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    Laudi

    Laudi

    Volym 5 i Sveriges Körförbunds och Naxos’ serie Swedish Choral Society.

    Innehåll:
    Heinrich Schütz: Also hat Gott die Welt geliebt, Die mit Tränen säen, Selig sind die Toten
    Johannes Brahms: Warum ist das Licht gegeben dem Mühseligen
    Bjørn Hjelmborg: Tre motetter (Hvor elskelige er dine boliger, Herre Zebaoth, Hvor længe skal du evigt glemme mig, Herre, Halleluja! Ja, det er godt at lovsynge vor Gud)
    Ingvar Lidholm: Laudi
    Lars Edlund: Communio. Fyra nattvardsmotetter (Allas ögon vänta efter dig, Smaken och sen, Huru skall jag vedergälla, De varda mättade)
    Max Reger: Ach, Herr, strafe mich nicht in deinem Zorn

    Vespers

    Grechaninov was initially taught by Anton Arensky in Moscow, and then later, in 1890, he went to St Petersburg to study with Rimsky-Korsakov. It was he who influenced his style and helped him launch his professional career. After the Revolution, Grechaninov became increasingly uneasy in Soviet Russia, and in 1925 left for ever. In 1946 he took American citizenship.

    An unusually versatile and prolific composer, he wrote operas, symphonies, chamber music, over 250 songs, and a great deal of music for children. He has been described as the most representative composer of his generation writing for the Orthodox service.

    Vespers is part of the All-Night Vigil service, and Grechaninovs setting was composed, premiered, and published in 1912. This precedes Rachmaninovs setting by three years. It appears to have lain dormant for some eighty years until it was revived in America for its first performance of modern times in 1995.

    Contents:
    Now the Powers of Heaven, Op. 58 No. 6
    In Thy Kingdom, Op. 58 No. 3
    Lord, now lettest Thou Thy servant, Op. 34 No. 1
    All-Night Vigil, Op. 59

    Songs in Meantone

    Flöjtisten Jonas Simonson och basisten Anders Jormin i ett unikt möte med organisten Karin Nelson och den medeltonsstämda barockorgeln i Örgryte nya kyrka, Göteborg. Folkmusik, jazz och tidig musik i skön förening.

    Folkmusikern och kompositören Jonas Simonson är välkänd från grupperna Den Fule och Groupa, tidigare även t.ex. Bäsk och Kapell Frisell. Jonas är kursföreståndare på världsmusikprogrammet på Högskolan för Scen och Musik vid Göteborgs Universitet. Han skriver och arrangerar musik med nordisk folkmusik som grund.


    De tre musikerna från olika musikaliska fält har här valt att blanda olika stämningar när de improviserar, vilket ger upplevelser som knappast någon hört tidigare … Deras samspel blir till en fascinerande resa genom ett nytt musikaliskt landskap.
    Betyg 4 av 5. (PG Bergfors, GP)

    ”Sammantaget har det blivit en säreget stillsam musik med hemlighetsfullt uttryck.” (Dan Backman, SvD)

    ”Stämningsfullt och vackert … Jormin visar verkligen vilken mästarmusiker han är. Och Jonas flöjter passar som hand i handske till musik och kyrklig akustik.” (Peter Ahlbom, Spelmannen)

    Anders Jormin är jazzbasist, kompositör och professor i improvisation på Högskolan för Scen och Musik vid Göteborgs Universitet. Medlem i Bobo Stenson Trio, men spelar och turnerar också regelbundet med en lång rad av de främsta internationella artisterna. Har gett ut ett tiotal CD i eget namn och medverkar på ett stort antal plattor inom olika genrer. Komponerar både jazzlåtar och större verk för kör och orkester. Anders belönades 2010 med Musikaliska Akademiens stora Jazzpris.

    Organisten Karin Nelson är utbildad bl.a. vid Sweelinckkonservatoriet i Amsterdam. Disputerade 2010 på avhandlingen ”Improvisation and Pedagogy through Heinrich Scheidemann’s Magnificat Settings”. Ger solokonserter och undervisar i solistiskt orgelspel och nutida orgel på Högskolan för Scen och Musik vid Göteborgs Universitet.

