The UA Blog - Press Centre - Ulysses Arts

IRLANDIANI - BAROQUE MUSIC FROM IRELAND, BY 'CELLIST CARINA DRURY WITH NATHANIEL MANDER, POPPY WALSAW, AILEEN HENRY AND EIMEAR MCGEOWN - DIGITAL RELEASE WITH PENNY FIDDLE RECORDS - 23 APRIL 2021

27/3/2021

Click above to dowload on iTunes with digital booklet

Irlandiani, featuring Baroque 'cellist Carina Drury with Nathaniel Mander (harpsichord), Poppy Walshaw ('cello continuo), Aileen Henry (harp) and Eimear McGeown (Irish flute), releases digitally on 23 April 2021, released by Penny Fiddle Records, distributed by Ulysses Arts.

Irandiani is a testament to the musical richness of 18th Century Ireland, and the connections between Baroque music and folk traditions, explored in works by Bocchi, Geminiani, Turlough O'Carolan, Burk Thomoth, and traditional melodies from the Neal 'Collection of the Music Celebrated Irish Tunes'.

Featured on Spotify Classical New Releases playlist

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Album Details

Lorenzo Bocchi, Sonata IX in C major and Sonata X in D major

Francesco Geminiani, Sonata Op. 5 No. 3 in C major and Sonata Op. 5 No. 6 in A minor

Lorenzo Bocchi, Plea Rarkeh na Rourkough

Turlough O’Carolan (1670-1738) , Carolan’s Concerto

Traditional, arr. Neal: A Collection of the Most Celebrated Irish Tunes (1724):
Thomas Burke
Limbrick’s Lamentation
Ye Clarge’s Lamentation

Turlough O’Carolan - Captain O’Kane

Neal: A Collection of the Most Celebrated Irish Tunes (1724) – Capten Magan

Turlough O’Carolan – Sí Bheag, Sí Mhor

Burk Thomoth (fl. 1739-1750) 12 Irish and 12 Scotch Airs with Variations – Slaunt Ri Plulib

Burk Thomoth (fl. 1739-1750) 12 Irish and 12 Scotch Airs with Variations – The Major

Turlough O’Carolan – Carolan’s Farewell to Music

FOLLOW ON SPOTIFY

Carina Drury

Nathaniel Mander

'Superbly engaging and highly virtuoso performances ... bravura, expressiveness and collegiality.' Planet Hugill

''The playlist is excellent and the musical story fascinating.'
Andrew Benson Wilson

Released by Penny Fiddle Records, with digital distribution by Ulysses Arts
Producer and recording engineer: Simon Fox-Gal
Mastering engineer: John Croft
UPC 5056495471370

ANTON ROSPUTKO LAUNCHES CHOPIN'S MASTERPIECES ALBUM ON 30 APRIL 2021

27/3/2021

Download on iTunes with digital booklet or stream on Apple Music: click above

Ulysses Arts is delighted to release Latvian pianist Anton Rosputko's debut album, Chopin's Masterpieces, on 30 April 2021. The album features three of Chopin's greatest solo piano works - his Ballade No. 4, and Sonatas No. 2 and No. 3.

Anton describes his thoughts behind the album:

‘If somebody asked me about the main challenge during recording and playing Chopin’s 4th Ballade and the 2nd and 3rd Piano Sonatas, my answer without hesitation would be: to offer something new in this music, so long been an inseparable part of the culture of classical music lovers for generations, while staying sincere and far from artificial decisions foreign to my genuine view of the works.

These pieces are a seduction for a pianist, a desirable professional and artistic challenge that cannot be resisted, even if there are already hundreds if not thousands recordings of the same music. We all know that there are dozens of piano compositions that have received so many performances that often we want to restrain ourselves from listening to them. The 2nd and the 3rd Chopin’s Piano Sonatas appear frequently in recitals (the 2nd especially, not to mention outside-of-concert performances of the 3rd movement, the Funeral March), and the 4th Ballade is the most played of the Ballades. However for me the beauty and possibilities of these works are never exhausted, whether listening or playing them. I have been contemplating the reason: a possible answer lies in Chopin’s raw emotions – as raw and true as can be, and the absence of “concert stage effects” – emotions which already evoke so much trust in a listener. This is especially relevant for the 4th Ballade. The introversion of this music remains shocking despite its open outbursts of emotion that culminate in the desperate coda.

Chopin composed several works that were meant to provide a charming and brilliant cherry on the top of his concert programmes, with virtuosity proclaimed openly by the use of term ‘Brilliante’ in their titles. In the works recorded here however, virtuosity is truly nothing but the server of a function – a speed necessary for a certain expression, as in the apocalyptic kaleidoscope of the 4th Ballade’s coda, or the whirling runs in 2nd Sonata’s ‘Presto’. The 3rd Sonata’s Finale is close to Chopin’s concert rondos, but far from their intent to please the audience merely with entertainment, and equally far from declaring self-satisfaction, even in its joyfully glowing B Major conclusion.

These works are true masterpieces, on which I have tried to work with sustained artistic attention and respect towards the music itself, and I am delighted to present my personal rendition of them to you.’

Anton Rosputko

FOLLOW ANTON ROSPUTKO ON SPOTIFY

Scherzo from Sonata No. 2 on Spotify Classical New Releases playlist

Piano Sonata No. 2 on Apple Music 'Beethoven and The Romantics' playlist

Ballade No. 4 on Apple Music 'New in Classical' playlist

Funeral March from Piano Sonata No. 2 on Apple Music 'Melancholy Classics' playlist

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BUY CHOPIN'S MASTERPIECES CD

About Anton Rosputko

Anton Rosputko was born in Jūrmala, Latvia, in 1993. Interntional awards include 1st Prize, Gradus ad Parnassum Competition, Kaunas, Lithuania; Third Open Russian Competition in Kaliningrad, 2nd Prize, Virtuosi per musica di pianoforte, Ústí nad Labem (Czech Republic), 3rd Prize; Schumer Prize in Enschede (Netherlands), 2nd Prize (2007) and 1st Prize (2010) at the Jūrmala International Competition. His main mentors have been Tatyana Pavlyuchenko, Jānis Maļeckis, Pavel Gililov and Boris Petrushansky.

Anton Rosputko received a Latvian Ministry of Culture prize in 2005, 2006 and 2008, as well as a Latvian 'Recognition Award' in 2009. In 2012 he received the Hübel Foundation Scholarship. He is a prize-winner of the Mozarteum International Summer Academy (Salzburg, Austria, 2009), including performing in the Salzburg Festival.

