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ID: ALBCD009
CDs: 2
Type: CD
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Subkolektion: Voices
MUSIC IN THE HEART
A commemorative Album marking the 50th anniversary of the death of Ralph Vaughan Williams on 26th August 1958.
SERENADE TO MUSIC
Recorded live at the Royal Concert on 22 November 1951 in the Royal Festival Hall, London.
Pilgrim’s Journey: Recorded live in the Plymouth Church of the Pilgrims on Sunday 4 April 1965
Sopranos: Stiles Allen*, Isobel Baillie*, Ena Mitchell, Elsie Suddaby*; Contraltos: Muriel Brunskill*, Astra Desmond*, Mary Jarred*, Gladys Ripley; Tenors: William Herbert, Richard Lewis, Stephen Manton, Heddle Nash*; Baritone/Bass: Norman Allin*, Robert Easton*, Roy Henderson*, Harold Williams* (* indicates the soloists in the first performance under Sir Henry Wood in 1938)
Liverpool Philharmonic Orchestra, Ralph Vaughan Williams
THE PILGRIM'S JOURNEY
(arranged by Roy Douglas) Recorded live in the Plymouth Church of the Pilgrims on Sunday April 4th 1965.
Louis Bové (soprano), Clifford Scott (tenor), John Peck (baritone), Arnold Ostlund Jr.(organ)
Plymouth Choir, Plymouth Church of the Pilgrims, Brooklyn, New York City, Henry Pfohl
This release is a unique and rare recording of Ralph Vaughan Williams conducting his Serenade to Music from a performance in 1951. It is a deeply expressive and romantic interpretation. The Serenade to Music was commissioned by Sir Henry Wood for his Jubilee Concert to celebrate his 50 years as a conductor. The concert took place on October 5th 1938.
The Serenade to Music is one of the sweetest, most beautiful of all Vaughan William’s works.
Also on this recording are the Pilgrim’s Journey and a bonus disc of Vaughan Williams talking about the teachings of Parry and Stanford and a short extract from the funeral service of Vaughan Williams. This recording has been brilliantly re-mastered by Peter Reynolds. |
| 25.00 eur Buy |
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ID: OPD7041
CDs: 2
Type: CD
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Subkolektion: Oper
Mariano Stabile, Renata Tebaldi, Cesare Valletti, et al.: vocal soloists / La Scala Orchestra and Chorus / Victor de Sabata: conductor
Verdi’s last opera, written when he was approaching eighty, was only the second comedy of his long career, following the ill-fated Un giorno di regno of fifty years before. His friend and collaborator Arrigo Boito, who had with some difficulty talked him into composing Otello several years earlier, now had an easier time convincing him to crown his glory with one more tribute to his beloved Shakespeare. The three principals are all famous portrayers of their roles, aided by an outstanding supporting cast. Mariano Stabile was a veteran Italian basso buffo who had the role of Falstaff in his belly, if not his bones. Renata Tebaldi was the most famous Italian lyric soprano of her era and she remains, along with Maria Callas, the most loved soprano of recent years. Cesare Valletti was a tenore di grazia, a tenor with a light, flexible head voice of exquisite beauty. Live performance, Milan, May 26, 1951.
Ilustration © Rafal Olbinski |
| 25.00 eur Buy |
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ID: SIGCD105
CDs: 2
Type: CD
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Kolektion: Choral CollectionSubkolektion: Choir
Following its successful premiere performance earlier this year, Francis Pott’s highly anticipated recording of The Cloud of Unknowing is likely to be musical milestone and a choral great.
Drawing together a variety of texts and musical influences, Pott weaves together a deep and emotional work with an ethos reminiscent of Michael Tippett’s ‘War Oratorio’. |
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ID: SIGCD209
CDs: 2
Type: CD
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Kolektion: Choral CollectionCharles Daniels, Evangelist Stephen Varcoe, Jesus Stephan Logue, Pilate
J.S. Bach’s ‘Passions’ have been said to employ the word with more than one meaning - as well as telling the story of Christ’s sacrifice, they are simultaneously a celebration of human feeling in the joy and suffering of man’s pilgrimage on earth. The expert early music chamber orchestra Yorkshire Baroque Soloists bring all of these feelings to life in a dramatic and resonant performance of Bach’s Passio Secundum Johannem (St John Passion).
