NEW RELEASE!
J.S. BACH - HARPSICHORD CONCERTOS, BWV 1052, 1054, 1055 & 1058
The Hanover Band
Harpsichord / Director: Andrew Arthur
SIGNUM CLASSICS SIGCD710
|
'An excellent record, which I enjoyed very much, [...] Indeed, so impressed have I been by this disc that although these concertos have been recorded many times, I cannot recall a set of performances which has satisfied me so much. [...] The recording balance is equally first-rate' ★★★★★ Musical Opinion Quarterly, October-December, 2022 (Robert Matthew-Walker)
'[…] Bach used only single stringed instruments for each orchestral part, a limitation respected on these recordings. It turns out to be no limitation at all, in fact the intimate and finely-detailed weave of the five string players of the Hanover Band is one of the recording's chief pleasures […] Another is the playing of harpsichordist Andrew Arthur, which always feels alert and responsive to the orchestral parts, and has just enough tempo flexibility and ornamentation to bring Bach’s aural designs to life. The sheer sensuousness of the slow movements, which are taken at a luxuriously slow pace, should win over even hardened harpsichord sceptics. ★★★★ The Telegraph, July 28, 2022 (Ivan Hewett) Critic's recommendation: Best Classical CD releases of July 2022
This is a fine new recording of the Bach harpsichord concertos with the Hanover Band in good form. [...] Andrew Arthur is a fine player, and the Garlick harpsichord sounds very well. [...] if wanting stylistic performances of these four concertos, this is well worth considering.' ★★★★ Choir & Organ, November/December, 2022 (Douglas Hollick) 'This fine first CD – the second will include the other three harpsichord concertos and Brandenburg V – was recorded in the admirable acoustic of St Nicholas, Arundel and uses a harpsichord by Andrew Garlick, built in 2009 and after Jean-Claude Goujon, 1748. What is particularly good is the splendid balance between the single strings of the Hanover Band’s A team and the harpsichord – a resonant and singing instrument, well able to hold its own.[...] It is now largely accepted that using single strings is the best way to balance these exquisite concerti, the majority of which had earlier lives as concerti for violin before being re-scored for a six-instrument ensemble for Bach’s concerts in Zimmermann’s coffee-house. [...] what is so beguiling about these performances is the absolute integration of the players with one another. Not one player fails to contribute and the way the first violin and the right hand of the harpsichord play in complete sync – even when negotiating slight inégales in the rhythms – is so elegant and makes for that fluidity which only one-to-a-part can give. Although the excellent performance by Francesco Corti and Shunsuke Sato uses a second harpsichord to play the continuo of BWV 1055 for All-of-Bach, this marvellous performance beats it for natural clarity and for the way all the players – even when they appear to be just filling in the realisation of the continuo – shape their lines to make them sing in response to one other and to the free but perfectly rhythmic playing of Andrew Arthur. This is not only a very ‘correct’ textbook version that I shall enjoy returning to for a long time, but it is fluid, inventive and utterly musical.[...] Andrew Arthur is not a soloist in the modern sense of the word – out to stamp his personality on this music: he is content to help the ensemble to listen to each other and above all, to listen to Bach. There are no grand gestures or extremes of tempi. This is the best we are likely to get and I look forward to the second CD immensely.' Early Music Review (David Stancliffe)
'An enjoyably no-nonsense kind of playing makes the opening movement of Bach's Concerto in D minor, BWV 1052, extremely striking. Soloist Andrew Arthur and the one-to-a-part strings of the Hanover Band play with a feisty swing. Like windows flung open after the rain, there's a matter-of-fact muscularity to the performance, and continuo team Henrik Persson and Kate Brooke provide copious flexing. It's fun. Incredibly funky playing from Arthur, too, makes this movement - particularly the cadenza-like peroration that drives into the final recapitulation of the main - perhaps the album's highlight. [...] Arthur's ornamentation is interesting yet delicately scented, and his trills keep the harpsichord's line singing in the most spectacular fashion.' Gramophone, September 2022 (Mark Seow)
‘It has a real freshness and excitement to it’ BBC Radio 3, In Tune, 15 July, 2022 (Sean Rafferty)
‘[…] a really rich sound, with enjoyable ornamentation - I like the balance as well’ BBC Radio 3, Record Review, 30 July 2022 (Andrew McGregor)
'The sound of this recording just glows! The pieces have such rhythmic drive - you can hear every detail' BBC Radio 3, Sunday Morning, 2 October 2022 (Sarah Walker)
|
SEE, SEE THE WORD IS INCARNATE
CHORAL & INSTRUMENTAL MUSIC BY GIBBONS, TOMKINS & WEELKES
The Chapel Choir of Trinity Hall, Cambridge
