Petrenko’s searing Shostakovich overshadows Grosvenor's elegant Beethoven

Benjamin Grosvenor & the Royal Philharmonic Orchestra
© Sarah Louis Bennett

Yuriy Yurchuk (baritone)
Benjamin Grosvenor (piano)
Royal Philharmonic Orchestra
Vasily Petrenko (conductor)

7.30pm, Tuesday 3 February 2026

Royal Festival Hall, London

★★★★

Ustvolskaya, Galina (1919-2006): The Dream of Stepan Razin

Beethoven, Ludwig van (1770-1827): Piano Concerto No. 1 in C major, Op. 15

Encore:

Moszkowski, Moritz (1854-1925): Quinze Études de Virtuosité, Op. 72 No. 11 in A flat major

Shostakovich, Dmitri (1906-1975): Symphony No. 10 in E minor, Op. 93

Vasily Petrenko conducts the Royal Philharmonic Orchestra
© Sarah Louise Bennett

Ustvolskaya:

'(Yurchuk's) intensity of expression was impressive throughout, and Petrenko and the orchestra highlighted the score’s individuality well'.

Beethoven:

'Grosvenor's understated yet commanding performance ... was full of sprightly articulation combined with contrasting expression. Petrenko marshalled the RPO with finesse'.

Shostakovich:

'The RPO were on fire, with power and intensity combined with electric precision at pace, and faultless solo work from woodwinds and horns'.

'The Scherzo was indeed violent, with fearsome stabbing from Petrenko, and the ominously slow-moving brass against the frightened rapid chase music in the rest of the orchestra surely had more than a whiff of fleeing in terror from the tyrant'.

'Petrenko drove on through to a fantastic finish, with even the timpani bashing out that D-S-C-H motto, as if Shostakovich was finally able to say, “I will not be silenced”'.

Read my full review on Bachtrack here.

Lugansky and Petrenko inject new life into iconic Rachmaninov and Elgar

Nikolai Lugansky & the Royal Philharmonic Orchestra
© Andy Paradise

Nikolai Lugansky (piano)

Vasily Petrenko (conductor)

Royal Philharmonic Orchestra

7.30pm, Sunday 29 October 2023

Royal Festival Hall, London

★★★★

Lera Auerbach (b.1973): Icarus

Sergei Rachmaninov (1873-1943): Piano Concerto No. 2 in C minor, Op. 18

Encore -

Rachmaninov: Prelude in G sharp minor, Op.32 no.12

Edward Elgar (1857-1934): Symphony No. 1 in A flat major, Op. 55

Vasily Petrenko, Nikolai Lugansky
& the Royal Philharmonic Orchestra
© Andy Paradise

Auerbach:

'Auerbach packs in the drama, opening with slapping basses and racing cellos, then propelling us through Icarus’ dramatic rise and ultimate fall'.

'... the star of the show ... was Lydia Kavina on theremin, its eery, otherworldly presence gaining increasing presence, building to its terrifying fall through several octaves'. 

Rachmaninov:

'... in the first movement his percussive projection cut through the thick orchestral textures, yet this never felt aggressive, just assuredly assertive'.

'Lugansky’s touch was particularly heartrending in the slow movement, supported by beautifully tender flute and clarinet solos'.

Vasily Petrenko conducts the RPO
© Andy Paradise

Elgar:

'... his grasp on its rich and lavish orchestration was evident right from the opening build to the noble theme’s first tutti rendition'.

'Petrenko took no prisoners with an incredibly quick second movement; the RPO ensemble was highly impressive here'.

Read my full review on Bachtrack here.