Joined for this recording by the excellent Charles Daniels, Stephen Varcoe and Stephan Loges, the Yorkshire Baroque Soloists have been a leading light in the world of Early Music performance since their formation in 1973. |
| 26.00 eur Buy |
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ID: SIGCD348
CDs: 2
Type: CD
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Subkolektion: Oper
Alan Oke
Alexandra Hutton
Britten-Pears Orchestra
Catherine Wyn-Rogers
Charles Rice
Charmian Bedford
Chorus Of Opera North
Chorus Of The Guildhall School Of Music & Drama
Christopher Gillett
David Kempster
Gaynor Keeble
Giselle Allen
Henry Waddington
Robert Murray
Stephen Richardson
Steuart Bedford
2CD SET
CD1
Prologue
[1] Peter Grimes (Hobson, Swallow, Peter) 1.32
[2] You sailed your boat round the coast
(Swallow, Peter, Mrs. Sedley, Hobson, Ellen,
Chorus) 3.20
[3] Peter Grimes, I here advise you (Swallow,
Hobson, Peter, Chorus) 2.10
[4] The truth - the pity - and the truth (Peter,
Ellen) 1.55
[5] Interlude I: Dawn 2:47
ACT I
Scene 1
[6] Oh, hang at open doors (Auntie, Boles,
Balstrode, Chorus) 4.21
[7] Good morning, good morning! (Rector,
Nieces, Mrs. Sedley, Ned, Swallow, Auntie,
Boles, Balstrode, Chorus) 1.05
[8] Hi! Give us a hand (Peter, Boles, Balstrode,
Ned, Auntie, Hobson) 3.22
[9] I’ll have to go from pub to pub (Hobson,
Ellen, Ned, Chorus) 1.54
[10] Let her among you without fault (Ellen,
Hobson, Mrs. Sedley, Ned) 3.00
[11] Look! The storm cone! (Balstrode, Ned,
Boles, Chorus) 2.35
[12] And do you prefer the storm (Balstrode,
Peter) 3.24
[13] They listen to money (Peter, Balstrode) 1.35
[14] What harbour shelters peace (Peter) 1.02
[15] Interlude II: Storm 4.05
Scene 2
[16] Past time to close (Auntie, Mrs. Sedley,
Balstrode, Boles, Nieces) 2.22
[17] Loud man (Auntie, Nieces, Mrs. Sedley)
1.00
[18] There’s been a landslide up the coast
(Fisherman, Boles, Balstrode, Auntie) 0.59
[19] No, I mean love (Boles, Balstrode, Chorus)
0.32
[20] Pub conversation should depend (Balstrode,
Chorus) 1.19
[21] Have you heard the cliff is down (Ned,
Auntie, Mrs. Sedley, Chorus) 1.34
[22] Now the Great Bear and Pleiades (Peter,
Nieces, Boles, Balstrode, Auntie, Chorus) 3.34
[23] For peace sake (Balstrode, Peter) 2.29
[24] The bridge is down (Hobson, Ned, Ellen,
Boles, Auntie, Nieces, Peter) 1.27
ACT II
[25] Interlude III: Sunday Morning 2.26
Scene 1
[26] Glitter of waves (Ellen) 1.29
[27] Now that the daylight fills the sky (Ellen,
Rector, Chorus) 3.39
[28] Child you’re not too young (Ellen, Rector,
Peter, Chorus) 3.11
[29] This unrelenting work (Ellen, Peter, Chorus)
4.18
[30] Fool to let it come to this (Auntie, Ned,
Boles, Mrs. Sedley, Balstrode, Swallow, Nieces,
Rector, Chorus) 3.13
[31] People ... No! I will speak! (Boles,
Balstrode, Rector, Auntie, Ellen, Chorus) 2.09
Total time - 73.32
CD2
ACT II
Scene 1 (continued)
[1] We planned that their lives (Ellen, Rector,
Mrs. Sedley, Boles, Ned, Nieces, Auntie,
Balstrode, Hobson, Swallow, Chorus) 2.15
[2] Shall we go and see Grimes in his hut?