    Innehåll:
    Crane Halling / Haridji-halling (Jonas Simonson)
    M (Anders Jormin)
    Feu (Jormin/Nelson/Simonson)
    Törnsäter / Bingsjöpolskan (Karin Nelson / Jonas Simonson)
    Vägen är öde (Desolate Road) (Anders Jormin)
    Air (Jormin/Nelson/Simonson)
    Magnificat (Gregorian chant / Karin Nelson)
    Vater unser im Himmelreich (Dieterich Buxtehude)

    Songs in Meantone is a unique summit meeting between three musicians from different traditions: the bass-player Anders Jormin, the flautist Jonas Simonson and – in the center – the organist Karin Nelson, playing on the extraordinary baroque organ at Örgryte nya kyrka, Göteborg. Folkmusic, jazz and early music united.
    Anders Jormin – internationally acclaimed bassist, composer and a professor of Improvisation at the Academy of Music and Drama at the University of Gothenburg. A member of the Bobo Stenson Trio and an ECM recording artist. Tours and performs regularly with many of the foremost artists in contemporary improvisational music. Has released about a dozen CDs under his own name, and is featured on a substantial number of recordings in several genres. His compositions range from modern jazz to pieces for choirs and symphonic ensembles.

    Karin Nelson – organist and graduate of the Sweelinck Conservatory of Amsterdam. The title of her 2010 PhD thesis is ”Improvisation and Pedagogy through Heinrich Scheidemann’s Magnificat Settings”. Gives solo concerts and teaches organ interpretation and improvisation at the Academy of Music and Drama at the University of Gothenburg.

    Jonas Simonson – flautist and educator. Course director of the World music programme at the Academy of Music and Drama at the University of Gothenburg. A current member of Den Fule, Groupa and Crane Dance Trio. A former member of many other groups, such as Bäsk, Kapell Frisell and the Vocal Ensemble Amanda. Composes and arranges music with roots in Scandinavian folk music.

    Die Weihnachtsgeschichte

    Många svenska körer har sjungit Hugo Distlers bearbetning av ”Det är en ros utsprungen”. Den är hämtad från hans stora julberättelse, Die Weihnachtsgeschichte, Op. 10. Thomanerchor Leipzig och solister sjunger under ledning av Hans-Joachim Rotsch.

    Innehåll:
    Introduction: Das Volk, so im Finstern wandelt (Chorus)
    Es ist ein Ros entsprungen (Chorus)
    Recitative: Es ward gesandt der Engel Gabriel (Narrator, Angel, Maria)
    Das Roslein, das ich meine (Chorus)
    Recitative: Maria aber stand auf (Narrator, Elisabeth)
    Meine Seele erhebt Gott, den Herrn – Wir bitten dich von Herzen (Maria, Chorus)
    Recitative: Es begab sich aber zu der Zeit (Narrator)
    Das Blumenlein so kleine (Chorus)
    Recitative: Und es waren Hirten (Narrator, Angel)
    Ehre sei Gott in der Hohe (Chorus)
    Recitative: Und da die Engel (Narrator)
    Lasset uns nun gehen (Chorus)
    Recitative: Und sie kamen eilend (Narrator)
    Die Hirten zu der Stunden (Chorus)
    Recitative: Da Jesus geboren war zu Bethlehem (Narrator)
    Wo ist der neugeboren König (Chorus)
    Recitative: Da das der Konig Herodes Horete (Narrator)
    Zu Bethlehem, um judischen Lande (Chorus)
    Recitative: Denn also stehet geschrieben (Narrator, Herodes)
    Lob, Ehr sei Gott dem Vater (Chorus)
    Recitative: Und siehe, ein Mensch war zu Jerusalem (Narrator, Simeon)
    So singen wir all Amen (Chorus)
    Also hat Gott die Welt geliebt (Chorus)

    Geistliche Chormusik. Motetten op. 12

    Vem sjunger Distler i dag? Ja, hans bearbetning av ”Det är en ros utsprungen”, men för övrigt? Dags för en renässans kanske?

