I Was Glad: Sacred Music of Stanford & Parry
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Label: Vivat
Cat No: VIVAT101
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 4th February 2013
Contents
Works
Parry, Charles Hubert Hastings
Blest Pair of SirensI was glad
Jerusalem
Te Deum (Coronation)
Magnificat and Nunc dimittis in A major, op.12
Magnificat and Nunc dimittis in B flat major, op.10
Magnificat and Nunc dimittis in G major, op.81
Service in C major, op.115
» Evening Service (Magnificat and Nunc Dimittis)
Artists
Carolyn SampsonDavid Wilson-Johnson
Choir of the King’s Consort
King’s Consort
Conductor
Robert KingWorks
Parry, Charles Hubert Hastings
Blest Pair of SirensI was glad
Jerusalem
Te Deum (Coronation)
Magnificat and Nunc dimittis in A major, op.12
Magnificat and Nunc dimittis in B flat major, op.10
Magnificat and Nunc dimittis in G major, op.81
Service in C major, op.115
» Evening Service (Magnificat and Nunc Dimittis)
Artists
Carolyn SampsonDavid Wilson-Johnson
Choir of the King’s Consort
King’s Consort
Conductor
Robert KingAbout
The King’s Consort celebrate their hundredth CD and the launch of their new classical label, Vivat, with their largest recording in 15 years - a huge period instrument orchestra gathered from fifteen nations, plus TKC’s award-winning choir, and world-class soloists including Carolyn Sampson and David Wilson-Johnson in a recording of the glorious sacred ceremonial music of two of Britain’s greatest composers, Stanford and Parry.
These are first recordings on period instruments, including the four great Stanford canticle settings, heard in the composer’s lavish orchestrations (Stanford in G with radiant singing from Carolyn Sampson), Parry’s I was glad (restoring a long-missing section for the 1911 coronation), a magisterial performance of Blest pair of Sirens, the 1911 Coronation Te Deum and a stunning Jerusalem in Elgar’s vivid orchestration.
New editions of the four Stanford works are being parallel-published by Oxford University Press.
With high quality documentation and first-rate engineering, this is the first of a series of releases on TKC’s new Vivat label.
These are first recordings on period instruments, including the four great Stanford canticle settings, heard in the composer’s lavish orchestrations (Stanford in G with radiant singing from Carolyn Sampson), Parry’s I was glad (restoring a long-missing section for the 1911 coronation), a magisterial performance of Blest pair of Sirens, the 1911 Coronation Te Deum and a stunning Jerusalem in Elgar’s vivid orchestration.
New editions of the four Stanford works are being parallel-published by Oxford University Press.
With high quality documentation and first-rate engineering, this is the first of a series of releases on TKC’s new Vivat label.
Sound/Video
Paused
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1Stanford - Magnificat in A
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2Stanford - Nunc dimittis in A
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3Parry - I was glad (1911 version)
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4Stanford - Magnificat in G
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5Stanford - Nunc dimittis in G
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6Parry - 'Coronation' Te Deum in D
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7Stanford - Magnificat in B flat
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8Stanford - Nunc dimittis in B flat
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9Parry - Blest pair of Sirens
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10Stanford - Magnificat in C
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11Stanford - Nunc dimittis in C
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12Parry (orch. Elgar) - Jerusalem
Europadisc Review
The King's Consort's first release on their new Vivat label could hardly
be more appropriate: a disc of four of Stanford's greatest evening
service settings interlaced with four of Hubert Parry's most popular
choral works, including the ever-popular coronation ode I was glad,
with its thrilling shouts of 'Vivat!' as the monarch enters the choir
of Westminster Abbey. The release is also perfectly timed for the
sixtieth anniversary of Elizabeth II's coronation, but it is an earlier
coronation, that of her grandfather George V in June 1911, to which this
work and Parry's 'Coronation' Te Deum hark back.
All this is far removed from the repertoire in which the King's Consort is most familiar to record collectors, not least their seminal accounts of music by Handel and Purcell. Their previous 'Coronation' disc was of music performed for George II way back in 1727. Yet followers of the King's Consort's work in the concert hall will know that their repertoire has for some time included music of both the nineteenth and twentieth centuries, and it is good to have this now reflected on disc.