Anton has also taken part in masterclasses with Armen Babakhanian, Arkadiy Sevidov, Pavel Gililov, Sergej Maltsev, Anatol Ugorski, Peter Tacács, Jacques Rouvier, Matti Raekallio, Siegfried Mauser, Wolfgang Manz, Boris Petrushansky and Denis Proshayev.

Anton Rosputko was a participant of the Kaunas Festival in Lithuania in 2006 and 2010. As a soloist with orchestra he has performed with the Latvian National Symphony Orchestra and Normunds Vaicis, Sinfonia Concertante Orchestra with Andris Vecumnieks, Kaunas City Orchestra and Modestas Pitrenas, Liepāja Symphony, and Amber Sound Orchestra with Tadeusz Wojciechowski. Anton Rosputko has performed widely in Latvia, Lithuania, Russia, Czech Republic, Germany, Austria, Italy, Liechtenstein, Switzerland and the Netherlands. Venues include the Great Hall and the Vienna Hall of the Mozarteum Foundation, Solitär Hall of the Mozarteum University, Great Concert Hall of the University of Music and Performing Arts Munich, Great Hall of the University of Music and Felix Mendelssohn Bartholdy Theatre Leipzig, Concert Hall of Kaliningrad Philharmoniс Society, Great Hall of Kaunas State Philharmonic Society; the Small Guild, Riga House of Moscow, Great Hall of Latvian National Opera and Dzintari Concert Hall.

www.antonrosputko.com

Ulysses Arts freut sich, das Debütalbum von Anton Rosputko, “Chopin's Masterpieces“, am Freitag, 30. April, zu veröffentlichen. Anton beschreibt sein Album:

„Wenn mich jemand über die Hauptherausforderung beim Aufnehmen und Spielen von Chopins 4.Ballade und der 2. und 3.Sonate fragen würde, wäre meine unverzügliche Antwort so: etwas neues in dieser Musik anbieten, die so lange ein fester Teil der Kultur von mehreren Generationen der Liebhaber von der klassischen Musik gewesen ist, und dabei ehrlich und weit von künstlichen Entscheidungen bleiben, die meiner natürlichen Beziehung zu diesen Werken fremd sind.

Diese Werke sind eine Verführung für Pianisten, eine gewünschte professionelle und künstlerische Herausforderung, der man nicht widerstehen kann, auch wenn es schon Hunderte, wenn nicht Tausende Aufnahmen derselben Musik gibt. Wir wissen alle, dass es Dutzende von Klavierkompositionen gibt, die so viele Aufführungen erlebt haben, dass wir oft uns davon distanzieren wollen, sie zu hören. Die 2. und die 3. Sonaten Chopins erscheinen in Solokonzerten häufig (besonders die 2., ganz zu schweigen von nicht-Konzertaufführungen des 3.Satzes, „Marche funèbre”), und die 4.Ballade ist von allen die am meisten gespielte. Jedoch sind für mich die Schönheit und das Potenzial dieser Werke nie erschöpft, egal, ob ich sie höre oder spiele. Ich habe über Ursachen nachgedacht: eine mögliche Antwort liegt in Chopins rohen Emotionen – so roh und wahrhaft wie es sein kann, ohne „Konzertbühneneffekte“ – Emotionen, die so viel Vertrauen beim Zuhörer hervorrufen. Das ist besonders für die 4.Ballade relevant. Diese Musik ist unglaublich introvertiert, auch wenn sie ab und zu emotionelle Aufschwünge bekommt, die in der verzweifelten Coda ihren Höhepunkt haben.

Chopin komponierte einige Werke, die dafür gedacht waren, ein charmantes und brillantes Sahnehäubschen für seine Konzertprogramme zu schaffen, mit der Virtuosität, die öffentlich mit dem Begriff „Brilliante“ in ihren Titeln angekündigt wurde. Jedoch macht in den hier aufgenommenen Werken Virtuosität wirklich nichts anderes als eine Funktion – die für bestimmten Ausdruck notwendige Geschwindigkeit, wie im apokalyptischen Kaleidoskop der Coda in der 4.Ballade, oder in den wirbelnden Läufen im „Presto“ der 2.Sonate. Das Finale der 3.Sonate ist Сhopins Konzertrondos nahe, aber weit von ihrem Ziel,, das Publikum lediglich mit Unterhaltung zu befriedigen, und genauso weit davon, Selbstbewusstsein zu erklären, sogar in seinem froh glänzenden Schlussteil im H-Dur.

Diese Stücke sind echte Meisterwerke, während der Arbeit an welchen ich versuchte, mit ständiger künstlerischen Aufmerksamkeit und Respekt gegenüber der Musik selbst zu bleiben, und ich freue mich, meine persönliche Interpretation von ihnen für Sie zu präsentieren.”

DAMIR DURMANOVIC LAUNCHES SCHUBERT PIANO SONATA IN A D.959 ON 19 MARCH 2021

1/3/2021

Ulysses Arts releases Bosnia-born British-resident pianist Damir Durmanovic's debut solo release of Schubert's great Piano Sonata in A, D.959, on Friday 19 March. Damir comments:

'Schubert described Mozart as "the Christ of music": written in the last months of Schubert's life, this Sonata is his homage to Mozart, but bursting with Schubert's distinctive playfulness, with mercurial changes of mood, virtuoso hand-crossing, and sudden moments of darkness.' Recording this work as his solo debut release combines Damir's love of both these composers.

You can hear Damir playing on Ulysses Arts' recordings of Franck and Debussy with violinist Dillon Jeffares released in July 2020; we are delighted to be now releasing his first solo recording too.

Click above to dowlnoad on iTunes or stream on Apple Music

Follow Damir Durmanovic on Spotify

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YOUTUBE
I: https://youtu.be/TDiHHdEXL9I
II: https://youtu.be/WXJrxBieeMU
III: https://youtu.be/4LEe87Eds-8
IV: https://youtu.be/slczUD8dFnU

Featured in Apple Music's New in Classical playlist

STEPHEN HORNE LAUNCHES SILENT SIRENS - SOLO PIANO MUSIC INSPIRED BY SILENT FILM

1/3/2021

Download on iTunes with digital booklet or stream on Apple Music: click above

Ulysses Arts launched Silent Sirens, an album of music composed and performed by Stephen Horne, on 9 July 2021. One of the world's leading silent film performers, Stephen Horne is pianist in residence at the British Film Institute at London's Southbank Centre.