CD Reviews - June & July 2020

Richard Strauss’ (1864-1949) Eine Alpensinfonie, Op. 64 (Alpine Symphony) is a fabulous piece of extended tone poem writing, rather than a conventional symphony.  It requires a huge orchestra, including wind and thunder machines, cowbells, and the heckelphone (a member of the oboe family, similar to a cor anglais).  Yet it’s not just an overblown orchestral romp – there is some beautifully subtle music here too, and Strauss captures the drama and danger of the mountains, as well as the sheer beauty and simplicity of an alpine meadow, from sunrise to sunset. Vasily Petrenko with the Oslo Philharmonic is a revelation here in the third of their Strauss recordings – all the detail of this phenomenal journey is there, but there is always a sense of direction and forward momentum. The big, brassy moments are powerful, but never overblown, yet there is some beautifully delicate solo string playing, wandering by the stream in the forest, and the arrival at the summit is lushly climactic. In the ‘Vision’ that follows, Petrenko steers a steady path through the meandering harmonic instability, and the storm is dramatic and suitably scary, before a warm sunset and subdued sink into the night. Petrenko and the Oslo Philharmonic follow this masterpiece with a passionate reading of Strauss’ earlier tone poems, Tod und Verklärung, Op. 24 (Death and Transfiguration). The music depicts a dying artist reflecting back over his life, before reaching ultimate transfiguration in heaven. A consistent theme in Strauss’ tone poems is that idea of our hero defeated in the here and now, but somehow attaining victory, here in a final blaze of C major. Again, Petrenko is alert to detail here, but also the essential trajectory of Strauss’ story-telling arc. Highly recommended.

Strauss, R. 2020. Eine Alpensinfonie, Op. 64 & Tod und Verklärung, Op. 24. Oslo Philharmonic, Vasily Petrenko. Compact Disc. Lawo Classics LWC1192.

I reviewed Ibrahim Aziz’s solo viola da gamba album last year (here), and he’s now back, joined by harpsichordist Masumi Yamamoto in a recording of works for the two instruments by Georg Friedrich Handel (1685-1759). Here we have a mixture of his works transcribed by Handel himself, and also by Aziz from Sonatas originally for violin, and a keyboard Suite, as well as one Sonata attributed to Handel, but possibly by Johann Kress (1685-1728). But no matter, Aziz owns them for the viola da gamba with a beautifully warm tone and delicate ornamentation. The balance between Aziz and Yamamoto on harpsichord is well-judged, and despite some weighty double-stopping in the Allegro of the G major Sonata, for example, the light harpsichord is never overpowered. The Largo of this same Sonata is a beautiful gem, and Aziz makes his instrument ring with great energy in the final virtuosic Allegro. Aziz includes a stately Prélude in the French style from a Suite by Sainte-Colombe le Fils (c.1660-1720?), once again showing off his resonant tone and agility. Yamamoto follows with Handel’s Suite No. 4 for harpsichord, playing with vigour and precision in the opening Fuga, a flowing energy in the central Courante, and a joyful bounce to the final Gigue. Another transcription by Aziz next, a Prelude from one of Handel’s keyboard Suites, making particular use of the lower reaches of the instrument, again with that ringing, rich tone. The duo are reunited for the remainder of the disc, in another Aziz transcription of a keyboard Suite, and a final Sonata. The Suite concludes in a striking Chaconne, allowing both players to demonstrate their virtuosity. The Sonata, for Viola da Gamba and Obbligato Harpsichord puts the right hand of the harpsichord together with the viola da gamba in a melodic duet, particularly impressive in the two Allegros, giving the disc a suitably energetic and virtuosic conclusion. This is a delightful collection, and the two players’ commitment to and command of this repertoire shine throughout. 

Handel, G. F. 2020. Works for Viola da Gamba and Harpsichord. Ibrahim Aziz, Masumi Yamamoto. Compact Disc. First Hand Records FHR91.

Cellist Rohan de Saram is now 81, although this disc was recorded back in 2012, when he was a mere 73 years old. Born in Sheffield to Sri Lankan parents, de Saram studied with Gaspar Cassadó (1897-1966), as well as Cassadó’s teacher, Pablo Casals (1876-1973), and this heritage goes right through this recital, with transcriptions from both of them, as well as the disc’s title piece, Requiebros, by Cassadó himself, played here with clear passion and affection. Cassadó’s transcription of Granados’ Intermezzo from his opera Goyescas is another delightful gem, again played with gentle warmth. There are some old favourites here, such as Saint-Saëns’ Le cygne from Le carnaval des animaux, and Casals’ transcription of Fauré’s exquisite song, Après un rêve, both beautifully performed with touching simplicity. Yet de Saram’s commitment to performing contemporary works is also reflected, with premiere recordings of Chasse au moment by Oliver Frick (b.1973), and Toshio Hosokawa’s (b.1955) Lied III. The former is a mercurial attempt to capture a sequence of fleeting moments, and is highly atmospheric and evocative. Hosokawa aims to make a connection between the lieder of Schubert and his own musical traditions, and the result contrasts sustained, almost lyrical moments for the cello with sudden angular interjections by both cello and piano, made equally effective here by both players – de Saram is accompanied effortlessly throughout the disc by pianist Junko Yamamoto. Manuel de Falla’s Suite populaire espagnole originated as a suite for violin and piano, and six of the seven original movements were arranged by Maurice Maréchal for cello and piano. The piano accompaniment often mimics the guitar, and the themes emanate from different areas in Spain, from the Murcian El paño moruno, through the beautiful Andalusian lullaby, Nana, to the rhythmic character of Jota, from Aragon. Similarly, later in the collection, we have Schumann’s Fünf Stücke im Volkston, Op. 102, and here the folk-style influence is seen in the unusual rhythmic structures. In both sets, de Saram enjoys the rhythmic interest, whilst bringing out the folk melodies with a warm singing tone. Ravel’s Piece en forme de habanera is another popular encore piece, with its Cuban infused rhythms, and Saints-Saëns’ Allegro appassionata, Op. 43 that ends the disc also allows for a greater show of brilliance. This is a recital of exemplary performances, made all the more fascinating given the history and connections to some of the great traditions of twentieth century cello playing.