    Seit zwölf Jahren erfreut sich diese Aufnahme nun schon ungebrochener Beliebtheit bei Presse, Rundfunk und Publikum und wurde zu einer Referenzeinspielung.

    ”Höchstes Lob für das Berliner Vokalensemble.” (Fanfare)
    ”Vorbildlich gestaltet das Berliner Vokalensemble die dichte Musiksprache des deutschen Chorspezialisten.” (Kleine Zeitung)

    Totentanz, op. 12,2
    Ich wollt, dass ich daheime wär, op. 12,5
    Wachet auf, ruft uns die Stimme, op. 12,6
    In der Welt habt ihr Angst, op. 12,7
    Das ist je gewißlich wahr, op. 12,8
    Fürwahr, er trug unsere Krankheit, op. 12,9

    Der Jahrkreis op. 5

    Antal ex i lager: 2
    Copies in stock: 2

    Vem sjunger Distler i dag? Ja, hans bearbetning av ”Det är en ros utsprungen”, men för övrigt? Dags för en renässans kanske?

    ”Wilhelm Ehmann spielte mit der Westfälischen Kantorei eine Auswahl mit großer Einfühlung in die kirchenmusikalische Praxis ein… eine willkommene Ergänzung für den CD-Katalog” (Klassik heute)

    Mit Ernst, o Menschenkinder
    Macht hoch die Tür
    Maria durch ein´ Dornwald ging
    Lobt Gott, ihr Christen allzugleich
    Ehre sei Gott in der Höhe
    Wie schön leuchtet der Morgenstern
    Jesu, deine Passion
    Christe, du Lamm Gottes
    O Mensch, bewein dein Sünde groß
    Also hat Gott die Welt geliebt
    Erschienen ist der herrlich Tag
    Amen
    Nun bitten wir den Heiligen Geist
    Herr Gott, dich loben wir
    Allein Gott in der Höh sei Ehr
    Christ, der du bist der helle Tag
    Der Mensch, vom Weibe geboren
    Ach wie nichtig, ach wie flüchtig
    Selig sind die Toten
    Wo Gott zum Haus nit gibt sein Gunst
    Ein neu Gebot gebe ich euch
    Spielstück für Orgel
    Verleih uns Frieden gnädiglich

    Annemarie Töpler-Marizy, Sopran
    Rosemarie Carlsdotter-Lahrs, Hanny Henning, Violine
    Hedwig Thierfelder, Viola
    Arno Schönstedt, Orgel
    Westfälische Kantorei
    Wilhelm Ehmann

    Mörike-Chorliederbuch op. 19

    Vem sjunger Distler i dag? Ja, hans bearbetning av ”Det är en ros utsprungen”, men för övrigt? Dags för en renässans kanske?

    ”Artistically it´s a georgeous program… marvelous singing under Herr Stegmann´s care.” (American Record Guide)
    ”Farbiger und homogener Chorklang.” (Württemberg. Blätter für Kirchenmusik)
    ”Eine herausragende Einspielung.” (Fono Forum)

    CONTENTS:
    Vorspruch
    Ein Stündlein wohl vor Tag
    Jedem das Seine
    Lieb in den Tod
    Die traurige Krönung
    Auf dem Spaziergang
    Der Gärtner (3. Fassung)
    Agnes
    Jägerlied (2. Fassung)
    Kinderlied für Agnes
    Um Mitternacht
    Ritterliche Werbung
    Gebet (1. Fassung)
    Lied vom Winde
    Das verlassene Mägdlein
    Der Feuerreiter
    Schön Rohtraut
    Die Tochter der Heide (1. Fassung)
    Lied eines Verliebten
    Er ist’s
    Verborgenheit (1. Fassung)
    Mausfallensprüchlein
    Wanderlied
    Denk es, o Seele
    Sehnsucht
    Lebewohl
    Frage und Antwort

