‘…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.’
'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’
’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)