Hyperion Records

Those elusive qualities of ‘transcendental beauty paired with an enchanting simplicity’, eloquently glossed by Alban Gerhardt in his booklet note, might also be said to characterize his playing in this outstanding new recording. "Gerhardt can sound deliciously at ease in this music, whether moving with swift grace through a Sarabande or skipping with jaunty assurance through a Menuet or Gavotte. And his sound is glorious—a silvery tenor register (especially in the high-lying Sixth Suite) capping an overall tone that is rich without ever being overbearing … in his own personal way Gerhardt is no less a master" – Gramophone (Editor's Choice Alban Gerhardt cello CDA68261-2 • Released 2019

NEW RELEASE - in stock now! 2CD super jewel set with extensive sleeve note booklet. •• 'MOZART: PIANO SONATAS' WAS OUR FEATURED ALBUM FOR OCTOBER 2023 •• Click here to read our blog about this release! Angela Hewitt ’s voyage of discovery through Mozart’s piano sonatas is proving a joy, the works sounding newly minted in vital, alert accounts which respect their scale and sensibility while revealing influences of Mozart’s orchestral and concerto writing of the period. Track Listing: Piano Sonata in D Major K311 Piano Sonata in A Minor K310 Piano Sonata in C Major K330 Fantasia in C Minor K396 (completed by Maximilian Stadler) Fantasia in D Minor K397 Piano Sonata in A Major K331 Piano Sonata in F Major K332 Piano Sonata in B Flat Major K333 ANGELA HEWITT piano CDA68421 • Released 2023

Following much-praised accounts of the St John Passion and Christmas Oratorio, Stephen Layton now turns to the B minor Mass. With Trinity College Cambridge forces and a fine roster of soloists, the results are guaranteed to prove equally spectacular. For all the B minor Mass’s stylistic diversity, many Bach lovers would agree that it offers a spiritual experience as deep as that afforded by the St Matthew Passion. These two monumental (whatever the forces used) works, each of unsurpassed grandeur and profundity, are polar opposites. In the Passion the individual soul relives Christ’s sufferings, and in the process moves from repentance to salvation. In the Mass, transcending religious denomination, the entire church celebrates the glory of God and seeks redemption. Between them they constitute the ne plus ultra of sacred music. – Richard Wigmore, 2018 CHOIR OF TRINITY COLLEGE CAMBRIDGE ORCHESTRA OF THE AGE OF ENLIGHTENMENT KATHERINE WATSON soprano HELEN CHARLSTON mezzo-soprano IESTYN DAVIES countertenor GWILYM BOWEN tenor NEAL DAVIES bass CDA68181 • Released 2018

NEW RELEASE!! Domestic music-making of a distinctly superior sort is lovingly recreated in a rare recording of the notebooks Bach presented to his second wife. The famous music book was gifted by Johann Sebastian Bach to his wife, who noted down pieces composed by Bach and others. Award-winning harpsichordist Mahan Esfahani and renowned soprano Carolyn Sampson perform these works. Since making his London debut in 2009, Mahan Esfahani has established himself as the first harpsichordist in a generation whose work spans virtually all areas of classical music-making, from critically acclaimed performances and recordings of standard repertoire to working with the leading composers of the day and pioneering concerto appearances with major symphony orchestras on four continents. He was the first and only harpsichordist to be a BBC New Generation Artist (2008-2010), a Borletti-Buitoni prize winner (2009), a nominee for Gramophone's Artist of the Year (2014, 2015 and 2017) and on the shortlist as Instrumentalist of the Year for the Royal Philharmonic Society Awards (2013 and 2019). "at its pungent best, Esfahani's joie de vivre can be uniquely captivating." – BBC Music Magazine MAHAN ESFAHANI harpsichord CAROLYN SAMPSON soprano CDA68387 • Released 2023

Mahan Esfahani again highlights the radicalism, virtuosity—and sheer joyousness—of the works recorded here, both in his playing and in his uncommonly engaging booklet notes. Since making his London debut in 2009, Mahan Esfahani has established himself as the first harpsichordist in a generation whose work spans virtually all areas of classical music-making, from critically acclaimed performances and recordings of standard repertoire to working with the leading composers of the day and pioneering concerto appearances with major symphony orchestras on four continents. He was the first and only harpsichordist to be a BBC New Generation Artist (2008-2010), a Borletti-Buitoni prize winner (2009), a nominee for Gramophone's Artist of the Year (2014, 2015 and 2017) and on the shortlist as Instrumentalist of the Year for the Royal Philharmonic Society Awards (2013 and 2019). "at its pungent best, Esfahani's joie de vivre can be uniquely captivating." BBC Music Magazine MAHAN ESFAHANI harpsichord CDA68336 • Released 2022

