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Susan Gritton

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Handel: Chandos Anthems Nos 5a, 6a & 8

Handel: Chandos Anthems Nos 5a, 6a & 8


Chandos Anthem No. 8 'O come let us sing unto the Lord', HWV 253

Chandos Anthem No. 6 'As pants the hart of cooling streams', HWV 251b

Chandos Anthem No. 5 'I will magnify Thee', HWV 250a

Handel’s beautiful, intimate settings of liturgical texts written for the First Duke of Chandos are among his less well-known choral works—and are proved by this second volume from Trinity also to be among his loveliest. They are a perfect example of the composer’s English style heard in Acis & Galatea and oratorios such as Judas Maccabaeus.

The soloists on this recording include internationally acclaimed Handelians Susan Gritton and Iestyn Davies, and the young tenor Thomas Hobbs, whose warm, lyrical tone is perfect for this repertoire. Trinity College Choir Cambridge sing with their usual youthful exuberance tempered with elegance, style and precision, under the expert guidance of Stephen Layton.

Read Presto's complete review of this disc here.

“Layton directs his young singers with such a perfect control of texture and rhythm that there's no hint of stodginess” Gramophone Magazine, July 2013

“Layton has drilled his singers to perfection in this trio of Handel's Chandos Anthems, making every word distinct and every crisp consonant a taut springboard on which to propel Handel's irresistible rhythm...Thomas Hobbs is the stand-out soloist” The Observer, 8th July 2013

“It says much for Layton's skill that he has managed to retain their companionable intimacy despite super-sizing his own resources to a choir of more than 30 singers with orchestra to match...Layton is a peerless Handelian, master of the architecture, yet constantly alert to enlivening nuances that only seem obvious with hindsight.” BBC Music Magazine, October 2013 ****

Presto Disc of the Week

8th July 2013

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Hyperion - CDA67926


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Brian: Symphony No. 1 'Gothic'

Brian: Symphony No. 1 'Gothic'

Susan Gritton (soprano), Christine Rice (mezzo-soprano), Peter Auty (tenor), Alastair Miles (bass) & David Goode (organ)

BBC National Orchestra of Wales, BBC Concert Orchestra, The Bach Choir, BBC National Chorus of Wales, Brighton Festival Chorus, CBSO Youth Chorus, Côr Caerdydd, Eltham College Boys’ Choir, Huddersfield Choral Society & London Symphony Chorus, Martyn Brabbins

On 17 July 2011 over 800 performers gathered in London’s Royal Albert Hall to give a rare performance of Havergal Brian’s Symphony No 1 in D minor—‘The Gothic’. Tickets for this Prom sold out within 24 hours, and so it gives us great pleasure to make this live recording available to all.

It’s a pretty phenomenal work. Responding to the challenge set by Sir Henry Wood, the composer has thrown just about every known orchestral instrument into the mix, then adding a double chorus of over 500, plus children’s choirs, for an hour-long Te Deum—the church’s blazing Hymn of Thanksgiving—which makes up the symphony’s finale.

Whether or not you were lucky enough to be there on the night, this is a recording not to be missed.

“As ideas tumble forth in Havergal Brian’s epic scheme, you cannot help admiring his fervour in getting it all down on paper. It remains one of the oddities of the English symphonic repertoire, but Martyn Brabbins and his legions of players and singers do it proud.” The Telegraph, 2nd December 2011 ****

“Hyperion's release is a perfect one, of a great event, a magisterial work and an encapsulation of the enormous difficulties of the project as a whole...[Brabbins emphasises] the kaleidoscopic variety of speeds, textures and invention in the score. Aided by Hyperion's sensational sound, details which barely registered before become crystal clear...I cannot recommend it strongly enough.” Gramophone Magazine, February 2012

“credit to Martyn Brabbins for overseeing a performance which emphatically does not play it safe: enabling the piece to be appreciated for a formal evolution as oblique and purposeful as is its emotional progression...the discreet but intent control exerted over the vast numbers leaves no doubt as to his conviction. That the capacity audience betrays so few sign of its presence says much in itself.” International Record Review, January 2012

“Where to begin? This is a hugely impressive record of a great performance, but I’m not convinced that this is great music. But you can’t help feeling thankful that once in a generation we’re given the chance to hear something of this magnitude and judge the results for ourselves” The Arts Desk, 11th February 2012

