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Beneath the northern star

Beneath the northern star

The rise of English polyphony, 1270-1430


includes

Alanus:

Sub Arturo plebs

Fons Citharizancium

In omnem terram

Damett:

Salvatoris mater / O Georgi Deo care

Benedictus Mariae Filius


This new album from The Orlando Consort charts the radical development of music between the late thirteenth and mid fifteenth centuries—the transition from what is at essence embellished chant to the extraordinary mathematical intricacies of experimental polyphony.

“An elegant selection of motets and Mass sections receives utterly convincing and coolly, tastefully emotional performances in a masterclass of deceptively virtuosic singing.” Choir & Organ, June 2017

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Hyperion - CDA68132

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Allegri: Miserere & the music of Rome

Allegri: Miserere & the music of Rome


 

Missa Cantantibus organis

A Twelve-Part Mass by seven composers: Giovanni Andrea Dragoni, Ruggiero Giovannelli, Curzio Mancini, Giovanni Palestrina, Prospero Santini, Francesco Soriano and Annibale Stabile

Allegri:

De lamentatione Jeremiae prophetae

Miserere mei, Deus

Incipit lamentatio Jeremiae prophetae

Gustate et Videte

Anerio, F:

Salve regina

Palestrina:

Cantantibus organis


The Cardinall’s Musick finished 2010 in a blaze of glory with their Gramophone Recording of the Year award for the last volume of their Byrd Edition. Only the second time in thirty years that an Early Music recording has received this prestigious accolade, it is a fitting tribute to the soaring artistry of the group and their director, Andrew Carwood.

Their eagerly-awaited next disc features music from late sixteenth-century Rome and ranges from Allegri’s Miserere, surely the best-known and best-loved work of this period, to a rarely-performed or recorded oddity. Seven Roman musicians came together (or were brought together) to write a Mass-setting where they each contributed different sections. The resulting work, the twelve-voice Missa Cantantibus organis, is a tribute both to Cecilia (the patron saint of music) and to Palestrina. The seven composers each take themes found in Palestrina’s motet of the same name and use them as the starting point for their new compositions. Palestrina himself is among the seven, with Giovanni Andrea Dragoni, Ruggiero Giovannelli, Curzio Mancini, Prospero Santini, Francesco Soriano and Annibale Stabile being the other six. All seven composers were prominent maestri in Rome and most appear to have had contact with Palestrina either as choristers or pupils.

“Carwood and his Cardinall's Musick [give] the piece perhaps its finest recorded performance. Using female sopranos as he does is of course itself inauthentic, but Carwood is vindicated by their bell-like clarity and thrilling projection...THe triumphant success of this disc is much enhanced by the vividness of the recording.” Mail on Sunday, 30th January 2011 *****

“What this disc shows...is that they all deserved a better fate than being buried in a list of Palestrina's younger colleagues. It also shows that a burning commitment can lift music off the page and give it real life...this is all really exciting stuff and should be heard by anybody who cares about music of the late-16th century.” Gramophone Magazine, March 2011

“Carwood's feeling for line and architecture underpins this disc's sublime sounds and divinely spun phrasing...These performers capture the creative confidence of Rome's composing community in the decades either side of the 16th century's turn...It's hard to imagine how its contents could be better served on disc.” Classic FM Magazine, March 2011 *****

“The drama and flamboyant colours of Baroque Rome's art and architecture and wonderfully present in this reconstruction of its sacred music. This recording's breadth of moods, devices and styles is refreshing...More importantly, the vocalists use declamation to emote, transporting the listener from sorrow to transcendent joy.” BBC Music Magazine, March 2011 *****

“This is a really engaging trip to Rome, ancient and modern, familiar and rare, full of changing textures and styles matched by pleasingly varied performances.” International Record Review

“The Cardinall’s Musick perform the [Missa Cantantibus Organis] with their usual refinement.” The Telegraph, 11th March 2011 ****

BBC Music Magazine

Choral & Song Choice - March 2011

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Hyperion - CDA67860

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Aneiro: Requiem & other choral works