Various. 2020. Requiebros. Rohan de Saram, Junko Yamamoto. Compact Disc. First Hand Records FHR97.

Russian-born pianist Elisaveta Blumina moved to Germany in her teens, and whilst (as she points out in the notes for her latest double CD release) young pianists in Russia are often schooled in Austrian and German classical repertoire, she feels very much that Russian and Soviet music is ‘in her blood’. So this collection explores that heritage, beginning with Scriabin’s Five Preludes, Op. 16. These beautifully colourful miniatures (whilst probably not a synesthete himself, he was very much influenced by the concept, making strong associations between keys and specific colours, for example) show the influence of Chopin, but with hints of Scriabin’s stretching use of harmony. Prokofiev’s Visions fugitives that follow are equally fleeting miniatures, yet Blumina captures the individual moods wonderfully, even though none last for more than two minutes – she treats us to six here out of the complete set of twenty. Blumina has championed the revival of the music of Mieczysław Weinberg (1919-1996), a Polish-Jewish composer who fled the Nazis and spent the rest of his life in the Soviet Union. Here we have just two short Fugues, dedicated to Ludmila Berlinskaya, and the story goes that Weinberg wrote them for Ludmila who had forgotten to prepare two fugues for her homework at the Conservatory – she handed them in, but received very bad marks for them, perhaps because of their quirky yet subtle individuality, combined with some serious ‘rule-breaking’! The remainder of the first disc is given over to Griogori Frid’s (1915-2012) Hungarian Album, Op. 54. These are delightful character pieces, capturing evocative scenes such as The Amusement Park, an Evening at the River, At the Zoo, and a walk In the Forest. The longest here, at four and a half minutes, is a watery flowing Broad Danube, in great contrast to the bouncy Excursion outdoors with Hungarian Friends. These are not virtuosic pieces, but they require delicacy and intimate touch, as well as that ability once again to distil a mood in just a few moments, all of which Blumina excels at here. The second, shorter disc consists of twenty-two out of Giya Kancheli’s (1935-2019) 33 Miniatures for piano. The CD was recorded in 2018 when Kancheli was still alive, and Blumina discussed the pieces with him, particularly his original very slow tempi for some of the pieces. She clearly has a great affection for these warmly sentimental fragments drawn from the Georgian composer’s film music, and this is their first recording. They stand in stark contrast to the more incisive, angular music of the first disc, a welcome addition here, and overall, this collection of fleeting backward glances to Blumina’s homeland is a varied tribute to the power of the miniature to move and capture a mood or emotion in a moment.

Various. 2019. Memories from home. Elisaveta Blumina. Compact Discs (2). Deutschlandradio/Dreyer Gaido CD 21120.

