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Lynne Dawson

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Vaughan Williams - Choral Works

Vaughan Williams - Choral Works

from CDA66420, CDA66655, CDA66511 & CDA66569


Vaughan Williams:

Serenade to Music

Elizabeth Connell (soprano), Amanda Roocroft (soprano), John Mark Ainsley (tenor), Martyn Hill (tenor), Maldwyn Davies (tenor), Anne Dawson (soprano), Linda Kitchen (soprano), Alan Opie (baritone), Gwynne Howell (bass), Sir Thomas Allen (baritone), Sarah Walker (mezzo-soprano), Catherine Wyn-Rogers (mezzosoprano) & John Connell (bass)

English Chamber Orchestra

Fantasia on Christmas Carols

Thomas Allen (baritone)

English Chamber Orchestra

Flos Campi

Nobuko Imai (viola)

English Chamber Orchestra

Five Mystical Songs

Sir Thomas Allen (baritone)

English Chamber Orchestra

Dona Nobis Pacem

A Cantata for soprano and baritone soli, chorus and orchestra

Judith Howarth (soprano) & Thomas Allen (baritone)

Corydon Orchestra

Four Hymns

for tenor, viola and strings

John Mark Ainsley (tenor) & Matthew Souter (viola)

Corydon Orchestra

O Clap Your Hands (Psalm 47)

Lord, Thou has been our refuge

Sir Thomas Allen (baritone)

The Pilgrim's Progress - A Bunyan Sequence

Text and music adapted by Christopher Palmer from the 1942 radio version of The Pilgrim's Progress.

Sir John Gielgud, Richard Pasco, Ursula Howells (speakers), Aidan Oliver (treble)

The City of London Sinfonia

A Song of Thanksgiving

Sir John Gielgud (speaker), Lynne Dawson (soprano) & John Scott (organ)

The London Oratory Junior Choir

Three Choral Hymns

Magnificat

Catherine Wyn-Rogers (mezzo-soprano), Duke Dobing (flute) & Roger Judd (organ)

The Shepherds of the Delectable Mountains

Bryn Terfel (baritone), Alan Opie (baritone), Adrian Thompson (tenor), Jonathan Best (bass), John Mark Ainsley (tenor) & Linda Kitchen (soprano)

The Hundredth Psalm 'O be joyful in the Lord'

Toward the Unknown Region


Issued to mark the fiftieth anniversary of Vaughan Williams’s death, this collection is tantalizing: it starts with one of the best-selling discs in the the catalogue, the Serenade to Music, and includes such favourites as the Five Mystical Songs and The Hundreth Psalm. There are also two intriguing pairings: in Dona nobis pacem, RVW warns of the impending doom of WWII, in A song of thanksgiving we hear his moving response to its successful conclusion; in The shepherds of the delectable mountains we hear an early working of Bunyan’s literary masterpiece, later extensively reworked in the landmark 1942 BBC radio production of The Pilgrim’s Progress featuring Sir John Gielgud and reprised here, this time in condensed form.

“The performances are splendid, graced by such soloists as Thomas Allen (Dona nobis pacem, Five Mystical Songs) and Bryn Terfel (The Shepherds of the Delectable Mountains)..The rapturous Serenade to Music has a cast of 16 singers fit to rival those of the original recording. Anne Dawson’s top note on the word “music” is spine-tingling.” Sunday Times, 1st June 2008 ****

“Performances like these don’t come along very often; each one is an absolute winner, and with rich, atmospheric recording quality the satisfaction is of a very special quality” CD Review

“Best has a fine sense of VW as a dramatic composer, bringing tremendous urgency to Dona Nobis Pacem and real passion to the Five Mystical Songs. Best's Serenade to Music is the original, not least in matching the star quality of the singers, but also in its magical atmosphere. He equally evokes VW's sensuous side, not only in Flos Campi but also in the Magnificat with its ecstatic writing for female voices.” BBC Music Magazine, July 2008 *****