(Rector, Swallow, Balstrode, Mrs. Sedley, Boles,
Chorus) 0.47
[3] Now gossip is put on trial (Chorus) 2.02
[4] From the gutter (Nieces, Auntie, Ellen) 4.01
[5] Interlude IV: Passacaglia 5.29
Scene 2
[6] Go there (Peter) 1.54
[7] They listen to money (Peter) 5.02
[8] Now! Now! (Peter, Chorus) 2.09
[9] Peter Grimes (Rector, Swallow, Ned) 2.50
ACT III
[10] Interlude V: Moonlight 3.39
Scene 1
[11] Assign your prettiness to me (Swallow,
Nieces, Ned) 3.12
[12] Mr. Keene (Mrs. Sedley, Ned) 1.27
[13] Murder most foul it is (Mrs. Sedley, Ned) 1.24
[14] Come along, Doctor (Burgess, Burgesses,
Rector, Mrs. Sedley, Ellen, Balstrode) 2.43
[15] Embroidery in childhood was (Ellen,
Balstrode) 4.47
[16] Mr. Swallow (Mrs. Sedley, Auntie, Swallow,
Hobson) 1.55
[17] Who holds himself apart (Chorus) 3.27
[18] Interlude VI 2.08
Scene 2
[19] Grimes! (Voices, Peter) 5.09
[20] Peter, we’ve come to take you home (Ellen,
Peter, Balstrode) 2.23
[21] To those who pass the Borough (Swallow,
Fisherman, Auntie, Boles, Chorus) 5.13
Total time - 63.47
Britten’s powerful and masterful evocation of the North Sea in all its moods has to audiences all over the world become inextricably linked with the Aldeburgh that was home to George Crabbe (author of the ‘The Borough’ from which the story originates) in the eighteenth century and Britten in the twentieth.
Steuart Bedford leads a vast and accomplished ensemble on this new live recording, created shortly before the group’s unique staging of the work on the beach at Aldeburgh as part of the town’s world-renowned festival.
(Physical product booklet includes the full libretto to the opera, however this not available in the linked booklet below for copyright reasons.) |
| 26.00 eur Temporarily out of stock |
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ID: SIGCD385
CDs: 2
Type: CD
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Subkolektion: Choir
Charles Daniels
Peter Harvey
Peter Seymour
Yorkshire Baroque Soloists
CD1
ERSTER TEIL PART ONE
[1] Coro I & [II] & Choral: Kommt, ihr Töchter, helft mir klagen [7.00]
[2] Evangelista, Jesus: Da Jesus diese Rede vollendet hatte [0.37]
[3] Choral: Herzliebster Jesu, was hast du verbrochen [0.35]
[4] Evangelista: Da versammleten sich die Hohenpriester [0.27]
[5] Coro I & II: Ja nicht auf das Fest [0.16]
[6] Evangelista: Da nun Jesus war zu Bethanien [0.31]
[7] Coro I: Wozu dienet dieser Unrat? [0.31]
[8] Evangelista, Jesus: Da das Jesus merkete, sprach er zu ihnen [1.20]
[9] Recitativo (Alto 1): Du lieber Heiland du [0.56]
[10] Aria (Alto 1): Buß und Reu [4.19]
[11] Evangelista, Judas: Da ging hin der Zwölfen einer [0.38]
[12] Aria (Soprano 2): Blute nur, du liebes Herz! [4.43]
[13] Evangelista: Aber am ersten Tage der süßen Brot [0.12]
[14] Coro I: Wo willst du, daß wir dir bereiten [0.25]
[15] Evangelista, Jesus: Er sprach: Gehet hin in die Stadt [1.10]
[16] Evangelista: Und sie wurden sehr betrübt [0.10]
[17] Coro I: Herr, bin ichs? [0.12]
[18] Choral: Ich bins, ich sollte büßen [0.35]
[19] Evangelista, Jesus, Judas: Er antwortete und sprach [2.55]
[20] Recitativo (Soprano 1): Wiewohl mein Herz in Tränen schwimmt [1.20]
[21] Aria (Soprano 1): Ich will dir mein Herze schenken [3.24]
[22] Evangelista, Jesus: Und da sie den Lobgesang gesprochen hatten [0.58]
[23] Choral: Erkenne mich, mein Hüter [0.43]
[24] Evangelista, Petrus, Jesus: Petrus aber antwortete und sprach zu ihm [1.00]
[25] Choral: Es dient zu meinen Freuden [0.44]
[26] Evangelista, Jesus: Da kam Jesus mit ihnen zu einem Hofe [1.34]
[27] Recitativo (Tenore 1) & [Choral]: O Schmerz! Hier zittert das gequälte Her [1.46]
[28] Aria (Tenore 1) & [Coro II]: Ich will bei meinem Jesu wachen [4.54]