The exuberant vitality of Bach’s toccatas—works which the young composer probably wrote to demonstrate his own brilliance and technique as a performer—here provides the perfect showcase for the interpretative flair of Mahan Esfahani . Esfahani writes: "The toccatas are amongst Bach’s most mysterious works due to the paradoxical scenario of a largely taciturn composer refusing to tell us exactly what we should do while simultaneously presenting scores so clearly in need of the (respectful) intervention—or, rather, participation—of a performer. They reward the keyboardist with the beautiful sparks emanating from the perpetual conflict between disorderly flamboyance and everlasting truth, a brief glimpse of something sacred showing itself to us through an old box with some strings stretched across it—as Eliade puts it, ‘the manifestation of something of a wholly different order … in objects that are an integral part of our natural “profane” world’." MAHAN ESFAHANI harpsichord CDA68244 • Released 2019

Two-disc CD set. Gramophone -Award-winning harpsichordist Mahan Esfahani has recorded Rameau’s Pièces de clavecin in the historic setting of the Music Room at Hatchlands Park in Surrey. This is a masterclass for the instrument, confirming this young artist as a truly great player: in the words of International Record Review ‘his technique is beyond criticism and his inherent musicianship goes far deeper than mere surface understanding … it is difficult not to warm to such a musician’. This double album comprises the whole of Rameau’s output of keyboard suites, and Esfahani rejoices in its wealth of genius, its excitement and drama. Rameau is a composer whose revival is ongoing, and his unique combination of the witty and the cerebral, the light and the curmudgeonly, abounds throughout his harpsichord music. MAHAN ESFAHANI harpsichord CDA68071-2 • Released 2014

New release! •• 'PRELUDES, INVENTIONS & SINFONIAS' WAS OUR FEATURED ALBUM FOR SEPTEMBER 2024 •• Click here to read our blog about this release! A collection of miniatures centred around the sets of Inventions and Sinfonias which Bach wrote principally as teaching aids—of an extremely superior kind, it should be noted—to encourage any young keyboard player ‘keen to learn’. These joyous, enthralling accounts from Mahan Esfahani prove that there is a great deal more to them than that. "Every student and performer who has spent a lifetime with the inventions and sinfonias owes every iota of their critical engagement with this music to the British scholar Richard Jones, whose exemplary edition for the Associated Board of the Royal Schools of Music is the benchmark for any true understanding of Bach’s works as living texts. I dedicate this recording to him and to the significant impact his work has had on me since my first contact with Bach’s music." – Mahan Esfahani, 2024 MAHAN ESFAHANI harpsichord, clavichord CDA68448 • Released 2024

Five Italian Oboe Concertos: music by Vivaldi, Albinoni, Bellini, Marcello & Cimarosa. Recorded in St Barnabas's Church, North Finchley, London in December 1987. ‘Nicholas Daniel's playing, beautifully controlled and judiciously ornamented, makes it easy to listen again to a choice selection’ (Fanfare, USA) NICHOLAS DANIEL oboe with PETERBOROUGH STRING ORCHESTRA CDH55034 • Released 1999

Two-disc CD set. ‘Layton has directed this annual St John Passion for several seasons now. His readings, which are becoming ever more dramatic and daring, have a raw intensity. It was easy to see why these concerts have become one of the highlights in London’s musical calendar’ (The Guardian) Polyphony and Stephen Layton present their celebrated performance of Bach’s most dramatic masterpiece. Accompanied by the Orchestra of the Age of Enlightenment and a starry team of soloists, Layton directs a vivid account, the excitement of the narrative drama contrasting with heartbreaking moments of reflection. In Ian Bostridge , we have the most iconic Evangelist of the last twenty years; an artist who is an incomparable communicator, a singer of technical brilliance, and an impassioned, experienced interpreter of Bach’s music. STEPHEN LAYTON conductor ORCHESTRA OF THE AGE OF ENLIGHTENMENT POLYPHONY Ian Bostridge, Neal Davies, Carolyn Sampson, Iestyn Davies, Nicholas Mulroy, Roderick Williams soloists CDA67901-2 • Released 2013