Orpheus Britannicus Vocal Consort
Newe Vialles
Sopranos: Alexandra Kidgell & Charlotte Ives Countertenors: Robin Blaze & Timothy Morgan Tenor: Nicholas Mulroy Baritones: Richard Latham & Reuben Thomas
Director: Andrew Arthur
RESONUS CLASSICS, RES10295
|
‘[...] this finely produced disc is an excellent exemplar to modern ears of the musical riches - still too little-known - from the Stuart dynasty. The music has been most intelligently chosen, and the performances - from choir, viol consort and solo organ - are all of a very high standard, as is the consistent recording quality.' ★★★★★ The Organ (James Palmer)
'Despite a long and distinguished history, Trinity Hall, founded as early as 1350, is one of the lesser-known colleges that make up the University of Cambridge. [...] I was well aware of Trinity Hall but am mortified to confess that I knew nothing of its chapel, nor of its chapel choir and its several discs released before the one currently under review here. On the basis of this recording, the state of its music is certainly of a piece with the college’s eminent stature. The mixed Chapel Choir has 23 members (7S 6A 5T 5B) and verses are sung by members of Orpheus Britannicus, the Ensemble in Residence which consists of seven singers who are well kent in early music circles. Accompaniments are provided by the organ scholar, James Grimwood, or the five-strong consort, Newe Vialles, while the several organ solos are played by the college’s Director of Music, Andrew Arthur, who also conducts. [...] nowhere throughout the disc is there a dull moment, half because of the quality of the music and half because of the leisured intensity of the performances.[...] There is a richness about the tone of the choir which suggests a Baroque sensibility rather than the more austere Anglican approach which is often adopted for the music of these composers. Thanks to the slower tempi, individual parts are easily audible while the voices blend beautifully. This is a most impressive recording. For potential purchasers unfamiliar with the repertory but keen to give it a hearing (or just keen to support Trinity Hall), it is a delightful introduction. For those familiar with this music, and who possess recordings of all these pieces, it is well worth buying this disc for the singularly ripe yet penetrating performances.' Early Music Review (Richard Turbet)
'The various musical forces drawn together for this production breathe new life into this music from centuries past in the fine performances collected here.' Lark Reviews
'Andrew Arthur sets a pace that is refreshingly unhurried, giving the massed voices a chance for their individual lines to be heard in the generous acoustic. [...] The five-strong viol consort Newe Vialles are most impressive in their three solo tracks. They also join in the large scale opening and closing tracks (This is the record of John & See, see, the Word is incarnate). [...] Andrew Arthur's performance of the Voluntary (in C, MB24) is particularly impressive, with its virtuosic concluding flourish executed perfectly.' Andrew Benson-Wilson: Early Music Reviews+
‘...impresive and warmly resonant' BBC Music Magazine (Anthony Pryer)
|
WOLFGANG AMADEUS MOZART - SONATAS FOR VIOLIN & PIANO
K. 301, K. 304-5 & K. 454
PETER HANSON - Violin
ANDREW ARTHUR - Fortepiano
RESONUS CLASSICS, RES10281
|
‘The musicanship is exemplary, the sense of style from Hanson and Arthur perfect. Hesitate not!' The Classical Explorer (Colin Clarke)
‘[The] rapport between the two players shows through in a beautifully balanced sequence of Mozart sonatas. The recording venue is the Chapel of Trinity Hall, Cambridge, its wood-lined walls giving the sound a realistic resonance without favouring either instrument unduly. Hanson plays a gut-strung Guadagnini with a 1780s bow, whilst Arthur's keyboard is yet another beautifully voiced fortepiano from the studio of Paul McNulty - a copy of a Walter from around 1805. [...] in music that offers such rewards as Mozart's violin sonatas, the appetite is whetted for further instalments from these players.' Gramophone (David Threasher)
'The renowned period violinist Peter Hanson teams up here with the equally celebrated fortepianist Andrew Arthur in effervescent performances [...] impeccably musical and charmingly involving' Early Music Review (29 Nov 2021)
'I'm a period-instrument fan generally. However, when it comes to Classical-era music I don't always find period renditions terribly convincing, and therefore I tend to prefer stylistically knowledgable performances on modern instruments. Here's a definite exception, however, from two excellent British specialists. [...] Together Hanson and Arthur give you the feeling of being in an 18th-century parlor with performances of intimacy and verve. [...] this is an ideal sampler of Mozart's violin-and-keyboard music on period instruements and will surely make it to my Want List.' Fanfare Magazine, USA (Michael De Sapio)
