Stanford: Serenade Op95; Parry: Nonet in Bf

On this CD:

1. Nonet in B-flat major, for flute, oboe, English horn, 2 clarinets, 2 bassoons, 2 French horns
Composed by Sir Charles H.H. Parry
with Michael Baines , Stephen Bell , Caroline Clemmow , Judith Evans , Julian Farrell , Helen Keen , Iain King , Anthony Lamb , Elizabeth Layton , Timothy Mason , Gareth Newman , Christopher O'Neal

2. Serenade (Nonet) in F major, for flute, clarinet, bassoon, French horn, 2 violins, viola, cello & double bass, Op. 95
Composed by Charles Villiers Stanford
with Michael Baines , Stephen Bell , Caroline Clemmow , Judith Evans , Julian Farrell , Helen Keen , Iain King , Anthony Lamb , Elizabeth Layton , Timothy Mason , Gareth Newman , Christopher O'Neal , Jean Owen , Paul Silverthorne

Stanford: Serenade Op95; Parry: Nonet in Bf,Gareth Newman,Jean Owen,Timothy Mason,Anthony Lamb,Sir Charles H.H. Parry,Charles Villiers Stanford,Judith Evans,Helen Keen,Michael Baines,Stephen Bell,Caroline Clemmow,Christopher O'Neal,Capricorn [ensemble],Paul Silverthorne,Elizabeth Layton,Iain King,Hyperion,Chamber,Chamber Music,Classical,Orchestral,Romantic Serenade/Cassation/Divertimento
Stanford: Serenade Op95; Parry: Nonet in Bf
Average customer rating: 5 out of 5 stars
  • The perfect recording
  • Excellent Interpretation
  • a voice teacher and early music fan
  • Superior recording
  • Otherworldly
 Stanford: Serenade Op95; Parry: Nonet in Bf

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

DivertimentosDivertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
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  1. Pergolesi: Stabat Mater; Salve Regina in Cm
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ASIN: B000002ZKP
Release Date: 1993-11-15

Customer Reviews:

5 out of 5 stars The perfect recording.......2007-03-22

I have heard a number of soprano & countertenor teams sing the Stabat Mater since this recording was made, Kirkby & Bowman (the use of a harpsichord annoyed me in that recording) and Bonney & Scholl (the voices were mismatched, IMHO - Maria Cristina Kiehr would have been a better partner for Scholl, David Daniels a better partner for Bonney) immediately come to mind, but none move me and impress me like this recording. I think that this is one of the finest recordings of 18th century sacred music I've ever heard, it is certainly the most moving recording I've heard.

The voices of Michael Chance and Gillian Fisher blend perfectly and both sing with great style and conviction. Something of a "dream-team", to use a colloquialism, in fact. The dissonances are brought out most effectively and poignantly ... and without distracting and unnecessary vibrato. You'll never heard the seconds, sung in the opening movement, with more precision and bite than on this recording!

The King's Consort uses a small number of strings, organ and theorbo accompaniment. Robert King's choice of tempi is natural and effective. The recorded sound and the acoustical environment of the recording is perfect, neither is it too dry nor too reverberant. All in all, an ideal recording of this masterpiece from this tragically short lived composer. I own this recording and, although I've heard other recordings, including the one with Andreas Scholl, a favourite singer of mine, I have never felt tempted to buy another recording.

5 out of 5 stars Excellent Interpretation.......2007-01-12

There are many recordings of Faure's Requiem. If you are looking for the best one, this recording is it. The Corydon Singers, the English Chamber Orchestra, and the soloists due an impressive job full of lyricism and emotion. The diction, the blending, and the balance between orchestra, orchestra, and soloist is impeccable. And the other tracks, which others have written on, are just as expertly performed. If looking for a recording of the Requiem, this is the one to get.

5 out of 5 stars a voice teacher and early music fan.......2006-03-23

Giovanni Battista Pergolesi achieved only modest success during his short lifetime, but the twenty years following his death(at the age of 26) in 1736,saw an extraordinary change, turning him into one of the most-published composers of the 18th century. An Eighteenth Century French writer described the 'Stabat Mater', completed as the composer lay dying, as the 'masterwork' of Latin music'. Although this is music of great tenderness and sombre beauty, the work also includes chromatic sequences, sighing passages and dramatic dissonance straight out of the operatic style that made Pergolesi famous. The Stabat Mater is a setting of the sequence for the Feast of the Seven Dolours (sorrows) of the Blessed Virgin Mary, and was written during Pergolesi's last few months. Harmonically Pergolesi was ahead of his time; one technique he made use of was the application of chromaticism to create a bitter-sweet tone of expressive sensibility. In addition there is an operatic element such as is contained in the jaunty "Quae morebat" sung by the alto (Michael Chance). The Salve Regina with its A minor setting and supplicatory text,contains many hallmarks of the Stabat Mater; from the expressive sighing of the 'Ad te suspiramus' to the contrasting misic of the strong 'Ad te clamamus' sung by the soprano (Gillian Fisher). "In coelestibus regnis" (sung magnificently by Chance) is an example of the short type of piece that Pergolesi might have found time to write in between his operatic commisions. This is a truly exquisite and exciting recording featuring the WONDERFUL voices of Michael Chance -countertenor and Gillian Fisher-soprano. I have 2 other recordings of this music; neither of them come even close to the perfection of this one.!!!!!!

5 out of 5 stars Superior recording.......2002-09-06

This recording from December 1987 in the Church of St Jude-on-the-Hill, Hampstead, London, is far superior to all other recordings of Pergolesi's Stabat Mater.

5 out of 5 stars Otherworldly.......2001-03-14

I am hardly a classical music maven. I listen as others might use recreational drugs - when all else fails I hope a piece of classical music will take me out of myself and let me get a little closer to heaven. An opportunity to bathe in beauty. The reason it doesn't often work is because just as I'm about to transcend the composer changes dynamics and the bath turns into a perfect storm. Not so with this work. Forty minutes of undiluted peace, but with complexities that demand active listening. Vocals and instruments are of such a whole that I found myself listening to strings that unfolded as a voice, and vice versa. The vocal combinations and close harmonies were flawless. There was not a moment that was not gorgeous, and any loss of attention was caused by my own wandering mind rather than any jarring musical effect. These are the sounds I would like to accompany me on the big transition - they would open the gates.

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