - January 2017

Gramophone Award Winners

Hyperion - CDA68111

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Bartók: Mikrokosmos Book 5

Bartók: Mikrokosmos Book 5

& other piano music


Bartók:

Romanian Folk Dances for piano, Sz. 56, BB 68

14 Bagatelles, BB 50, Sz. 38

Allegro barbaro, BB 63, Sz. 49

Improvisations on Hungarian Peasant Songs, Sz. 74, Op. 20

Mikrokosmos Book V


This second album in Cédric Tiberghien's highly praised survey reveals the radicalism of Bartók's piano-writing to be just as evident in the early Bagatelles as it is in the lexicon of style and technique which is the fth book of Mikrokosmos.

“Magic moments are plentiful...One feels the weight of Tiberghien’s thought in every phrase, yet the sense of easy flow is paramount.” Sunday Times, 6th November 2016

“Intimate and poetic, this pianism which delicately suggests rather than making statements. A lovely hour and a quarter.” BBC Music Magazine, December 2016 ****

“it’s a measure of the quality of Cédric Tiberghien’s series that it promises to rival Kocsis’s set when complete...Tiberghien catches the essence of each piece instantly, and brings to all of them a sense of freshness and discovery, as well as the ability to combine expressive freedom with rhythmic precision in a remarkable way.” The Guardian, 17th November 2016 *****

“A fine programme overall, much to be recommended” Gramophone Magazine, November 2016

“Beautifully recorded … beautifully played.” MusicWeb International, 9th December 2016

GGramophone Awards 2017

Shortlisted - Instrumental

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Hyperion - CDA68133

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CPE Bach: Cello Concertos

CPE Bach: Cello Concertos


Bach, C P E:

Cello Concerto No. 1 in A minor, Wq. 170 (H432)

Cello Concerto No. 2 in B flat major, Wq. 171 (H436)

Cello Concerto No. 3 in A major, Wq. 172 (H439)


The unpredictable and ‘fantastical’ qualities which are so fundamental to the music of C P E Bach are here given free rein by Nicolas Altstaedt, aided and abetted by Jonathan Cohen and Arcangelo in performances of astonishing brio.

“Nicolas Altstaedt and the sinewy warmth of his 1760 Gigli are a great fit for this often rather wild music…Arcangelo under Cohen breathe the music, capturing the frequent storminess but also bringing substantial dignity, their zing coming from their actual tone and lucid textural balance…a great listen” Gramophone Magazine, September 2016

“Whether intended for cello or harpsichord, these oeuvres are feverishly inventive” Financial Times, September 2016

“This recording captures all the fiery wit of orchestral-soloist banter.” BBC Music Magazine, November 2016

“If not the best introduction to CPE Bach, then surely an important part of a good collection of his work.” MusicWeb International, 23rd November 2016

Presto Discs of 2016

Finalist

BBC Music Magazine

Disc of the month - November 2016

BBC Music Magazine Awards 2017

Concerto Winner

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Hyperion - CDA68112

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Krenek: Reisebuch aus den österreichischen Alpen

Krenek: Reisebuch aus den österreichischen Alpen


Krenek:

Reisebuch aus den österreichischen Alpen

Zemlinsky:

In der Ferne (No. 6 of Sieben Lieder)

Wandl’ich im wald des Abends

Die schlanke Wasserlilie (No. 1 of Sieben Lieder)

Waldgespräch


Florian Boesch (baritone), Roger Vignoles (piano)

Krenek’s wonderful travelogue is a real tour de force; a fusion of the remembrance of things past—the Schubertian landscape of Austria and its cultural history—with the music of the 1920s. The very special demands it makes of its performers are effortlessly negotiated by Florian Boesch and Roger Vignoles.

“a real treat, and confirms Krenek’s cycle as one of the great early modernist additions to the German lieder tradition...Boesch and Vignoles evoke this kaleidoscope of styles with fabulous naturalness and fierce dramatic intensity when needed.” The Guardian, 1st September 2016 ****

“The tone of voice, so perfectly captured by Floraian Boesch’s securely focused yet nonchalant baritone, is very much that of the so-called ‘new objectivity’ of the 1920s…the piano accompaniments, lucidly and energtically wrought by Roger Vignoles, add little emotioinal subtext, and the tone of coice makes us feel we are eavesdropping on a private conversation with the self” BBC Music Magazine, November 2016 ****

“It would be fair to say that Boesch has done nothing finer on disc. This is exceptional Lieder singing, fusing line, text and dynamics into an indivisible whole, all of it delivered with a conversational intimacy that is often breathtaking. The emotional ambivalences are finely projected, as sadness, dismay and anger are repeatedly undercut by self-deprecating wit and humour” Gramophone Magazine, October 2016