‘A fine period-instrument recording of these sonatas which are each dedicated to women who supported Mozart in his musical endeavours. The duo of Peter Hanson and Andrew Arthur work well together in the performances here.' Lark Reviews (June 2021)
'Couldn't be better! Sensitive, lovingly shared. They make Mozart sound simple. What a deception. Not everyone can play Mozart this way.' Customer review, Amazon.com
|
DIETERICH BUXTEHUDE - MEMBRA JESU NOSTRI
The Chapel Choir of Trinity Hall, Cambridge
Orpheus Britannicus
Newe Vialles
Sopranos: Eloise Irving & Charlotte Ives, Countertenor: Daniel Collins
Tenor: Nicholas Mulroy; Bass: Reuben Thomas
Director: Andrew Arthur
RESONUS CLASSICS, RES10238
|
‘…a fresh and touching new reading from Andrew Arthur’s Orpheus Britannicus and Trinity Hall Chapel Choir, and the viol consort Newe Vialles. Prepare to enjoy beautiful singing and haunting music in a chapel acoustic as comforting as a blazing log fire.’ ★★★★ The Times (Geoff Brown)
‘Immediately striking here in Buxtehude’s slow-moving Passion meditation is the quiet, articulate intensity and aching sense of intimacy on display…performances characterised by clarity, precision, nuanced responses to changes of expressive tone and emotional temperature, and an admirably flexible reciprocity between all concerned. The abiding, altogether involving impression is one of utter sincerity and refined, fluid finesse. Excellent booklet notes by [Andrew] Arthur and Franco Basso perfectly complement these fine and valuable performances.’ ★★★★★ Classical Ear (Michael Quinn)
‘a fine performance…emotional and moving…’ BBC Record Review (Andrew McGregor)
'Buxtehude’s cycle of seven cantatas, Membra Jesu nostri, BuxWV 75 is given an intensely intimate performance by the period ensemble Orpheus Britannicus, the Chapel Choir of Trinity Hall, Cambridge, and the viol consort Newe Vialles. I found listening to this to be a most moving experience – one that was enhanced by the way in which the Resonus engineers had captured the sound within the accommodating chapel acoustic. The director Andrew Arthur also contributes to the excellent booklet notes that complete a most recommendable package.’ ★★★★1/2 iClassical
'It is often the context of the music-making that distinguishes its character, and the near ideal conditions of a choir of young singers together with a quintet of singers who share that background and the strings, lute and keyboard of Orpheus Britannicus, joined by the Newe Vialles viol consort in the subdued Part 6 (Ad Cor) provide a very coherent group of musicians for this tense, yet restrained masterpiece of early German Baroque oratorio. I admire the overall sound – there are no prima donnas here, nor the sense that this is just another routine performance. The intensity of it all is maintained by the experienced and capable direction of Andrew Arthur, as is the sense of the different chori – well laid out in the structure of the work as it is in the performance. His scholarly and helpful essay is a key element in the liner notes, revealing where and how Anders von Düben transcribed this work from its tablature original of 1680 into staff notation. This is complemented by a revealing note on the Latin text by Franco Basso, which is then given with an English translation. Details of pitch, instruments and tuning complete a model booklet…The choir sings with conviction and clarity and they reflect their director’s precision and their regular experience of singing in the small Chapel at Trinity Hall...There is such wonderful variety of mood and expression in this pioneering work, and we should be glad that it has received such skilled and musical a treatment. If you want a recording to complement a [one-to-a-part] performance, I recommend this CD wholeheartedly; and in its own right it is a fine advertisement for this director and his college choir. Early Music Review (David Stancliffe)
'..seductive and ravishing…' ★★★★ BBC Music Magazine (Paul Riley)
'This is an outstanding work that is given an excellent performance here’ MusicWeb-Internation (Stuart Sillitoe)
’This substantial composition gets a stunning new presentation in this release combining period instrument with the well disciplined voices of Trinity Hall’ Lark Reviews
’Supplementing the same vocal and instrumental forces he used on his 2017 Priory disc devoted to the sacred music of Purcell with the newly formed period-instrument ensemble Newe Vialles, Andrew Arthur has assembled a substantial body of performers. Yet he uses them most effectively, drawing from them an intimacy and directness of expression which gets right to the core of the work. Interpretatively, the most impressive thing is Arthur’s pacing and sense of deep repose. Time seems to stand still with the orchestral Sonata which opens the fourth cantata (‘To the Side’) before gently moving on into a decidedly Monteverdian setting of a text derived from the Song of Solomon. At no time do you feel that Andrew Arthur is in any sort of hurry to get through the work, and a sense that at every corner and turn he is content to linger contemplatively imbues this performance with a rare sense of ease.’ Gramophone (Marc Rochester)
