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See Terms & Conditions for p&p rates. | |  | Lukaszewski - Choral music
This latest disc from Trinity showcases the talent of this marvellous young choir in a disc of seductively beautiful spiritual music from Poland. Pawel Lukaszewski is the most outstanding of the younger generation of Polish composers specializing in sacred choral music. His ability to encapsulate the expressive essence of a text with immediacy and economy of technical means is unrivalled, as is his facility of idiomatic vocal writing. He has an enormously subtle and varied harmonic palette— unlike some of his contemporaries—and creates an organically new harmonic world for each piece. His extended tonal sound world is enriched by highly selective use of vocal effects such as glissandi, parlando (speaking) and susurrando (whispering), all of which occur invariably in direct response to clear textual stimuli. A generous selection of Lukaszewski’s considerable output is recorded here, including the sequence of seven Advent Antiphons composed in 1995–9. Lukaszewski’s extended settings cover a vast expressive range: from the dark eightand twelve-part sonorities of O Clavis David to the ecstatic concluding superimposed thirds of O Oriens. Conductor Stephen Layton is one of Lukaszewski’s most enthusiastic proponents—indeed he is the dedicatee of the most recent work on this disc, the Nunc dimittis from 2007. He communicates this deep understanding of Lukaszewski’s music to his young singers, coaxing from them a committed and potent performance. “[Lukaszewski's] style is hardly adventurous, but there is a resourceful use of what he terms "renewed tonality" and a refreshingly clear-sighted approach to various Latin motet texts. And with performances as sonorous and acutely paced as these, they come across with a winning fervour.” Matthew Rye, The Telegraph, 13th September 2008 “Layton's affinity with this radiant, accessible music is clear as he guides the Trinity College Choir, which sings with passion and purity throughout this programme.” BBC Music Magazine, September 2008 **** “This is a lovely disc of enchanting choral music. Possibly the Trinity College Choir does not always provide the warmth of tone such unashamedly expressive music demands, but that is more than compensated for by the sheer intensity of Stephen Layton's direction. ...this is a lovely disc.” Gramophone Magazine, Awards Issue 2008 “A superlative issue in every way. This inspired music by the contemporary Polish composer employs a convincing language of ‘renewed tonality’ in its impassioned response to the traditional liturgical texts … these young Cambridge singers bring a technical mastery and total commitment to this vibrant music” Choir & Organ “Layton is arguably the finest choral director working today in the UK … Layton’s choral scholars sing this challenging music, with its dazzling polytonal clusters, complex chords, and non-traditional progressions with absolute purity of tone, perfection of
intonation, and depth of feeling … we live in a renaissance of sacred choral music … I found myself amazed at each subtle harmonic surprise, at each stunningly apt underlining of a phrase … do not hesitate” Fanfare “This is a lovely disc of enchanting choral music.
Possibly the Trinity College Choir does not always provide the warmth of tone such unashamedly expressive music demands, but that is more than compensated for by the sheer intensity of Stephen Layton's direction: only the hardest of musical hearts will remain unmelted by such committed interpretations.
It was for Layton that Pawel Lukaszewski produced his setting of the Nunc dimittis. In its beautifully measured phrases, immaculately tailored textures and ingenious use of light and shade to invoke light shining out of darkness, it is a gem which receives here a beautifully poised account. Effusive reference in the booklet to Lukaszewski's masterful handling of the concluding fade-out – 'a hackneyed effect in the hands of lesser composers' – did get the juices of critical scepticism running for a bit until heard, along with all the other potentially hackneyed choral effects (polytonal clusters in Mementomei, Domine, frequently reiterated dynamic contrasts in Beatus vir, Sanctus Martinus, continually repeated melodic and rhythmic motifs in O Sapientia), and realised that here is a composer who really is a true master of the art of a cappella writing and for whom other people's experiments and gimmicks are an essential tool in conveying a profound emotional message.
Once or twice – notably in a saccharine setting of the Ave Maria (although the purity of Rebecca Lancelot's voice manages to divert any cloying character) and an over-clichéd Crucem tuamadoramus – the musical quality is compromised by emotional effect, but all in all this is a lovely disc. It has been difficult to draw this CD out of the player, so frequently has it been played.
