Oxford

THE OXTET DOES HINDEMITH from Josh Oxford is a bold reimagining of classical music in a jazz fusion context. In this album, Oxford revisits some of Paul Hindemith’s greatest works. Hindemith, a late Romantic German composer, lived during the first half of the 20th century and was among the most significant composers of his time. The album contains sonatas for trumpet, tuba, trombone, and more, in which tonically complex horn lines weave above a jazz band. Recorded at Pyramid Sound in Ithaca and at Ithaca College, the timbres of the various horns along with marimba, Fender Rhodes, drums, electric guitar and bass, and more, are rendered in high fidelity. THE OXTET DOES HINDEMITH features the music of this legendary composer as you’ve never heard it before.

In the stillness of a midnight stable, a babe is born … In the stillness of an Oxford chapel on a winter’s afternoon, a girl’s voice sings. The newest star in Oxford’s – and Delphian’s – choral firmament, the girl choristers of Merton College have been singing services under the directorship of Benjamin Nicholas for less than five years: in their debut album recording, supported by the lower voices of the Chapel Choir, they tell once more in music from across the centuries the timeless Christmas story of light, hope and joy for a troubled world.

To mark the 500th anniversary of the birth of Tallis, here are his biggest and best church compositions, performed in its customary high style by the Oxford Camerata under Jeremy Summerly (whose Fauré Requiem remains one of Naxos's all-time bestsellers). Tallis's youthful motet Salve intemerata is among the longest single-movement works of the 16th century, but it is Spem in alium, a work of Tallis's maturity, that overshadows any other English piece of the period, including those of his great contemporary, William Byrd. Scored for 40 independent voices, it is symphonic in proportion and resplendent in this surround-sound version.

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.

Conductor Benjamin Nicholas draws parallels between the familiar English choral sound of Howells and that of contemporary composer Ian Venables. Venables’ Requiem has already been warmly received by critics in a 2020 recording with just organ accompaniment. Now, Nicholas and his Merton College choir present it in an orchestrated version made specially for this recording.