Aneiro: Requiem & other choral works


Anerio, F:

Vidi speciosam

Ad te levavi

Christe redemptor omnium

Salve regina III

Christus factus est

Magnificat Quinti tonia

Anerio, G F:

Missa Pro defunctis ‘Requiem'


‘Westminster’s is yet another of their supreme performances’ (The Musical Times)

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Advent at St Paul’s

Advent at St Paul’s


anon.:

Laudes Regiae

arr. Christopher Dearnley

Rejoice in the Lord alway

Angelus ad virginem

arr. Sir David Valentine Willcocks

Britten:

A Hymn of Saint Columba

Bruckner:

Virga Jesse floruit

Byrd:

Laetentur coeli

Carter, A:

Organ Toccata on Veni Emmanuel

Gibbons, O:

This is the Record of John

Handl:

Ecce concipies

Lloyd, R:

Drop down ye heavens from above

Palestrina:

Matin Responsory

arr. Sir David Valentine Willcocks

Vesper Responsory

arr. Christopher Dearnley

Parsons, R:

Ave Maria

Peerson:

Blow out the trumpet in Sion

Rutter:

Hymn to the Creator of Light

trad.:

O come, o come, Emmanuel

arr. Andrew Carter

Weelkes:

Hosanna to the Son of David

Wilby:

Echo Carol


Every year on Advent Sunday St Paul’s Cathedral in London holds an Advent Carol Service. This recording captures the mood and structure of this event, presenting a selection of the music which might be performed in its liturgical order.

The Church’s preparation for the coming of Christ begins in contemplative mood with the plainchant processional Laudes Regiae and the famous Mattins Responsory (‘I look from afar … ’). The wealth of music that follows is typical of the approach of this choir: traditional favourites such as Hosanna to the Son of David and the Parsons Ave Maria rest alongside contemporary works from composers such as John Rutter, Richard Lloyd and Philip Wilby. This album—and the hypothetical service—comes to an end with a joyous arrangement of the great hymn O come, O come, Emmanuel; an organ toccata on the same theme by Andrew Carter acts as the voluntary.

“This truly rich advent feast is performed wonderfully well on all counts and can be highly recommended” Organists Review