“Matthew Best and the Corydon Singers have made something of a speciality of English choral music, and this four-CD box-set showcases their beautiful sound and consummate musicality. They're mostly smaller-scale works, though Dona Nobis Pacem features, and there are some less well-known items such as the Song of Thanksgiving - which in the Corydon Singers' capable hands are just as appealing as the established favourites.” David Smith, Presto Classical, June 2014

Presto Disc of the Week

14th July 2008

Building a Library

First Choice - July 2017

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Hyperion - CDS44321/4

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Purcell - The Complete Sacred Music (The Complete Anthems and Services)

Purcell - The Complete Sacred Music (The Complete Anthems and Services)


Purcell:

Hear me, O Lord, the great support, Z133

Thou wakeful shepherd that dost Israel keep (A Morning Hymn), Z198

Who hath believed our report?, Z64

I will love thee, O Lord, ZN67

Great God and just, Z186

Plung'd in the confines of despair, Z142

O praise the Lord, all ye heathen, Z43

My heart is fixed, O God, Z29

I was glad when they said unto me (1685, previously attributed wrongly to John Blow)

O consider my adversity, Z32

Beati omnes qui timent Dominum, Z131

I was glad when they said unto me, Z19

In the black dismal dungeon of despair, Z190

Save me, O God, Z51

Thy way, O God, is holy, Z60

Music for the Funeral of Queen Mary, 1695

In thee, O Lord, do I put my trust, Z16

Blessed is the man that feareth the Lord, Z9

Jehova, quam multi sunt hostes mei, Z135

Full of wrath, his threatening breath, Z185

Bow down thine ear, O Lord, Z11

Magnificat & Nunc Dimitus in G minor, Z231

Be merciful unto me, Z4

They that go down to the sea in ships, Z57

The Lord is my light, Z55

The Lord is King, the earth may be glad thereof, Z54

Blessed is he whose unrighteousness is forgiven, Z8

O Lord God of hosts, Z37

Let God arise, Z23

Blessed be the Lord my strength, Z6

O Lord our Governor, Z141

In guilty night (Saul and the Witch of Endor), Z134

I will give thanks unto the Lord, Z21

O sing unto the Lord, Z44

O praise God in his holiness, Z42

Praise the Lord, O Jerusalem, Z46

It is a good thing to give thanks, Z18

O give thanks unto the Lord, Z33

Let mine eyes run down with tears, Z24

My beloved spake, Z28

Blessed are they that fear the Lord, Z5

Behold now, praise the Lord, Z3

I will give thanks unto Thee, O Lord, Z20

My song shall be always, Z31

Te Deum & Jubilate Deo in D, Z232

Blow up the trumpet in Sion, Z10

The Lord is king, be the people never so impatient, Z53

Begin the song, and strike the living lyre, Z183

Thy word is a lantern unto my feet, Z61

Tell me, some pitying angel (The Blessed Virgin's Expostulation), Z196

Hear my prayer, O Lord, Z15

Lord, I can suffer thy rebukes, Z136

O Lord our Governor, Z141

Remember not, O Lord, our offences, Z50

Hosanna to the highest, Z187

O God, thou hast cast us out, Z36

Behold, I bring you glad tidings, Z2

Since God, so tender a regard, Z143

Early, O Lord, my fainting soul, Z132

Sleep, Adam, and take thy rest, Z195

Awake, ye dead, Z182

The earth trembled, Z197

The way of God is an undefiled way, Z56

Lord, not to us, but to thy name, Z137

Lord, what is man?, Z192

Sing unto God, O ye kingdoms of the earth, Z52

O, all ye people, clap your hands, Z138

My heart is inditing, Z30

O Lord, rebuke me not, Z40

With sick and famish'd eyes, Z200

How long, great God?, Z189

Awake, and with attention hear, Z181

O God, thou art my god, Z35

We sing to him, whose wisdom form'd the ear, Z199

Praise the Lord, O my soul, and all that is within me, Z47

O, I'm sick of life, Z140