    Puer natus est

    Tudor Music for Advent and Christmas

    Stile Antico´s newest programme centres on Thomas Tallis´s magnificent seven-part ”Christmas” Mass, based on the festive plainchant Puer natus est (”A boy is born”). The mass is interspersed with seasonal Tudor music, including William Byrd´s exquisite Propers for the fourth Sunday of Advent, responsories by Taverner and Sheppard, Robert White´s exuberant setting of the Magnificat, and Tallis´s own sublime Videte miraculum.

    ”Stile Antico continues to set new standards for Renaissance polyphonic singing.”
    (The Philadelphia Inquirer)

    Thomas Tallis: Missa Puer Natus Est
    John Taverner: Audivi vocem de caelo
    William Byrd: Gradualia 1, 1605 (Rorate caeli desuper, Tollite portas, Ave Maria, Ecce virgo concipiet)
    Robert White: Magnificat
    Plainchant: Puer natus est
    John Sheppard: Verbum Caro

    Så vill jag sjunga

    En av 2010 års 10 bästa skivor, enligt Dagens Nyheter.

    Så vill jag sjunga är nummer 4 i Sveriges Körförbunds och Naxos serie Swedish Choral Society, där ett 50-tal olika svenska körer ska komma att presenteras.

    På denna CD presenterar Göteborgs Kammarkör 22 arrangemang av Gunnar Eriksson, av vilka de flesta finns tryckta i hans samling Kör ad lib. Grön. Det rör sig alltså huvudsakligen om bearbetade svenska och franska folkmelodier, många i lekfulla quodlibetsatser.

    Som solist i många av sångerna har man anlitat Eva Rune, en av Sveriges absolut främsta tolkare av folkmusikaliskt material. I häftets kommentar skriver Jan Ling om Eva Rune: ”Beundransvärd är hennes förmåga till inlevelse i texten och hennes lyhördhet inför den enskilda tonen.”

    De flesta av sångerna sjungs a cappella; här och där förstärks musiken av en flöjt, en klarinett, en keltisk harpa, några koskällor och klockor. Det har blivit en mycket stämningsfull och spännande skiva. Genom att inspelningen har gjorts under ett antal konserter inför publik finns här en nerv och närvaro som man inte alltid lyckas uppnå i en studio.

    ”Det är med största finkänsla Gunnar Eriksson förnyar den folkliga traditionen. I detalj utmejslar han ett nytt musikaliskt landskap som, trots det så tydligt arrangerade, framstår som självklart … Möten mellan olika musikaliska sammanhang kan verka krystade, men gör så inte här. Här belyser istället kontrasterna varandra. Musiken dekonstrueras, återskapas på nytt, och görs på så sätt angelägen … Huvudsolisten Eva Rune sjunger klart som en vårbäck … Den här musiken får mig att tänka på hur mångfacetterad den mänskliga rösten kan vara, och vilken potential som finns i kören som instrument. Det är bara att applådera.” Hanna Flyckt, Folkmusik & Dans

    Dagens Nyheters Martin Nyström gav ”Så vill jag sjunga” betyget 5, full poäng, och skrev:
    ”Det börjar med ett bländande ljus: en majsol och en vårluft som är så rusig att man tappar andan. Men snart skymmer det, extasen byts till en längtan och känslan byter fokus från det man har till det man mist. ´Så vill jag sjunga min sång för dig, som om du min egen vore´ sjunger Eva Rune med en elegisk ton som både tröstar och river upp.
    Det här albumet är körledaren Gunnar Erikssons största stund på skiva. Där han med sina unika körarrangemang skapar hisnande överfarter mellan folkvisa, koraler, medeltid, renässans, barock och modernism. Här kan en latinsk djäknesång alstra en svensk psalm, ett mustigt skillingtryck blandas med en himmelsk medeltida polyfoni och ett senmodernistiskt flöjtsolo leda känslan i ett urnordiskt vemod. Här förenas också till slut Byssan lull med den sene Bach som vore den en vaggvisa som sjöng hela kosmos till ro.”