|
A COURTLY GARLAND FOR BAROQUE TRUMPET
Orpheus Britannicus
Baroque Trumpet: Robert Farley
Director: Andrew Arthur
RESONUS CLASSICS, RES10220
|
INTERNATIONAL CLASSICAL MUSIC AWARDS FINALIST
(Baroque Instrumental Category)
|
'..it’s hard to imagine these pieces being played better.' Gramophone
'As Gottfied Reiche's solo Abblasen sounds the opening fanfare on a disc that explores the trumpet's assimilation into the 17th century Baroque, Robert Farley's laser precision and unflappable ebullience take the phrase 'clarion call' to the next level. And although, during his first decade in Leipzig, J.S. Bach was a conspicuous beneficiary of Reiche's celebrated dexterity, Farley is on a mission to show the trumpet's earlier evolution from something of emblemtaic of parade ground and battlefield to an instrument capable of chamber music subtlelty - Italy at the heart of a seismic shift...But Italy doesn't have the field to itself. Biber, Schmelzer and Gottfried Finger supply welcome contrast, especially when a dash of stylus phantasticus lessens the danger of so many short movements blurring one into another. It's a danger evidently recognised in the careful programming which rings the textural changes from trumpet plus solo accompaniment to richly layered five-part sonatas including the ear-grabbing interpolation of bassoon in Schmelzer's Sonata in C. Incisive, rhythmically taut in fast movements, eloquently expressive in slow ones, Farley's artistry is perfectly complimented by the suave sophisication of Orpheus Britannicus. And buttressed by vivid recorded sound, there's an alchemy at work that turns not-so-base metal into trumpet gold!' BBC Music Magazine (Paul Riley) ★★★★
‘Robert Farley’s trumpet playing is most impressive...the sound of the trumpet is balanced by the occasional organ solo, including a Toccata by Pasquini and two Canzonas by Frescobaldi, attractively played by Andrew Arthur [and] there are some excellent contributions from the period instrumentalists of Orpheus Britannicus, notably Theresa Caudle, violin….’ Andrew Benson-Wilson, Early Music Reviews +
'...Farley and the ensemble Orpheus Britannicus are impressive.' MusicWeb International
‘While trumpeter Robert Farley assumes a starring role, this is a collegial effort in which the Orpheus Britannicus (playing period instruments) and its director, organist Andrew Arthur, are also both afforded chances to shine on their own. The playing is spirited and stylish…Farley is an exquisite trumpeter with impeccable technique and finely varied tonal timbre. The performers are well recorded in a rich ambience; detailed booklet notes are provided…and, as the timing indicates, the disc is generously filled to the brim. Definitely recommended’ Fanfare Magazine USA (James A. Altena)
|
THE ENGLISH ORPHEUS
Choral & Instrumental works by Henry Purcell
The Chapel Choir of Trinity Hall, Cambridge
Orpheus Britannicus
Director: Andrew Arthur
PRIORY RECORDS, PRCD 1182
|
‘What a glorious CD. I was riveted from the first bar. There is no attempt to gild the lily. Andrew Arthur allows the music to speak for itself, which it does most eloquently. Ensemble is paramount. Solos are provided ‘in choir’ with no ego. Do buy this wonderful disc, and enjoy the relaxed freshness from these consummate musicians. Andrew Fletcher, Organists' Review ★★★★★
'A considered exposé of Purcell’s still woefully under-exposed genius is always welcome, especially one as varied and intelligent as Andrew Arthur’s, with his aptly named ensemble, Orpheus Britannicus, supporting his young mixed Choir of Trinity Hall, Cambridge. The lingua franca here for Arthur is the composer’s church music with a representative selection of anthems and canticles neatly offset against stylishly delivered instrumental contributions.
Making the most of Purcell’s deeply elegant music requires a particular sensitivity to linear shape, lyrical articulation and clarity of texture, not least in order to draw upon the pungency of the harmonic language. Arthur finds a remarkably atmospheric palette throughout, evident from the sprightly opening strains of O sing unto the Lord to the colourful and noble projections of the Te Deum, a grandiloquent conceit which translated easily from the panegyrics of William and Mary to influence Handel’s Georgian fare.
Alongside these pleasingly idiomatic features, the correlation between solo verses, string interludes and the full group in these pieces makes for a profoundly consequential experience, each section organically emerging from the last. Arthur never forces the pace or engages in quick-win mannerisms. The Bell Anthem is a case in point, where its lightly cascading opening sets the scene with an easy nonchalance, gradually injected with its delicious blend of inward reflection and balletic fervour....