The performances themselves are marvellous, beautifully sung and shaped, and come across with exceptional vividness. The use of Stanford's own masterly orchestrations in the canticles is revelatory, clearly showing the influence of Wagner and Brahms, the latter particularly evident in the joyous A major service. Even more striking is the G major service, with Carolyn Sampson's ringingly clear soprano wonderfully accompanied by Catrin Finch's crystalline harp solo in the Magnificat, and David Wilson-Johnson movingly evoking the aged Simeon in the Nunc dimittis. Throughout, the use of period instruments pays huge dividends, not least in the wonderfully characterful wind playing, with piston horns and trumpets. The C major Magnificat fairly bursts forth in a manner impossible to rival with the customary organ-only accompaniment.
The Parry works are every bit as good, spine-tinglingly so in the 1911 version of I was glad. There is a real sense of occasion here, yet remarkably clear-textured, with a splendid brass contribution led by Crispian Steele-Perkins on first trumpet. If the choral acclamations don't quite match the uninhibited raucousness of the Westminster scholars in the real-life event, the newly restored passage of music at the heart of the ode is still tremendously exciting. The choral solos in the Te Deum are affectingly tender, the orchestral contribution in Blest pair of Sirens outstanding. Proceedings are rounded off with a magnificently poised yet rousing performance of Jerusalem in Elgar's orchestration, richly redolent of the period.
Whilst the recording itself was made in St Jude's Church, north London, the organ is the Father Willis instrument of Hereford Cathedral, not 'tracked on' afterwards as is so often the case, but played 'live' in the sessions using the latest Hauptwerk technology. The result is astonishingly realistic.
There are full texts, and detailed notes from English choral music expert Jeremy Dibble and from conductor Robert King. This is a model of how such recordings should be presented, and a clear 'must-have' for all choral music collectors. The Vivat label will be evidently be one to follow with great interest.
All this is far removed from the repertoire in which the King's Consort is most familiar to record collectors, not least their seminal accounts of music by Handel and Purcell. Their previous 'Coronation' disc was of music performed for George II way back in 1727. Yet followers of the King's Consort's work in the concert hall will know that their repertoire has for some time included music of both the nineteenth and twentieth centuries, and it is good to have this now reflected on disc.
The performances themselves are marvellous, beautifully sung and shaped, and come across with exceptional vividness. The use of Stanford's own masterly orchestrations in the canticles is revelatory, clearly showing the influence of Wagner and Brahms, the latter particularly evident in the joyous A major service. Even more striking is the G major service, with Carolyn Sampson's ringingly clear soprano wonderfully accompanied by Catrin Finch's crystalline harp solo in the Magnificat, and David Wilson-Johnson movingly evoking the aged Simeon in the Nunc dimittis. Throughout, the use of period instruments pays huge dividends, not least in the wonderfully characterful wind playing, with piston horns and trumpets. The C major Magnificat fairly bursts forth in a manner impossible to rival with the customary organ-only accompaniment.
The Parry works are every bit as good, spine-tinglingly so in the 1911 version of I was glad. There is a real sense of occasion here, yet remarkably clear-textured, with a splendid brass contribution led by Crispian Steele-Perkins on first trumpet. If the choral acclamations don't quite match the uninhibited raucousness of the Westminster scholars in the real-life event, the newly restored passage of music at the heart of the ode is still tremendously exciting. The choral solos in the Te Deum are affectingly tender, the orchestral contribution in Blest pair of Sirens outstanding. Proceedings are rounded off with a magnificently poised yet rousing performance of Jerusalem in Elgar's orchestration, richly redolent of the period.
Whilst the recording itself was made in St Jude's Church, north London, the organ is the Father Willis instrument of Hereford Cathedral, not 'tracked on' afterwards as is so often the case, but played 'live' in the sessions using the latest Hauptwerk technology. The result is astonishingly realistic.
There are full texts, and detailed notes from English choral music expert Jeremy Dibble and from conductor Robert King. This is a model of how such recordings should be presented, and a clear 'must-have' for all choral music collectors. The Vivat label will be evidently be one to follow with great interest.
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