    ”Det är när Eriksson kombinerar just det franska, en 1900-tals-atonalitet och nordisk folkklang som genuin körmagi uppstår – de där ögonblicken när körklangen omsluter en helt och man sugs in i ett tidlöst nu-då och det susar av frusen, uråldrig granskog i öronen.” Hanna Höglund, Göteborgs-Posten. 4 av 5 möjliga fyrar.

    ”Eva Rune sjunger folkliga visor med suveräna Göteborgs Kammarkör under ledning av lika skicklige Gunnar Eriksson. En rutinerad folksångerska möter den moderna kören, ett traditionellt sångsätt möter ett annat i djärva arrangemang …” Peter Ahlbom, Spelmannen.

    This is No. 4 in the series Swedish Choral Society, in which Naxos and Sveriges Körförbund will present 50 Swedish choirs.

    On this CD the Gothenburg Chamber Choir sings 22 arrangements by its conductor Gunnar Eriksson. Most of these arrangements have been published in Kör ad lib. Grön (Choir ad lib. Green / Chœur ad lib. Vert), a collection of Swedish and French folk songs in playful quodlibet settings. Eva Rune, one of Swedens most brilliant folksinger, is heard as a soloist on several songs. Some instruments, like a flute, a clarinet, a celtic harp, cowbells, are sometimes being used to colour the music.

    The Gothenburg Chamber Choir was formed in 1963 by Gunnar Eriksson. For almost fifty years the choir has been a meeting place for diverse musical traditions, genres and other forms of artistic expression that interact to shed new light on music. With the choir as his instrument, Gunnar Eriksson has been constantly renewing and developing Swedish choral performance. Over the years the choir has made a succession of records as well as performing on radio and TV and has undertaken innumerable concert tours in Sweden and abroad. Thanks to its foreign tours the choir has helped to discover and to spread choral music from such diverse countries as Cuba, Israel/Palestine, Macedonia, Iceland, the Faeroe Isles and France. In recent years the Gothenburg Chamber Choir has given concerts together with Scandinavian, Romanian, Iranian, Egyptian, Palestinian, Latin American and Georgian musicians, composers and singers.

    INNEHÅLL / CONTENTS
    Voici lhiver passé / Nu vintern tar adjö*
    Majvisa / Voici le mois de mai*
    Tempus adest floridum*
    Till Ö med Kling
    Så vill jag sjunga min sång för dig
    Den fagraste visan
    Glädjens blomster*
    Y´a pas d´amour sans peine*
    Ack Värmeland du sköna*
    Om dagen vid mitt arbete
    Allt under himmelens fäste
    Jag vet en dejlig rosa*
    En gång i bredd med mig*
    Vinden drar*
    Du har låtit din kärlek få försvinna
    Lå lå Anton
    Världens frälsare, kom här
    Liksom vandraren
    Jesus styr du mine tankar
    Säg mig den vägen*
    Gjendines bådnlåt*
    Byssan lull*

    *Utgivna på noter av Bo Ejeby Förlag / Scores available and published by Bo Ejeby Förlag

    Requiem

    Carl Rütti´s choral music is ”sensuous and exuberant by turns, combining dazzling rhythms and soaring melodies with distinctively lush harmonies” (Choir & Organ magazine). Of his Requiem, immense in scale yet often intimate in tone, the composer writes that ”no words are strong enough to express the feelings of the bereaved, nor sufficient to explain what will await us after death. Music may be the most appropriate language”. Scored for soprano, baritone, double choir, strings, harp and organ, Rütti’s Requiem ultimately affirms life’s precious fragility.

    Förutom The Bach Choir under David Hills ledning, medverkar Olivia Robinson sopran, Edward Price baryton, Southern Sinfonia och Jane Watts orgel.

