Matthew Restall Blue Moves

The Solemnity of Corpus Christi celebrates each year the Real Presence of Jesus Christ in the Blessed Sacrament. On this album, the Choir of Buckfast Abbey presents a musical offering bearing witness to this great celebration through music rooted in the words and ancient chants of this feast. At the heart of this album is a Mass setting by Martin Baker, Missa O sacrum convivium!, newly commissioned for the Choir of Buckfast Abbey and here given its premier recording, which develops chant melodies into a passionate tour de force for choir and organ. This work is complemented by chants and hymns of the day for Mass and Vespers, as well as sumptuous choral settings by Guerrero, Palestrina and Laloux and a suite for solo organ by Anton Heiller.

Challenging his considerable legacy with one of his most extraordinary projects to date, celebrated British artist, producer, composer and experimentalist Matthew Herbert presents The Horse. Based around a full-size horse skeleton and working alongside the London Contemporary Orchestra and an expansive cast of special collaborators, this is Herbert in full flight, restlessly curious and culminating in starkly original, ritualistic music loaded with intent.

In the first volume of this series, Matthew Schellhorn surveyed six decades of Herbert Howells’ compositions for the piano. This second volume reprises the journey, tracing the composer’s stylistic development from the charming poetic miniatures of his youth through to the resonant modal quirkiness of his later dances.

After spending the ’80s as a jangle pop guitarist with Oh-OK and Lloyd Cole, as well as a solo artist, Matthew Sweet emerged in 1991 as the leading figure of the American power pop revival.

Matthew Shipp's new album is titled World Construct. It’s a fitting title, for in his career of over three decades, he has constructed his own world of jazz. And I’m not just saying that: this press release could be entirely built from the raves of critics. “As Matthew Shipp's catalog expands, so does our understanding of the depth and breadth of his genius.”1 “A gateway to higher improvisation that is practically without parallel. Matthew Shipp is the connection between that past, present and future for jazzheads of all ages.”2 He “has produced a recording of great beauty and logic, creating distinct performances that are simultaneously shocking and beautiful, equally classic and daring. Shipp has been able to create pieces out of thin air that seem utterly worthy of composition. The music seems to be pulled directly from the realm where mathematics and magic collide. What Matthew Shipp has done is a profound achievement.”3 “Shipp's music is an intellectual music.

For his debut recording with Ad Fontes, Matthew Martin has brought together a recital showcasing two of the greatest organist-composers of twentieth century France. Durufle, a notorious perfectionist, looked to his profound faith and the great lineage of French composers - Debussy, Dukas, Faure and Ravel - for inspiration. Alain, an ardent voice in the avant-garde, developed his own distinctive language before his tragic death in 1940, aged just 29.

British cellist Matthew Barley has an unusually varied set of specialties that includes traditional repertory, Russian music, and contemporary music, both acoustic and eletronic. Exceptionally among classical musicians, he has also experimented with improvisation.

British cellist Matthew Barley has an unusually varied set of specialties that includes traditional repertory, Russian music, and contemporary music, both acoustic and eletronic. Exceptionally among classical musicians, he has also experimented with improvisation.

For his debut recording with Ad Fontes, Matthew Martin has brought together a recital showcasing two of the greatest organist-composers of twentieth century France. Durufle, a notorious perfectionist, looked to his profound faith and the great lineage of French composers - Debussy, Dukas, Faure and Ravel - for inspiration. Alain, an ardent voice in the avant-garde, developed his own distinctive language before his tragic death in 1940, aged just 29.