The ‘abundance of intelligence’ in Pavel Kolesnikov’s pianism which so impressed Gramophone pays particular dividends in Beethoven, the ‘Moonlight’ sonata sounding newly minted in this remarkable reading. ‘Pavel Kolesnikov is an artist who likes to surprise and to delve into the more forgotten corners of the repertoire: who would have thought he’d follow his compelling Louis Couperin disc with Beethoven? And a disc on which the Moonlight Sonata features? But that is in a way a red herring, for he begins in much more obscure territory with four rarities, which are delightful. He conveys the jokiness of the second piece … without labouring the point, while the fourth contrasts a quiet playfulness, sudden outbreaks of ire and an otherworldly dreaminess. This links perfectly to Op 27 No 2, Kolesnikov’s sound nicely haloed in the whispered opening movement … the finale, beautifully pedalled, is suitably agitated and taken at a fearless speed … Hyperion has given Kolesnikov a beautifully natural recording, plus engaging notes from Richard Wigmore’ (Gramophone) PAVEL KOLESNIKOV piano CDA68237 • Released 2018

‘Intense, emotional and pure’ is how Pavel Kolesnikov describes the experience of making this recording, the fruits of a collaboration between the pianist and choreographer Anne Teresa De Keersmaeker. The spirit of the dance, so fundamental to Bach, is never far away in this compelling new account. ‘Kolesnikov’s playing is consistently lovely, and I would defy anyone not to enjoy it’ (BBC Music Magazine) PAVEL KOLESNIKOV piano CDA68338 • Released 2020

Equally well-suited to the demands of the French Baroque as to the high Romanticism of Tchaikovsky and Chopin, Pavel Kolesnikov’s attentive musicianship yields predictably revelatory results in the music of Louis Couperin. ‘Very few pianists of Kolesnikov’s generation share his abundance of intelligence, sensitivity, imagination and sheer instrumental mastery’ (Gramophone) PAVEL KOLESNIKOV piano CDA68224 • Released 2018

Two CDs for the price of one! No-one, but no-one performs Messiah better every year than the choir Polyphony under the conductor Stephen Layton – Evening Standard Polyphony and Stephen Layton ’s live Messiah at St John’s Smith Square has become one of the highlights of the musical season. The joyful sincerity and urgent brilliance of the performers has brought the familiar story to life again and again. Now this wonderful experience is available on disc, recorded in 2008 for a new release that will surely prove a strong competitor in a necessarily crowded market. Polyphony is joined by the Britten Sinfonia and a quartet of magnificent young soloists – all variously acclaimed as the premier Handel singers of the new generation. POLYPHONY BRITTEN SINFONIA STEPHEN LAYTON conductor JULIA DOYLE soprano IESTYN DAVIES countertenor ALLAN CLAYTON tenor ANDREW FOSTER-WILLIAMS bass CDA67800 • Released 2009