Violinist Clare Howick joins pianist Simon Callaghan for a survey of British Violin Sonatas, and there are a surprising number to choose from – Tasmin Little recently released her third volume of them. Howick and Callaghan open with William Walton’s (1902-1983) Sonata, which consists of two substantial movements, essentially lyrical in style, despite the twelve-tone phrase in the second movement's theme.  The variations then give both players extended virtuosic and improvisatory passages on their own and together, and Howick immediately demonstrates a great range, with lyrical lines contrasting forensic precision in the more angular moments in the variations. This is followed by the Sonatina by William Alwyn (1905-1985). An earlier work (from c.1933) than Walton’s, Alwyn rejected the work later in his life, yet it is delightfully proportioned and melodically inventive, flowing effortlessly from its rippling opening, through the darkly lilting central Adagio, to the energetically bouncy finale. Again, Howick plays with warmth and lyricism, and both players use the full range of dynamics to great effect. Howick & Callaghan give premiere recordings here of three miniatures by Gordon Jacob (1895-1984), his sinuous Elegy, playfully virtuosic Caprice and delicate Little Dancer – all great programme fillers or encore pieces. Kenneth Leighton’s (1929-1988) Sonata No. 1 launches straight into a rich sound world with thick, swirling textures, particularly in its weighty piano part, played with command by Callaghan here, yet never overwhelming Howick’s rich tones. The slow movement’s beautiful chorale-like piano opening combines with an intensely nostalgic melodic line, and the emphatic finale nevertheless concludes with light hint of the chorale-like material. Alan Rawsthorne (1905-1971) wrote Pierrette: Valse Caprice as a wedding present in 1934 for his first wife, violinist Jessie Hinchliffe, and it has a light and joyful feel, played here with great tenderness. Lennox Berkeley’s Elegy and Toccata, Op. 33 Nos 2 & 3 were written for violinist Frederick Grinke (as was No. 1 from the set, variations for solo violin, not recorded here). The Elegy is tender and expressive, whilst the Toccata has an infectious drive from beginning to end. This disc amply demonstrates a huge variety of styles and textures, beyond the expected limits of forty or so years of British composition, and Howick and Callaghan deserve credit for this well thought out programme, elegantly performed throughout.

Various. 2020. British Violin Sonatas. Clare Howick, Simon Callaghan. Compact Disc. Somm Recordings SOMMCD 0610.

(Edited versions of these reviews first appeared in GScene, June & July 2020)

CD Reviews - May 2018

Russian conductor, Vasily Petrenko is currently chief conductor of both the Royal Liverpool Philharmonic Orchestra and the Oslo Philharmonic Orchestra.  With the latter, he has already recorded two of Alexander Scriabin’s (1872-1915) five symphonies, and he now turns to the Symphony No. 2, Op. 29, which dates from 1902, and marks what is considered the end of Scriabin’s early period of composition. This is paired with Scriabin’s Piano Concerto, Op. 20, also an early work, from 1896.  Scriabin’s music from this period is highly romantic, but still has elements of the chromaticism and dissonance that would develop in his later works.  The Symphony’s lush, dark opening movement with its lyrical clarinet solo moves straight into the quicker second movement, which develops through very Wagnerian sweeps and surges into some full-on romantic writing.  The third movement’s opening, with its exquisite violin solo, supported by twittering birdcalls from the flute, is played here with precision and delicacy – a pity that neither the leader nor flautist gets a name check on the disc.  It is this movement (by far the longest, at just over eighteen minutes) that is in fact the highlight of the symphony, and also of this performance, with its simplicity and heart-on-sleeve idyllic beauty sincerely captured by the OPO players and Petrenko.  This is swept away by the nervy urgency of a stormy scherzo, which then leads to a rather bizarrely simplistic, triumphant finale.  It is this movement that has lead to the most criticism of the symphony and as a result, its somewhat infrequent performance.  This is a shame, as the earlier movements, particularly that slow movement, contain some beautifully imaginative and subtly orchestrated music.  However, Petrenko and the OPO do the finale justice, and almost convince of its merits – perhaps taken on its own, it could serve as an enjoyable overture, with its exciting, dramatic conclusion.  The even earlier Piano Concerto, from 1896, when Scriabin was just twenty-four, is a full-blooded affair, straight out of the Chopin-Liszt tradition, and it is surprising that it hasn’t established a stronger footing in the repertoire, given its evident appeal.  Russian pianist Kirill Gerstein gives an impressive performance here, balancing the weighty heft of the first movement with lightness of touch in the more expressive moments of the delightful central theme and variations.  The finale is a great crowd pleaser, but not without invention, and Gerstein, Petrenko and OPO bring their performance here to a fine, spirited conclusion.

Scriabin, A. 2017. Symphony No. 2, Op.29, Piano Concert, Op. 20. Kirill Gerstein, Oslo Philharmonic Orchestra, Vasiliy Petrenko. Compact Disc. Lawo Classics LWC1139.