    Introitus
    Kyrie
    Offertorium
    Sanctus – Benedictus
    Agnus Dei
    Communio
    In Paradisum

    ”… genuin känsla för vokalmusik … kan leda till att körer runt om i världen får ett nytt standardverk i sin repertoar.” Jerker Sjökvist, Opus. Betyg 5 av 6 stjärnor

    Choral Music

    Edvard Grieg´s vocal output is rich, wide-ranging – and heterogeneous. He seems to have felt equally at home in any kind of writing technique, his oeuvre consisting of anything from small children´s songs and burlesque folkloristic compositions on anonymous texts to grand-scale religious works and dramatic song cycles based on poetry by internationally outstanding Norwegian poets.
    What really fascinates in this polychromatic world of songs and choral settings is the total lack of formal consistency between works within the same opus number. Grieg obviously didnt mind at all putting together songs of the most opposite aesthetic contents. One might even suspect he fancied this kind of formal pluralism, or that he in some cases just organized his songs in categories more based on score settings than on chronology and texture.
    Planning a comprehensive CD recording of Edvard Grieg´s choral music therefore calls for a great deal of programmatic consideration: should one perform the songs in their original order of appearance or present them assorted to genre? This recording does the latter, thus generating a dynamic vocal image of Grieg´s compositional genius.

    GREX VOCALIS conducted by Carl Høgset takes us on a journey to Grieg´s musical treasures. With Magnus Staveland as tenor soloist we venture into the Heavens with ”Four Hymns” after having explored the joys and sorrows of life in ”Children´s Songs” and ”Album for Male Voices”. En route we are also presented the evergreen songs ”Last Spring” and ”Ave, Maris Stella”.
    Grex Vocalis – The Singing Flock – was formed in 1971 by Carl Høgset. Participation in national and international choral competitions has resulted in several first prizes; in Arezzo in 1999 the choir was also awarded ”Il Gran Premio Città di Arezzo” as overall best choir. Grex Vocalis has been awarded the Norwegian “Grammy” for three of its fourteen albums. Grex Vocalis is renowned for its smooth, even sound – a combination of well-balanced timbre and shining overtones.

    Vespro della Beata Vergine

    In autumn of 1610 Monteverdi dedicated a luxuriant collection of religious music to Pope Paul V, of wich the Vespers of the Blessed Virgin is by far the most prodigious work. A spectacular synthesis of Franco-Flemish polyphony and Italian innovations, this impressive monument imposed itself as the standard-bearer of the Monteverdian revolution. But the real miracle is his ability to reconcile solemnity and suavity with the most genuine fervour.

    North Room. Secular Choir Music from Scandinavia

    Antal ex i lager: 2
    Copies in stock: 2

    Mogens Dahls nordiska kammarkör har spelat in tre cd med nordisk repertoar. Både musiken och kören håller högsta kvalitet. Med dessa tre plattor får lyssnaren en perfekt introduktion till den klassiska skandinaviska körmusiken, med betoning på körlyriska stycken.

    A perfect introduction to Scandinavian choral music is presented by Mogens Dahl Chamber Choir on 3 CD:s. On this, the third one, the repertoire is secular.

    Förvårskväll (David Wikander)
    Som stjärnan uppå himmelen (Hugo Alfvén)
    Stjärntändningen (Oskar Lindberg)
    Yndigt dufter Danmark (Svend S Schultz)
    Vårsång (Wilhelm Peterson Berger)
    April och tystnad (Sven-David Sandström)
    Music to hear (Sonet 8) (Anna Cederberg Orreteg)
    Orpheus (Lars Johan Werle)
    Den lyse nat (Bjørn Hjelmborg)
    De lyse nætter (Jørgen Jersild)
    Kom du ljuva hjärtevän (trad)
    Clarinet solo (Sigurd Berge) (clarinet: Klaus Tönshoff)
    Pavane-Fantasia (Bo Holten)
    Tyst är det rum, Det är vackrast när det skymmer (Gabriella Gullin)

    Endless Border

    The Swede Bo Hansson is a man of many talents: a guitarist, and a composer of a wide range of music in folk and jazz idioms. Choral music might be a relatively recent departure for him but its roots run deep, back to the days of his childhood when he sang as a treble in his local choir. He has observed that the human voice is the closest you can come to your soul and in that search he writes music that demands much of its performers in its sustained intensity of sound, a penchant for a cappella and a fresh way with word-setting even in the most established of texts, as in the darting energy of the Gloria from the Missa brevis.

