CRD Records releases Consolations, reflective music for violin and piano by Handel, Schumann, Mendelssohn, Massenet, Rachmaninov and others, featuring a new transcription of Liszt's Consolations, performed by Maya Magub and Hsin-I Huang, on 3 June 2022. This is Maya Magub's third album with CRD.

The album completes Liszt's six Consolations with new transcriptions by Maya Magub to complement the famous 'Lento Placido' arranged by Nathan Milstein. With extraordinary key and mood contrasts, each piece now sits within the whole, as Liszt intended. Milstein’s transcription, in the middle of the set, is now framed as in Liszt's original, to greater emotional impact. These works move from profound simplicity to virtuosic turbulence and wistful charm.
 
Complementing the set of 'Consolations', Magub and Huang bring together other well-known reflective musical gems to offer consolation of some form. Many of their choices were inspired by audience favourites from performances for UK-based charity Everyone Matters, which funds life-enriching concerts in care homes and hospices. When combined, the emotional weight of these pieces is  even greater. The performers, too, drew great consolation from their programme and the ability to communicate with an audience despite the creative restrictions of pandemic lockdowns.
 
Magub and Huang recorded the album separately in lockdown, with much creative dialogue and experimentation between them. New possibilities afforded by the necessity of recording separately encouraged musical freedom and risk-taking, as well as the opportunity to create the immediacy of a small, intimate concert through close microphone placement. Out of this process emerges a true collaboration and an album which Magub and Huang hope will bring consolation to many people.

ALBUM DETAILS

Schumann, Abendlied, Op. 85 No. 12
Massenet, Méditation: Thaïs
Rachmaninov, Vocalise, Op. 34 No. 14
Liszt Consolations No.1-6, S.172/R.12
J.S. Bach (arr. Gounod), Ave Maria
Kreisler Liebesleid
Rimsky-Korsakov (arr. Kreisler), Chant Hindou: Sadko
Paradis (arr. Duskhin), Sicilienne
Handel, Largo: Xerxes
Mendelssohn, On Wings of Song, Op. 34 No. 2
Mendelssohn, Song without Words, Op. 19 No. 1
Schumann, Träumerei, Op. 15 No. 7
Chopin, Raindrop Prelude, Op. 28 No. 15

CRD.3540

Press Inquiries

UK and rest of the world except North America: Ulysses Arts, London
North America: Classical Music Communications, New York City

EPK and private Soundcloud link are available for press use.

Consolations reviews:

Laurie Niles, Violinist

David Olds, The Whole Note

Textura

Jean-Yves Duperron, Classical Music Sentinel

CLICK HERE for more live streaming links.

Previous Press for Maya Magub's Recordings with CRD Records

Telemann, Fantasies for Solo Violin

'Impressive feats of technical bravado. ... A disc of hugely communicative violin playing', International Record Review

'It makes listening to this performance a really joyous experience', Caroline Gill, Gramophone

'With Magub's endless inventiveness driving each movement, they shine here for what they really are: free-standing, varied concentrations of beautiful melody and sonority', BBC Music Magazine

'Demonstrates technical assurance, elegance and well-considered use of vibrato, extempore ornamentation, rubato and other expressive devices.' Early Music Today

'These polished, stylish performances bring Telemann’s music to life in an unforced, natural way.' The Strad

Michael Haydn and Mozart, Six Duos for Violin and Viola (with Judith Busbridge)

'Their accounts of Mozart’s works combine energy, insight, warmth and affection; they are characterised by a lively reciprocity ... CRD’s recorded sound, presentation and production are exemplary.' The Strad

'Spirited and compelling music-making to savor', Michael Jameson, International Record Review

Liszt, Consolations No. 5 - pre-released single on 22 April 2022

Consolations on Apple Music Playlists

Lyrita Records releases Richard Blackford's Mirror of Perfection, with soprano Elizabeth Watts, baritone Roderick Williams, the IKON Singers and Britten Sinfonia, and Vision of A Garden, with baritone Stephen Gadd, The Bach Choir and the strings of the Philharmonia Orchestra, both conducted by David Hill, on 6 May 2022 (SRCD.406 Dolby Atmos recording). This is the first recording of Vision of a Garden, and the second of Mirror of Perfection.

