Elgar: Softly and gently, dearly-ransomed soul 'Angel's Farewell' (from The Dream of Gerontius)

Compelling for her intensity and integrity as much as for her unmistakeable voice, Dame Janet Baker struck a distinctive path as a performer, primarily on the concert and recital stage. Among her most celebrated recordings are her interpretations of Elgar with Sir John Barbirolli, here complemented by songs and oratorio arias by composers such as Bach, Handel, Schubert, Schumann, Brahms, Mahler, Strauss, Fauré, Vaughan Williams and Britten.

Following success in the 2009 Classic FM Gramophone Awards the Hallé and Sir Mark Elder return to the music of Elgar, coupling the much loved Violin Concerto with the Prelude to the lesser known oratorio The Kingdom and Elgar’s own arrangement of highlights from The Dream of Gerontius.

A stunning new interpretation of Elgar’s masterpiece from one of the world’s most dynamic violinists. The performance is alive with passion and dynamism, yet imbued with the beautiful poetry for which Elder’s interpretations of Elgar have been acclaimed.

Part of a planned trilogy of oratorios about the Apostles (which he never completed) was written in 1905 when Elgar underwent some spiritual crisis which shook his religious faith and he was also physically unwell. The music leaves an impression of lyrical tenderness and deep sadness.

Elgar responded to demands, particularly from the conductor Henry Wood, for extracts from Gerontius which could be performed as concert pieces, in the manner of Wagner’s Prelude and Liebestod from Elgar’s solemn and elevating Prelude was an obvious choice for this treatment and, like Wagner, he then went to the end of the work and the point at which Gerontius’s guardian angel (mezzo-soprano) sings seraphically of how she will accompany him "o'er the penal waters" of Purgatory, bearing him “softly and gently” in her arms. When he worked on this arrangement at the end of 1900, Elgar removed the chorus lines and made the vocal part optional and he conducted it for orchestra only at Bradford on 16 February 1901. Four days later Wood conducted the first London performance (the first music by Elgar that he conducted) but included the vocal part, as on this recording.

Thomas Zehetmair is one of the most significant violinists of his generation. He enjoys a successful international career thrilling audiences and critics with his abilities as a soloist, chamber musician and conductor and has been the recipient of many international recording awards.

“…[the Hallé’s] form under Mark Elder is rock solid, splendiferous in ensemble and tone; I’d rather listen to them play English music than any other orchestra in the world.” The Times

“a towering performance of Elgar’s Violin Concerto with Thomas Zehetmair, a soloist of fierce intelligence. Unlocking the work’s volcanic emotions …he certainly found the reflective tenderness. He and Elder’s taut yet flexible orchestra were at one in the visionary poetry of the finale, making this a performance of exceptional detail – happily one that will appear on the orchestra’s own CD label.” The Sunday Telegraph

“Coote’s performance is a marvel … and perfectly nuanced throughout” The Guardian

A tribute to Elgar's 150th birthday (2007), David Owen Norris and The Works perform Elgar's songs and piano solos on Elgar's own 1844 Broadwood piano, including the world-premiere of his unpublished final song XTC, set to his own words. In all, this 2-CD set presents 32 of Elgar's finest songs for voice and piano, including a number never recorded before, and premiere recordings of Elgar's piano arrangements of the theme of the Cello Concerto, and the Prelude and Angel’s Farewell from Gerontius which, like Sea Pictures (sung here in its original soprano key) and the Woodland Interlude from Caractacus, were all composed at this piano. He even wrote these titles on its soundboard, along with his signature. These piano versions clearly remained in the forefront of Elgar’s mind and reveal his bold first thoughts before they may have been revised at the suggestion of others. The piano’s construction – keys slightly narrower than on a modern piano, the black keys set lower – illuminates Elgar’s intentions. The writing suddenly makes perfect sense, which it doesn’t always on a modern Steinway.

The cover art is H.A. Payne’s The Enchanted Sea, which was part of the inspiration for Sea Pictures.

One of this country’s finest and most popular singers, Dame Janet Baker has a special place in the hearts of music-lovers throughout the land. Since making her Covent Garden and New York debuts in 1966 she has become synonymous with a wide range of much-loved baroque and romantic repertoire. Janet Baker was made a Dame 25 years ago. Here, for the first time, EMI have gathered together some of her most memorable performances on one double CD.

Andrew Neill writes: “Edward Elgar became an early star of the gramophone and the recordings he made (and supervised) between 1914 and 1934 remain among the great contributions to the recorded repertoire… Elgar was absolutely sure of himself as a conductor of his own works… He never tried to disguise the fact that his own music thrilled and delighted him.” This collection includes such gems as Beatrice Harrison playing the Cello Concerto and Fringes of the Flleet and will be of great interest to collectors.