    Rupert Gough and his Royal Holloway Choir are no strangers to Hyperion, having previously made waves in music by Baltic composers Miškinis and Dubra. Heres yet another sign that hes one of the most exciting choral conductors of his generation.

    Som när handen
    Salve regina
    Then I heard the singing
    For as the rain
    The place amongst the trees
    Missa brevis
    Lighten mine eyes
    Endless border

    Ett juloratorium

    Lena Hoel, soprano
    Mathias Zachariassen, tenor
    Swedish Radio Choir and Symphony Orchestra conducted by B. Tommy Andersson

    Sterling Records:
    It is indeed a mystery that this Christmas oratorio (1904) is not a standard repertoire work in Sweden. A jubilant, splendid, grandiose and at times highly impassioned and beautiful work by a real master – who was held in low esteem during his lifetime because of his contentious opinions.
    It is impossible to recognise the grumbling old man Hallén (1846-1925) in this music. Contemporaries thought of him as impossible. But the truth is probably that he was uncompromising in his musical ideals. This is a truly stunning Christmas Oratorio for everybody fed up with the usual Christmas music.

    ”I recommend that all folk who enjoy choral music try out this piece. It is, as we say in the North Country, a right good sing. I played this work to a few friends, who are big Wagnerians. They thoroughly enjoyed it. If this work were a long lost, but recently discovered, essay by Wagner, it would soon become well known. It would certainly form part of his canon.” MusicWeb

    Ben Somewhen

    Exaudi:
    The voice of the spirits
    The bridge of fire
    Roundels of the year
    Rise up, my love

    Birmingham Contemporary Music Group:
    Chamber concerto
    Clarinet quintet
    Suite from Delicate
    Ben Somewhen

    Conductor: James Weeks

    This collection contrasts Skempton�s choral works – including the dancing setting of Shelley’s The Voice of the Spirits and spiritual Rise Up, My Love – with chamber music ranging from the Suite from Delicate, for 2 cellos and percussion, to the exuberant (yet very English), Chamber Concerto. The title piece, Ben Somewhen, was commissioned by BCMG�s Sound Investment scheme for solo double bass and ensemble, and was inspired by Ben Hartley�s drawings of rural life.

    Since its debut in 2002, EXAUDI has emerged as one of Britain’s leading young contemporary music ensembles. With a repertoire that encompasses Ockeghem and Ferneyhough, Tallis and Xenakis, EXAUDI has performed to great acclaim throughout the UK and in Europe, and established a ground-breaking and much-praised discography on NMC. Founded by James Weeks (director) and Juliet Fraser (soprano), EXAUDI is based in London and draws its singers from among the UK’s brightest new vocal talents. The newest new music is at the heart of EXAUDI’s repertoire, and it has given UK and world premières of Sciarrino, Rihm, Finnissy, Skempton, Richard Ayres, Christopher Fox and James Saunders among many others. EXAUDI is particularly committed to the younger generation of composers currently in their twenties and early thirties, and is proud to champion the work of major emerging voices including Evan Johnson, John Habron, Chung Shih Hoh, Philip Howard, Dorothy Ker, James Weeks and Claudia Molitor.