[29] Evangelista, Jesus: Und ging hin ein wenig [0.38]
[30] Recitativo (Basso 2): Der Heiland fällt vor seinem Vater nieder [0.52]
[31] Aria (Basso 2): Gerne will ich mich bequemen [4.15]
[32] Evangelista, Jesus: Und er kam zu seinen Jüngern [1.12]
[33] Choral: Was mein Gott will [0.48]
[34] Evangelista, Jesus, Judas: Und er kam und fand sie aber schlafend [2.28]
[35] Aria (Soprano 1, Alto 1) & [Coro II]: So ist mein Jesus nun gefangen [3.27]
[36] Coro I & II: Sind Blitze, sind Donner in Wolken verschwunden? [1.09]
[37] Evangelista, Jesus: Und siehe, einer aus denen [2.08]
[38] Choral: Jesum laß ich nicht von mir [0.49]
PARS 2da PART TWO
[39] Aria (Basso 1) & [Coro II]: Ach, nun ist mein Jesus hin! [3.41]
[40] Evangelista: Die aber Jesum gegriffen hatten [1.05]
[41] Choral: Mir hat die Welt trüglich gericht’ [0.34]
[42] Evangelista, Zeugen, Hohepriester: Und wiewohl viel falsche ... [1.12]
[43] Recitativo (Tenore 2): Mein Jesus schweigt zu falschen Lügen stille [0.58]
[44] Aria (Tenore 2): Geduld! [3.14]
[45] Evangelista, Hohepriester, Jesus: Und der Hohepriester antwortete [1.16]
[46] Coro I & II: Er ist des Todes schuldig! [0.13]
[47] Evangelista: Da speieten sie aus in sein Angesicht [0.14]
[48] Coro I & II: Weissage uns, Christe [0.21]
[49] Choral: Wer hat dich so geschlagen [0.38]
Total timings CD1 [75.13]
CD 2
[1] Evangelista, Magd I/II, Petrus: Petrus aber saß draußen im Palast [0.57]
[2] Coro II: Wahrlich, du bist auch einer von denen [0.14]
[3] Evangelista, Petrus: Da hub er an sich zu verfluchen [1.15]
[4] Aria (Alto 1): Erbarme dich, mein Gott [6.04]
[5] Choral: Bin ich gleich von dir gewichen [0.46]
[6] Evangelista, Judas: Des Morgens aber hielten alle Hohepriester [0.58]
[7] Coro I & II: Was gehet uns das an? [0.11]
[8] Evangelista, Hohenpriester: Und er warf die Silberlinge in den Tempel [0.43]
[9] Aria (Basso 2): Gebt mir meinen Jesum wieder! [2.44]
[10] Evangelista, Pilatus, Jesus: Sie hielten aber einen Rat [2.12]
[11] Choral: Befiehl du deine Wege [0.45]
[12] Evangelista, Pilatus, Pilati Weib, Chor I & II: Auf das Fest aber [2.07]
[13] Coro I & II: Laß ihn kreuzigen! [0.21]
[14] Choral: Wie wunderbarlich ist doch diese Strafe! [0.37]
[15] Evangelista, Pilatus: Der Landpfleger sagte [0.16]
[16] Recitativo (Soprano 1): Er hat uns allen wohlgetan [1.06]
[17] Aria (Soprano 1): Aus Liebe will mein Heiland sterben [4.54]
[18] Evangelista: Sie schrieen aber noch mehr und sprachen [0.04]
[19] Coro I & II: Laß ihn kreuzigen! [0.21]
[20] Evangelista, Pilatus: Da aber Pilatus sahe [0.31]
[21] Coro I & II: Sein Blut komme über uns und unsre Kinder [0.45]
[22] Evangelista: Da gab er ihnen Barrabam los [0.23]
[23] Recitativo (Alto 2): Erbarm es, Gott! [0.54]
[24] Aria (Alto 2): Können Tränen meiner Wangen [7.15]
[25] Evangelista: Da nahmen die Kriegsknechte [0.37]
[26] Coro I & II: Gegrüßet seist du, Jüdenkönig! [0.16]
[27] Evangelista: Und speieten ihn an [0.13]
[28] Choral: O Haupt, voll Blut und Wunden [0.51]
[29] Evangelista: Und da sie ihn verspottet hatten [0.52]
[30] Recitativo (Basso 1): Ja, freilich will in uns das Fleisch und Blut [0.38]
[31] Aria (Basso 1): Komm, süßes Kreuz [5.44]
[32] Evangelista: Und da sie an die Stätte kamen mit Namen Golgatha [1.50]
[33] Coro I & II: Der du den Tempel Gottes zerbrichst [0.32]
[34] Evangelista: Desgleichen auch die Hohenpriester [0.10]
[35] Coro I & II: Andern hat er geholfen [0.58]
[36] Evangelista: Desgleichen schmäheten ihn auch die Mörder [0.16]
[37] Recitativo (Alto 1): Ach Golgatha, unselges Golgatha! [1.11]
[38] Aria (Alto 1) & [Coro II]: Sehet, Jesus hat die Hand [3.25]
[39] Evangelista, Jesus: Und von der sechsten Stunde an [1.32]
Coro I: Der rufet dem Elias!