Silent Sirens is on all main streaming and download services including Apple Music, Spotify, Deezer, YouTube, Qobuz and HDtracks.

Stephen Horne comments: 'I have been a silent film pianist and composer for over thirty years. What began as an intriguing musical sideline developed gradually into a full-time nomadic career, accompanying more than a thousand films in more than twenty countries. During that time I developed hundreds of musical themes and it has long been my ambition to record an album, incorporating some of these into musical pieces.

The tracks on this album are intended to stand alone from the films by which they were initially inspired. However, most of these films have two things in common. Firstly, they share a certain haunting quality, leaving unanswered questions to reverberate in the viewer’s mind long after ‘The End’. Secondly, at least for me, the strongest impression is made by the films’ leading women – the actresses and their roles. Combining these two elements suggested the theme of Silent Sirens.

While the music of Silent Sirens stands on its own, in general terms inspiration has come from The First Born, The Manxman, Varieté, The Informer, Tonka of the Gallows, Menilmontant, Stella Dallas, L'Hirondelle et La Mésange and Visages d’Enfants. For those who are interested, some of the titles are taken directly from the films’ inter-titles. A couple of the pieces are purely personal, with no connection to any film.'

Read Stephen Horne's interview about his album in Silent London.

STEPHEN HORNE SINGLE RELEASES

Beyond The Trees

Miles Mander’s The First Born was co-written by Alfred Hitchcock’s wife Alma Reville, which may explain its startlingly Hitchcockian elements. Madeline Carroll’s lead protagonist has a yearning quality, as she misguidedly tries to hold on to her unworthy husband’s love, by giving him the child he craves more than anything.

Will You Wait?

The melody of ‘Will You Wait?’ was originally the love theme in my score for Hitchcock’s film ‘The Manxman’. The title is taken from a pivotal moment in the romantic triangle at the centre of its story. Pete Quilliam has always loved Kate Cregeen, but she secretly desires his best friend Philip Christian. On the eve of leaving to make his fortune in America, Pete asks Kate ‘Will You Wait?’ Blithely thinking that he will never return, she says "Yes Pete, I’ll wait."

Faces of Children

Faces of Children is inspired by 1925 French film Visages d'enfants – one of the most haunting portrayals of childhood ever made. Despite the perfectly rendered happy ending, what lingers is the impression of a child’s struggle to comprehend bereavement. The melody of my piece originally accompanied the final scene, when the boy protagonist stares into a churning river, contemplating oblivion.

DOWNLOAD SILENT SIRENS ON QOBUZ IN HIGH DEFINITION SOUND WITH DIGITAL BOOKLET

DOWNLOAD SILENT SIRENS ON ITUNES OR STREAM ON APPLE MUSIC

Featured in Apple Music's New in Classical and Classical Concentration playlists

Follow Stephen Horne on Spotify

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LOUTH CONTEMPORARY MUSIC LAUNCHES EMBERS - WORLD PREMIÈRES FOR STRINGS BY VALENTIN SILVESTROV AND RAYMOND DEANE - ON 5 MARCH 2021

28/1/2021

Click above to download Embers on iTunes

Embers

While the Pandemic persists in making regular concerts impossible, the Louth Contemporary Music Society continues its work in the studio. Last autumn’s CD release Meadow, featuring music by Linda Catlin Smith, won praise from leading critics on both sides of the Atlantic, including Alex Ross in The New Yorker. Now comes a follow-up, Embers - three world première recordings again devoted to music for strings – instruments that, in their intimacy, seem to touch our moment.

In Samuel Beckett's radio play Embers, the main character stands at the sea shore, sifting through fragments of memory and story that are still living embers, hot to the touch. So it is in this recording, in which music by distinguished Irish composer Raymond Deane supports robustly an important quartet by one of the great masters of our age, Valentin Silvestrov.

Raymond Deane

The opener, Deane’s Marthiya, is named after a form of Middle Eastern lament. It was composed in the wake of the 2003 Iraq invasion. The music’s 'atmosphere of mourning', Deane writes, is 'not unrelated to the devastation wreaked on Iraq since 2003, and to the wider carnage inflicted upon the Arab and Islamic world'.

Deane’s other contribution is the title track, written thirty years earlier but with the same recognisable voice. Though perhaps more questioning than elegiac, Embers is music again on the edge of tears. Ideas, bits of tune, come and go, and recur, very much as things come and go, and come back once more, like in Beckett's play. To quote the composer: 'The piece obsessively turns over musical fragments which seem to have some remote but uncertain origin.'

Valentin Silvestrov

Silvestrov’s music gives voice to the sense we may all feel of being bereft, left behind by what was once a social culture of sympathy and togetherness. Listening to his Third String Quartet, composed in 2011, we seem to be watching from the dock as a great ocean liner slowly slides away, taking with it our hopes and our dreams. Something of this feeling of being on the sidelines of history may come from the composer’s inheritance as a Ukrainian. Ireland, he notes, is not so far away: 'I believe there is some Irish accent, and some simple melodies, that permeate the whole work and may sound as symbols of this wonderful country, in whose destiny and historical legacy I perceive a close spiritual affinity to Ukraine, my homeland.'

All three works are captured in intense, poignant performances by leading ensembles: Crash (Marthiya) and the Carducci Quartet (Embers; Silvestrov, String Quartet No.3).

Embers releases on 5 March 2021 on CD, iTunes/Apple Music, Spotify, Deezer, Qobuz and all main digital service providers. It is the world première recording of Silvestrov, String Quartet No.3, Deane's Marthiya and of the string quartet (original) version of Deane's Embers, which has been released previously in its subsequent string orchestra version by the RTÉ National Symphony Orchestra in 2016.

Buy the CD
Download on iTunes
Stream on Spotify
Stream on Deezer
High definition download from Presto Music

Louth Contemporary Music Society is funded by the Arts Council of Ireland and financially supported by Create Louth. Cover image: 'Grotto' by David Quinn, used with kind permission of the artist.