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anon.: A Scottish Lady Mass

anon.: A Scottish Lady Mass

Sacred Music from Medieval St Andrews from the eleventh fascicle of W1


Scottish Lady Mass

1 Movement 01: Introit. Gaudeamus omnes [2'38]

2 Movement 02: Kyrie. Rex, virginum amator [4'26]

3 Movement 03: Gloria. Per precem [5'36]

4 Movement 04: Gradual. Propter veritatem [2'55]

5 Movement 05: Alleluya. Ave Maria gratia plena [3'44]

6 Movement 06: Alleluya. Virga florem germinavit [3'59]

7 Movement 07: Sequence. Missus Gabriel de celis [6'22]

8 Movement 08: Sequence. Hodierne lux diei [5'13]

9 Movement 09: Offertory. O vere beata sublimis [2'50]

10 Movement 10: Sanctus. Mater mitis [3'57]

11 Movement 11: Sanctus. Christe ierarchia [7'52]

12 Movement 12: Sanctus. Voce vita [5'44]

13 Movement 13: Agnus Dei. Archetipi mundi [4'57]

14 Movement 14: Agnus Dei. Factus homo [3'27]

15 Movement 15: Communion. Principes persecuti sunt [1'41]


Red Byrd & YORVOX

At the centre of what the Scottish Tourist Board likes today to call the ‘Kingdom of Fife’ is the town of St Andrews. Now famed as much for its golf courses as for the striking location of the cathedral and Bishop’s castle, in the Middle Ages it was a city at the centre of the diocese that extended from the Tay to the Tweed. The early ecclesiastic inhabitants of St Andrews were loosely affiliated to Rome, and there were strong links with the Continental mainland, with the bishops almost exclusively coming from Norman families. It should therefore come as no surprise to find that St Andrews is the original home of a manuscript of polyphonic music whose contents originated in Paris. But what is surprising is the very nature of the music to be found in the pages of this manuscript. Liturgical idiosyncrasies abound as local musicians infuse the standard ‘Parisian’ repertory with references to their own Saint Andrew, and the musical idiom finds itself stripped of many of the obfuscating intricacies beloved of Continental contemporaries, leaving a style which is more direct and – it could be argued – more accessible to the modern ear. Although not a liturgical reconstruction of a Lady Mass in St Andrews around 1230 or so, the repertory on this disc well reflects the liturgical inclusiveness of the musical culture that the cathedral engendered. ‘Rex, virginum amator’, a troped Kyrie, is followed by the troped Gloria ‘Per precem’. ‘Missus Gabriel’ and ‘Hodierne lux’ are Sequences, and further troped items are the Sanctus settings ‘Mater mitis’ and ‘Voce vita’ and the Agnus Dei ‘Factus homo’. This recording also includes two monophonic troped items, ‘Christe ierarchia’ and ‘Archetipi mundi’ which give a sense of the intellectual hothouse that the cathedral and its environs must have represented: the texts of both are stuffed full of subtle allusion and display a learnedness that extends to Greek.

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Baroque Music from Latin America: New World Symphonies

Baroque Music from Latin America: New World Symphonies

From Araujo to Zipoli: an A to Z of Latin American Baroque Music


anon.:

Hanaq pachap kusikuynin

Qhapaq eterno Dios

Araujo, J de:

Ut queant laxis

Los coflades de la estleya

Fernandes, G:

Xicochi conetzintle

Franco, H:

Salve Regina

Lobo, A:

Versa est in luctum

Padilla, J G:

Missa Ego flos campi

Zéspedes:

Convidando esta la noche

Zipoli:

Missa San Ignacio


“This is one of the most eye-opening CDs—or should I say ear-opening— that I have heard this year. What a magical concoction of sounds—and what brilliant playing!” Classic FM Magazine

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Hyperion 30th Anniversary Baroque Music from Latin America - CDA30030

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Epiphany at St Paul’s

Epiphany at St Paul’s


anon.:

O worship the Lord in the beauty of holiness!

Coventry Carol

Bingham, J:

Epiphany

Byrd:

Praise our Lord, all ye Gentiles

Senex puerum portabat a 5 (Gradualia 1605)

Cornelius:

The Three Kings

arr. Sir Ivor Algernon Atkins

Jonathan Arnold (baritone)

Crotch:

Lo! Star-Led Chiefs

Dearnley:

The growing limbs of God the Son (Hymn)

Robert Rice (baritone)

Eccard:

When to the temple Mary went

Handl:

Omnes de Saba venient

Holst:

Nunc dimittis, H127

Flann Corcoran (treble) & Mervyn Collins (tenor)

Howells:

Here is the Little Door

Marenzio:

Tribus miraculis

Mendelssohn:

When Jesus our Lord (Christus)

Roy Rashbrook (tenor), Timothy Jones (baritone) & Robert Rice (bass)

Ouseley:

From the rising of the sun

Surplice:

Brightest and best of the sons of the morning (Wessex)

Wesley, S S:

Ascribe unto the Lord

Christopher Royall (alto), Roy Rashbrook (tenor), Jon English (tenor) & Julian Clarkson (bass)


Hyperion’s long series of St Paul’s recordings is graced by an addition dedicated to music for Epiphany, a companion disc to Advent at St Paul’s. In the Christian Church year, Epiphany is the period after Christmas commemorating the manifestation of Christ to the Magi, celebrated on 6 January.

The programme embraces music from the sixteenth to the twentieth century, from Bach to Bingham, and includes many long-established favourites by Wesley, Cornelius, Howells and others.