[40] Evangelista: Und bald lief einer unter ihnen [0.21]
[41] Coro II: Halt! Laß sehen [0.08]
[42] Evangelista: Aber Jesus schriee abermal laut und verschied [0.27]
[43] Choral: Wenn ich einmal soll scheiden [1.09]
[44] Evangelista: Und siehe da, der Vorhang im Tempel zerriß (63a) [1.10]
[45] Coro I & II: Wahrlich, dieser ist Gottes Sohn gewesen (63b) [0.17]
[46] Evangelista: Und es waren viel Weiber da (63c) [1.17]
[47] Recitativo (Basso 1): Am Abend, da es kühle war [1.47]
[48] Aria (Basso 1): Mache dich, mein Herze, rein [6.37]
[49] Evangelista: Und Joseph nahm den Leib (66a) [1.13]
[50] Coro I & II: Herr, wir haben gedacht (66b) [1.02]
[51] Evangelista, Pilatus: Pilatus sprach zu ihnen (66c) [0.33]
[52] Recitativo (Basso 1,Tenore 1, Alto 1, Soprano 1) & [Coro II] [1.44]
Nun ist der Herr zur Ruh gebracht
[53] Coro I & II: Wir setzen uns mit Tränen nieder [4.58]
Total timings CD2 [78.20]
Total timings: [153.33 |
| 26.00 eur Temporarily out of stock |
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ID: SIGCD109
CDs: 2
Type: CD
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Kolektion: BaroqueSubkolektion: Choir
Music of the seventeenth century was little known to the concertgoing or record-buying public, up until fifty years or so ago when Monteverdi’s Vespers were performed under the inspiration of figures such as Michael Tippett as part of a modern revival of early music. Subsequently, it has been one of the most celebrated works both with choral societies and early music specialists.
Here, the Rodolfus Choir offer their interpretation of one of the most magnificent works of the seventeenth century. Following their highly successful release with Signum earlier this year, Choral Arrangements by Clytus Gottwald, the Rodolfus Choir perform earlymusic as sensitively and musically as they perform music of the twentieth-century. |
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ID: SIGCD042
CDs: 2
Type: CD
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Kolektion: RenaissanceSubkolektion: Choir
The final release explores the most obscure and enigmatic corner of Tallis’s output - his secular music. His profession as church musician and member of the Chapel Royal did not require him to write secular songs or pieces, yet some works may have been written for the Tudor court. Other works are thought to have been written for generations of choir boys, who were assisted with their training by the composer. Plays and performances outside of the choirboy’s obligation were popular, as well as instrumental consort music and keyboard pieces associated with their training. Tallis is likely to have been given the opportunity to write his secular works for these occasions.
Tallis’s music was admired and used by others far beyond the Chapel Royal and the court. Some of his intended sacred choral works are included on this recording in other guises, arranged by musicians with performance intentions very different to that of the church. His reputation of greatness amongst his friends and contemporaries is reflected in William Byrd’s elegy Ye sacred muses, where he echoes the sentiments of others with the words "Tallis is dead, and Music dies". This musical tribute has justifiably become one of Byrd’s most popular works.
Volume 9 of The Complete Works is a double CD release, marking the end of this popular series. Alistair Dixon has realised the project, and directed his choir Chapelle du Roi throughout the earlier volumes. Musicians featured on this final disc are: Andrew Benson-Williams (organ), Laurence Cummings (virginals), the ensemble Charivari Agréable, Lynda Sayce (lute), and Stephen Taylor (counter tenor) |
| 26.00 eur Buy |
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ID: SIGCD074
CDs: 2
Type: CD
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Kolektion: Sacred MusicSubkolektion: Choir
A stellar line-up of soloists, conductor, choir and orchestra combine forces in the re-mastered 2 CD set of Mozart's arrangement of Handel's much loved 'Messiah'.
In April 1742, shortly after the first performance of Messiah in Dublin for the city's Charitable Musical Society, the Dublin Journal reported that the oratorio "was allowed by the greatest of Judges to be the finest Compostion of Musick that was ever heard".
Sir Charles Mackerras continues the constantly evolving performance history of one of the world's most enduring masterpieces. |
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