Vision of a Garden was first performed by The Bach Choir, baritone Gareth Brnmor John and Philharmonia Orchestra conducted by David Hill, on 24 October 2021 at London's Royal Festival Hall, and recorded for Lyrita at St Augustine's Church, Kilburn. The work is based on Bach Choir member Professor Peter Johnstone's experience of serious illness with COVID-19.

Professor Johnson was the first COVID patient admitted to Cambridge's Addenbrokes Hospital's Neurosciences and Trauma Critical Care Unit. He remained in hospital, often unconscious, for 75 days, yet recovered and was able to sing in work's first performance. During his time in hospital, the nurses caring for Professor Johnson left messages of support in a series of 'ICU diaries': he describes these as 'the most heart-warming documents I’ve ever read.'

WATCH THE ICU DIARIES TRAILER

'I have a duty to tell the world what I went through':
how COVID-fuelled visions inspired a new choral work.
Ivan Hewett, The Telegraph

Richard Blackford profiled: Gramophone Magazine, April 2022

Robert Hugill interviews Richard Blackford about Vision of A Garden:Planet Hugill

'Cambridge Professor recovers to sing Choral Music': BBC News

'Eine ausdrucksstarke Interpretation, die ihren Eindruck auf den Hörer nicht verfehlt.'
Uwe Krusch, Pizzicato

Richard Blackford comments about re-recording Mirror of Perfection:

Richard Blackford comments on Lyrita's new version of Mirror of Perfection:

'I was delighted when Lyrita agreed to make a new recording of Mirror Of Perfection. Since conducting it myself for Sony Classical in 1997 with the Bournemouth Symphony Chorus and Bournemouth Sinfonietta I have heard it performed dozens of times around the world. Hearing different conductors’ interpretations, with both symphonic and chamber, amateur and professional choirs, I was intrigued by the prospect of Lyrita making a recording that was completely unlike the earlier one.

Encouraged by David Hill, who had already conducted and recorded many of my choral works, I decided that the new recording would be different by choosing a 24-voice professional chorus, the superb Ikon singers.  I heard the contrapuntal writing with a new transparency, luminosity and beauty. Whereas in the earlier recording the soloists had to be overdubbed because of scheduling issues, Roderick Williams and Elizabeth Watts were recorded live with the chorus and orchestra, as always intended. The resulting ensemble has a new vibrancy and immediacy - one really can imagine that Williams is St Francis of Assisi, especially in his charming rendition of Canticle of The Birds. Elizabeth Watts brought a heightened sense of drama with her thrilling high notes in Movements IV and VI, when she soars effortlessly over the chorus and orchestra. The stormy third movement In foco l’amore mi mise is unlike anything I had heard previously: tenors and basses articulate their rapid quaver passages with exemplary diction and clarity. In many respects, however, the Lyrita recording is more intimate: the final movement's hushed “Beati quelli che sosterrano in pace” has a stillness and sense of peace that I had never experienced before. In the new recording I had a chance to slightly re-balance the orchestral score, especially the postlude.

Under David Hill, the Britten Sinfonia’s playing is breathtakingly beautiful, especially the interludes in the fifth and seventh movements. The exposed, closing three-horn coda was perfectly tuned and balanced. Hill’s choices of tempo are often a little brisker than those I chose in 1997, and the piece is better for it. The new Lyrita recording's success is the sum of many parts of its brilliant team of musicians and technicians. Hearing the final Dolby Atmos mix in Andrew Walton’s studio was one of the most thrilling aural experiences of my life.'

 Electronic press kit is available: for inquiries, click CONTACT US below.