LOUTH CONTEMPORARY MUSIC PROFILE

Richard Fairman: 'Louth - Ireland's Hidden Gem of a Festival'
The Financial Times

EMBERS REVIEWS

'Rallying After The Silence', Brendan Finan, The Journal of Music

'Engaging and affecting, it’s a grower ... immaculately produced and designed ... When lockdown eases, I’m Louthward bound.' Graham Rickson, The Arts Desk

'A program of great coherence. ... Superb release from a label we here on our side of the big lake wish to know a lot more soon.' Frédéric Cardin, Pan M 360

'Haunting, unsettling evocations of the past', Michael Devlin, The Irish Times

ANTON ROSPUTKO - CHOPIN'S MASTERPIECES ALBUM LAUNCHES ON 30 APRIL 2021

21/12/2020

Pre-order on iTunes: click above

Ulysses Arts is delighted to release Latvian pianist Anton Rosputko's debut album - Chopin's Masterpieces - on Friday 30 April. Anton describes his album:

‘If somebody asked me about the main challenge during recording and playing Chopin’s 4th Ballade and the 2nd and 3rd Piano Sonatas, my answer without hesitation would be: to offer something new in this music, so long been an inseparable part of the culture of classical music lovers for generations, while staying sincere and far from artificial decisions foreign to my genuine view of the works.

These pieces are a seduction for a pianist, a desirable professional and artistic challenge that cannot be resisted, even if there are already hundreds if not thousands recordings of the same music. We all know that there are dozens of piano compositions that have received so many performances that often we want to restrain ourselves from listening to them. The 2nd and the 3rd Chopin’s Piano Sonatas appear frequently in recitals (the 2nd especially, not to mention outside-of-concert performances of the 3rd movement, the Funeral March), and the 4th Ballade is the most played of the Ballades. However for me the beauty and possibilities of these works are never exhausted, whether listening or playing them. I have been contemplating the reason: a possible answer lies in Chopin’s raw emotions – as raw and true as can be, and the absence of “concert stage effects” – emotions which already evoke so much trust in a listener. This is especially relevant for the 4th Ballade. The introversion of this music remains shocking despite its open outbursts of emotion that culminate in the desperate coda.

Chopin composed several works that were meant to provide a charming and brilliant cherry on the top of his concert programmes, with virtuosity proclaimed openly by the use of term ‘Brilliante’ in their titles. In the works recorded here however, virtuosity is truly nothing but the server of a function – a speed necessary for a certain expression, as in the apocalyptic kaleidoscope of the 4th Ballade’s coda, or the whirling runs in 2nd Sonata’s ‘Presto’. The 3rd Sonata’s Finale is close to Chopin’s concert rondos, but far from their intent to please the audience merely with entertainment, and equally far from declaring self-satisfaction, even in its joyfully glowing B Major conclusion.

These works are true masterpieces, on which I have tried to work with sustained artistic attention and respect towards the music itself, and I am delighted to present my personal rendition of them to you.’

Anton Rosputko

Download, streaming and CD purchase links will be published here.

MARGARET MARSHALL LAUNCHES SONGBIRD ALBUM: PREVIOUSLY UNRELEASED RECORDINGS FROM THE 1970s

21/12/2020

Scottish lyric soprano Margaret Marshall presents Songbird – an album of previously unpublished recordings, released on 1 December 2020. Songbird features music by Purcell, J.S. Bach, Handel, Mozart and Finzi, all recorded by German radio networks in the 1970s.

Songbird offers a unique document of the early years of Margaret Marshall’s career immediately after she won the 1974 Munich ARD International Music Competition. It is a testament to one of the late Twentieth Century’s most outstanding lyric sopranos, bearing witness to the vocal agility, purity and depth of musicianship for which she become renowned:

1. Purcell: The Blessed Virgin’s Expostulation

2. J. S. Bach: Non sa che sia dolore, BWV 209

3. Handel: Guardian Angels, from The Triumph of Time & Truth, HWV 71

4. Mozart: Ah’ lo Previdi - ah t’invola agl’occhi miei, K 272

5. Finzi: Dies Natalis [1]

Margaret Marshall comments: ‘I’m thrilled that Songbird has been released digitally. I retired from professional singing fifteen years ago and never imagined I would be releasing ‘new’ music. But thanks to wonderfully supportive friends, here it is! Alongside music by Purcell, J.S. Bach, Handel and Mozart – composers and works I loved to sing – is Finzi’s beautiful Dies Natalis, best known for tenors but also a wonderful sing for sopranos.’

Miss Marshall shares her experience of singing these works on her new website www.margaretmarshallsongbird.com

Margaret Marshall is one of the finest discoveries of recent years. A perfect technique carries this radiant voice, more varied in colour than some of her world-famous colleagues, full of life and energy, of exquisite expression where the vocalisation pours forth inner enchantment and surpasses technical virtuosity.[2]

[1] 1 and 4: Bavarian Radio Symphony Orchestra, Mosche Atzmon and Hanns-Martin Schneidt; 2: Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Hans Zender; 3. NDR Elbphilharmonie Orkester; Günther Weissenborn: 5. Mainz Chamber Orchestra, Günter Kehr

[2] J.S. Bach, Easter Oratorio, Kurt Redel (conductor), Le Monde, 20 April 1976

REVIEWS AND FEATURES

Graham Rickson in The Arts Desk

'I urge all devotees of fine singing to enjoy this previously unheard testimony to the enduring appeal of Margaret Marshall’s lovely voice.'
Ralph Moore, MusicWeb International

Francisco Salazar in OperaWire

Francesca Wilson, Meet The Artist

Download and Streaming Links

iTunes / Apple Music:
https://music.apple.com/album/songbird/1539191858

Deezer:
https://deezer.page.link/ay8APAEKm8eBGB1SA

Qobuz:
https://www.qobuz.com/gb-en/album/songbird-margaret-marshall/oy1y55nywy5mb

TIDAL:
https://tidal.com/browse/artist/5920595

KKBOX:
https://www.kkbox.com/jp/en/album/yMjMNYXm.nxPY0F5-RfO009H-index.html

YouTube:
https://youtube.com/playlist?list=OLAK5uy_m--osPMbbQ3hv-Xhj5DG55dFvnU-crcGU

Press and radio inquiries to Ulysses Arts via our 'Contact Us' details below.

ANTOINE PRÉAT LAUNCHES FIRST SOLO PIANO ALBUM POLYPHONY ON 15 JANUARY 2021: BACH , CHOPIN, SCRIABIN

15/12/2020

Click above to download on iTunes or stream on Apple Music

Ulysses Arts launches Franco-Belgian pianist Antoine Préat's first solo album, Polyphony, on 15 January 2021, with music by J.S. Bach, Chopin and Scriabin. Polyphony follows Antoine's debut recording of Beethoven's Piano Sonata No.31, Op.110, released by Ulysses Arts in June 2020.