•• OUR FEATURED ALBUM FOR APRIL 2025 •• Click here to read our blog about this release! ‘Boccherini’s adagios excite the admiration of connoisseurs and the despair of fellow artists; they give one an idea of the music of the angels.’ from the Dictionnaire historique des musiciens (1810-11) by Alexandre-Étienne Choron and François-Joseph-Marie Fayolle Luigi Boccherini—is it just association, or does the name itself emanate a sense of magical refinement? Whichever, the music certainly conveys that impression, to an extraordinary extent; has there ever been a composer of more consistent elegance? No matter how impassioned the mood, how martial and dramatic, or how tender, Boccherini’s art is always attired in sumptuous clothing, radiating grace. Unlike his near-contemporary Joseph Haydn, Boccherini rarely seeks to shock; he prefers instead to create for his players and listeners a sphere of ideal beauty, of sophisticated sentiments—and in that he succeeded like no other. Compared to both Mozart and Haydn, he may seem somewhat innocent, almost naive; but that is a misleading impression—he is merely different. They, pursuing much of their careers at the centre of musical life in Vienna, were of this world; Boccherini, who spent more than half of his life in far-off Spain, inhabited his own, idyllic realm of the senses. In the well-known words of the French publication quoted above: ‘If God wanted to speak to man through music, he would do so through the works of Haydn; if, however, he wished to listen to music himself, he would choose the works of Boccherini.’ It is perhaps in part because of his unworldliness that Boccherini’s reputation has never really matched his achievements—even now. It is true that he has always had his fans (including, interestingly, Chopin, whose use of sonata form noticeably resembles that of Boccherini); but until surprisingly recently, the only two Boccherini works that were heard regularly in the concert hall are the ‘Minuet in F’ (actually in A, from a quintet in E), played in various arrangements, and his cello concerto in B flat—in a (for me, anyway) ghastly Victorian version that bears very little resemblance to Boccherini’s original. It is fair to say, in fact, that it is only within the last fifty years or so that any of his approximately 600 works have been heard in versions that he would have recognized—and then all too rarely. Hard to believe, but true. Even today, it can be difficult to find faithful editions of his music; but at least there are such editions now available. And what treasures have been rediscovered! A very brief biography: Ridolfo Luigi Boccherini was born in Lucca, Italy, in 1743, into an artistic family. His father, Leopoldo, was a double bassist, cellist and singer, while three of his siblings were dancers. Under the guidance of his father, Luigi’s talent manifested itself early, and—perhaps as early as age eleven—he was sent to Rome to study. Following his return to Lucca in 1756, Boccherini’s career started to blossom, partly thanks to the support given to him, pleasingly, by the director of music at the town’s main church, one Giacomo Puccini—great-great-grandfather of Lucca’s other most beloved musical son. From the age of fourteen, Boccherini started to tour widely as a concert artist, giving solo performances as well as playing in various orchestras (in some of which his father played the bass). Following the death of Leopoldo in 1766, Luigi left Lucca for ever, spending some time in Paris before arriving in Spain in 1768. From 1770 until his patron died in 1785, Boccherini was employed as composer, director of music and cellist at the court of the Infante Don Luis, brother of the King of Spain. Perhaps even more prestigiously, he was from 1786 to 1797 Chamber Composer to King Friedrich Wilhelm II of Prussia, nephew of Frederick the Great. Like his uncle, who had been a keen amateur flautist, Friedrich Wilhelm encouraged composers to write for his chosen instrument, in this case the cello; it was he who was responsible for the prominent cello parts in Mozart’s last quartets, and for Beethoven’s first two cello sonatas. For his new benefactor, Boccherini composed reams of quintets featuring two cellos (a genre in which he had started to specialize some years earlier). Curiously, his employment was a long-distance one; Boccherini seems never to have visited the court in Potsdam, nor to have met his admiring employer. Boccherini remained in Spain for the rest of his life, in fact, working for a variety of patrons, until he died in Madrid in 1805. Married twice, he had fathered seven children—but sadly, both his wives and six of his children pre-deceased him. Turning away from this melancholy note, we can (hopefully) cheer ourselves by passing on to the six works on this album—incorporating a wide, if subtle, range of emotions, forms and textures. From concertos to sonatas to chamber music: each piece unmistakably conveys Boccherini’s unique voice—and yet, the more one gets to know them, the more noticeable are the differences between each piece in this collection. To begin with the concertos: Boccherini’s cello concertos, some twelve in number, were written comparatively early in his career, all dating from the years during which he toured as a virtuoso. And by the way: what a virtuoso! Presuming that he could play his own music—which I think is a fair presumption—he must have been a truly wonderful player; one can feel it in the writing, as challenging as anything composed for the cello before the twentieth century, at least. (The great Russian cellist Gregor Piatigorsky, an avid Boccheriniphile, considered Boccherini to have been, on the evidence of his music, the greatest cellist of all time.) The concerto in D, G479, one of a set of four concertos published in Paris in 1770, displays this virtuosity to a remarkable extent. (Boccherini’s works, grouped by genre rather than arranged chronologically, were catalogued in the late 1960s by the great French musicologist Yves Gérard—hence the G numbers.) More than any other work on this album, it gives us, from the soloist’s first notes, a clear idea of Boccherini the concert performer: the cello enters at a strikingly high register, almost violin-like, with a bold theme that combines a singing quality with filigree ornamentation; much of the writing in this movement requires the soloist to dance nimbly at the top of the instrument. In contrast, however, Boccherini then gives us a slow movement that is in all but words an operatic aria for the cello; the resulting pathos is firmly—if never rudely—broken by horn calls (on violins), announcing a finale of refined brilliance. One can imagine that this concerto, at least from the soloist’s entry, must have provided a wholly new musical experience for Boccherini’s audiences—not least through the extraordinary orchestration of the solo passages, in which the cello is accompanied by violins only (presumably intended for one player per part, as performed here). This ultra-light scoring is a feature of many of the concertos. Perhaps it was purely for practical reasons: it’s possible that Boccherini was, at least on occasion, the only cellist in the group performing the concertos; in