“Luminous with a sense of goodness and well-being, brightest and best of choral records for the last many months … a distinguished record” Gramophone Magazine

“This series is the richest treasure trove an Anglican musician or English choral buff could hope to find. Texts and notes are an Anglophile’s dream. Sound is stunningly rich and ringing” American Record Guide

“Hurrah for John Scott and St Paul’s, who with this wonderful CD remind all how glorious the Epiphany repertoire is … every piece is approached as if it were the finest thing ever written, and joy is taken in rendering the simple beautiful … let us rejoice at the richness of this programme” Organists Review

“The choral tone is pleasant, the soloists are well chosen, and the recorded balance keeps everything in perspective” Fanfare

“The eclectic and thoughtful repertoire mix make for compelling listening … warmly recommended” Classic FM Magazine

“Fascinatingly diverse anthology … a tonal brightness and rhythmic vitality that sparkle with festive brilliance” BBC Music Magazine

“This sequence, first released a decade ago, of 17 hymns and carols for Epiphany admirably avoids seasonal cliché (these aren’t Christmas carols, after all) and, more than that, offers an intermittent stiffening of sublime polyphonic music by Byrd and Marenzio...Holst’s eight-part Nunc dimittis is particularly invigorating.” Sunday Times, 18th December 2011

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Fire Burning in Snow

Fire Burning in Snow


anon.:

Hanacpachap cussicuinin

Araujo, J de:

Dixit Dominus

a 3 choros

Silencio, Pasito

Dime, amor

¡A, de la región de luces!

¡A, del cielo!

¡Fuego de amor!

En el muy gran Padre Ignacio

Dios de amor

¡A, del tiempo!

Salazar, D:

¡Salga el torillo hosquillo!


Ex Cathedra Consort & Baroque Ensemble, Jeffrey Skidmore

‘For fire burning in snow is the effect of love’. The final line of Juan de Araujo’s Dime, amor gives this recording its title and conjures up the passion and dramatic contrasts which make this disc such a delight.

Araujo has been described by many commentators as the greatest Latin American composer of the age, although much of his music is still rarely performed. Little is known about the man (he was a disruptive student in Lima and involved in litigation in La Plata), and there is almost certainly more material to uncover. He was born in Spain in 1648 and emigrated at a young age to South America with his parents. After a period as organist at Lima Cathedral he lived in Panama and Cuzco, where a few of his manuscripts are found, and from 1680 he spent the last thirty-two years of his life as organist at the cathedral of La Plata, now known as the Bolivian judicial capital of Sucre.

This disc includes one of his largest pieces, the triple-choir setting in eleven parts of the first great Vesper Psalm Dixit Dominus. This substantial setting is through-composed and vividly captures the dramatic elements in the text with a dazzling display of polychoral techniques. Silencio is a ravishing, double-choir lullaby which makes a complete contrast with the dramatic exchanges in the triplechoir ¡A, del tiempo! and ¡A, de la región de luces!. The fiery ¡Fuego de amor! is written for four choirs. The extraordinary imagination of Araujo in his choice of texts, his sensitivity to word-setting, his melodic, harmonic and textural inventiveness are remarkable, if not breathtaking.

“In addition to the singers at his disposal, it seems that Araujo probably made use of cornetts, sackbuts, shawms, flutes, harps, guitars and percussion. Jeffrey Skidmore incorporates all these exotic ingredients into Ex Cathedra's performances but the most impressive element is the precision, blend and sonority of his singers in a splendid setting of Dixit Dominus. ” Gramophone Magazine, June 2008

“The performances throughout can hardly be faulted. A lovely and varied sonority is created by soloists emerging and returning from the 14-strong choir.” BBC Music Magazine, March 2008 *****

“Captures the essence of music informed by the assured grandeur of 16th-century Spanish music, tinged with the colour of native 'Indian' culture and often marked by vibrant echoes of the regions' African slave communities … An unmissable release” Classic FM Magazine

“Followers of Jeffrey Skidmore's earlier excursions into the Latin American Baroque with his Ex Cathedra group should need no prompting to buy volume three … Nothing stifles the infectious spark of these mostly secular effusions by the 17th-century Juan de Araujo, cathedral organist in Bolivia. Uplifting, and foot-tapping” The Times

“The standard of performance is unfailingly excellent. Ensemble work, both vocal and instrumental, is tight and the many vocal solos are all taken extremely well. The performances display flair and finesse on the part of all concerned Jeffrey Skidmore’s direction is perceptive, lively and, above all, persuasive...This is a CD that commands attention.” MusicWeb International