J.S. Bach, Toccata in C Minor, BWV 911
Chopin, Polonaise-Fantaisie, Op. 61
Scriabin, Sonate-Fantaisie, Op. 19

Antoine comments: 'Born into a Baroque-fanatic family in Paris, I grew up immersed in the sound of the 'cello and harpsichord. I have always been intrigued by polyphonic music, with deep emotion contained within a perfectly assembled puzzle. I started this theme with Beethoven’s Op.110; my debut album of Bach, Chopin and Scriabin continues this exploration of intricate polyphony in the solo piano repertoire.’

Download Polyphony on iTunes
or stream on Apple Music
https://music.apple.com/album/polyphony/1544832100

Other Streaming Links

Deezer

Qobuz

YouTube

Amazon Music

J.S. Bach C minor Toccata BWV 911 on Apple Music's Bach and the Baroque playlist

Chopin Polonaise-fantaisie in A-flat, Op.61 on Apple Music's Beethoven and the Romantics playlist

Scriabin, Sonata-Fantasy Op.19 I. Andante on Spotify's Classical New Releases

Scriabin, Sonata-Fantasy Op.19 II. Presto on Apple Music's Classical Commute playlist

Scriabin, Sonata-Fantasy Op.19 II. Presto on Apple Music's The A-List Classical (France)

Antoine Préat

Described by Radio France as ‘one of the most gifted pianists of the younger generation’ and as ‘a young artist with a distinctive voice’, Franco-Belgian pianist Antoine Préat is establishing himself as a soloist and chamber musician.

Since his orchestral debut at 17, playing Rachmaninov’s Piano Concerto No.2 with the Orchestra of Alicante, Antoine has performed with The Tonerl Chamber Orchestra, Sainsbury Soloists, Academy Festival Orchestra, London Student Orchestra and Resonate Chamber Ensemble.

Winner of Making Music's Philip and Dorothy Green Award 2020, and recently appointed City Music Foundation Artist 2020, Antoine performs regularly in Europe and the United States in halls such as the Salle Cortot, Salle Gaveau, Wigmore Hall, Thayer Hall, Paris Beaux Arts Museum and Frederyk Chopin Institute. His performances have been broadcast by the BBC, Scala Radio and France Musique.

Performance highlights include festivals such as the Nohant Chopin Festival, Lisztomanias, Chopin à Bagatelle, Les Concerts d’Esther, Marathon Chopin, Les Nuits du Piano in Paris, IMS Prussia Cove, Encuentro de Santander. An avid chamber musician, Antoine was the youngest artist invited to join the Centre de Musique de Chambre de Paris, directed by Jérôme Pernoo, with whom he gave a concert series at the Salle Cortot sponsored by Deutsche Gramophone. He has been a finalist or prizewinner in numerous competitions such as the Ettlingen Competition for Young Pianists, Concours International de la Ville de Gagny, Concours international d’Ile de France and received an honour prize at the New York Début Piano Competition.

Having completed his postgraduate course with honours at the Ecole Normale de Paris with Ludmilla Berlinskaia and Guigla Katsrava, Antoine continued his studies at the Royal Academy of Music with Tatiana Sarkissova and Christopher Elton, receiving a Master of Arts and the DipRam, its highest qualification.

To enrich his understanding of the instrument and its repertoire, Antoine began to study fortepiano and period instruments with Carole Cerasi at the Royal Academy and has also been guided from artists such as Andreas Staier, Tobias Koch, Philippe Cassard, Alberta Alexandrescu, Robert Levin, Jerome Lowenthal, Richard Goode, Imogen Cooper and Stephen Hough.

Antoine is supported by The City Music Foundation, Talent Unlimited, Hattori Foundation and Making Music.

... et maintenant en français:

- Beethoven Sonate op°110 en La Majeur
Single de promotion sorti le 19 Juin 2020, playlisté par Apple Music, recueillant plus de 50,000 écoutes
- Bach Toccata en Do mineur BWV911, Chopin Polonaise Fantaisie op°65, Scriabin Sonate n°2 op°19 sorti le 15 Janvier 2021, playlisté par Spotify dans “Classical New Releases”

Vidéo de promotion: https://youtu.be/VWMMPV8-JR8

L’album

'Mon premier album, enregistré à Londres au courant de cette tumultueuse année 2020, se focalise sur l’évolution de l’écriture polyphonique au fil des différentes époques. Vouant une affection particulière à J.S Bach, je souhaitais souligner son influence sur le processus de composition de ses successeurs. Si Bach lui-même fut influencé par ses prédécesseurs, tels que Buxtehude ou Kerll.

il demeure la figure ‘phare’ de la période baroque et de l’écriture polyphonique (que ce soit sous forme de fugue, de choral, d’aria ou de sonate). Toutes les pièces de cet album jouent aussi sur la liberté de la forme musicale: une Toccata comprenant un choral et deux fugues, une Sonate de Beethoven avec ses multiples fugues et arias, la Polonaise-Fantaisie, alternant marche patriotique,
choral et mélodie accompagnées, et la Sonate de Scriabin en deux mouvements.)

Dans ses dernières années, Beethoven se tourne à nouveau vers la musique de Bach et de Haendel, qu’il avait toujours beaucoup admirés. Cette influence est très présente dans ses œuvres dites “de la troisième période” (qui fut d’ailleurs sa dernière), au cours de laquelle il composa certaines de ses œuvres les plus acclamées : la Hammerklavier, les trois dernières sonates pour piano, le quatuor op°131, la Grosse Fugue op°133, Die Weihe des Hauses op°124.

Beethoven, éclatant la forme classique et ouvrant grand la porte à ses successeurs romantiques, insuffle un souffle nouveau à la forme fuguée et à la polyphonie complexe du XVIIIème siècle. Frédéric Chopin est souvent considéré (à tort selon moi) comme le “romantique” par excellence, le
symbole du rubato à outrance interprété avec une mièvrerie mal placée. Il était très important pour moi d’établir un parallèle entre l’oeuvre de Chopin celle de Bach car non seulement Chopin portait une véritable adoration à son vénérable prédécesseur, mais leurs oeoeuvres ne sont pas si éloignées les unes des autres bien qu’appartenant à un style et une époque différents. Si l’on étudie avec attention les compositions de Chopin, on constate que ce qui peut à première vue être qualifié de “mélodie accompagnée” se révèle souvent bien plus complexe et polyphonique qu’il n’y parait (les accompagnements notamment comprennent bien souvent un contrepoint développé en plusieurs lignes mélodiques). Enfin, le rubato dont on parle tant chez Chopin me rappelle la notion d’ ‘élan’ et de respiration en musique Baroque, et ne devrait pas conduire à ce qualificatif de “sentimentalisme” (simplement parce qu’il s’agit la de musique dite ‘romantique’, si la respiration n’est pas naturelle, l’interpretation ne l’est pas plus).