that case he would have been unable, of course, to provide the bass line at the same time as playing the solo part. This would have left him faced with a dilemma. The double bass would probably have sounded too low to provide a satisfying foundation for the harmony—and perhaps Boccherini didn’t trust his violist’s intonation! At any rate, the resulting effect, with the cello often inhabiting the same stratosphere as the violins, is remarkably translucent and ethereal—truly ‘music of the angels’. The other concerto on this recording, in A major, G475, known as ‘The Frog’ because of the leaping intervals of one of the soloist’s thematic passages in the finale (from 0'40), seems to date from Boccherini’s earlier years. (Actually, I confess: it hasn’t yet been known as ‘The Frog’—or as anything else, in fact, as far as I know, but I do think that those passages in the finale sound like a frog. And I’m curious to know whether giving a nickname to a little-known work such as this concerto might (deservedly) increase its popularity. I want to see, in short, whether this nickname has legs …) Maybe it was even the concerto concerning which Puccini senior noted in his diary on 4 August 1756 that he had paid Boccherini for giving three performances ‘the day after the first Psalm, and then to oblige me, at Mass and Vespers’. Or if that is too early for such a mature work, perhaps it is the concerto ‘in a completely new style’ (according to a contemporary report) which he played in Florence on 19 March 1761, at the age of eighteen. Possibly related, the only early source for the work is to be found today in Florence—albeit a copy rather than an original manuscript (including a cadenza which, uninspired as it is, cannot be, in my opinion, the work of the composer—just as the cadenzas found in the manuscript of Haydn’s cello concerto in C are definitely not Haydn’s). Given the lack of a source in Boccherini’s hand, and the fact that it was published only after his death, the concerto’s authenticity was questioned for a time; but since the material of the first movement is recycled in one of Boccherini’s cello sonatas (G13, also in A), we can be pretty sure that it is genuine. Besides, it has much in common with his other concertos, including its companion on this album: the same delicate refinement of orchestration (although the tuttis here include two optional horns), similar cantabile writing for the cello, and the instantly recognizable, understated humour that is so much part of Boccherini’s musical personality. If this early work does not quite display the perfect mastery of the other works on this recording, it is certainly worth hearing, its many beauties easily outweighing any trifling imperfections. And so to the sonatas: Boccherini left us around thirty sonatas, almost all for ‘cello e basso’—i.e. solo part plus bass line; this could imply either cello and keyboard continuo, (possibly) cello and double bass, or two cellos. (There is no cello sonata by Boccherini with an independent, equal keyboard role—perhaps surprisingly, since his violin sonatas Op 5, written in the 1790s, contain brilliant parts for the keyboard. For an equal cello/piano sonata, the cello (and piano) would have to wait for Beethoven.) For a time, the double bass was the favoured probability, since that would have allowed Boccherini senior to accompany his son in concerts; but actually, the writing of the second part invariably lies within the normal range of a cello—so that, unfortunately, makes the charming father-and-son vignette less likely (unless Leopoldo took up his cello again, of course—conceivable but unlikely, since he was much better known as a bassist). The knowledge that the sonatas were almost certainly intended for two cellos, however, by no means precludes the possibility of performing them with bass, guitar or keyboard accompaniment (with or without a second cello); it is a matter of choice. At first, in fact, I intended to record both the present sonatas with harpsichord—I love the combination; but, in getting to know the F major sonata (which I learned especially for this album), I realized that a second cello would be much more appropriate here, because of the strikingly idiomatic cello-writing in the accompanying part. (Incidentally, I can provide no historical justification for my decision in some movements to do the first repeat only, and in others to dispense with them altogether—I just prefer it that way. Apologies to repeat purists …) All of Boccherini’s cello sonatas are presumed, like his concertos, to have been written during his touring years. Each sonata seems to me rather like a mini-opera, with its own very personal story to tell. The C minor, with its arresting chordal opening, is certainly the more tragic of the two sonatas presented here. (There are two existing versions of this C minor sonata—a heavily ornamented edition, known to its friends as G2; and this one, G2b. Even though I have a slightly uneasy feeling that the more elaborate version could conceivably be closer to Boccherini’s own performance, I prefer the simpler G2b, which seems to me ornate enough already, and with a clearer melodic line. So the answer to the question 2b or not 2b is definitively—for me—2b. If only Hamlet had known …) There is a strength, a sense of drama, that differentiates it from the sunnier world of the concertos; what binds them together, however, is the marvellously melodic writing for the cello—nobody can make the cello sing as Boccherini did! The F major sonata is altogether gentler—though not without its moments of cantabile pathos. It is perhaps not fanciful to hear in both sonatas a love story, replete with dialogues and arias, combined with courtly dances which by no means impair the romantic atmosphere. Indeed, the last movement of the F major sonata is adorned with the unusual title ‘minuetto amoroso’. Boccherini could be said to have owned the genre of the quintet with two cellos (until Schubert came along, at least), composing well over 100 of them. As mentioned earlier, a huge number were written for the court of King Friedrich Wilhelm; but the one we have chosen, G280 (although answering additionally, rather puzzlingly, to the names of both Op 13 No 4 and Op 20 No 4), was written in the early 1770s, well before Boccherini came into contact with the Prussian monarch. It is another work of quiet but unmistakable originality, with notable features including the ardent nature of the opening lament, passed between the cellos and accompanied by birdlike trills—a favourite device of Boccherini; in the heartfelt andante sostenuto, an unexpected cadenza for the second cello; and—perhaps most strikingly—a last movement in the form of a fugue, perfectly worked out while remaining firmly within Boccherini’s world of Italianate lyricism. Finally—a built-in encore. I know that I complained at the beginning of this note that Boccherini’s ‘Minuet in F’ was practically his only popular work, over-played and over-arranged (and irredeemably associated, for those of a certain generation, with the classic Ealing comedy film The Ladykillers ). But … it really is a gem—subtle and perfect. Pure Boccherini, in fact. CDA68444 • Released 2025

