Richard Hickox Haydn London Vol. 1

There's no lack of glorious melody in Sir Johnin Love, and not just folksong cunningly interwoven. Musically, what comes over strongly, more richly than ever before in this magnificent recording from Richard Hickox, is the way that the writing anticipates later Vaughan Williams, not just the radiant composer of the Fifth Symphony and Serenade to Music, with keychanges of heartstopping beauty, but the composer's darker side, with sharply rhythmic writing.

Widely regarded as the definitive interpretation of the Elgar Cello Concerto, Jacqueline Du Pré's landmark 1965 recording of it is included in this unique compilation. Extending the musical range of the cello repertoire, from fine, exquisite cello suites by Bach to grand orchestral visions of Dvorák and Saint-Saëns, this CD set is not to be missed by fans of Du Pré's warm, brilliant interpretations. This collection, composed of the great works for the cello, is a must have in any serious classical music fan's library. It is an even better collection for the "newbie" to the genre. Jacqueline du Pre was undoubtedly one of the greatest artist of the century and her passion is well documented in this collection.

Richard Hickox was a fine Holst conductor, and it was typical of his championship of English music and of his enthusiastically exploring mind that he should have left as one of his last records this collection of such-little known works… This is a fascinating record…

The profane and the profound, the lurid and the saintly, rub elbows in Menotti's operas. In The Saint of Bleecker Street, religious faith and disbelief are interwoven with drunken outbursts, taunts, and a stabbing. It's as if Puccini's Suor Angelica and Il Tabarro had been crossed with Gershwin's Porgy and Bess. The plot concerns the fragile Annina, a girl revered in New York's Little Italy because of her supposed ability to heal the sick. She hears voices, sees visions, and receives the stigmata as she vicariously relives the Passion of Jesus Christ. Her obsessively devoted brother Michele rejects these phenomena, believing them simply to be mumbo-jumbo imagined or thrust upon her by others.

In the latter years of the nineteenth century, England was at its apogee as an imperial power and, as every Englishmen at the time knew, the foundation of that power was the royal navy. In those days, a land army was a fine thing for European wars, but you couldn't beat a navy for projecting imperial power – and nobody could beat the royal navy. An Irish Protestant of English lineage, composer Charles Villiers Stanford deeply appreciated the royal navy – who else could bring an English army across the Irish Sea to put down the an Catholic rebellions? – and his three most popular choral-orchestral works amply prove the sincerity of his appreciation.

This, Vivaldi's very first opera, was premièred in Vicenza in 1713 and was an instant hit. The story is a relatively uncomplicated one by the standards of Baroque opera, of amatory pretences and misunderstandings: it has been admirably summarised by Eric Cross (who has edited the work) as a 'light-weight, amoral entertainment in which the flirtatious Cleonilla consistently has the upper hand, and gullible Emperor Ottone (a far from heroic figure) never discovers the truth about the way he has been deceived'. The score proceeds in a succession of secco recitatives (with just a very occasional accompagnato) and da capo arias – which the present cast ornament very stylishly.

This is only the third commercial recording of AMass of Life. The previous two recordings were the 1952 Beecham (no longer available) and the 1971 Groves on EMI. You might imagine modern recording would best place this vast canvas between your loudspeakers. And yes, Hickox's dynamic peaks are marginally higher, his perspectives marginally wider and deeper. Actually, some of this has as much to do with Hickox's own pacing and shading as the engineering.