O God, the king of glory, Z34

Let the night perish (Job's Curse), Z191

When on my sick bed I languish, Z144

Rejoice in the Lord alway ('The Bell Anthem'), Z49

Why do the heathen so furiously rage together?, Z65

Lord, who can tell how oft he offendeth?, Z26

O Lord, grant the King a long life, Z38

I will sing unto the Lord as long as I live, Z22

How have I stray'd, Z188

Mass in B flat, Z230

Hear my prayer, O God, Z14

Out of the deep have I called, Z45

Blessed is he that considereth the poor, Z7

The Lord is king, and hath put on glorious apparel, Z69

Unto thee will I cry, Z63

Praise the Lord, O my soul, O Lord my God, Z48

Close thine eyes and sleep secure, Z184

Lord, how long wilt thou be angry?, Z25

Hear me, O Lord, and that soon, Z13a/Z13b

Turn thou us, O good Lord, Z62

O Lord, thou art my God Z41

An Evening Hymn 'Now that the sun hath veiled his light', Z193

Awake, awake, put on thy strength, Z1


Lynne Dawson, Susan Gritton (sopranos), James Bowman, Nigel Short (countertenors), Paul Agnew, Rogers Covey-Crump, Charles Daniels, Mark Milhofer, Mark Padmore (tenors), Colin Campbell, Robert Evans, Micahel George, Stephen Varcoe (basses)

Choir of New College Oxford, King's Consort Choir, King's Consort, Robert King

“This CD is made up predominantly of anthems, devotional songs and a morning service (a functional, though not perfunctory, setting of the TeDeum and Jubilate) most of which disclose the range and quality of the composer's sacred oeuvre near its best. Of the two settings of I was glad, the first was, until not long ago, thought to be the work of John Blow. This full anthem more than whets our appetite with its agreeable tonal and melodic twists; when the Gloria arrives, we're assured that this is vintage Purcell by the sensitive pacing as much as an exquisite contrapuntal denouement. The earlier setting is more poignant. Opening with a string symphony in the spirit of a Locke consort, the music blossoms into a deliciously Elysian melodic fabric. Good sense is made of the overall shape and the soloists are, as ever, excellent. Beati omnes is a positive gem; this may well have been written for the composer's wedding. Of the small-scale pieces, In the black dismal dungeon is the real masterpiece; it's delivered astutely by the secure and musicianly voice of Susan Gritton.
Finally to the funeral pieces. Here we have an ominous procession from the Guild of Ancient Fifes and Drums and the first appearance of four 'flatt' trumpets – as opposed to two plus two sackbuts; the effect of this subtle timbral change makes extraordinary sense of the music, engendering a new grandeur and uncompromising clarity as would have befitted such an occasion. The vocal performances are earthy and impassioned.”
Gramophone Classical Music Guide, 2010

“An outstanding series, full of treasures, with King varying the scale of forces he uses for each item. Often he uses one voice per part, but he regularly expands the ensemble with the King's Consort Choir or turns to the full New College Choir, which includes trebles. The individual discs are no longer available separately, but all 11 CDs come neatly packaged in cardboard sleeves.” Penguin Guide, 2011 edition

Building a Library

Large Box Set Recommendation - February 2014

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Hyperion - Purcell Complete Edition - CDS44141/51

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Handel: Alexander Balus

Handel: Alexander Balus


Lynne Dawson (soprano), Michael George (bass), Catherine Denley (contralto), Charles Daniels (tenor), Claron McFadden (soprano)

The King's Consort, Choir of The King's Consort, New College Choir, Oxford, Robert King