“the best [recording] yet. There's an ongoing buzz of Proms atmosphere that grips from start to finish; and the recorded sound succeeds phenomenally at somehow fitting Brian's hugest climaxes alongside the delicate scoring of other passages into a convincing perspective. Under Brabbins's forthright direction, even the work's poorer passages (and whatever Brian's fanatical supporters say, there are plenty) don't sprawl.” BBC Music Magazine, March 2012 ****

“This seems likely to become the top recommendation of this huge but strange symphony for many years to come...The BBC Proms is one of the few organisations which is capable of putting on a performance of this epic work, and I was thrilled to learn that Hyperion would be releasing it. It is well worth hearing.” Chris O'Reilly, Presto Classical, 28th November 2011

Presto Disc of the Week

28th November 2011

GGramophone Magazine

Editor's Choice - February 2012

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Hyperion - CDA67971/2

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Poulenc - Gloria and Motets

Poulenc - Gloria and Motets



Salve Regina

Quatre motets pour un temps de pénitence

Quatre motets pour le temps de Noël

Exultate Deo

Stephen Layton and Polyphony continue to blaze a trail as great interpreters and dazzling performers of a wide range of choral music. Their recent disc of Bruckner’s Mass in E minor and motets was acclaimed as a benchmark recording. For their latest Hyperion disc they turn to some of the most bewitching and unusual, yet well-loved, choral works of the twentieth century.

Poulenc’s choral music is a deep expression both of his faith and of his unique musical language. In the various motets, the music responds to the composer’s studies of Bach, Monteverdi, Palestrina and Gabrieli, but is always stylistically progressive. Prominently featured are Poulenc’s distinctive and often ingenious chord progressions. Each motet has its own delightfully etched personality.

Poulenc’s Gloria is one of his most enduringly appealing works. In some ways straightforwardly pious, it is also tinged with mischievous irreverence and a sense of rollocking enjoyment. ‘When I wrote this piece’, Poulenc famously recalled, ‘I had in mind those frescoes by Gozzoli where the angels stick out their tongues; and also some serious Benedictine monks I had once seen revelling in a game of football.’ This recording by the Britten Sinfonia, The Choir of Trinity College, Cambridge, Polyphony and the soprano soloist Susan Gritton under Stephen Layton brings out all these aspects in a classic performance.

“From the very outset of the Gloria its clear that this is a performance of real distinction. …the scintillating choral entry, the basses starting the ball rolling with the kind of pent-up energy which you just know is going to explode in the most spectacular way. In the final chorus of the Gloria, after the boisterous start, we have a moment of profound sanctity and another, crowned with incredible delicacy by Susan Gritton, of mouth-watering enchantment.” Gramophone Magazine, April 2008

“Stephen Layton's tight control of his forces, both choral and orchestral, lends impeccable ensemble and heart-thumping excitement - has the opening tutti ever had such punch? Soprano Susan Gritton is superb, too, in her committed, soaring performances. The combined choirs of Trinity College, Cambridge and pro group Polyphony are astounding as a virtuoso choral unit...” BBC Music Magazine, April 2008 *****

“Poulenc’s riotously wild, spiky and humorous Gloria is given a marvellously fresh interpretation here by Polyphony … but perhaps the real interest in this disc lies in the more unfamiliar motets. Each is an exquisite example of Poulenc’s daring choral writing, handled here by Polyphony with the same subtlety and skill they brought to their Bruckner Hyperion disc last year” The Observer

“From the very outset of the Gloria it's clear that this is a performance of real distinction. The gloriously pompous opening orchestral fanfare has a swagger and a self-satisfied strut which is one of those rare moments on disc where you would wish it were tracked separately so that you could just play it over and over again. But to do that would miss the scintillating choral entry, the basses starting the ball rolling with the kind of pent-up energy which you just know is going to explode in the most spectacular way. Other recordings have a pleasant, smiley quality here; Stephen Layton's crew has an almost piratical swagger, buoyantly breasting Poulenc's turbulent waves of barely restrained exuberance.
The 38 voices of Polyphony are augmented by 31 from Trinity College, Cambridge, while an unusually hefty contingent of orchestral players makes up the Britten Sinfonia on the disc. What results is not only music-making of immense power and vibrancy – take the riveting declamation 'Qui sedes ad dexteram Patris', hardly subtle or even particularly refined (the men shout and the brass blares) but unbelievably spine-tingling – but also an ability, brilliantly directed by Layton, to capture Poulenc's 'half hooligan, half monk' musical persona (in Claude Rostand's oft-quoted aphorism). Thus, in the final chorus of the Gloria, after the boisterous start, we have a moment of profound sanctity and another, crowned with incredible delicacy by Susan Gritton, of mouth-watering enchantment.
Not everything is quite so enticing: Gritton wallows a little too much perhaps in the 'Domine Deus', mischievously abetted by Layton's almost kitsch romanticism. But it is the vivid sense of unfettered joy in the Gloria and the matchless intensity of feeling revealed in the motets that make this such a gloriously distinguished disc.”
Gramophone Classical Music Guide, 2010

