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World music CD DVD shop and Classic distribution
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Composer: FARNABY, Giles ((c. 1563-1640)) |
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ID: LIR004
CDs: 1
Type: CD
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Collection: Organ Collection
Subcollection: Organ
Popular organ repertoire on the new Letourneau organ in the chapel at the Tower of London. This is the first solo CD on the newly restored organ.
The present organ case in the Tower of London dates from 1699 when it was built under royal warrant by Bernhardt Schmidt for the Banqueting House, Whitehall. It was relocated several times, eventually coming to rest at the Tower’s chapel of St Peter ad Vincula. Over the following century it was rebuilt and enlarged on several occasions, and by 1999 this resulted in an organ some three times larger than that for which the original case had been designed. During the installation of this new organ by the Canadian organ builder Fernand Létourneau, the case was meticulously restored to its original dimensions and many decorative details were made to replace those lost over the centuries.
To show off this remarkable new instrument on its first commercial solo recording, Colm Carey has put together a wonderfully varied and attractive programme, first and foremost chosen to suit to the instrument’s character, but representing the best of British organ music as befits its location, and spanning 5 centuries.
A leading concert organist of the younger generation, Colm Carey offers a blend of fresh invention and technical finesse, establishing him as a remarkable and distinctive performer. Born in Ireland, Carey studied at the Royal Academy of Music in London with Nicholas Danby and David Titterington, where he read for a University of London BMus. He also gained the Dip.RAM, the Academy’s highest performance award, and later became Meaker Fellow. As winner of the prestigious Julius Isserlis Scholarship, he went on to study at the Conservatoire de Musique de Genève with Lionel Rogg, where he won the ‘Premier Prix de Virtuosité avec Distinction’ on completion of his course. He subsequently came third and won the Audience Prize at the St. Albans International Competition.
Since then Colm has performed in France, Germany, Switzerland, Sweden, Italy, Denmark, Canada, the USA, Australia and throughout Britain and Ireland. His repertoire embraces all the major traditions, from the French Classical School and the German Baroque to the great symphonic tradition of the nineteenth century, and as a keen exponent of contemporary music he has given first performances of new works by Lionel Rogg, Roderick Williams, Ruth Byrchmore and Andrew Johnstone. |
| 15.00 eur Buy |
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ID: LIR005
CDs: 1
Type: CD
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Collection: Instrumental
150 years of English virginals music
Classical Periods: Baroque, Medieval, Renaissance
For this CD David has chosen a programme which reflects the social and political changes taking place in Britain through the 16th and 17th centuries, and which explores the different influences on the repertoire of the virginal, an instrument which was a major part of musical life at that time. Through a chronological survey, he also focuses our attention on the development of the instrument itself and how it adapted to the demands of the changing repertoire.
David makes particular use of the Arpichordium, or ‘bray’ stop: a batten parallel with the bridge, in which are fixed a set of metal hooks that touch the strings when the stop is engaged, resulting in a colourful ‘buzzing’ sound.
The instrument used in this recording was made by Ian Tucker, and is a Muselar virginal, an exact replica of one made in Antwerp in 1620, by Andreas Ruckers.
(English repertoire played on a Ruckers reproduction). |
| 15.00 eur Buy |
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ID: SIGCD009
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
Artist track listing:
Susanne Heinrich: (a) treble viol (M.D. Attwood 1993, after B. Norman)
(b) tenor viol (M.D. Attwood 1993, after B. Norman)
(c) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Lynda Sayce: (d) Renaissance flute (L. Jones 1996)
(e) 7-course lute (M. Lowe 1998, after G. Gerle ca. 1580)
(f) chitarrone (D. Van Edwards 1987, after Tieffenbrucker III 1608)
Kah-Ming Ng: (g) chamber organ (V. Woodstock 1996)
(h) harpsichord (A. Garlick 1977, after I. Ruckers 1638)
Oliver Webber : (i) violin (A. Beavitt 1986, after Stradivari)
Susanna Pell: (j) 6-string bass viol (J. Julier 1992, after R. Meares)
Reiko Ichise: (k) 6-string bass viol (M.D. Attwood 1991, after J. Rose)
Jacob Heringman: (l) 4-course cittern (S. Barber 1994, late 16th-century style)
(m) 7-course lute (B. Hirst 1992, after Venere 1582)
Rupert Jennings: (n) Tenor voice |
| 18.00 eur Buy |
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ID: SIGCD020
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
"Her Majesty lay upon her back, with one hand in the bed and the other without. The bishop kneeled down by her, and examined her first of her faith: and she so punctually answered all his several questions by lifting up her eyes and holding up her hand, as it was a comfort to all beholders. Then the good man told her plainly, what she was and what she was to come to, and though she had been long a great Queen here upon earth, yet shortly she was to yield an account of her stewardship to the King of Kings. Between one and two of the clock on Thursday morning, he brought me word the Queen was dead."
Thus wrote the queen’s cousin Sir Robert Carey, recording in his memoirs the events of March 23rd-24th 1603, and the end of an era in England’s history. Earlier, as Elizabeth I lay dying she called for her musicians to play around her bed so that “she may die gaily as she had lived, and that the horrors of death might be lessened; she heard the music tranquilly until her last breath”.
As the 400th anniversary of her death approaches, The Queen’s Goodnight commemorates the music of the court of Queen Elizabeth I. The queen’s professional musical establishment was in some ways more modest than that of her father, Henry VIII, but she brought together the finest talent in the land and created collections of consort, lute and keyboard music that is still renowned today.
charivari agréable demonstrate representative facets of this wonderful 16th century repertory. The pieces are selected with a passionate attention to detail and charivari agréable have included music that depicts the life of the queen: music from the court, an exhilarating depiction of a hunt, celebrations from the queen’s coronation and the moving laments on her death. |
| 18.00 eur Temporarily out of stock |
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