The challenges and rewards of performing early music are here vividly illustrated by The Binchois Consort, as creative scholarship comes to the aid of two substantial—but fragmentary—works by Jacob Obrecht, and an audacious recorded sound attempts to recreate the experience of the original performers 500 years ago: an album set to attract huge interest from critics and Renaissance scholars alike. CDA68460 • Released 2024

Stephen Layton and the combined forces of Trinity College Choir Cambridge , the Orchestra of the Age of Enlightenment and an impressive line-up of soloists present a joyous rendition of Bach ’s Christmas Oratorio. This six-part masterpiece covers the events of the nativity to Epiphany and beautifully evokes the pastoral atmosphere of the Gospels which is such an important part of the Christmas liturgy. James Gilchrist has become one of the most admired Evangelists performing today, his limpid, flexible tone and great musicianship bringing the stories thrillingly to life. THE CHOIR OF TRINITY COLLEGE CAMBRIDGE ORCHESTRA OF THE AGE OF ENLIGHTENMENT Stephen Layton conductor Katherine Watson soprano Iestyn Davies countertenor James Gilchrist tenor Matthew Brook bass CDA68031 • Released 2013

NEW RELEASE! In a selection of motets woven affectingly throughout the glorious five-part Mass, The Gesualdo Six perfectly captures all the power and tenderness of Byrd's compositional voice. THE GESUALDO SIX OWAIN PARK director CDA68416 • Released 2023

Step into an enchanting sequence of festive works for the season of Epiphany. Amidst the cold and frosty nights, composers capture a sense of anticipation at what the new year may bring. This album weaves together beloved seasonal carols spanning across centuries and bringing warmth to the winter’s embrace. Traditionally in the UK, the days preceding Twelfth Night have an air of post-Christmas lull. It’s a sleepy time, as we look expectantly to the promise of a new year. Days are cold and short, glistening with frost and punctuated by long, dark nights. But then there is ‘Little Christmas’—Epiphany, which comes from the Greek ‘epiphaneia’, meaning ‘appearance’, and which is one of the three principal and oldest festival days of the Christian Church. The revelation of Jesus Christ to the world, the visit of the Magi, the baptism of Jesus and the wedding at Cana are all celebrated at this time. Following an old tradition, those who forget to take down their Christmas trees on Epiphany eve must leave them untouched until Candlemas: it is this period which forms the musical timeline for much of this album. There is no shortage of wonderful repertoire to explore at this time of year. Full of hope and joy, much of it alluding to the ‘morning star’, it offers a promise of renewal and rebirth. These works remind us to celebrate the gifts we have received, and to wonder at the mystical alchemy described in the Epiphany story. On this album The Gesualdo Six weave a tapestry of well-known seasonal carols together with Renaissance gems and highlights from the twenty-first century. "We hope that the music contained here reflects the joy we had performing it, as we return to the chapel at Trinity College in Cambridge, where we made our first festive album a few years ago." – Owain Park The Gesualdo Six Owain Park director CDA68404 • Released 2023