Polish-American pianist Adam Golka has released a pleasing programme of Schumann (1810-1856).  With the Piano Sonata No. 1, Op.11, ‘Grosse Sonate’ as the centrepiece, he has included several pieces with an evening theme, and is joined by soprano Lauren Eberwein in two short songs as part of the programme.  The first of these songs, An Anna II, opens the disc, and it’s a setting Schumann composed when he was just eighteen.  It was not published in his lifetime, and only saw the light of day when Brahms published his collected works in 1893.  It’s a nostalgic, calmly passionate miniature, and Eberwein’s rich, full-bodied voice, combined with Golka’s sensitive accompaniment provides a great opener.  Its reason for preceding the Sonata is that Schumann took the melody as the basis for the Sonata’s second movement Aria.  The Sonata opens with a brooding song without words, and the full recording sound combined with Golka’s warmth of tone make for a striking beginning. As the first movement moves into the second allegro vivace section, Golka’s tempo feels slightly controlled – the turbulent wanderings could perhaps do with a little more sense of frenzy, although this does build, and Golka’s formidable technique comes to the fore as the drama builds towards the movement’s conclusion.  His Aria is delicate and sensitive, with full pedalling, lyrically sweet without being overindulgent.  A bouncy, quirky scherzo follows, with a strange, slightly pompous central Intermezzo, and the Finale ranges through fleeting mood changes, and here Golka exploits to the full the extremes of texture and emotion, leading to a swirling turbulent conclusion, leaving the instrument almost rattling at the end.  For the remainder of the disc, we move into Abend (Evening), with the nostalgic and tender ‘Des Abends’ from the Fantasiestücke, Op. 12.  This is followed by ‘Der schwere Abend’ (The oppressive evening) from 6 Gedichte und Requiem, Op. 90, with Eberwein joining Golka again for this brief dramatic mood piece.  The song suits Eberwein’s full, weighty tone, although perhaps aiming for the sense of oppressiveness, the sound is rather covered here.  The disc ends with Golka’s own arrangement for solo piano of Abendlied from the 12 Klavierstücke, Op. 85, originally for 4 hands. Golka’s version is very successful, and he captures the almost Mahlerian sense of stasis in a touchingly introspective reading.  Overall, this is a thoughtful programme (albeit rather short at just over fifty minutes), and Golka shows himself to be a force to be reckoned with.  

Schumann, R. 2017. Piano Sonata No. 1 in F sharp minor, etc. Adam Golka, Lauren Eberwein. Compact Disc. First Hand Records FHR62.

No review of this next disc, as I have to declare a personal interest here.  Last year, Brighton Festival Chorus (with whom I sing), had the pleasure to record a disc of lesser-known choral works by Sir Edward Elgar (1857-1934), with the BBC Concert Orchestra, conducted by Barry Wordsworth (well known to us locally as the conductor of the Brighton Philharmonic Orchestra).  The disc is now out, and includes the Scenes from the Bavarian Highlands, Op. 27, the Te Deum & Benedictus, Op. 34, and the motet Ecce sacerdos magnus, which gives the disc its title.   Do check it out!

Elgar, E. 2018. Ecco sacerdos magnus - Edward Elgar: Music for Chorus and Orchestra. Brighton Festival Chorus, BBC Concert Orchestra, Barry Wordsworth. Somm Recordings SOMMCD 267.

(Edited versions of these reviews first appeared in GScene, May 2018)

CD Reviews - December

American choral composer René Clausen (b.1953) is perhaps less well-known here than Lauredsen, or the ubiquitous Whitacre, but in fact has a substantial catalogue of choral works, and the latest disc from the Kansas City Chorale, under the direction of Charles Bruffy, entitled 'Life and Breath' is a great showcase for his work.  Many of the texts set will be familiar - compare Lauredsen's O magnum mysterium, or Tavener's The Tyger and The Lamb, for example.  Yet this added to the interest of this collection for me.  Whilst Clausen's settings don't necessarily improve on these well-known settings, they do offer a refreshing different take.   The Lamb in particular has a striking luminosity, combined with gentle tenderness.  Here, as in nearly all the pieces on the disc, Clausen adds a soprano solo, all taken from the choir members, all highly competent.  Sarah Tannehill deserves special mention for her bell-like solo in the Credo of the Mass for Double Choir, the most substantial work, which forms the centrepiece of the programme.  There is more harmonic interest here, and the shifting dissonances in the Kyrie provide significant challenge for the singers, which they certainly meet.  The obligatory use of tone clusters is here, but Clausen makes good use of rhythmic interest, and his word-setting is strong.  His interweaving of the well-known Lutheran chorale O Sacred Head, Now Wounded into his other double choir work here, O vos omnes, is also highly effective.  An enjoyable disc, and a choral composer deserving of the exposure and expert advocacy given here by the excellent Kansas City Chorale.