Alexandre Scriabin est le seul compositeur présent qui ne se soit pas réclamé de Bach de son vivant. C’est ce qui me semblait si intéressant: Scriabin, si inspiré au début de sa vie par Chopin, reflète souvent l’influence que Bach a eu sur la musique ‘classique’ à travers sa manière de composer, son sens de l’architecture, de la structure et de la complexité des voix intérieures de certaines de ses partitions.

Quelques mots

Ayant étudié le clavecin et la musique baroque dès mon enfance, ce thème me tient vraiment à coœur, et je suis ravi d’avoir pu l’explorer à travers ce premier disque. Je tiens à preciser que ce disque devait également sortir en magasin, mais la deuxième journée d’enregistrement (Bach, Chopin, Scriabin) ayant été décalée de plusieurs mois à cause du COVID-19, et le piano premièrement utilisé ayant été endommagé, j’ai dû séparer la sonate de Beethoven et le reste de l’album.'

Antoine Préat, janvier 2021

BÜYÜKADA ENSEMBLE RELEASES FIRST RECORDINGS FROM SEPTEMBER 2020 LIVE BROADCAST - WARLOCK CAPRIOL SUITE ON 18 DECEMBER 2020 AND DEBUSSY DANSE SACREE ET DANSE PROFANE ON 12 MARCH 2021

13/12/2020

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The Büyükada Ensemble releases its first recording, made from its IBB TV live broadcast in September 2020, with Warlock's Capriol Suite, on 18 December. Comprising members of the Turkish National Youth Philharmonic Orchestra and musicians from the UK and Germany, the Ensemble's recording is conducted by James Ross.

Download the recording on iTunes at https://music.apple.com/album/warlock-capriol-suite-ep/1542085175

The Büyükada Ensemble's live broadcast was supported by the European Union Delegation to Turkey, Adalar Municipality and Istanbul Metropolitan Municipality.

STREAMING LINKS
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Further recordings from the live broadcast, including Saygun Allegretto from the Solo 'Cello Partita with Lale Efendiev and Schoenberg, Verklärte Nacht, will be released during 2021.

Recording Engineer: Kıvılcım Konca
Mastering and Post-Production: John Croft - Chiaro Audio
UPC 5054526832473 (Warlock)
UPC 5056495392750 (Debussy)

LAURA CATRANI SINGS LA CASA AND MADRIGALE BY MICHELE TADINI, RELEASING ON 18 DECEMBER 2020

28/11/2020

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Ulysses Arts releases Michele Tadini's contemporary vocal works La Casa and Madrigale, with all parts sung by Laura Catrani, and electronic sampling by the composer. Michele Tadini comments:

'La Casa and Madrigale are built substantially on Laura Catrani's voice,: the recordings, sampling and processing of the voice give total life to the sound palette. La Casa (The House) represents our most intimate space, the heart of our existence. Madrigale is a song, of sorrow and hope. At the origins of these pieces there is a broader work: Unheimlich - exiles in their own land, a variable score for sound and image, female voice, percussion, electronics, first performed at Mittelfest, Cividale del Friuli, in 2002.'

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UPC: 5054526834538

VALENTINA CIARDELLI LAUNCHES SOLO DOUBLE BASS RECORDINGS ON ULYSSES ARTS: BEETHOVEN PATHÉTIQUE SONATA ANDANTE CANTABILE, 16 DEC 2020; QUESTI CAZZI DI BICORDO: 28 JAN 2021; PUCCINI VISSI D'ARTE: 19 MAR; MASCAGNI, CAVALLERIA RUSTICANA INTERMEZZO: 2 APR

18/11/2020

Ulysses Arts launches double bass player Valentina Ciardelli's recording of the Andante Cantabile from Beethoven's Pathétique Sonata in celebration of the great composer's birthday on 16 December 2020. This is the first of a series of singles Ulysses Arts is releasing, recording during the Pandemic, including Valentina's arrangements and her own original compositions, with Questi cazzi di bicordo - a vituoso double-stopping extravaganza for double bass - released on 28 January 2021, Vissi d'arte from Puccini's Tosca on 19 March and the Intermezzo from Mascagni's Cavalleria rustivana on 2 April.

Coming soon: Igor, Valentina's tribute to Stravinsky, on 11 June, and A Bunch of ... on 2 July.

Click above to download on iTunes

Releasing on 11 June: click above to pre-order in high definition sound from Qobuz

Releasing on 2 July: click above to pre-order in high definition sound from Qobuz

Questi cazzi di bicordo on Apple Music's Contemporay Classical playlist

Vissi d'arte on Apple Music's New in Classical playlist

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BEETHOVEN
ANDANTE CANTABILE

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CIARDELLI
QUESTI CAZZI DI BICORDO

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AMAZON MUSIC

PUCCINI
VISSI D'ARTE

QOBUZ

APPLE MUSIC

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MASCAGNI CAVALLERIA RUSTICANA INTERMEZZO

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https://www.valentinaciardelli.com

ANNEKE SCOTT AND BENEDICT PREECE: J.S. BACH CHORALE PRELUDES FOR CORNO DA TIRARSI AND ORGAN RELEASING ON 11 DECEMBER 2020

18/11/2020

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Ulysses Arts is delighted to release a new recording of J.S.Bach's music re-imagined for corno da tirarsi and organ performed by Anneke Scott (corno da tirarsi) and Benedict Preece (organ).

The 2020 Pandemic saw Anneke Scott work her way through all of Bach’s chorales on her corno da tirarsi as part of a project she entitled “Corno Not Corona”. Out of this was sparked the idea of a collaboration with organist Benedict Preece in which the pair would re-configure a number of Bach Chorale Preludes incorporating the corno da tirarsi on the chorale melodies.