NEW RELEASE! The infallible Gesualdo Six trademarks of consummate musicianship and scholarly integrity are much in evidence here. Queen of Hearts addresses and reflects on queens spiritual (the Virgin Mary) and temporal (Mary Tudor and Anne Boleyn, among others) in a programme of music largely of the sixteenth century, but spiced with two short works from the twenty-first. "As we developed our concert programmes for performance, a new thread emerged: music that connected the queenly courts of Europe. There are several fantastic and beautifully illuminated sources containing music written for these courts, and many of them are preserved in the United Kingdom. We have thoroughly enjoyed putting together this collection, and our particular thanks go to Guy James for his work researching and preparing editions of the music. I hope we have captured something of the intrigue and excitement we feel when singing this repertoire, and look forward to how this programme might develop in the coming years." – Owain Park, 2024 The Gesualdo Six Owain Park director CDA68453 • Released 2024

In this enchanting disc, Carolyn Sampson ’s ravishing, silvery tones are put to the service of some of Handel’s most joyous and profound music for the solo voice. Handel wrote little for his native tongue, but what he did demonstrates a particular level of contemplative pietism while still employing the familiar techniques of Italian opera. In these nine German arias he set the poems of his contemporary Barthold Heinrich Brockes, and their theme is that the abundant goodness of God is evident in the joy and beauty of His creation. The musical relationships with Handel’s opera arias are evident in the endless ingenuity of his characterization and the expressive, articulate melodies with which the soprano and the violin obbligato create their vivid images. These arias are paired with Handel’s three oboe sonatas—delightful works which demonstrate the composer’s enthusiasm for the instrument’s expressive capabilities and colours. CAROLYN SAMPSON soprano THE KING'S CONSORT CDA67627 • Released 2007

Two-disc CD set for the price of one! Crowning The King's Consort 's celebrations of its twenty-first birthday and its millionth CD sale for Hyperion, comes a truly spectacular reconstruction, that of the Coronation of King George II in Westminster Abbey in 1727. Complete with ringing trumpet fanfares sounding from all corners of the venue, dramatic drum processions up and down the aisles, shouts of acclamation from a huge cast, pealing church bells (especially recorded at historic churches and cathedrals across England and Wales), and some of the greatest of all ceremonial music, this two-for-the-price-of-one disc is a spectacular musical and sonic tour-de-force. The music is fronted by Handel's four great Coronation Anthems, including Zadok the Priest (so striking at its first 1727 hearing that it has been performed at every Coronation ever since), alongside splendid coronation music by Henry Purcell, John Blow, William Child, John Farmer, Thomas Tallis and Orlando Gibbons. ROBERT KING conductor THE KING'S CONSORT CHOIR OF THE KING'S CONSORT CDA67286 • Released 2001

Haydn’s remarkable Opus 20 quartets are rightfully regarded as landmarks in the history of the string quartet. Throughout the six contrasting quartets the composer employs compositional techniques that were to shape and define the genre. We witness a deviation in style from the lightness and wit of his previous quartets to a mood of emotional intensity and darker musical imagery. The six Opus 20 works are all individually exquisite masterpieces and demonstrate a composer at the height of creative maturity. They display an astonishing consistency of excellence and a huge variety of form and style, contrasting dynamics and relentless energy. Increasingly polyphonic textures are infused with a sense of drama, and the cello is often freed from its basso continuo roots to a position of prominence. The London Haydn Quartet is the ideal advocate for these works and gives elegant, radiant and exhilaratingly assured performances. SELCDA67877 • Released 2011

•• 'A LOVER'S DEATH' WAS OUR FEATURED ALBUM FOR FEBRUARY 2025 •• Click here to read our blog about this release! The eleventh and final release in The Orlando Consort's comprehensive Machaut survey easily maintains the standards of its predecessors. The closing couplet of the final track - 'Their singing will be sublime/ Harmoniously will they render him praise' - might well serve as a motto for the Orlandos' achievement, not only in this album but throughout an illustrious career. CDA68430 • Released Jan 2025