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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

Building a Library

Large Box Set Recommendation - February 2014

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Hyperion - Purcell Complete Edition - CDS44141/51

(CD - 11 discs)

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The Hyperion Schubert Edition - Complete Songs Volume 28

The Hyperion Schubert Edition - Complete Songs Volume 28

An 1822 Schubertiad


Versunken D715 (Goethe)

Im Gegenwärtigen Vergangenes, D710

Mahomets Gesang D721 (Goethe)

completed by Van Hoorickx

Geheimes, D719 (Goethe)

Johanna Sebus D728 (Goethe)

completed by Van Hoorickx

Mignon I (Heiß mich nicht reden) D726

Die Nachtigall, D724

Sei mir gegrüsst! D741 (Rückert)

Frühlingsgesang D740 (Schober)

Der Wachtelschlag D742 (Sauter)

Geist der Liebe D747 (Matthisson)

Die Liebe hat gelogen D751 (Platen)

Du liebst mich nicht D756 (Platen)

Todesmusik, D758 (Schober)

Selige Welt, D743 (Senn)

Ihr Grab D736 (Engelhardt)

Schatzgräbers Begehr D761 (Schober)

Der Musensohn, D764 (Goethe)

Am Flusse, D766

An die Entfernte, D765 (Goethe)

Willkommen und Abschied, D767

Schicksalslenker, blicke nieder, D763

John Mark Ainsley (tenor), Maarten Koningsberger (baritone), Christine Schäfer, Patricia Rozario (sopranos), Catherine Denley (mezzo soprano), Paul Agnew, Ian Bostridge, Jamie Macdougall (tenors), Simon Keenlyside (baritone), Graham Johnson (piano)

The London Schubert Chorale, Stephen Layton

“There are unknown treasures here. Anyone who hasn't invested in this vast enterprise might well begin with this volume” Classic CD

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Hyperion Schubert Song Edition - CDJ33028


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Boccherini & d’Astorga: Stabat mater

Boccherini & d’Astorga: Stabat mater


Stabat Mater


Stabat Mater (2nd version, 1800, for 3 soloists & string orchestra), Op. 61

Susan Gritton, Sarah Fox (soprano), Susan Bickley (mezzo-soprano), Paul Agnew (tenor), Peter Harvey (bass)

The King’s Consort, Robert King

Boccherini wrote very little vocal music; however he left two settings of the Stabat mater. He set it first in 1781 for solo soprano and strings and then in 1800 for two sopranos and tenor, and was clearly influenced by the hugely popular Pergolesi Stabat mater of 1736. There are many similarities in the notation and harmony—even the same key of F minor is used. The writing is of extraordinary individuality, seeming to come straight from the heart. Emanuele d’Astorga was one of the more colourful figures of early eighteenth-century music, his life the stuff of subject of legend as much as of fact. Over 150 chamber cantatas survive, but by far his most enduring work has proved to be this setting of the Stabat mater, his only known sacred composition. Throughout it we hear Astorga’s gift for writing warm melodies, typical of the Neapolitan style of the time, which movingly capture the melancholy of this most desolate of sacred texts.

“Outstanding performances” American Record Guide

“Heart-melting … full of grace and beauty” BBC Music Magazine

“Remarkable and beautiful settings” Gramophone Magazine

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A Treasury of English Song

A Treasury of English Song

A selection of songs from the Hyperion catalogue.


Song to the Seals


Go Not, Happy Day


Fish in the Unruffled Lakes (No. 4 from Fish in the Unruffled Lakes)

The Choirmaster's Burial (No. 5 from Winter Words)

Browne, W D:

To Gratiana dancing and singing

Butterworth, G:

The lads in their hundreds


To Lizbie Browne

June on Castle Hill

Gibbs, C A:

Five Eyes

Ann's Cradle Song


Down by the Salley Gardens

I will go with my father a-ploughing

Ha'nacker Mill

Under the greenwood tree


Sea Fever

I have twelve oxen

Lehmann, L:

Charles Augustus Fortescue

Lloyd Webber, W:

The Call of the Morning


If it's ever spring again


Armida's Garden


Come away, death

Now sleeps the crimson petal, Op. 3 No. 2 (Tennyson)


Come into the garden, Maud


From the red rose

A soft day

Blackberry time

The rain it raineth every day

Vaughan Williams:

Orpheus with his lute

Let Beauty awake


As ever I saw

Yarmouth Fair

My own country

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Severn Meadows

Severn Meadows


Epitaph in Old Mode (Sir John Collings Squire)

You are my sky (Sir John Collings Squire)

All night under the moon (Wilfrid Gibson)

The Folly of Being Comforted

By a Bierside

Severn meadows

In Flanders

Even such is time (Sir Walter Raleigh)

Ha'nacker Mill

Bread and Cherries

Most Holy Night (Hilaire Belloc)

Desire in Spring

Nine of the clock (John Doyle)

A Cradle Song (W B Yeats)

Five Elizabethan Songs

An Epitaph

The Fields are Full

Down by the Salley Gardens

The Cloths of Heaven (W B Yeats)

The Singer (Edward Shanks)

I will go with my father a-ploughing

Paul Agnew (tenor), Julius Drake (piano)

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Hyperion - CDA67243


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The Hyperion Schubert Edition - Complete Songs Volume 32

The Hyperion Schubert Edition - Complete Songs Volume 32

An 1816 Schubertiad


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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Astorga: Stabat Mater, etc.


Stabat Mater


Stabat Mater (2nd version, 1800, for 3 soloists & string orchestra), Op. 61

Susan Gritton, Sarah Fox (Soprano), Susan Bickley (Mezzo Soprano), Paul Agnew (Tenor), Peter Harvey (Bass)

The King's Consort / The Choir of the King's Consort, Robert King

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Hyperion - CDA67108


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