...Of the other pieces, relish Arthur’s own playing of the mesmerising Voluntary and the bittersweet pearls of the great G minor Chacony. Jehova, quam multi sunt, that most exquisite creation by a teenager, is afforded just the right balance between abstract wonder and rhetorical purpose. With this kind of expert control and youthful responsiveness, the poignancy of the music should penetrate the hardest of hearts. The recorded sound is outstanding.' Jonathan Freeman-Attwood - Gramophone ®️
'[...] music-making of the highest professional standard [...] I have no hessitation in giving it my warmest recommendation.' Cathedral Music
'Delightful' Lark Reviews
|
1. O sing unto the Lord, Z.44 (1688)
2-3. Evening Service in G minor, Z.231
4. Suite for solo harpischord in G minor, Z.661
5. Rejoice in the Lord alway ('The Bell Anthem'), Z.49
6. Voluntary in G for solo organ, Z.720
7. Chacony in G minor, Z. 730
8. Jehova, quam multi sunt hostes mein, Z.135
9. Thou knowest, Lord, the secrets of our hearts, Z.58c
10. Te Deum in D, Z.232
|
THE YOUNG J.S. BACH
Organ works played on the Carsten Lund Organ of Trinity Hall, Cambridge
PRIORY RECORDS, PRCD 1176
|
'Now 10 years old, the Danish organ builder Carsten Lund's II/17 instrument at Trinity Hall in Cambridge is here aptly demonstrated in a pair of CD's of early music by Bach including the Neumeister Chorales, BWV 565 and the Preludes & Fugues in A and C (BWV 531). In such an intimate space, Lund's organ shows up well: elegant individual stops, a mild yet focussed plenum and broad flutes all engage the ear eloquently and suggest an organ of rarified conceptual coherence. Andrew Arthur, Director of Music at Trinity Hall, plays with a rhetorical subtlety and grace, and with a touch vocabulary always appropriate for challenging and revealing acoustics....this is a release of admirable quality.' ★★★★ Choir & Organ
'Andrew Arthur is a very fine musician and his registration and tempos throughout this truly fascinating selection has educational as well as musically satistying aspects to make this one of the most significant issues of Bach's organ music to have come my way for a long time.' ★★★★★ James Palmer - The Organ
'...astute and authoritative musicianship...this production takes a special place in the Bach discography. For many listeners, Bach's chorale settings on these discs will be new, given their relatively recent discovery. With Andrew Arthur's impeccable touch and grace, they could be no better advocated than they are here.' MusicWeb International
'This welcome release presents the ‘Neumeister chorales’ in lovely performances to celebrate the 10th anniversary of the inauguration of this organ. Providing added variety this well-structured 2 CD release places a number of other contrasting works to punctuate the collection.' Lark Reviews
|
CD 1
1. Prelude & Fugue in C, BWV 531
Chorales for Advent, Christmas & New Year
2. Der Tag, der ist so freudenreich / Ein Kindelein so löbelich, BWV 719 3. Wir Christenleut, BWV 1091 4. Jesu, meine Freude, BWV 1105 5. Herr Christ, der ein’ge Gottessohn, BWV 601 6. Das alte Jahr vergangen ist, BWV 1091
Chorales for the Feast of the Purification
7. Herr Gott, nun schleuß den Himmel auf, BWV 1092 8. Christus, der ist mein Leben, BWV 1112
Chorales for General Faith
9. O Herre Gott, dein göttlich Wort, BWV 1110 10. Ich ruf’ zu dir, Herr Jesu Christ, BWV 639 11. Wie nach einer Wasserquelle, BWV 1119
Chorales for Penitence & Forgiveness
12. Durch Adams Fall ist ganz verdebt, BWV 1101 13. Herr Jesu Christ, du höchstes Gut, BWV 1114 14. Ach Gott, tu dich erbarmen, BWV 1109
15. Canzona in d, BWV 588
Chorales for the Dying
16. Machs mit mir, Gott, nach deiner Güt, BWV 957 17. Herzlich lieb hab ich dir, O Herr, BWV 1115
Chorales for Funerals & Burials
18. Aus tiefer Not schrei ich zu dir, BWV 1099 19. Alle Menschen müssen sterben, BWV 1117 20. Nun läßt uns den Leib begraben, BWV 1111
21. Partite diverse sopra: O Gott, du frommer Gott, BWV 767
| CD 2
1. Fantasia in C, BWV 570
Catechism Chorales
2. Allein zu dir, Herr Jesu Christ, BWV 1100 3. Vater unser im Himmelreich / Nimm von uns, Herr, du treuer Gott, BWV 737 4. Wir glauben all einen Gott, BWV 1098 5. Als Jesus Christus in der Nacht, BWV 1108
6. Prelude & Fugue in A, BWV 536
Chorales for times of trouble
7. Wenn dich Unglück tut griefen an,BWV1104 8. Werde munter, mein Gemüte, BWV 1118 9. Was Gott, tut, das ist wohlgetan, BWV 1116 10. Gott ist mein Heil, BWV 1106 11. Erhalt uns, Herr, bei deinem Wort, BWV 1103 12. Du Friedefürst, Herr Jesu Christ, BWV 1102
13. Allabreve, BWV 589
Chorales for Lent & Passiontide
14. Ach Gott und Herr, BWV 714 15. Ach Herr, mich armen Sünder, BWV 742 16. Ich hab mein Sach Gott heimgestellt, BWV 1113 17. Christ, der du bist der helle Tag, BWV 1120 18. Ehre sei dir, Christe, der du leidest Not, BWV 1097 19. Herzliebster Jesu, was hast du verbrochen, BWV 1093 20. Jesu, meines Lebens Leben, BWV 1107 21. O Jesu, wie ist dein Gestalt, BWV 1094 22. O Lamm Gottes, unschuldig, BWV 1095 23. Christe, der du bist Tag und Licht / Wir danken dir, Herr Jesu Christ, BWV 1096
24. Toccata & Fugue in d, BWV 565
|
COME DOWN, O LOVE DIVINE
The Chapel Choir of Trinity Hall, Cambridge