Clausen, René. Life and Breath - Choral Works by René Clausen. Kansas City Chorale, Charles Bruffy. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5105.

Mikhail Pletnev has nearly reached the end of his second recorded cycle of Tchaikovsky symphonies with the Russian National Orchestra on SACD with Pentatone.  With just the Third to come, I've been listening to the somewhat less popular Symphony No. 2, the 'Little Russian', so called because of its use of Ukranian folk tunes.  It perhaps doesn't have the intensity or drama of the later symphonies, but there is considerable interest in his use and variation of the folk melodies, possibly at the expense of overall structure.  This performance is tight, with some exemplary wind and brass playing in particular.  The original score was composed in 1872, but Tchaikovsky revised the work, changing the first movement and making cuts to the finale, as well as reorchestrating the scherzo.  It is the revised version that is most often performed, but Pletnev also includes the original first movement here as well as the revised.  Strangely, given the disc's short playing time of just over 48 minutes, the original finale is not included.  However, hearing both first movements, one can see why Tchaikovsky made the changes, although a few interesting ideas were lost in the process.  Nevertheless, this is pretty much a faultless performance, and the quality of the recording is spot on.

Tchaikovsky, Peter Ilyich. Symphony No. 2 in C minor, Op. 17. Russian National Orchestra, Mikhail Pletnev. 2012. Hybrid Super Audio Compact Disc. Pentatone PTC 5186 382.

The Russian National Orchestra return for another Pentatone SACD recording, this time under Vasily Petrenko (also Principal Conductor of the Royal Liverpool Philharmonic Orchestra), to perform the two Violin Concertos by Prokofiev, with the German violinist, Arabella Steinbacher.  Steinbacher produces a beautifully rich tone, and the RNO are once again on fine form.  Prokofiev's two concertos are a wonderful combination of full-blooded romanticism and his ability to spike this with a edge of quirky rhythmic sarcasm.  Steinbacher has the measure of this match – she plays with real lyricism (particularly noticeable in the second concerto’s slow movement), yet explodes with energy when Prokofiev calls for it.  The second’s Finale feels particularly sparky and perfectly on the edge of almost bacchanalian chaos.  Steinbacher finishes off the disc with Prokofiev’s Sonata for Solo Violin.  This piece was actually intended to be played in unison by a group of violins – this is rooted in the pedagogic tradition in Russia where students would learn to play in unison groups.  It is perhaps not the most virtuosic of sonatas for the instrument, but it requires subtle attention if it is not to sound like an academic study.  Steinbacher achieves this, and the middle movement Theme and variations are particularly delicately performed.  A delightful close to a successful recording.

Prokofiev, Sergei. The Two Violin Concertos, Sonata for Violin Solo. Arabella Steinbacher, Russian National Orchestra, Vasily Petrenko. 2012. Hybrid Super Audio Compact Disc. Pentatone PTC 5186 395. 

William Byrd's (c.1540-1623) 'Great Service' may have been written for the fortieth anniversary of Elizabeth I's accession to the throne - so perhaps a recording is fitting in this jubilee year.  And Musica Contexta have decided to perform the work set within an idea a liturgical setting in the Chapel Royal, where it may or may not have been performed - this means including motets, anthems and psalm settings, and separating the mass movements out into Matins, Communion and Evensong.  They have also introduced instruments to accompany the singers in various sections - these are the forces of the excellent English Cornett and Sackbut Ensemble.  Their further nod to 'authenticity' is their use of historically informed Elizabethan vowel pronunciation.  As worthy as the dedication to such academic accuracy is, such projects can sometimes collapse under the weight of such detail, and there are times where the seriousness of their endeavours obscures the joy of the actual music for me.  However, the overall standard of performance is strong, and the addition of two interludes for organ played by Steven Devine are an added bonus.  A well-executed project, certainly, to which one might return occasionally, but possibly not a performance for regular listening.  

Byrd, William. The Great Service in the Chapel Royal. Musica Contexta, Steven Devine, The English Cornett and Sackbut Ensemble, Simon Ravens. 2012. Compact Disc. Chandos CHAN 0789.

(These reviews first appeared in GScene magazine)