There's no higher praise.” Gramophone Classical Music Guide, 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | In the Beginning
Founded as recently as 2008, the new Choir of Merton College, Oxford is rapidly emerging as a major force in collegiate choral music. On this, their debut recording, the choir’s two directors helm a diverse programme that reflects the range and reach of the choir’s daily repertoire. Bookended by two pieces titled In the Beginning Gabriel Jackson’s ravishing version of the rarely-set Johannine Prologue, Copland’s glowing account of the first seven days of creation – this disc offers a themed sequence of Renaissance and modern classics, all captured in sumptuous sound in the radiant acoustics of Merton’s famous chapel. “Plainly, this is a fine choir, and a worthy rival to the other mixed-voice Oxbridge ensembles that have flourished in recent times.” Sunday Times, 18th September 2011 “if a handbook were to be written on How to Instantly Form a Crack Professional Choir, then they should be asked to write it...the new Merton College Choir has leap-frogged its way almost to the top of the collegiate choral pile...their mellow timbre is beautifully flecked with upper-register light. Highly versatile, they're well capable of taking on a silvery-sharp edge when called for by the music...A stunning recording debut” Charlotte Gardner, bbc.co.uk, 23rd September 2011 “This fine disc showcases the standards already achieved across a wide repertoire...The choir sounds secure; just a little stridency from the sopranos needs attention. And the young singers revel in the luscious clusters of Whitacre and Jackson.” The Times, 8th October 2011 *** “In a generously imaginative gesture that can only benefit the future of British choral music, the college recently set up a new foundation, training 18 scholars. The results are already outstanding; Nicholas and Phillips draw a wonderfully fresh, vibrato-free sound from their young singers, who seem particularly at home in new repertoire” The Observer, 23rd October 2011 “The Choir of Merton College was formed in 2008. It makes a typically English sound – it’s all to do with the clarity of diction and the flawless intonation. The basses are nicely present but never overwhelm what’s above them, and the Merton College Chapel acoustic gives the choral sound a glow which is never too resonant...It’s hard not to love this disc for its sheer chutzpah – tackling music from five centuries and never putting a foot wrong.” The Arts Desk, 5th November 2011 “The 18 uninterrupted minutes of Copland's a cappella In the Beginning are a major test of any choir's stamina and concentration, and it's one the Mertonians pass with confidence...[Beth Mackay] presents the creation narrative with vivid buoyancy, and she is responded to keenly by the body choral, whose brightness of tone and attack enliven what can easily become a dry and turgid piece of storytelling.” BBC Music Magazine, December 2011 **** “Listening to their superb performances and seamless blending of voices, it's hard to believe that the choir is only four years old.They have a vast range of dynamics and vocal colouring, and they're fully responsive to the different styles...An intensely moving recording, strongly recommended.” Gramophone Magazine, December 2011 “The choir is astonishingly accomplished for such a new starter and the standard has been set high, not that there is any surprise in that...[the Copland is] a superlative summation of the new Merton College Choir's achievement that in its own right is sufficient to recommend the entire disc.” International Record Review, January 2012 | | | Usually despatched in 3 - 4 working days. |
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| |  | DreamlandContemporary choral riches from the Hyperion catalogue
Burgon: | The Corpus Christi Carol Wells Cathedral Choir, Matthew Owens | Byrchmore: | Song Schola Cantorum of Oxford, Jeremy Summerly | Chilcott: | Shepherd's Carol The Choir of Westminster Abbey, James O’Donnell | Dubra: | Stetit Angelus The Choir of Royal Holloway, Rupert Gough | Jackson, Gabriel: | To Morning 'O holy virgin! clad in purest white' Polyphony, Stephen Layton | Lauridsen: | Ave, dulcissima Maria Polyphony, Stephen Layton | Lukaszewski: | Nunc dimittis The Choir of Trinity College, Cambridge, Stephen Layton | MacMillan: | A Child's Prayer The Choir of Westminster Cathedral, Martin Baker | Maw, N: | Balulalow Schola Cantorum of Oxford, Mark Shepherd | Pärt: | Magnificat Polyphony, Stephen Layton | Pitts, A: | Adoro te Tonus Peregrinus, Antony Pitts | Tavener: | As one who has slept Polyphony, Stephen Layton | Thompson, R: | Alleluia Schola Cantorum of Oxford, James Burton | Tormis: | Äiutus (Lulling) Holst Singers, Stephen Layton | Villette: | O sacrum convivium Op. 27 Holst Singers, Stephen Layton | Whitacre: | Sleep Polyphony, Stephen Layton |
A new and intriguing sampler features a selection of pieces from Hyperion’s extensive and varied choral collection. This disc seeks to give a flavour of the contemporary choral music recorded by Hyperion over the last decade. Whilst on one level it can stand alone as a tribute to the beauty of its composers’ writing and choirs’ singing, it also lifts the lid on the albums from which the tracks are drawn. A perfect introduction to the magic new worlds of sound that await the listener. | | | Usually despatched in 2 - 3 working days. |
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Gramophone Magazine