Lyrita Records releases British Piano Concertos - music by John Addison, Arthur Benjamin, Elizabeth Maconchy, Humphrey Searle, Edmund Rubbra and Geoffrey Bush composed between 1927 and 1959, performed by soloist Simon Callaghan and the BBC National Orchestra of Wales conducted by Martyn Brabbins, on 1 April 2022 (SRCD.407).

ALBUM DETAILS

John Addison, Wellington Suite: for two horns, piano, timpani, percussion and strings
Tim Thorpe and Meilyr Hughes, horns
Arthur Benjamin, Concertino for Piano and Orchestra
Elizabeth Maconchy, Concertino No. 2 for Piano and Strings
Humphrey Searle, Concertante for Piano, Percussion and Strings, Op. 24
Edmund Rubbra, Nature's Song: Tone Poem for Orchestra, Organ and Piano
Geoffrey Bush, A Little Concerto on Themes of Thomas Arne

Small concertos for piano and chamber orchestra were a feature of British composition in the first half of the 20th century. Often written for a special occasion, many such works dissapeared into oblivion thereafter: Lyrita's new British Piano Concertos album, whose music was researched by piano soloist Simon Callaghan, seeks to re-establish these exciting and vibrant works into the repertoire.

In searching for enticing music to record with reduced orchestral forces during COVID-19 Pandemic restrictions, SimonCallaghan was thrilled to uncover this treasury of music: short concertos written for entertainment, but of a quality deserving their revival, and which will bring joy and intrigue to listeners.

The music includes the innocent pastiche of Geoffrey Bush’s tribute to Thomas Arne, Rubbra’s student essay, the ‘Blues’ of Arthur Benjamin, the serial language of Humphrey Searle, intense drama from Elizabeth Maconchy, and the bold humour of film composer John Addison.

Except for Benjamin's Concertino, recorded once only, in 1959, this is the first recording for all the works on this album.

Download in HD sound on QOBUZ

Review of British Piano Concertos - Nick Boston, Classical Notes - Gscene Magazine, March 2022

EPK and private Soundcloud links are available for press use.

'Simon Callaghan has done us proud in his promotion of this music. Martyn Brabbins and the Welsh orchestra, no strangers to British music of this period, play with style and sensitivity. For any lover of twentieth-century British music, this disc is a must-buy.'
Gary Higginson, MusicWeb International

'An amazing disc, six works which have managed to fall under the radar,
here revived in stylish and brilliant fashion.'
Planet Hugill

Lyrita Records releases the first recording ofCecil Armstrong Gibbs' complete songs on 4 March 2022 (SRCD.2400). This four-album set is performed by tenor Nathan Vale, soprano Charlotte de Rothschild and pianist Adrian Farmer. A one-volume compilation from the full set offers an introduction to Gibbs' wonderful collection of songs (SRCD.404).

Antony Smith of the Nimbus Group, which manages Lyrita, comments: 'In recording this project, the consistent quality of Gibbs' songs surpassed all our expectations. Alongside his most famous songs, for example settings of poems by his friend Walter de La Mare, are wonderful discoveries – for example To Anise, The Cherry Tree, On Duncton Hill, The Tiger-Lily, Midnight, Slow Horses Slow, The Exile and Take Heed Young Heart. These will be concert winners when programmed by singers, with a direct clarity of expression and supreme sensitivity to text.'

Adrian Farmer, Nathan Vale and Charlotte de Rothschild discuss Gibbs' songs

NIMBUS MUSIC PUBLISHING: GIBBS SONGS

Complementing the release of SRCD.2400 and SRCD.404, Nimbus Music Publishing has released three volumes of Armstrong Gibbs' songs, featured in the albums, in high quality saddle-stitched editions:

NMP1144: Four Songs for Tenor Voice: Willows Leaves: Three Songs After the Chinese Manner (John Irvine) and The Doctor’s Song from ‘Henry Brocken’ (Walter de la Mare)

