David Lawrence

Vol. 3 of Lawrence Power's survey of the complete Hindemith work for viola features a cluster of works written for viola and orchestra in the short time between 1927 and 1930. Though Hindemith did not write a traditional concerto in the classical sense, the Op. 48 Konzertmusik, Kammermusik No. 5, and Der Schwanendreher each put the viola's abilities at the forefront of the orchestra. His personal knowledge of the instrument's technical, lyrical, and emotive abilities become quickly apparent as the viola is made to scurry around as nimbly as a violin in Konzertmusik, as emotionally rich as a cello in Trauermusik, or as colorful and evocative as a piano in Der Schwanendreher. All of these many moods are captured effortlessly by Power. His playing balances the clarity needed to execute agile passagework with the richness and depth needed for more lyrical sections. What's more, Power never gives the appearance of trying to make the viola sound like a violin; instead, he celebrates the viola's idiosyncrasies and transforms them into a rich, satisfying tapestry of sound. Joined by the BBC Scottish Symphony Orchestra under David Atherton, Vol. 3 of Power's hefty undertaking is just as worthwhile and engaging as the previous two and is certainly worth checking out.

Founded in 1719 as the first opera company in the English-speaking world, the Royal Academy of Music commissioned and premiered some of the finest 18th-century operas, including Handel's Giulio Cesare. On this exciting album, renowned American countertenor Lawrence Zazzo is joined by La Nuova Musica and David Bates for a snapshot of the Academy's hits circa 1725 featuring arias by Handel, Ariosti and Bononcini.

Josquin Desprez is widely recognized as the greatest of the Renaissance master musicians. He set the standard for the various compositional techniques borrowed and utilized by most composers of his generation and beyond, and became an iconic figure whose art captivated musicians and scholars for centuries. This recording centres around some of Josquin’s earliest works, and, in particular, his fascination with the D’ung aultre amer rondeau composed by his teacher Johannes Ockeghem. Also included are some of his most popular motets and chansons performed here by a solo voice (Clare Wilkinson) with renaissance harp (Andrew Lawrence-King).

Jheronimus Vinders (fl.1525/6) is best known for the oft-recorded lament on the death of Josquin Desprez (d.1521), O mors inevitabilis, which has led many to presume that he was a disciple or even a pupil of the great master.