Organ Scholars: Charlie Hubbard & Sebastian Gillot
Director: Andrew Arthur
|
1. Lumen ad revelationem gentium - Plainsong antiphon
2. Contrapunctus I: Mit Fried und Freud, ich fahr dahin - Buxtehude
3. O nata lux - Tallis
4. Magnificat quarti toni - Cavazzoni
5. Evolutio I: Mit Fried und Freud, ich fahr dahin - Buxtehude
6. Chorale: Mit Fried und Freud, ich fahr dahin - J.S. Bach
7. Te lucis ante terminum - Tallis
8. Carillon de Ste-Anne, d'Auray
9. Unis dans la prière - Quesnel (U.K. première recording)
10. Cantique de Jean Racine - Fauré
11. Notre père - Duruflé
12. Improviastion on the Te Deum - Tournemire (transcribed by Duruflé)
13. Locus iste - Bruckner
14. Choral Prelude: Schmücke dich, O liebe Seele - Brahms
15. Tantum ergo - Brough (World première recording)
16. Listen sweet dove - Ives
17. Come down, O love divine - Vaughan Williams / Arthur
|
THE TRINITY HALL HARPSICHORD
Harpsichord music by J.S. Bach, Handel, Böhm, Couperin, Purcell & Greene
played on the Trinity Hall Harpsichord by Andrew Garlick, after Goujon, 1748
PRIORY RECORDS, PRCD 1077
|
'Arthur plays with poise and vigor. He has created a comprehensive document of this new beautiful instrument that Trinity Hall
will surely be proud of [sic].' American Record Review
'An invigorating full chorus and superb buff stop add panache to a programme of Bach, Böhm, Purcell, François Couperin, Handel and Maurice Greene. Much credit goes to Trinity Hall Music Director Andrew Arthur, whose relationship with time is loose in the best way, as heard in the stylus phantasticus opening and plaintive recitative of Bach’s massive Toccata in D minor, BWV 913 that precedes the fireworks finale. The three Grounds of Purcell are enthralling in their inviting sense of dance, cantabile melodic freedom, and spotless, tasteful ornamentation, the lattermost pervading this thrilling inaugural recording on a lovely instrument.' Early Music
'This mixed programme of well-known works has been well chosen to put the new Trinity Hall harpsichord, constructed by Andrew Garlick after Goujon, through its paces. It also presumably includes Andrew Arthur's own personal favourites. He certainly revels in the music which is played with panache and a good sense of the various styles involved. The harpsichord proves itself a versatile instrument, full-blooded in the outer movements of the Italian Concerto and the other big pieces, subtle and singing on the single manual. A very satisfying recital of some of the best-known of all harpsichord music. Early Music Review
'...stylishly played and intimately recorded' ★★★★ BBC Music Magazine
'a commendable profile of an attractive instrument...Andrew Arthur's playing is unfussy and unpretentious, simply letting the music and the harpsichord speak for themselves. He plays in a thoughtful manner, allowing the expressive moments of the music to have full effect...to end there is impassioned grandeur in Handel's Suite No. 7 in G minor' Musica Antiqua
'As recorded here [the instrument] is both sonorous and subtle. Irrespective of the quality of the performances its sound is in itself a pleasure to listen to from beginning to end of this recital...Andrew Arthur has a particular affinity for the music of Bach which rightly dominates this recital...at the same time, the real highlights of the disc are the items by Böhm and Handel. The Handel, one of his “Eight Great Suites”, is given a performance of real stature and Handelian panache...Although this recital has clearly been devised largely with a view to showing the instrument to its best advantage it is worth hearing simply for the quality of the music and music-making. If like me you were told when young by elderly pianists that the harpsichord lacked the ability to inflect a musical line or to sustain notes here is this eloquent proof to the contrary.' MusicWeb-International
'...an extraordinary performer...in 79 minutes he ranges over both familiar and unfamiliar Baroque masterpieces, all together showing an astonishing variety of harpsichord colors and textures, recorded in close up glory. From darkly moving Couperin, through Bach, Bohm, Greene and Purcell, to a magisterial virtuosic Handel, Arthur is in full command. Brilliant execution; gorgeous sound.' ★★★★★ ArkivMusic (customer review)
|
1. Toccata in D minor, BWV 913 – J.S. Bach
2. Chorale Partita: ‘Wer nur den lieben Gott läβt walten’ – G. Böhm
3-4. Prelude & Fugue No. 4 in C-sharp minor, BWV 849 – J.S. Bach
5. Aria con variationi in A – M. Greene
6-8. Three Grounds – H. Purcell
9-11. Italian Concerto in F, BWV 971 – J.S. Bach
12. Les Barricades Mistérieuses – F. Couperin
13-18. Suite No. 7 in G minor, HWV 432 – G.F. Handel
|
THE BUXTEHUDE INFLUENCE
Organ music by D. Buxtehude & J.S. Bach
played on the Danish organ by Carsten Lund, Trinity Hall, Cambridge
Priory Label: PRCD 1006
|
'...enormous admiration for the beauties of this handsome 2006 instrument by the Danish firm of Carsten Lund...Andrew Arthur, Director of Music at Trinity Hall, brings expertise and scholarship to this repertoire. Well-selected pieces and colourful registration present the Dane in most sympathetic light - a comprehensive tour of the organ's resources into the bargain...Ever thought-provoking. Bravo!' Organists' Review