“Alexander Balus has never been one of Handel's more popular oratorios. That's mainly because its plot is by modern standards lacking in drama and motivation, and accordingly doesn't call forth the vein of his music that nowadays has the strongest appeal. It's essentially a sentimental drama, in which the interest centres on the characters' emotional reactions to their situations, amatory, political and religious, and these are rather static in the first two acts but much more powerful in the more eventful third with the deaths of both Alexander and Ptolomee.
Here we have a very capable, idiomatic, sensibly cast performance under Robert King. The choruses are especially accomplished. The New College Choir, supported by men from The King's Consort Choir, is confident, brighttoned and vigorous, clean in line and well balanced.
Lynne Dawson sings beautifully in her firm and resonant soprano and her usual poised and unaffected style. Her singing of the lamenting music in the final act is particularly moving.
Cleopatra has a couple of duets, one with some attractive interplay with the secondary character Aspasia, sung with much assurance by Claron McFadden. As Alexander, Catherine Denley sings with much confidence and directness in music that isn't all of special individuality.
Jonathan is sung fluentlyand warmly, but very plainly, by Charles Daniels. Lastly there's Michael George, who's ideally suited to the villainous Ptolomee, with his forceful (but always musical) manner and the touch of blackness in his tone. The orchestral playing is accomplished, and often rather carefully shaped. The recitative moves at a steady but natural pace; ornamentation is generally modest. All Handelians will want to acquire this set, and others should not be put off by the indifferent press Alexander Balus has received from time to time.”
Gramophone Classical Music Guide, 2010

“We may be grateful that yet another glory has been restored by Robert King and his accomplished forces” The Times

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Hyperion - CDA67241/2

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The Hyperion Schubert Edition - Complete Songs Volume 36

The Hyperion Schubert Edition - Complete Songs Volume 36

Schubert in 1827


Schubert:

Romanze des Richard Löwenherz D907 (Scott/Miller)

Jägers Liebeslied D909 (Schober)

Schiffers Scheidelied D910 (Schober)

Frühlingslied D919 (Pollak)

L'incanto degli occhi, D902 No. 1 (Metastasio)

Second version

Il traditor deluso D902 No. 2 (Metastasio)

Il modo di prender moglie D902 No. 3 (anonymous)

Wolke und Quelle D896B

ed Van Hoorickx (Leitner)

Fröhliches Scheiden, D896

ed Van Hoorickx (Leitner)

Sie in jedem Liede D896A (Leitner)

Das Weinen D926 (Leitner)

Heimliches Lieben D922 (Klenke)

Die Sterne, D939 (Leitner)

Der Wallensteiner Lanzknecht beim Trunk D931 (Leitner)

Der Kreuzzug D932 (Leitner)

Der Hochzeitsbraten D930 (Schober)

Cantate zur Feier der Genesung der Irene Kiesewetter D936 (anonymous)


Juliane Banse (soprano), Michael Schade (tenor), Gerald Finley (baritone), Lynne Dawson (soprano), Graham Johnson (piano)

'Superb...Wonderfully fluent, confident singing from Finley, soft-grained intimacy from Banse...a delight' (Gramophone)

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Hyperion Schubert Song Edition - CDJ33036

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Alessandro Scarlatti - Variations on La Folia

Alessandro Scarlatti - Variations on La Folia


Scarlatti, A:

Cantata 'Correa nel seno amato'

Variations on 'La Folia'

Cantata 'Già lusingato appieno'


‘My very favourite … their [The Purcell Quartet’s] easy rapport and the stylishness of [Lynne Dawson’s] singing are quite unforgettable, and Woolley’s stunning performance … wants for nothing’ (Gramophone)

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Helios - CDH55233

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On this Island

On this Island


Britten:

On this Island, Op. 11

Finzi:

Selected songs

Stanford:

Selected songs

Warlock:

Lillygay


'The most delectable recital of English song … a generous sequence of brief, tuneful songs that are totally charming, from Armida's Garden by Parry to Ivor Gurney's rapt setting of John Fletcher' (The Guardian)

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Hyperion Song Recitals - CDA67227

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Handel: Messiah

Handel: Messiah


Lynne Dawson (soprano), Catherine Denley (contralto), David James (countertenor), Maldwyn Davies (tenor), Michael George (bass)

