Orgasm is John's Children's sole studio album, projected for release on 18 March 1967, and eventually released in September 1970. It was recorded (before Marc Bolan joined the band) at Advison Studios in London, England. Originally intended as a regular studio album, it was transformed into a fake "live" album by producer Simon Napier-Bell by dubbing audience screams lifted from The Beatles' movie A Hard Day's Night. According to the liner notes by Chris Donovan in the 1982 Cherry Red Records reissue of the album, its release in the United States was stopped by the Daughters of the American Revolution, who objected to the title…
Allegri's early Baroque masterpiece Miserere from around 1630 movingly juxtaposes modal chant with tonality, and was so popular that the Vatican refused to allow it to be performed anywhere else - until the 14 year old Mozart broke the Vatican's monopoly by writing it down from memory after attending a performance. Pergolesi's late Baroque masterpiece Stabat Mater for soprano and alto dates from 1736, the year of his death at the age of 26. It was originally written for male voices but since it's hard to find a castrato these days, it's generally performed by two women or by a female soprano and counter-tenor. This performance uses a female alto but in other respects it's very much a period performance - the sound is intimate and the tempos are lively without any sacrifice of spiritual depth. The soloists, soprano Monika Frimmer and alto Gloria Banditelli, sing beautifully without overdoing the vibrato, and their voices are well matched. The disk also contains a brief "Sonata a quattro" by Vivaldi, and another setting of the Stabat Mater, by the late Baroque composer Antonio Caldara from around 1725.(Kenneth Dorter)
This anthology of devotional music from 18th-century Venice and Naples offers an interesting and varied programme. Best known is Pergolesi’s Stabat mater, but the settings by Domenico Scarlatti and Bononcini stand well in comparison. The motets by Lotti, Caldara and Alessandro Scarlatti are real discoveries; Norrington’s performances of the latter are particularly fine. Guest’s Pergolesi suffers from a focus of sound which makes the interpretation seem somewhat generalised. However, all these performances give pleasure, while the music is melodically fresh and rhythmically vital.-Terry Barfoot
The third Choir disc on our 'St John's Cambridge' label in collaboration with Signum Records features Francis Poulenc's Mass in G, Zoltán Kodály's Missa Brevis and Leoš Janáček's Otčenáš.