GGramophone Awards 2008

Finalist - Choral

GGramophone Magazine

Editor's Choice - April 2008

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Hyperion - CDA67623


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Britten - Purcell Realizations

Britten - Purcell Realizations


The knotting song

from Orpheus Britannicus

Seven songs

from Orpheus Britannicus

Six songs

from Orpheus Britannicus

O solitude

from Orpheus Britannicus

Five songs

from Orpheus Britannicus


from Orpheus Britannicus

Six duets

from Orpheus Britannicus

The Queen's Epicediumcus

from Harmonia Sacraumcus

The Blessed Virgin's Expostulation

from Harmonia Sacraumcus

Saul and the witch at Endor

from Harmonia Sacraumcus

Three divine hymns

from Harmonia Sacraumcus

Job's curse

from Harmonia Sacraumcus

Two divine hymns and Alleluia

from Harmonia Sacraumcus


from Harmonia Sacraumcus

When Myra sings

from Harmonia Sacraumcus

Let the dreadful engines of eternal will

from Harmonia Sacraumcus

2 discs for the price of one

“Two irresistible discs—typically painstakingly produced and documented—and would deserve four stars if only they were there to give” The Times

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Hyperion Dyads - CDD22058

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Songs by Schubert’s friends and contemporaries

Songs by Schubert’s friends and contemporaries

Eighty-one songs by forty composers who lived and worked during Schubert’s lifetime


Der Leiermann


Abendlied unter'm gestirten Himmel, WoO 150

An die ferne Geliebte (To the distant beloved), Op. 98

Berger, L:

Des Müllers Wanderlied

Müllers Blumen

Am Maienfeste

Der Müller

Rose, die Müllerin

Müllers trockne Blumen

Des Baches Lied


Der Berghirt


Wonne der Wehmut

Eberwein, M:

Rastlose Liebe

Franz, S:

Abschied nach Wien 1813


Die Einsame


Der Greis, Hob XXVc:5

Hiller, F:

Wandrers Nachtlied

Hummel, J:

Zur Logenfeier

Hüttenbrenner, A:


Kreutzer, K:




Der Lindenbaum


Die Post

Der Pilgrim


Lied aus Wilhelm Meisters Lehrjahre

Lachner, F:


Das Fischermädchen, Op. 33, No. 10

Der Schmied




Es rauschen die Winde, S294

Loewe, C:

Gesang der Geister

Der Erlkönig, Op. 1 No. 3 (Goethe)


Minnelied im Mai 'Holder klingt der Vogelsang', Op. 8 No. 1

Mendelssohn, Fanny:

Die frühen Gräber, Op. 9 No. 4 (Text: Friedrich Wilhelm Klopstock)


Komm du schönes Fischermädchen


Trost in Tränen

Klage an den Mond




Rastloses Wandern

Reichardt, J F:


Rastlose Liebe


Monolog der Iphegenia

Reichardt, L:

Aus Novalis Hymnen an die Nacht


Beltà crudele


Ich denke dein

Schubert of Dresden Sr.:

Die Lebensgefährten


Lied für XXX


Gute Nacht


Mignon's Lied Op. 37:1



Meeres Stille



Die Nachtigall



Vesque von Püttlingen:

Der Herbstabend

Der Doppelgänger

Der Fischer


Lied der Desdemona


Gebet während der Schlacht

Weigl, J:

Wenn sie mich nur von weitem sieht

Weyrauch, A H:




Erster Verlust

Um Mitternacht

Klage Harfenspieler III

Rastlose Liebe


Die Erwartung


“Abetted by Johnson's lucid pianism, the singers nicely judge the scale and character of their allotted songs. Susan Gritton, her timbre, richer and more flavoursome than a decade ago, is equally admirable in the insouciant trilling of Johann Unger's Die Nachtigall and the dramatic declamation of Reichardt's Monolog der Iphigenie. Gerald Finley is a graphic story-teller in the various Erlkönig settings and a honeyed-toned seducer in Meyerbeer's Komm, while Mark Padmore makes a persuasive case for Zumsteeg's pleasantly rambling ballad Die Erwartung... This enterprising, often revelatory set should intrigue and delight anyone interested in the development of the Lied.” Gramophone Magazine, July 2006

