Renowned for his outstanding piano miniatures and solo songs, John Ireland is little known these days as a composer of partsongs. His deep understanding of choral forces brings a unique polish and artistry to the genre, his early style reflecting a deference to his masters Parry and Stanford, and deeply moving post-war masterpieces such as Twilight Nightexploiting a more acerbic harmonic vocabulary. E.J. Moeran’s inclination towards introspective melancholy blends with his knowledge of Elizabethan madrigal and renaissance dance, resulting in true gems on themes of love such as While she lies sleeping.
Orchestration by Marco Taralli
Majella Cullagh, Soprano1
Marianna Pizzolato, Mezzo-soprano2
José Luis Sola, Tenor1
Mirco Palazzi, Bass1
Camerata Bach Choir, Poznań • Tomasz Potkowski, Chorus-master
Württemberg Philharmonic Orchestra
Listen to TRACK 14: Giovanna d’Arco
Rossini’s Stabat Mater is one of the staples of the sacred music repertoire but had a complicated history. He wrote it for performance in Madrid but, running short of time, enlisted the help of his friend Giovanni Tadolini. Rossini completed six pieces, Tadolini seven. Tadolini’s pieces now only exist as piano reductions but conductor Antonino Fogliani has orchestrated them to allow listeners to hear the original work for the first time since 1833. Marco Tarelli’s 2009 orchestration of Giovanna d’Arco (Joan of Arc), a cantata for solo voice, is also heard on this first recording.
The music and poetry of numerous persecuted and exiled minority cultures flourished throughout the Mediterranean and South America during the 17th century, the sensitivities of these displaced communities retaining powerful resonance today. These ancient narratives on beauty, love, joy and sorrow are expressed through Yaniv d’Or’s haunting voice against a ‘folk-Baroque’ instrumental backdrop that reinvents enchanting and distinctive musical worlds.
William Henry Squire was Britain’s leading cellist from the late 1890s to the late 1920s and a prolific artist in the early recording era. He composed a series of exquisite miniatures for the instrument, the finest of which are collected here for the first time. They were written largely between the ages of 18 and 33, often with specific audiences in mind—whether Promenade Concerts, recital platform or grade examinations—and include his signature piece, Sérénade, Op. 15 and his enigmatic tribute to Dvořák, the Chansonnette, Op. 22. Five of the twenty have never before been recorded.