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Songs of Orpheus

To build a programme of 17th-century music for tenor and ensemble around the myth of Orpheus and not include ‘Possente...

Reviewed by Alexandra Coghlan in issue: 08/2018

Light Divine

This juxtaposition of Handel and Rameau is an interesting proposition because the soloist is the boy treble Askel Rykkvin (whose...

Reviewed by David Vickers in issue: 08/2018

In Sorrow’s Footsteps

The opening chords of Gabriel Jackson’s Stabat mater, their dissonant points hammered like nails into the ear, make for an...

Reviewed by Alexandra Coghlan in issue: 08/2018

The Gluepot Connection

‘That bloody Gluepot’ was how an infuriated Sir Henry Wood described The George, a bustling public house just round the...

Reviewed by Andrew Achenbach in issue: 08/2018

A Certain Slant of Light

As this collection and its accompanying notes remind us, the music came first and the poetry followed for Emily Dickinson....

Reviewed by Edward Seckerson in issue: 08/2018

VIVANCO Missa Assumpsit Jesus

Sebastián Vivanco (d1622) was a slightly younger contemporary of Victoria and one of the last exponents of Spain’s Golden Age....

Reviewed by Fabrice Fitch in issue: 08/2018

SEBASTIANI Matthew Passion

The Boston Early Music Festival Chamber Ensemble presents the St Matthew Passion by Johann Sebastiani (1622 83), who was Kantor...

Reviewed by David Vickers in issue: 08/2018

SCHUMANN Adventlied. Ballade vom Pagen und der Königstochter

Schumann lightly reorchestrated one of Bach’s most affective cantatas in 1849 for a Dresden choral society of his own foundation....

Reviewed by Peter Quantrill in issue: 08/2018

SCHUBERT A Soprano’s Schubertiade

Every new repertoire frontier in Carolyn Sampson’s growing body of solo recordings – that so regularly turn up in the...

Reviewed by David Patrick Stearns in issue: 08/2018

ROUSSEL Évocations. Suite in F (Tortelier)

Completed in 1911, Évocations was the work that put Albert Roussel on the musical map at its premiere a year...

Reviewed by Tim Ashley in issue: 08/2018

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