The recording is a testament to the many ways in which musicians have had to be resourceful and resilient in this most testing of years for the arts. The two musicians recorded their contributions in isolation, with Benedict performing the organ part using Hauptwerk, a state-of-the-art virtual instrument. Hauptwerk contains high quality samples of some of the finest organs in the world and each stop is relayed through the software to enable organists to play the chosen organ from any location. For this recording Benedict selected the Muller organ of St. Bavo Church, Haarlem.

Matching a “virtual” instrument is Anneke’s “hypothetical” corno da tirarsi (made by Egger in Switzerland). The corno da tirarsi has been a conundrum for many years. Bach wrote for the instrument but no instrument appears to survive. Normally Bach writes for the corno da tirarsi doubling soprano chorale melodies in his cantata, hence it feeling like an appropriate instrument to incorporate in his chorale preludes.

TRACK LISTING

Nun freut euch, lieben Christen g’mein, BWV 734
“Jesus bleibet meine Freude" (Jesu, Joy of Man's Desiring) from Herz und Mund und Tat und Leben BWV 147
Wo soll ich fliehen hin, BWV 646
Herr Christ, der einge Gottessohn, BWV Anh.55
Wir Christenleut hab'n jetzund Freud, BWV 710
Fantasia super “Christ lag in Todes Banden”, BWV 695
Meine Seele erhebt den Herren, BWV 648
‘ Wachet auf, ruft uns die Stimme, BWV 645
Fantasia super 'Valet will ich dir geben', BWV 735

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https://www.annekescott.com/bach-chorale-preludes

Total playing time 27 minutes; UPC 5054526239067

LOUTH CONTEMPORARY MUSIC SOCIETY LAUNCHES '...OUT OF SILENCE' WITH MEADOW, BY LINDA CATLIN SMITH, RELEASED ON 11 DECEMBER 2020

31/10/2020

Click above to stream on Spotify

…out of silence

Louth Contemporary Music Society proudly announces a bold initiative for these uncertain times: a series of recordings put together under the exceptional conditions of the pandemic, …out of silence lets listeners eavesdrop on music-making of extraordinary care and intimacy.

The recordings feature world-renowned composers attuned to the intricacies of silence as much as sound. Performances are by musicians of equal sensitivity and expertise.

The first ...out of silence release is Meadow, by Linda Catlin Smith, born in New York but long resident in Canada. Perhaps her music required a move away, a quieter environment, a different pace, another view.

It is not city music. Rather, in its tuning and atmosphere, it suggests natural landscapes.

“A meadow”, the composer has said, “is a simple place, with elements that are there quite naturally; it’s not a spectacular garden, but if you look closely there are many different types of plants and tiny flowers. It is a place of infinite variation.”

This is how the music goes, weaving a meadow, weaving through a meadow, in stray fragments of tune that will be repeated until they dissolve or give way to something else, through chord sequences that move slowly but inexorably.

Listeners are drawn into this gentle but alert music by three outstanding Irish string players: Mia Cooper, violin, Joachim Roewer, viola and Bill Butt, 'cello.

There is no hurry, no need to hurry. To quote Linda Catlin Smith again, “I like to sit with things for a while, to dwell in the material, to have a chance to listen.” This is the experience she provides in Meadow.

On the cover of the album is a striking image by the Irish artist Alice Maher.

Release date: 11 December 2020 (5 February 2021: North America)

Future releases will present music by Valentin Silvestrov and Raymond Deane on 5 March 2021, and Swiss master of unexpected simplicity Jürg Frey, with whom Louth Contemporary Music Society has over several years developed a close relationship.

...out of silence is funded by the Arts Council of Ireland and supported financially by Create Louth.

Notable Performances and Recordings of 2020, Alex Ross, The New Yorker

'Smith draws an exquisite range of colours from her three musicians, from dense chords to deliciously airy textures, soft violin harmonics soaring over the top. ... Magical stuff.'
Graham Rickson, The Arts Desk

'A captivating meditation upon being outside, whatever your ‘outside’ is.'
Richard Hanlon, MusicWeb International

'Deeply meditative', Michael Dervan,The Irish Times

'A timely gift of easeful beauty', Steve Smith, Night after Night - For The Record

'Performed with passionate grace ... a lost melancholy stillness, the imperfect yet uncorrupted order of an idealized bucolic scenery.' Esoteros

'An atmosphere of melody and polyphony without constraint, but also of contemplation and extraordinary warmth.' Tim Rutherford Johnson, The Rambler

'Music which wants the listener to become absorbed, to notice the small details and the telling way that things change ... a meadow that you can feel as well as hear. 'Planet Hugill

Meet The Artist: Interview with Linda Catlin Smith

BBC RADIO 3 RECORD REVIEW - at 1'54"
https://www.bbc.co.uk/sounds/play/m000qy2z

Featured on Spotify New Classical Releases playlist

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FOLLOW LINDA CATLIN SMITH

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MAYA MUSIC AND ULYSSES ARTS PRESENT SACHA PUTTNAM SPIRIT OF CINEMA WITH THE CLASSIC FILM ORCHESTRA ALBUM RELEASE: 6 NOVEMBER 2020

29/10/2020

Cinema has always been a part of Sacha Puttnam’s life, his dad being the iconic and multi-award winning producer David Puttnam whose films have won 10 Oscars and 25 BAFTAS. Living, breathing and absorbing a world where he was surround by filmmakers, illustrious composers and music producers such as Mark Knopfler, Michael Kamen and George Fenton Sacha’s obvious aptitude for music flourished.

Mentored by the likes of legendary film composer Vangelis (Chariots of Fire, Blade Runner) and Quincy Jones (Frank Sinatra, Ella Fitzgerald, Miles Davis), Sacha studied at Boston’s Berklee College of Music and then Moscow’s Tchaikovsky Conservatory where he conducted Schubert’s Unfinished Symphony at the Bolshoi Hall on Christmas Day, 1991.

Sacha has scored over 30 films with prestigious directors including Robert Lepage and John Pilger. For long term collaborator director John Drydon Sacha created the soundtracks to several multi-award winning BBC Radio 4 dramas such as A Suitable Boy and Bleak House. Along with a successful career in classical composition and film, Sacha was the long-standing keys and sometimes bass player for the multi-platinum selling band Bush and his best friend, front man Gavin Rossdale, headlining Woodstock in 1999 to 250,000 fans. Sacha has written and arranged for, and collaborated with, numerous big names in the pop and rock world, including Sia, Marcela Detroit (of Shakespeare’s Sister fame) Reef, Regina Spektor, and Andy Taylor. He released an album in 2005 entitled Remasterpiece on EMI Classics and has written for and featured on hundreds of other records including favourites on Café Del Mar.