'This new, beautifully crafted small organ provides some lovely sounds, particularly the flutes, and Andrew Arthur exploits every available combination from the 20 stops...He plays this cleverly devised programme with musicality and an excellent understanding of the music...this recording should be of interest to many...' Choir & Organ
'...a good understanding of period performance style and technique. Bach's Fantasia in G minor and the Bach Passacaglia are given particularly fine performances, showing just what a smallish organ is capable of when played well.' Early Music Review
'Andrew Arthur is active in numerous musical endeavors as a keyboard player and conductor. His breadth of experience and musicianship is evident in these performances. His playing is energetic and strong, with clear, pronounced articulation that is flexible, expressive, and improvisatory where appropriate. His imaginative registrations are musically appropriate, often using a single stop or small combination, giving an air of intimacy. This is a fascinating, meticulously presented study of the cross pollination of two great musical minds.' The American Organist
'...scrupulously considered performances...' BBC Music Magazine
'a fascinating and delightful pair of discs' MusicWeb-International
'...spectacular...a quieter instrument than is usual with Bach and Buxtehude, but the clarity of the lines, thanks in part to intelligent registrations by organist Andrew Arthur, is unmatched. Many lovers of Baroque organ music will want to have this recording simply beacuse it sounds so different to the norm, and because it reveals both intricacies of counterpoint and small details of ornamentation.' All Music
|
CD 1
1. Toccata in D Minor, BuxWV 155 2. Durch Adams Fall ist ganz verdebt, BuxWV 183 3. Praeludium in G minor, BuxWV 150 4. Herzlich tut mich verlangen, BWV 727 5. Praeludium in F-sharp minor, BuxWV 146 6. Erbarm dich mein, O Herre Gott, BWV 721 7. Herr Jesu Christ, ich weiß gar wohl, BuxWV 193 8. Magnificat IX. Toni (2 verses), BuxWV 205 9. Fuga sopra il Magnificat, BWV 733 10. Von Gott will ich nicht lassen, BuxWV 220 11. Von Gott will ich nicht lassen, BuxWV 221 12. Fuga in G, BuxWV 175 13. Komm, heiliger Geist, Herre Gott, BuxWV 199 14. Fantasia in G minor, BWV 542.1
|
CD 2
1. Ciacona in E minor, BuxWV 160 2. Canzonetta in E minor, BuxWV 169 3. Wie schön leuchtet der Morgenstern, BuxWV 223 4. Ciacona in C minor, BuxWV 159 5. Praeludium in C, BuxWV 137 6. Herr Jesu Christ, dich zu uns wend, BWV 709 7. Herr Jesu Christ, dich zu uns wend, BWV 726 8. Passacaglia in D minor, BuxWV 161 9. Praeludium in G minor, BuxWV 148 10. Herr Christ, der einig Gottes Sohn, BuxWV 192 11. Praeludium in G minor, BuxWV 149 12. Fuga in C, BuxWV 174 13. Passacaglia in C Minor, BWV 582
|
J.S. BACH - ORGAN CHORALES FROM THE LEIPZIG MANUSCRIPT VOL. 1
played on the Austrian organ by Rieger, Church of St Marylebone, London
Priory Label: PRCD 820
|
'impressive...a musical rhetorical style of playing that avoids all excesses…clear articulation and a good sense of phrasing' Early Music Review
'a musically gratifying presentation of these familiar masterworks…[Andrew Arthur's] solidly controlled tempos allow the music to breathe, and encourage polyphonic clarity. His precise rhythms and clear articulations are enhanced by effective agogic accents… The plenum works are imbued with vigor, while the quiet ones are expressive without being sentimental.' The American Organist
'This CD is from a performer who has certainly thought about the music at an intellectual level...Andrew Arthur's attention to detail and particularly his harmonic awareness are impressive. Tempos are carefully chosen, eschewing the temptation to race - a tendency in the performance of Baroque music that has continued far too long. [He] allows pieces such as the second setting of 'Komm Heiliger Geist' to flow naturally and spontaneously; the articulation does not advertise itself, though if you attend to that aspect, it is extremely skilled. The interspersed free organ works receive fine performances...' Organists' Review
'...clean and precise playing which follows the letter of the score with scholarly precision and does so with well judged and highly sensible tempi. Students of Bach's organ music may find a valuable source of reference here.' The Gramophone
|
1. Fantasia super ‘Komm, Heiliger Geist’, BWV 651
2. Komm, Heiliger Geist, BWV 652
3. Komm, Gott, Schöpfer, Heiliger Geist, BWV 667
4-5. Fantasia & Fugue in C minor, BWV 537
6. Schmücke dich, o liebe Seele, BWV 653
7. Von Gott will ich nicht lassen, BWV 658
8. Pièce d’orgue, BWV 572
9. Nun komm, der Heiden Heiland, BWV 659
10. Trio super ‘Nun komm, der Heiden Heiland’, BWV 660
11. Nun komm, der Heiden Heiland, BWV 661
12. Allein Gott in der Höh sei Her, BWV 663
13-14. Prelude & Fugue in A minor, BWV 543
