Purcell Arthur

Half Baroque, half contemporary, half French, half British: that is the challenge taken up here by Franck-Emmanuel Comte and Le Concert de L'Hostel Dieu. This recording presents in the same program pieces by Lully and by Purcell, together with contemporary creations by the Frenchman David Chalmin, inspired by Purcell, and by the British composer Martyn Harry, inspired by Lully. Both contemporary composers combine the sounds of Baroque instruments with their own expression, thus removing borders and engaging in a dialogue involving different periods and different languages. Axelle Verner lends her mezzo voice and unique personality to the vocal pieces in this program.

Away from the clamor of grand opera and soaring symphonies, Fairest Isle takes us into the quiet, intimate world of English Elizabethan song, and you could hope for no better guide than Barbara Bonney. Her clear, beautifully rounded voice is superbly controlled, making light of a masterful technique; if you want to hear art concealing art, look no further. This is intensely private music, in a program that cleverly sidesteps any risk of listener fatigue by starting with lute accompaniment (infinitely tender playing by Jacob Heringman), moving on to a viol quartet, then finally to the richer sound of the Academy of Ancient Music under Christopher Hogwood. Leavening the mix are three instrumental interludes. The title piece is a blithe, dancelike song.

This set brings together for the first time Britten's complete Decca recordings as pianist and conductor in which he performs music by other composers - an astonishing variety of music that ranges from large-scale choral works by Bach and Purcell to Schumann and Elgar, as well as orchestral works by Mozart, Haydn and Schubert. Solo vocal repertory is generously represented with important works by Schubert and Schumann and early twentieth-century English song. Chamber music features Britten the pianist in partnership with two of Britten's closest collaborators: Mstislav Rostropovich and Sviatoslav Richter.

This set brings together for the first time Britten's complete Decca recordings as pianist and conductor in which he performs music by other composers - an astonishing variety of music that ranges from large-scale choral works by Bach and Purcell to Schumann and Elgar, as well as orchestral works by Mozart, Haydn and Schubert. Solo vocal repertory is generously represented with important works by Schubert and Schumann and early twentieth-century English song. Chamber music features Britten the pianist in partnership with two of Britten's closest collaborators: Mstislav Rostropovich and Sviatoslav Richter.

In their first recording for harmonia mundi, Bertrand Cuiller and the musicians of Le Caravansérail immerse us in the dreamlike world of the London theatre of the 17th century. Incidental music, airs, dances and inventive melodies combining the English tradition and French and Italian innovations are the ingredients that make up the five imaginary tableaux of this reconstruction of the period, illuminated by the voice of the distinguished soprano, Rachel Redmond.

Journey is a compilation of greatest hits from CDs of Les Boréades de Montréal, an early music ensemble that focuses on music of the seventeenth and eighteenth centuries. It was probably compiled as a promotional teaser, to tantalize listeners into going out and buying the albums from which these excerpts were extracted, and if that was the intent it ought to be entirely successful. The performers play with infectious verve and with a lilt that comes close to being a swing. The pieces from the earlier to mid-Baroque, by Purcell and Cavalli, come to life with a special energy. The excerpts from Cavalli's opera La Calisto, which include transcriptions of vocal pieces, are especially entertaining, and even without words the music conveys a sense of wild hilarity.