“The performances are glorious. Soloists and choir sing lustily but stylishly, and the instrumental backing is aptly contrived. Even more than in past volumes, I found this release just plain enchanting. Fine notes, full texts and translations. In all, one of those releases that is truly perfect! What an absolute treasure Hyperion has in Skidmore and his confederates!” American Record Guide

“Araujo is rightly considered to be perhaps the finest composer of his age working in Latin America … This is a captivating, colourful recording which may breathe the stiller London air but audibly relishes the genius of the too-long-neglected Juan de Araujo” International Record Review

“A hugely appealing, atmospheric disc … The reason we should bother with such an obscure composer is clear from the first note - the vivid contrasts and thrilling rhetoric found in Gabrieli and Monteverdi are developed and combined with a magical, dramatic, dark-hued Iberian sensibility” Sunday Times

“Araujo's music is very different: sophisticated and marvellously expressive, and Ex Cathedra makes the most of it. The poetry too is worthy of attention: Very enjoyable” Early Music Today

“Another hit which you can't keep out of your mind” Daily Mail

“The instrumental ensemble is exciting, vital, rhythmically alert … The music of Juan de Araujo … is unquestionably a good find” Fanfare

“Araujo was equally at home in sacred and secular pieces: the Dixit Dominus for three choirs is particularly attractive, and his secular music has an irresistible foot-tapping quality. We remain indebted to Skidmore and the fine vocal and instrumental forces of his Ex Cathedra ensembles for resurrecting this material. An important release” Choir & Organ

Presto Disc of the Week

28th January 2008

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Hyperion Early Vocal Music Baroque Music from Latin America - CDA67600

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Fire Burning in Snow

Fire Burning in Snow


anon.:

Hanacpachap cussicuinin

Araujo, J de:

Dixit Dominus

a 3 choros

Silencio, Pasito

Dime, amor

¡A, de la región de luces!

¡A, del cielo!

¡Fuego de amor!

En el muy gran Padre Ignacio

Dios de amor

¡A, del tiempo!

Salazar, D:

¡Salga el torillo hosquillo!


Ex Cathedra Consort & Baroque Ensemble, Jeffrey Skidmore

‘For fire burning in snow is the effect of love’. The final line of Juan de Araujo’s Dime, amor gives this recording its title and conjures up the passion and dramatic contrasts which make this disc such a delight. Araujo has been described by many commentators as the greatest Latin American composer of the age, although much of his music is still rarely performed. Little is known about the man (he was a disruptive student in Lima and involved in litigation in La Plata), and there is almost certainly more material to uncover. He was born in Spain in 1648 and emigrated at a young age to South America with his parents. After a period as organist at Lima Cathedral he lived in Panama and Cuzco, where a few of his manuscripts are found, and from 1680 he spent the last thirty-two years of his life as organist at the cathedral of La Plata, now known as the Bolivian judicial capital of Sucre. This disc includes one of his largest pieces, the triple-choir setting in eleven parts of the first great Vesper Psalm Dixit Dominus. This substantial setting is through-composed and vividly captures the dramatic elements in the text with a dazzling display of polychoral techniques. Silencio is a ravishing, double-choir lullaby which makes a complete contrast with the dramatic exchanges in the triplechoir ¡A, del tiempo! and ¡A, de la región de luces!. The fiery ¡Fuego de amor! is written for four choirs. The extraordinary imagination of Araujo in his choice of texts, his sensitivity to word-setting, his melodic, harmonic and textural inventiveness are remarkable, if not breathtaking.