    ”Skempton�s music is deceptively simple, affording familiar musical materials a gentle, non-ironic regard. Satie may be a near comparison, but without his wackiness and weirdness. In recent years, Skempton�s concentrated more on vocal and choral music, which gets haunting performances by Exaudi. A delightful disc.” The Wire

    ”An enticing collection … Exaudi and BCMG are manifestly attuned to the idiom, and recorded with ideal clarity. Informative notes from James Weeks and the composer enhance a release that confirms Skempton�s move to the centre of British new music as complete.” Gramophone

    ”The simplicity of his music, and its tendency to brevity – there are eight works in this collection, the longest of them an 18-minute suite of ballet music – are all deceptive; what one gets within the smallest frame is something totally memorable, perfectly crafted and, in its way, unutterably strange… Each of these pieces, whether the four written for ensemble or those for chorus (settings of Shelley, Flecker, Drinkwater and the Song of Solomon), manages to do something exquisite and totally personal; how Skempton always does it with such economy is a wonder in itself.” Guardia

    Swimming over London

    Swimming Over London is a new studio‐album of jazz‐inspired hits and recent commissions performed by The King’s Singers, and is a follow up to their Grammy Award‐winning crossover album Simple Gifts.
    This album covers a huge range of pop and jazz‐inspired influences – from old favourites (Nat King Cole’s Straighten up and fly right, Arlen & Gershwin’s It’s a New World and Hogey Carmichael’s Lazy Bones) to modern hits (Michael Bublé’s Home, Jason Mraz’s I’m Yours and Imogen Heaps Hide and Seek). Commissions especially for the album come from Bob Chilcott, Mia Makaroff, Ysaye M. Barnwell and Roger Treece.

    Singers:
    David Hurley countertenor
    Timothy Wayne-Wright countertenor
    Paul Phoenix tenor
    Philip Lawson baritone
    Christopher Gabbitas baritone
    Stephen Connolly bass

    Contents:
    Swimming over London – Bob Chilcott & Charles Bennett
    I’m yours – Jason Mraz arr. Philip Lawson
    Angel – Sarah McLachlan arr. Roger Treece
    By the time – Mika (Michael Penniman) arr. Philip Lawson
    September 15th / Keeper of the seasons – Pat Metheny & Lyle Mays, lyrics: Don Rosler, arr. Roger Treece
    It’s a new world – Harold Arlen & Ira Gershwin arr. Richard Rodney Bennett
    Don’t let go – Ysaye M. Barnwell
    Hide and seek – Imogen Heap arr. Christopher Gabbitas
    Lazy bones / Up a lazy river – Hoagy Carmichael, Johnny Mercer & Sidney Arodin arr. Daryl Runswick
    Andromeda – Mia Makaroff
    Recipe for love – Harry Connick, Jr arr. Berty Rice
    Silent love – Mia Makaroff
    Straighten up and fly right – Nat King Cole & Irving Mills arr. Alexander L’Estrange
    Home – Michael Bublé, Amy Foster-Gillies & Alan Chang arr. Alexander L’Estrange

    “They are always breathtakingly impressive in their vocal virtuosity, blend and pinpoint intonation.” American Record Guide
    “They are still unmatched for their sheer musicality and ability to entertain.” The Times
    “…a musical group of the very highest order.” Gramophone

    Oedipus Rex. Les Noces

    Each release from the Mariinsky label to date has featured music by some of the great Russian composers with whom the Mariinsky Theatre has enjoyed close relationships. For the labels sixth release, Valery Gergiev turns to the music of Igor Stravinsky, a composer who grew up in St Petersburg, attending performances at the Mariinsky Theatre where his father sang.

    Less than four years separate the premieres of Les Noces and Oedipus Rex, yet they each represent high-points in two distinct phases of Stravinskys career. Although the concept of Les Noces is highly innovative – a dance cantata – the music remains rooted in Russian folk traditions. Stravinsky dedicated the ballet to Diaghilev, whose Ballet Russes gave the premiere, and it marks the crowning glory of Stravinskys so-called second Russian period.

    The opera-oratorio Oedipus Rex is the first great work of Stravinskys neo-classical period. It features a major change in his compositional style, influenced in part by the loss of Russian identity following his emigration. It is sung in Latin with Jean Cocteaus original French narration spoken here by Gérard Depardieu.