To listen to samples from this recording, please click on the links below
|
ORGAN MUSIC FOR PASSIONTIDE
Organ music by J.S. Bach, Mendelssohn, Brahms, Howells, Dupré & Tournemire
played on the newly restored 1910 Harrison & Harrison Organ of All Saints, Margaret Street
Priory Label: PRCD 818
|
"a performance of incandescent sensitivity" The Gramophone
To purchase a copy of this CD please click here
1. 'Valet will ich dir geben' BWV 736 - J.S. Bach
2-4. Sonata No. 6 in D minor, Op.65 - F. Mendelssohn
5. 'Herzlich tut mich verlangen' - J. Brahms
6. Psalm-Prelude No. 1, Set 2 'De Profundis' - H. Howells
7-18. Partite diverse sopra: 'Sei gegrüßet, Jesu gütig', BWV 768 - J.S. Bach
19. Jésus console les filles d'Israël qui le suivent' - M. Dupré
20. 'O Mensch, bewein dein Sünde groß', BWV 622 - J.S. Bach
21. Choral-Improvisation on 'Victimae Pachali' - C. Tournemire (transcribed: M Duruflé)
To listen to samples from this recording, please click on the links below
|
'Exultate Deo’
Choral Music inspired by the Psalms of David
The Choir of the Chapels Royal, HM Tower of London
Conductor: Colm Carey
Organist: Andrew Arthur
LIR Classics LIR026'
'This CD is a delight...The excellent accompanist is Andrew Arthur. I remember giving a very favourable review of a recital he gave at All Saints, Margaret Street: the quality of his playing is equally evident in this CD.' Organists' Review, June 2013
|
'Carols from All Saints, Margaret Street’
The Choir of All Saints, Margaret Street, London
Conductor: Paul Brough
Organist & Producer: Andrew Arthur
Featuring solo organ music by J.S. Bach & D. Buxtehude
Priory Label: PRCD 898
|
'Bach Cantata Pilgrimage'
Soloists: Joanne Lunn; William Towers; Jan Kobow; Dietrich Henschel
The English Baroque Soloists (Organ Continuo)
The Monteverdi Choir
Conductor: Sir John Eliot Gardiner
Soli Deo Gloria: SDG 162
|
'Mozart - The Supreme Decorator'
Soloists: Diana Montague, Elizabeth Futral and Majella Cullagh
The Hanover Band (Harpsichord Continuo)
Conductor: Sir Charles Mackerras
OPERA RARA: ORR232 CD
|
‘William Child - Sacred Choral Music ’
The Choir of Gonville & Caius College, Cambridge
Conductor: Geoffrey Webber
Organist & Musical Editor: Andrew Arthur
ASV - Gaudeamus Label: CD GAU 182
CRITICS' CHOICE, THE GRAMOPHONE, December 1998
'World première recordings and highly welcome too' Gramophone
'First-rate' Fanfare Magazine, USA
'Remarkable' BBC Music Magazine
Gramophone Good CD Guide Recommendation
|
‘Samuel Wesley: Sacred Choral Music'
The Choir of Gonville & Caius College, Cambridge
Conductor: Geoffrey Webber
Organist: Andrew Arthur
ASV - Gaudeamus Label: CD GAU 157
"Delightful" BBC Music Magazine
"Excellent recital" The Gramophone
Gramophone Good CD Guide Recommendation
|
'J.S. Bach: St Mark Passion'
The Choir of Gonville & Caius College'
Orchestra: The Cambridge Baroque Camerata (leader: Adrian Butterfield)
Conductor: Geoffrey Webber
Assistant Chorus Master: Andrew Arthur
ASV - Gaudeamus label: CD GAX 237
"The architects of this performing version are to be congratulated for producing a performance which amounts to much more than the sum of its parts. Life has been breathed into a score which so easily could have been just a dry academic exercise; in short, this is a Passion with a soul." BBC Radio Three: CD Review
|
‘Regal Fanfares’: Baroque Music for Trumpet and Organ
Trumpet: Anthony Aarons
Organ: Andrew Arthur
Griffin Label: GCCD4012
|
‘The English Rachmaninov’
The Choir of All Saints, Margaret Street, London
Conductor: Paul Brough
Producer: Andrew Arthur
Priory Label: PRCD 860
'polished professionalism and obvious musical sensitivity...' International Record Review
'most impressive...fine, incisive choral singing' The Gramophone
|
‘The New English Hymnal - Vol 7’
The Choir of All Saints, Margaret Street, London
Conductor: Harry Bramma
Organist: Andrew Arthur
Priory Label: PRCD 707
'...I love this recording and congratulate Harry Bramma and his perfect and sympathetic organist Andrew Arthur....Memorable and treasurable' (Sound & Vision)
'...the organ playing on this recording is excellent throughout...This disc has atmosphere and professional accomplishment on a high level...' (Organist's Review)
|
'Bach Cantatas' - DVD
Bach Cantata Pilgrimage 2000
The Monteverdi Choir
The English Baroque Soloists (Organ Continuo)
Conductor: Sir John Eliot Gardiner
BBC - Opus Arte Label: OA 0816 D
'...filmed by BBC Wales, the concerts create a moving spiritual journey in which the music itself is allowed to take centre stage thanks to the passion of the performances...' (Amazon.co.uk)
|
Poulenc: Stabat Mater - DVD
The Choirs of Gonville & Caius, Clare & St John’s Colleges, Cambridge
Chorus Master (Gonville & Caius): Andrew Arthur
Soprano: Judith Howarth
BBC Philharmonic Orchestra
Conductor: Christopher Robinson
BBC – Opus Arte Label: OA 0817 D
"This is an excellent example of what DVD can do. The performances are very fine; the combined choirs are disciplined and musical, and produce wonderful clear, precise tone." (Music Web, June 2002)
|
|