NMP1145: Four Songs for Soprano Voice: Two Pastorals (H.T. Wade-Gery), Jane Eyre’s Song and Lorelei’s Songs drom ‘Henry Brocken’ (Walter de la Mare)

NMP1146: Two Songs: The Old House (Grey Hayward Kirkus) and The Rainy Day (Henry Wadsworth Longfellow)

Bell Illuminations presents three major works for the first time, prefaced by a short miniature. While previous works by Augusta Read Thomas have been inspired by bells - Carillon Sky, Resounding Earth, Bells Ring Summer, Ripple Effects - Bell Illuminations is her first album to be centred around this longstanding preoccupation.

'Thomas’ music, mixing tonality and atonality, is hopeful and inspiring. ... For those interested in exploring contemporary music, Bell Illuminations by Augusta Read Thomas is an excellent way to start.' Louis Harris, Third Coast Review

'Thomas has created a spirited work that immediately charmed me.'
M.L. Rantala, The Hyde Park Herald

BELL ILLUMINATIONS: ALBUM DETAILS

Crescat Scientia; Vita Excolatur: for carillon of 72 bells, four players - eight hands and two feet
Joey Brink, with Joseph Min, Emily Kim and João Francisco Shida, carillonists

Upon Wings of Words (Emily Dickinson): soprano and string quartet 
NEXUS Chamber Music: Co-Artistic Directors Brian Hong, violinist and Alexander Hersh, ‘cello, with Kristina Bachrach, soprano; Jordan Bak, viola; Benjamin Baker, violin

Bebop Riddle: for solo marimba 
John Corkill, percussionist

Ring Out ,Wild Bells, To The Wild Sky (from Tennyson, In Memoriam): solo soprano, chorus, and orchestra 
The Choral Arts Society of Washington; Carmen Pelton, soprano; Norman Scribner, conductor

Enchanted Invocation: solo vibraphone and five crotales
John Corkill, percussionist

Sonorous Earth: for bells from around the world (four players) and orchestra 
Third Coast Percussion; Chicago Philharmonic Orchestra; Scott Speck, conductor

Augusta Read Thomas comments on Sonorous Earth, and the inspiration bells have given her in devising this album:

'Sonorous Earth is conceived as a cultural statement celebrating interdependence and commonality across all cultures, and as a musical statement celebrating the extraordinary beauty and diversity of expression inherent in bell sounds.

Scored for four percussionists playing bells from a wide variety of cultures and historical periods, Sonorous Earth can be heard and imagined as a United-Nations-of-Resonances.

Everything that we are made of, everything that we know and love, is made from the stars.

We - like all metals - are stardust. Metals are exceptionally resonant sound sources, rich with vibrational possibilities. As such, artisans across time and earth have been inspired to sculpt metals into musical instruments. More than three hundred pieces of metal are incorporated into the instrumentation of Sonorous Earth.

Probing into bells' rich meanings and characteristics as carriers of history, ethnicity, societal and cultural connotations is a joy and wonder. Bells can be used to celebrate grand occasions, hold sacrificial rites, keep a record of events, give the correct time, celebrate births and weddings, mark funerals, caution a community, enhance any number of religious ceremonies, and are even hung around the necks of animals. As carriers of history and culture, bells, of numerous shapes, sizes, types, decorative patterns, weights, functions, and cultural connotations, enrapture and inspire.'

Bells are central to Augusta Read Thomas' music; bells permeate her music. For over 25 years, in every work for orchestra, and in many for smaller ensembles, she has been composing music frequently using percussion consisting of bell sounds (pitched metal percussion and all the mallet percussion instruments) many of which have their origins in other than Western musical cultures. This makes Sonorous Earth an extreme extension of work she has been doing for decades.

'I like music that is alive and jumps off the page and
out of the instrument as if something big is at stake.'
Augusta Read Thomas

Scores and parts for Bebop Riddle,Enchanted Invocation and Sonorous Earth are available from Nimbus Music Publishing.

Download Bell Illuminations:

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