Oxford

Bach, in his time, could never have envisioned his music being recorded. When we first embarked on our journey with the Oxford Bach Soloists, our focus was not on recording. We were immersed in the live experience, discovering Bach’s vocal works chronologically, in real-time. It was about living the music as all those who performed and heard it did, tracing his steps through each note and phrase. Featuring two of our core Soloists, Nick Pritchard (tenor) and Yu-Wei Hu (flute), this album presents three of Bach’s Cantatas. These include possibly his earliest vocal work, Christ lag in Todesbanden (BWV 4), his only extant tenor cantata, Ich armer Mensch (BWV 55), and the much-beloved cantata, Ich habe genug, showcased here in its arrangement for high voice and flute (BWV 82.2). This recording is a celebration of our journey with Bach, and an invitation to experience his timeless music through our own journey of dedication and discovery.

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Bach, in his time, could never have envisioned his music being recorded. When we first embarked on our journey with the Oxford Bach Soloists, our focus was not on recording. We were immersed in the live experience, discovering Bach’s vocal works chronologically, in real-time. It was about living the music as all those who performed and heard it did, tracing his steps through each note and phrase. Featuring two of our core Soloists, Nick Pritchard (tenor) and Yu-Wei Hu (flute), this album presents three of Bach’s Cantatas. These include possibly his earliest vocal work, Christ lag in Todesbanden (BWV 4), his only extant tenor cantata, Ich armer Mensch (BWV 55), and the much-beloved cantata, Ich habe genug, showcased here in its arrangement for high voice and flute (BWV 82.2). This recording is a celebration of our journey with Bach, and an invitation to experience his timeless music through our own journey of dedication and discovery.

The Choir of St John's College, Oxford, directed by David Bannister, sing music associated with Christmas, together with youthful work by Imogen Holst and Benjamin Britten. Looking towards the sixtieth anniversary of Elizabeth Poston's Penguin Book of Carols (1965), initially undertaken with Ralph Vaughan Williams, the recording presents music associated with these two composers and the works they edited, alongside newer pieces exemplifying and revivifying the English carol tradition.

The resounding refrains of The Choir of Christ Church Cathedral, Oxford reverberate throughout A Lullaby Carol: Christmas from Christ Church, a rich tapestry of traditional and contemporary works celebrating the choir's musical heritage, particularly from the 20th and 21st centuries.

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Oxford’s Somerville College Choir under its director Will Dawes presents this compelling new programme of seasonal choral works solely by female composers from across the twentieth and twenty-first centuries, and including no fewer than eleven world premieres. This wide-ranging selection of repertoire reflects Somerville’s unique role as the only non-denominational college chapel at Oxford, as well as remaining true to its founding principle of enabling women. Together these works tell a different story of the nativity but also of the times we live in, when diversity and equality capture the spirit not only of Christ, but Christmas itself.

Oxford’s Somerville College Choir under its director Will Dawes presents this compelling new programme of seasonal choral works solely by female composers from across the twentieth and twenty-first centuries, and including no fewer than eleven world premieres. This wide-ranging selection of repertoire reflects Somerville’s unique role as the only non-denominational college chapel at Oxford, as well as remaining true to its founding principle of enabling women. Together these works tell a different story of the nativity but also of the times we live in, when diversity and equality capture the spirit not only of Christ, but Christmas itself.

Resurrexi!, recorded in 2021 in the Victorian splendour of Keble College Chapel, celebrates Easter in music – a full mass sequence based around Mozart’s Spaurmesse K. 258, interspersed with plainchant and a treasury of Viennese classical sacred music by Joseph and Michael Haydn. The result offers an imaginary recreation of an opulent service that might have been heard at Vienna’s Stephansdom, or at the Prince-Archbishop of Salzburg’s court.