“In addition to the singers at his disposal, it seems that Araujo probably made use of cornetts, sackbuts, shawms, flutes, harps, guitars and percussion. Jeffrey Skidmore incorporates all these exotic ingredients into Ex Cathedra's performances but the most impressive element is the precision, blend and sonority of his singers in a splendid setting of Dixit Dominus.” Gramophone Magazine, June 2008

“A hugely appealing, atmospheric disc … The reason we should bother with such an obscure composer is clear from the first note - the vivid contrasts and thrilling rhetoric found in Gabrieli and Monteverdi are developed and combined with a magical, dramatic, dark-hued Iberian sensibility” Sunday Times

“Captures the essence of music informed by the assured grandeur of 16th-century Spanish music, tinged with the colour of native 'Indian' culture and often marked by vibrant echoes of the regions' African slave communities … An unmissable release”” Classic FM Magazine

“The performances throughout can hardly be faulted. A lovely and varied sonority is created by soloists emerging and returning from the 14-strong choir.” BBC Music Magazine, March 2008 *****

“Followers of Jeffrey Skidmore's earlier excursions into the Latin American Baroque with his Ex Cathedra group should need no prompting to buy volume three … Nothing stifles the infectious spark of these mostly secular effusions by the 17th-century Juan de Araujo, cathedral organist in Bolivia. Uplifting, and foot-tapping” The Times

“The standard of performance is unfailingly excellent. Ensemble work, both vocal and instrumental, is tight and the many vocal solos are all taken extremely well. The performances display flair and finesse on the part of all concerned Jeffrey Skidmore’s direction is perceptive, lively and, above all, persuasive...This is a CD that commands attention.” MusicWeb International

“The performances are glorious. Soloists and choir sing lustily but stylishly, and the instrumental backing is aptly contrived. Even more than in past volumes, I found this release just plain enchanting. Fine notes, full texts and translations. In all, one of those releases that is truly perfect! What an absolute treasure Hyperion has in Skidmore and his confederates!” American Record Guide

“Araujo is rightly considered to be perhaps the finest composer of his age working in Latin America … This is a captivating, colourful recording which may breathe the stiller London air but audibly relishes the genius of the too-long-neglected Juan de Araujo” International Record Review

“Another hit which you can't keep out of your mind” Daily Mail

“The instrumental ensemble is exciting, vital, rhythmically alert … The music of Juan de Araujo … is unquestionably a good find” Fanfare

“Araujo's music is very different: sophisticated and marvellously expressive, and Ex Cathedra makes the most of it. The poetry too is worthy of attention: Very enjoyable”” Early Music Today

“Araujo was equally at home in sacred and secular pieces: the Dixit Dominus for three choirs is particularly attractive, and his secular music has an irresistible foot-tapping quality. We remain indebted to Skidmore and the fine vocal and instrumental forces of his Ex Cathedra ensembles for resurrecting this material. An important release”” Choir & Organ

Super Audio CD

Format:

Hybrid Multi-channel

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Hyperion Early Vocal Music Baroque Music from Latin America - SACDA67600

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Masters of the Rolls

Masters of the Rolls

Music by English composers of the fourteenth century


anon.:

Ab ora summa nuncius

Inter usitata/Inter tot et tales/tenor

Vexilla regni prodeunt

Singularis laudis digna

Dulcia dona redemptoris

Summum regem honoremus

Omnis terra/Habenti dabitur/tenor

Copiose caritatis

Missus Gabriel de celis

Pura, placens/Parfundement plure/Tenor

Letetur celi curia

Salve regina

Jesu fili virginis

Jesu fili/Jesu lumen/Jesu fili virginis

Sospitati dat egrotos

Exultemus et letemur

Stella maris illustrans omnia

Venit dilectus meus

Pange lingua

O sponsa Dei electa

Generosa Jesse plantula

Musicorum collegio/In templo Dei/Tenor


This recording from Gothic Voices and Christopher Page—acknowledged as one of the finest performances of medieval music of the last twenty years—follows their many Gramophone Award-winning albums and celebrates the anonymous English composers of the fourteenth century. The combination of Page’s tremendous scholarship, the simple beauty of the singing and the extraordinary freshness of the music is irresistible.

“There is remarkable beauty in these varied pieces, beauty that is brought out in the superb singing of this ensemble. This is an example of a totally perfect release” American Record Guide

“Another fascinating exploration of music from the ever-questing and imaginative Christopher Page and his Gothic Voices. There is nothing here that fails to compel. A very attractive prospect for even the most reluctant medieval explorer” Classic CD

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