“Florian Boesch captures with a dry humour the satirical bent of a number of the Songs, particularly so in the quiet, almost deadpan delivery of some of them…but he does blossom into a more full-blown lyricism for the first and sixth songs...Roger Vignoles’s playing is marked by a more playful and lyrical impetus” classicalsource.com, January 2017 ****

GGramophone Awards 2017

Finalist - Solo Vocal

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Chopin: Mazurkas

Chopin: Mazurkas


Chopin:

Mazurka No. 31 in A flat major, Op. 50 No. 2

Mazurka No. 34 in C major, Op. 56 No. 2

Mazurka No. 11 in E minor, Op. 17 No. 2

Mazurka No. 12 in A flat major, Op.17 No.3

Mazurka No. 38 in F sharp minor, Op. 59 No. 3

Mazurka No. 33 in B major, Op. 56 No. 1

Mazurka No. 47 in A minor, Op. 68 No. 2

Mazurka No. 14 in G minor, Op. 24 No. 1

Mazurka No. 13 in A minor, Op. 17 No. 4

Mazurka No. 17 in B flat minor, Op. 24 No. 4

Mazurka No. 56 in B flat major, K.IIa/3

Mazurka No. 10 in B flat major, Op. 17 No. 1

Mazurka No. 24 in C major, Op. 33 No. 3

Mazurka No. 16 in A flat major, Op. 24 No. 3

Mazurka No. 26 in C sharp minor, Op. 41 No. 1

Mazurka No. 19 in B minor, Op. 30 No. 2

Mazurka No. 32 in C sharp minor, Op. 50 No. 3

Mazurka No. 15 in C major, Op. 24 No. 2

Mazurka in A minor KKIIb/5

Mazurka No. 1 in F sharp minor, Op. 6 No. 1

Mazurka in A minor KKIIb/4

Mazurka No. 30 in G major, Op. 50 No. 1

Mazurka No. 35 in C minor, Op. 56 No. 3

Mazurka No. 37 in A flat major, Op. 59 No. 2


Pavel Kolesnikov (piano)

There are in all fifty-eight mazurkas by Chopin. Pavel Kolesnikov, making a welcome second recording for Hyperion, here performs a selection of twenty-four, from the earliest examples dating from his teenage years, through to the rich maturity of Op 59 No 2 from 1845.

“His unfolding of the lovely G minor Op 24, No 1, with its gentle, sighing motifs , is pliantly phrased and delicately shaped, but there is no lack of temperament in his virtuoso dispatch of the big pieces that conclude each set.” Sunday Times, 18th September 2016

“This must be one of the most appealing Chopin discs I’ve ever come across.” MusicWeb International, October 2016

“An ideal realisation of these exquisite dances, the likes of which I never dreamt of hearing…Liszt said it: ‘A wind plays in the leaves, life unfolds and develops beneath them, but the tree remains the same – that is the Chopin rubato.’ Kolesnikov does it…these performances are the most beautiful and strikingly original I’ve heard.” Gramophone Magazine, Awards Issue 2016

“The 26-year-old's latest Hyperion release is arguably the best Chopin recording I have encountered in recent years…from start to finish Kolesnikov doesn’t lose sight of the fact these are dances in miniature and his phrasing of each is entirely apposite. Chopin’s inventiveness is made the inescapable feature of this recording” Classical Ear, 1st November 2016 *****

GGramophone Awards 2017

Shortlisted - Instrumental

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Hyperion - CDA68137

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Franck: Piano Quintet & Debussy: String Quartet

Franck: Piano Quintet & Debussy: String Quartet


Debussy:

String Quartet in G minor, Op. 10

Franck, C:

Piano Quintet in F minor, Op. 14

Marc-André Hamelin (piano)


Franck’s Piano Quintet and Debussy’s String Quartet make an apt and unusual coupling, each work its composer’s only, unsurpassable, contribution to the genre. Both receive authoritative performances from Marc-André Hamelin and the Takács Quartet.

“When the seasoned artistry of the Takács Quartet blends with the thoughtful brilliance of Marc-André Hamelin, a rare alchemy occurs...To Debussy’s luminous and under-appreciated String Quartet of 1893 the Takács bring all their intelligence, skill, taste and virtuosity.” Gramophone Magazine, June 2016

“[The Franck has] the same big, romantic sound and emotional intensity of the violin sonata, beautifully brought out here by Marc-André Hamelin and the Takács in a stirring, virtuosic recording...there’s no questioning the Takács’s ability to play the Debussy String Quartet wonderfully. Something less corporeal, a little more elusive and vaporous, would have made it even better.” The Observer, 22nd May 2016 ***

“An exemplary performance” Financial Times, June 2016

“Highly charged and passionate performances. The Takács Quartet goes from strength to strength.” MusicWeb International, 19th July 2016

Presto Discs of 2016

Finalist

GGramophone Magazine

Editor's Choice - June 2016

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Hyperion - CDA68061

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