The Sixteen, Harry Christophers

“One of the most attractive ever on disc” Penguin Guide

“Unequivocally recommended” Sydney Morning Herald

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Hyperion Dyads - CDD22019

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The Hyperion Schubert Edition - Complete Songs Volume 32

The Hyperion Schubert Edition - Complete Songs Volume 32

An 1816 Schubertiad


Schubert:

Der Geistertanz D494 (Matthisson)

Des Mädchens Klage D389 (Schiller)

Licht und Liebe D352 (Collin)

Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri D407 (Schubert)

Four songs

Zum Punsche D492 (Mayrhofer)

Ritter Toggenburg D397 (Schiller)

Vedi quanto adoro (Didone abbandonata) D510A (Metastasio)

Naturgenuss D422 (Matthisson)

An die Sonne D439 (Uz)

Entzückung D413 (Matthisson)

Das grosse Halleluja D442 (Klopstock)

Grablied auf einen Soldaten (Schubart) D454

Schlachtgesang D443 (Klopstock)

Das war ich, D174 (Korner)

Die verfehlte Stunde D409 (A W von Schlegel)

Zufriedenheit D501 (Claudius)

Der Entfernten D331 (Salis-Seewis)

Der Wanderer, D493

Gott im Ungewitter, D985

Gott der Weltschöpfer D986 (Uz)


Lynne Dawson, Christine Schäfer (sopranos), Ann Murray (mezzo soprano), John Mark Ainsley, Daniel Norman, Christoph Prégardien, Michael Schade, Toby Spence (tenors), Christopher Maltman, Stephen Varcoe (baritones), Patricia Rozario Soprano, Catherine Wyn-Rogers Mezzo (soprano), Paul Agnew, Jamie Macdougall, Philip Langridge (tenors), Simon Keenlyside, Maarten Koningsberger, Stephan Loges (baritones), Neal Davies, Michael George (basses)

The London Schubert Chorale, Stephen Layton

'As ever, illuminating words complement revelatory music-making' (BBC Music Magazine)

“Like the previous Schubertiads in the Edition, this disc mixes solo songs and partsongs, famil- iar and unfamiliar. The only really famous work here is Der Wanderer, that archetypal expression of romantic alienation whose popularity in Schubert's lifetime was eclipsed only by that of Erlkönig. Some of the partsongs – Zum Punsche, Naturgenuss and Schlachtgesang – cultivate a vein of Biedermeier heartiness that wears a bit thin today. Nor will Schubert's consciously archaic tribute to his teacher Salieri have you itching for the repeat button – though, like several other numbers, it shows the 19-year-old composer rivalling Mozart in his gift for musical mimicry. To compensate, though, there are partsongs like the sensual Der Entfernten, with its delicious languid chromaticisms, and the colourful setting of Gott im Ungewitter. The slight but charming setting of Das war ich is appealingly done by the light-voiced Daniel Norman, and Ann Murray brings her usual charisma and dramatic conviction to the pathetic Italian scena Didone Abbandonata.
Christine Schäfer is equally charismatic in the unjustly neglected Die verfehlte Stunde (recorded here for the first time), catching perfectly the song's mingled yearning and ecstasy and negotiating the mercilessly high tessitura with ease. Other happy discoveries include Schubert's virtually unknown third setting of Des Mädchens Klage, with its soaring lines, a melancholy tale of courtly love, sung by Christoph Prégardien with as much drama and variety as the music allows, and the surging Entzückung ('music for an infant Lohengrin,' as Graham Johnson puts it), for which Toby Spence has both the flexibility and the necessary touch of metal in the tone. Doubts were fleetingly raised by Lynne Dawson's slight tremulousness in Des Mädchens Klage, and by Christopher Maltman's prominent vibrato at forte and above in an otherwise involving performance of Der Wanderer.
But, these cavils apart, no complaints about the singing or the vivid accompaniments.”
Gramophone Classical Music Guide, 2010

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Hyperion Schubert Song Edition - CDJ33032

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