GGramophone Magazine

Editor's Choice - July 2006

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Hyperion Song Recitals Schubert Song Edition - CDJ33051/3

(CD - 3 discs)

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Purcell - Complete Secular Solo Songs

Purcell - Complete Secular Solo Songs


Draw near, you lovers Z462

While Thirsis, wrapp'd in downy sleep, Z437

Love, thou canst hear, tho' thou art blind, Z396

I loved fair Celia, Z381

What hope for us remains now he is gone? Z472

Pastora's beauties when unblown Z407

Abdelazer or The Moor's Revenge: incidental music, Z570

Urge me no more, Z426

Farewell, all joys Z368

If music be the food of love Z379A (first version)

Amidst the shades and cool refreshing streams Z355

They say you're angry Z422

Let each gallant heart Z390

This poet sings the Trojan wars ('Anacreon's Defeat') Z423

Ah, how pleasant 'tis to love, Z353

My heart, wherever you appear Z399

On the brow of Richmond Hill Z405

Rashly I swore I would disown Z411

Since the pox or the plague Z471

Beneath a dark and melancholy grove, Z461

Musing on cares of human fate Z467

Whilst Cynthia sung, all angry winds lay still Z438

How I sigh when I think of the charms of my swain Z374

Ye happy swains, whose nymphs are kind Z443

Beware, poor shepherds Z361

See how the fading glories of the year Z470

Cease, anxious world, your fruitless pain Z362

O! fair Cedaria, hide those eyes Z402

I love and I must ('Bell Barr'), Z382

When her languishing eyes said 'Love!', Z432

Not all my torments can your pity move, Z400

Ah! cruel nymph, you give despair, Z352

Sylvia, now your scorn give over, Z420

Since one poor view has drawn my heart, Z416

I resolve against cringing and whining, Z386

Gentle shepherds, you that know the charms, Z464

If grief has any pow'r to kill, Z378

She that would gain a faithful lover, Z414

Fly swift ye hours, Z369

Hears not my Phillis how the birds ('The Knotting Song'), Z371

Phillis, talk no more of passion, Z409

Celia's fond, too long I've lov'd her, Z364

In vain we dissemble, Z385

When my Aemelia smiles, Z434

Farewell, ye rocks, ye seas and sands, Z463

What a sad fate is mine, Z428A

I take no pleasure in the sun's bright beams, Z388

Love's pow'r in my heart shall find no compliance, Z395

How delightful's the life of an innocent swain, Z373

She, who my poor heart possesses, Z415

Love arms himself in Celia's eyes, Z392

When first my shepherdess and I, Z431

Through mournful shades and solitary groves, Z424

If music be the food of love (second version), Z379B

Scarce had the rising sun appear'd, Z469

Who but a slave can well express, Z440

High on a throne of glitt'ring ore, Z465

Incassum Lesbia, incassum rogas ('The Queen's Epicedium'), Z383

She loves and she confesses too, Z413

Amintas, to my grief I see, Z356

Corinna is divinely fair, Z365

Amintor, heedless of his flocks, Z357

He himself courts his own ruin, Z372

No, to what purpose should I speak?, Z468

Sylvia, 'tis true you're fair, Z512

Lovely Albina's come ashore, Z394

Spite of the godhead, pow'rful love, Z417

If music be the food of love, third version, Z379C

Phyllis, I can ne'er forgive it, Z408

Bacchus is a pow'r divine, Z360

From silent shades ('Bess of Bedlam') Z370

Let formal lovers still pursue, Z391

I came, I saw, and was undone, Z375

Who can behold Florella's charms?, Z441

Cupid, the slyest rogue alive, Z367

If pray'rs and tears, Z380

In Cloris all soft charms agree, Z384

Let us, kind Lesbia, give away, Z466

Love is now become a trade, Z393

Ask me to love no more, Z358

O solitude, my sweetest choice, Z406

Olinda in the shades unseen, Z404

Pious Celinda goes to prayers, Z410

When Strephon found his passion vain, Z435

The fatal hour comes on apace, Z421

Sawney is a bonny lad, Z412

Young Thirsis' fate, Z473

Barbara Bonney (soprano), Susan Gritton (soprano), James Bowman (counter-tenor), Rogers Covey-Crump (tenor), Charles Daniels (tenor), Michael George (bass)

