Church musicians, especially of the Anglican/Episcopal persuasion, should be happy that there's at least one person out there writing first-rate, functional, and very accessible (in the best sense) anthems and service music–music that dedicated, competent choirs and organists can perform to a high standard. Some listeners may recognize Grayston Ives (nom de plume of Bill Ives) for his years (in the 1980s) with the King's Singers where he both sang and contributed as an arranger.
Handel's Coronation Anthems were written in 1727 for George II and Queen Caroline, and have been performed at every British coronation since that occasion. Zadok the Priest will be familiar from its use in the film The Madness of King George. Handel's arpeggiated suspensions in the strings build excitement from the outset, but the entrance of the choir and full orchestra is shattering beyond expectations.
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
College Algebra, also known as Algebra III or Advanced Algebra, primarily extends concepts previously studied in Algebra II.
Rock Goes to College by drummer Bill Bruford's late-1970s band Bruford, was greeted with considerable excitement. Featuring Hatfield and the North/National Health keyboardist Dave Stewart and über-bassist Jeff Berlin, the group only played a couple of live dates with original guitarist Allan Holdsworth, who left shortly afterwards and was replaced by "The Unknown John Clarke. One of those performances was recorded by the BBC for television broadcast and, while it's a scant 42-minutes long, it represents a high water mark for the British progressive/fusion scene of that time—or, for that matter, any other.
With first-rate casts and careful attention to Handel's original texts, King has blown the dust off some magnificent music’(BBC Record Review)
‘This recording gets to the very heart of Handel in a most human and convincing way. All the soloists are excellent, needless to say’(CDReview)