"I’m thrilled to share my musical tributes to the iconic film scores I grew up around. I know the melodies will resonate with many and I hope that bringing the orchestra to the electronic will enable many more to get to know and love them,” says Sacha. “This album has allowed me to thank and honour [the] great musicians who generously gave their time and shared their knowledge, inspiring my path as a composer.”

You could say Sacha was destined to create Spirit of Cinema, with his background in film and sensitive ear his versions of these classic film score pieces for piano and orchestra not only do the originals justice, but bring a fresh new perspective to these varied genres of music. You can hear more on Sacha’s experience growing up around these films and artists and of course the music in the accompanying podcast, Spirit of Cinema available on all podcast platforms.

SPIRIT OF CINEMA TRACKLIST

• Love’s Theme by Giorgio Moroder for his Oscar winning score for Midnight Express (1978)
• Sailing Homeward by Donovan for the Pied Piper (1972)
• Chariots of Fire form Vangelis’ Oscar winning score for Chariots of Fire (1981)
• War of the Buttons Suite from Rachel Portman’s score for the film War of the Buttons (1994)
• First of May by The Bee Gees for the film Melody (1971)
• Gabriel’s Theme by Ennio Morricone for The Mission (1986) which combines two pieces form the score (The Falls and Gabriel’s Oboe) and for which Morricone won the BAFTA and Golden Globe for his score.
• Londonderry Air, which is a folk song from 1913 used by George Fenton for the film Memphis Belle (1980)
• Eric’s Theme by Vangelis for Chariots of Fire (1981)
• Theme from Midnight Express (Istanbul) by Giorgio Moroder for Midnight Express (1978)
• The Confessional by Sacha Puttnam for Le Confessional (1995): Sacha’s original score
• Going Home by Mark Knopfler for Local Hero (1983)
• Boy’s Burial by Mike Oldfield for The Killing Fields (1984)

Sacha currently is working on a documentary film on the life of Bauhaus trained designer and architect Marcel Breuer, a BBC Radio 4 drama, a podcast for Audible, and an Irish period drama. His next release with The Classic Film Orchestra and Ulysses Arts is Abraham's Theme by Vangelis, from Chariots of Fire, on 26 February 2021.

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MORE INFORMATION

https://sachaputtnam.com
https://mayamusic.co.uk
https://www.spiritofcinema.co.uk

https://www.facebook.com/events/967086123773285

Interviews and Review Requests
Sacha Taylor-Cox / [email protected] / 07957 338525
Sullevan Archer / [email protected] / 07837 973878

CHARIOTS OF FIRE AND ABRAHAM'S THEME BY VANGELIS ARRANGED BY SACHA PUTTNAM, WITH THE CLASSIC FILM ORCHESTRA - LAUNCHED ON 23 OCTOBER 2020 AND 26 FEBRUARY 2021

14/10/2020

Downland on iTunes: CLICK ABOVE

With this heartfelt homage to his mentor, Vangelis, and his Oscar winning score for the film Chariots of Fire, Sacha Puttnam brings this timeless Olympic anthem to The Classic Film Orchestra with his tender touch on the piano.

Sacha comments: ‘I met Vangelis aged eleven in his studio where I returned every day to learn not only music, but about life and art.’ This music will appeal to those nostalgic for the films, film scores and music of the eighties, but also to a younger audience, inquisitive to learn more about classical music and soundtracks.

Chariots of Fire was the final pre-release prior to the launch of Spirit of Cinema, Sacha Puttnam's full album of piano and orchestra arrangements of great film scores, on Friday 6 November, including music by Vangelis, Ennio Morricone, Giorgio Moroder, The Bee Gees, Donovan, Mark Knopfler, Rachel Portman and Mike Oldfield.

About Sacha Puttnam

Cinema has always been a part of Sacha Puttnam’s life, his dad being the iconic and multi-award
winning producer David Puttnam whose films have won 10 Oscars and 25 BAFTAS. Living, breathing and absorbing a world where he was surround by filmmakers, illustrious composers and music producers such as Mark Knopfler, Michael Kamen and George Fenton Sacha’s obvious aptitude for music flourished. Having been mentored by the likes of legendary film composer Vangelis (Chariots of Fire, Blade Runner) and Quincy Jones (Frank Sinatra, Ella Fitzgerald, Miles Davis), Sacha studied at Boston’s Berklee College of Music and then Moscow’s Tchaikovsky Conservatory where he conducted Schubert’s Unfinished Symphony at the Bolshoi Hall on Christmas Day, 1991.

Sacha has scored over 30 films with prestigious directors including Robert Lepage and John Pilger. For long term collaborator director John Drydon Sacha created the soundtracks to several multi-award winning BBC Radio 4 dramas such as A Suitable Boy and Bleak House. Along with a successful career in classical composition and film, Sacha was the long-standing keys and sometimes bass player for the multi-platinum selling band Bush and his best friend, front man Gavin Rossdale, headlining Woodstock in 1999 to 250,000 fans. Sacha has written and arranged for, and collaborated with, numerous big names in the pop and rock world, including Sia, Marcela Detroit (of Shakespeare’s Sister fame) Reef, Regina Spektor, and Andy Taylor. He released an album in 2005 entitled Remasterpiece on EMI Classics and has written for and featured on hundreds of other records including favourites on Café Del Mar.

Following Chariots of Fire, Sacha Puttnam launched Abraham's Theme, his next Vangelis release with The Classic Film Orchestra, on 26 February 2021.

Download on iTunes or stream on Apple Music

Abraham's Theme on Apple Music Playlists

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Chariots of Fire - links

Spotify Album URI spotify:album:5e2UQutDh0uGpYqLbdOncb
Spotify Album URL: http://open.spotify.com/album/5e2UQutDh0uGpYqLbdOncb
Spotify Track URI: spotify:track:70ro82XapxkjBCnAPNLjaq
Spotify Track URL: http://open.spotify.com/track/70ro82XapxkjBCnAPNLjaq

iTunes URL: https://music.apple.com/album/chariots-of-fire-from-chariots-of-fire-single/1535227141
Apple Music URL: https://music.apple.com/album/chariots-of-fire-from-chariots-of-fire-single/1535227141
Album Apple ID: 1535227141

Deezer: https://deezer.page.link/cqf3S7CcN9fGeMLr6

YouTube: https://youtu.be/sNnD6AkZ5U4

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