Kathryn Tickell Northumbrian Voices

The magnificent Norman cathedral on the rock, part of the World Heritage site shared by Durham University and Durham Cathedral, was the setting for the world premiere of Jon Lord’s “Durham Concerto” commissioned by the University to commemorate its 175th anniversary. The 1,000 strong audience rose spontaneously to its feet as the final climax reflected Sir Walter Scott’s vision, which is engraved on “Prebends Bridge: “Grey Towers of Durham/Yet well I love thy mixed and massive piles/ Half church of God, half castle ‘gainst the Scot”. The work emotionally evokes the sense of history, scholarship, place and community evident in Durham – an unbroken line from St Cuthbert and the Venerable Bede, Europe’s leading scholar of the 7th and 8th centuries, to the modern day university.

Sting are reissuing 8 of their classic albums on vinyl!
Sting’s first pop album since the end of the Police, Ten Summoner’s Tales gave birth to “If I Ever Lose My Faith In You” among others. The set is packaged in an exact replica of the original artwork, on 180 gram heavyweight vinyl. The new vinyl master was cut at the legendary Abbey Road studios to ensure exceptional audio quality.

Sting are reissuing 8 of their classic albums on vinyl!
Reeling from the loss of his parents, Sting constructed The Soul Cages as a hushed mediation on mortality, loss, grief, and father/son relationships. The set is packaged in an exact replica of the original artwork, on 180 gram heavyweight vinyl. The new vinyl master was cut at the legendary Abbey Road studios to ensure exceptional audio quality.

Sting are reissuing 8 of their classic albums on vinyl!
Mercury Falling spawned the unique single “I’m So Happy I Can’t Stop Crying” plus others. The set is packaged in an exact replica of the original artwork, on 180 gram heavyweight vinyl. The new vinyl master was cut at the legendary Abbey Road studios to ensure exceptional audio quality.

Emboldened by the enthusiastic response to the muted Nothing Like the Sun and reeling from the loss of his parents, Sting constructed The Soul Cages as a hushed mediation on mortality, loss, grief, and father/son relationships (the album is dedicated, in part, to his father; its predecessor was dedicated to his mother). Using the same basic band as Nothing Like the Sun, the album has the same supple, luxurious tone, stretching out leisurely over nine tracks, almost all of them layered mid-tempo tunes (the exception being grinding guitars of the title track). Within this setting, Sting hits a few remarkable peaks, such as the elegant waltz "Mad About You" and "All This Time," a deceptively skipping pop tune that hides a moving tribute to his father.

Il pomo d’oro and Francesco Corti present Handel’s Apollo e Dafne and Armida abbandonata, together with two outstanding vocalists: soprano Kathryn Lewek (Armida & Dafne) and baritone John Chest (Apollo). Handel composed these two cantatas shortly after his Italian sojourn (1706-1709), and they demonstrate his acquaintance with and aptitude for Italian operatic music. Compared to opera, supporting roles are left out of these relatively compact cantatas, increasing the focus on the main characters, and heightening the expressive depth of their music. Il pomo d’oro performs these pieces with historically-informed ears, lively and colourful. The cantatas alternate with several delightful orchestral pieces by Handel, including several movements from his Almira Suite.

Filling a gap in the nineteenth century piano repertoire that many listeners would not have suspected was there, this excellent 2006 disc by English pianist Kathryn Stott of piano music by Bohemian composer Bedrich Smetana admirably serves its purpose. Opening with the half-hour-long, six-movement cycle Dreams and closing with several piquant Czech Dances, the program shows Smetana to have been a composer not only of ethnic creations but of virtuoso piano music in the Liszt mold as well. While there have been other excellent recordings of these works before, they have always been by Czech pianists who seemed to have instinctively grasped the specific rhythmic accent of Smetana's music, and this recording proves that you don't have to be Czech to play Smetana. Stott clearly has the big technique to tackle the extreme difficulties of the Concert Étude in C major and the more extravagantly virtuosic movements of Dreams, but she also has the sensitivity to handle the sweetness of "On the Sea Shore – a memory" and "Faded Happiness" (from Dreams) and the rhythmic verve to dance through the Fantasia on Czech Folksongs and the Czech Dances.

A solitaire in French is a single mounted jewel, a concept that seems less than apt for the rather hefty works recorded here by British pianist Kathryn Stott. But this fine recital holds together in another way: Ravel, who so often provides the temporal endpoint for traditional piano recitals, is here, to a greater or lesser extent, the launching point for the other three composers featured. Stott's reading of the neoclassical Le Tombeau de Couperin is beautifully precise and balanced, catching the economy of this Baroque-style suite to the hilt. That economy carries over into the later works, even the rarely performed Piano Sonata of Henri Dutilleux, a work that deftly fuses Ravel's sense of classical forms with a largely dissonant language. The opening Prelude and Fugue of Jehan Alain, actually two separate works that are reasonably enough combined here, is another seldom-played piece that makes an arresting curtain-raiser, and the final "Le baiser de l'Enfant Jésus" of Messiaen, part of the giant Vingt regards sur l'Enfant Jésus, is the splendid climax of the whole, its spiritual, dreamlike ascent at the end superbly controlled. Better still is the sound, recorded at Hallé St. Peters in Manchester: it creates a hypnotic effect all its own.