The King's Consort, Robert King (chamber organ, harpsichord)

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Hyperion - Purcell Complete Edition - CDS44161/3

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

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


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

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Hyperion - Purcell Complete Edition - CDS44141/51

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Vivaldi - Sacred Music 1

Vivaldi - Sacred Music 1


Magnificat RV610a (version for double choir)

Lauda, Jerusalem, RV609

Kyrie, RV587

Credo, RV591

Dixit Dominus, RV594

Susan Gritton, Lisa Milne (sopranos), Catherine Denley (alto), Lynton Atkinson (tenor), David Wilson-Johnson (bass)

King's Consort, Robert King

Gramophone Critic's Choice

“King's 'super-group' featuring choristers drawn from seven English cathedral and collegiate choirs sounds better than ever – technically reliable, with a good, full sound – and are a credit to King's vision in bringing them together. This volume has five typically uplifting works, three of which – Lauda Jerusalem, Dixit Dominus and the G minor Kyrie – offer the opulent sound of double choir and orchestra. Dixit Dominus is the most substantial, a colourful 23-minute sequence of varied solos and choruses, with trumpets, oboes and two organs all chipping in, most notably in an awe-inspiring depiction of the Day of Judgement. The other two are perhaps less striking, though Lauda Jerusalem is certainly charming in its two-soprano interchanges.
Highlights of the single-chorus works include another exquisite soprano duet and a fiery 'Fecit potentiam' in the Magnificat, and an extraordinary 'Crucifixus' in the Credo which departs from the pain-wracked norm by seemingly depicting with lugubrious slow tread Christ's walk to Calvary. King manages very well in capturing the essence of Vivaldi's bold, sometimes disarmingly straightforward style. These tidy performances are driven with just the right amount of springy energy – neither too much nor too little – and are well recorded in the warm resonance of St Jude's Church, Hampstead in London.”
Gramophone Classical Music Guide, 2010

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Hyperion - Vivaldi Sacred Music - CDA66769


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Vivaldi - Sacred Music 3

Vivaldi - Sacred Music 3


Dixit Dominus, RV595

Domine ad adiuvandum me (Psalm 69), RV593

Credidi propter quod, RV605

Beatus vir, RV598

Beatus vir, RV597

Susan Gritton, Catrin Wyn-Davies (sopranos), Catherine Denley (alto), Charles Daniels (tenor), Neal Davies, Michael George (basses)

King's Consort, Robert King

'A rewarding issue, well documented and spaciously recorded' (Gramophone)

“Here are two of Vivaldi's most extended and impressive psalm settings. These are the singlechoir Dixit Dominus, RV595 (Psalm 110), and double-choir Beatus vir, RV597 (Psalm 112).
Vivaldi set both psalms more than once, and King's programme also includes the singlemovement Beatus vir, RV598, as well as the response, Domine ad adiuvandum me, RV593, and the conservatively styled Vesper psalm, Credidipropter quod, RV605. The King's Consort Choir make a lively and warm-textured contribution; the solo line-up is also strong; with Susan Gritton and Catrin Wyn-Davies providing an evenly matched, lightly articulated partnership in their two duets. Neal Davies and Michael George are splendidly robust in their vigorous 'Potens in terra' duet from Beatus vir (RV597). Catherine Denley gives an appropriately strongly inflected account of 'Judicabit in nationibus' but is intimate and tender in her beautiful 'De torrente in via bibet' (from Dixit).
The remaining soloist, Charles Daniels, delivers the virtuoso 'Peccator videbit' (Beatus vir, RV597) with lightness and comfortable agility.
Although consisting of only three movements, the G major Domine ad adiuvandum me, is easily on a level with the larger-scale pieces, its expressive warmth irresistible. This is a rewarding issue, spaciously recorded.”
Gramophone Classical Music Guide, 2010

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Hyperion - Vivaldi Sacred Music - CDA66789


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Vivaldi - Sacred Music 6

Vivaldi - Sacred Music 6


Beatus vir RV795

Salve Regina, RV 617

Laudate Dominum, RV606

In exitu Israel, RV 604

Nisi Dominus (Psalm 126), RV608

Premio Internazionale del Disco Antonio Vivaldi, per la Musica vocale

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Hyperion - Vivaldi Sacred Music - CDA66809


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In stock - usually despatched within 1 working day.


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