Recordings of music from the late 19th century on authentic instruments are not common, but conductor Robert King and the King's Consort make a strong case for them on this recording of religious and ceremonial music by Charles Villiers Stanford and Hubert Parry. For the orchestral strings, the shift from gut to metal strings was almost as consequential as the evolution of modern bows a century before, and the results for Stanford's service music here are magical. These warm, Brahmsian pieces, not at all common, receive ...
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Recordings of music from the late 19th century on authentic instruments are not common, but conductor Robert King and the King's Consort make a strong case for them on this recording of religious and ceremonial music by Charles Villiers Stanford and Hubert Parry. For the orchestral strings, the shift from gut to metal strings was almost as consequential as the evolution of modern bows a century before, and the results for Stanford's service music here are magical. These warm, Brahmsian pieces, not at all common, receive lovely performances here, amplified by the soaring soprano of Carolyn Sampson. The players have even researched such minutiae as the proper length of tuning peg; the differences made by such factors must be apparent only to very expert ears, but the end product is convincing. The period winds and brasses make a strong impression as well in the larger works by Parry, which are likewise rarely heard in their original orchestral versions (the final Jerusalem was orchestrated by Edward...
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Add this copy of I Was Glad-Sacred Music of Stanford and Parry to cart. $10.96, good condition, Sold by Stephen White Books rated 5.0 out of 5 stars, ships from Bradford, WEST YORKSHIRE, UNITED KINGDOM, published 2013 by Vivat Music Foundation.
