Found Objects / Sound Objects—Marc-André Hamelin’s latest solo album and November’s Record of the Month—promises a rollercoaster ride through works by some of the twentieth century’s great musical mavericks. Built around The perilous night (John Cage’s first major piece for prepared piano, a piano which has had nuts, bolts, screws and similar inserted between its strings), the programme begins with Frank Zappa and ends in the only way imaginable: with a work by Hamelin himself, the fast and furious Hexensabbat. En route are contributions by John Oswald—whose eclectic Tip is an assemblage of fragments taken from a wide range of classical, jazz and pop favourites—Salvatore Martirano, Stefan Wolpe and Yehudi Wyner. Not for the faint-hearted.

A programme of choral anthems from The Choir of Trinity College Cambridge and Stephen Layton, its distinguished former Director of Music, takes its name from one of them—Kenneth Leighton’s Let all the world in every corner sing. A number of predominantly early twentieth-century favourites are on the menu, including Basil Harwood’s O how glorious is the kingdom (written in 1899), while Jonathan Dove’s Seek him that maketh the seven stars (1995) and Matthew Martin’s virtuosic St Albans triptych for solo organ (expertly dispatched by Harrison Cole from the console of Ely Cathedral where this album was recorded) provide textural contrast and the album’s most recent music.

Santtu-Matias Rouvali and the Philharmonia Orchestra have recorded Richard Strauss’s Ein Heldenleben, the mighty tone poem which caused such a furore when first performed in 1899. Orchestra and conductor have already won their spurs with this composer, Fanfare magazine describing their previous Strauss programme as ‘nothing short of a triumph’. Also from Signum Classics, Little Wanderer is an intriguing new recital album from tenor Nick Pritchard and pianist Ian Tindale. Their chosen soundworld is very much ‘Benjamin Britten’—the programme is framed by Winter Words and a selection of the folksong settings—and we have complementary songs by Imogen Holst and Daniel Kidane, whose Songs of illumination set poems by William Blake and provide the inspiration for the album title.

Two new recordings from LSO Live this month bring us three symphonies from the middle decades of the twentieth century. First up we have Ralph Vaughan Williams’s Symphonies Nos 5 & 9, a second RVW instalment from Chief Conductor Sir Antonio Pappano and the London Symphony Orchestra and featuring two of the composer’s most moving contributions to the genre. And then Gianandrea Noseda takes to the podium for Prokofiev’s Symphony No 4, a work whose troubled gestation reached its final form only a few years after RVW’s No 5.

Found Objects / Sound Objects—Marc-André Hamelin’s latest solo album and November’s Record of the Month—promises a rollercoaster ride through works by some of the twentieth century’s great musical mavericks. Built around The perilous night (John Cage’s first major piece for prepared piano, a piano which has had nuts, bolts, screws and similar inserted between its strings), the programme begins with Frank Zappa and ends in the only way imaginable: with a work by Hamelin himself, the fast and furious Hexensabbat. En route are contributions by John Oswald—whose eclectic Tip is an assemblage of fragments taken from a wide range of classical, jazz and pop favourites—Salvatore Martirano, Stefan Wolpe and Yehudi Wyner. Not for the faint-hearted.

A programme of choral anthems from The Choir of Trinity College Cambridge and Stephen Layton, its distinguished former Director of Music, takes its name from one of them—Kenneth Leighton’s Let all the world in every corner sing. A number of predominantly early twentieth-century favourites are on the menu, including Basil Harwood’s O how glorious is the kingdom (written in 1899), while Jonathan Dove’s Seek him that maketh the seven stars (1995) and Matthew Martin’s virtuosic St Albans triptych for solo organ (expertly dispatched by Harrison Cole from the console of Ely Cathedral where this album was recorded) provide textural contrast and the album’s most recent music.

Santtu-Matias Rouvali and the Philharmonia Orchestra have recorded Richard Strauss’s Ein Heldenleben, the mighty tone poem which caused such a furore when first performed in 1899. Orchestra and conductor have already won their spurs with this composer, Fanfare magazine describing their previous Strauss programme as ‘nothing short of a triumph’. Also from Signum Classics, Little Wanderer is an intriguing new recital album from tenor Nick Pritchard and pianist Ian Tindale. Their chosen soundworld is very much ‘Benjamin Britten’—the programme is framed by Winter Words and a selection of the folksong settings—and we have complementary songs by Imogen Holst and Daniel Kidane, whose Songs of illumination set poems by William Blake and provide the inspiration for the album title.

Two new recordings from LSO Live this month bring us three symphonies from the middle decades of the twentieth century. First up we have Ralph Vaughan Williams’s Symphonies Nos 5 & 9, a second RVW instalment from Chief Conductor Sir Antonio Pappano and the London Symphony Orchestra and featuring two of the composer’s most moving contributions to the genre. And then Gianandrea Noseda takes to the podium for Prokofiev’s Symphony No 4, a work whose troubled gestation reached its final form only a few years after RVW’s No 5.

Found Objects / Sound Objects—Marc-André Hamelin’s latest solo album and November’s Record of the Month—promises a rollercoaster ride through works by some of the twentieth century’s great musical mavericks. Built around The perilous night (John Cage’s first major piece for prepared piano, a piano which has had nuts, bolts, screws and similar inserted between its strings), the programme begins with Frank Zappa and ends in the only way imaginable: with a work by Hamelin himself, the fast and furious Hexensabbat. En route are contributions by John Oswald—whose eclectic Tip is an assemblage of fragments taken from a wide range of classical, jazz and pop favourites—Salvatore Martirano, Stefan Wolpe and Yehudi Wyner. Not for the faint-hearted.

A programme of choral anthems from The Choir of Trinity College Cambridge and Stephen Layton, its distinguished former Director of Music, takes its name from one of them—Kenneth Leighton’s Let all the world in every corner sing. A number of predominantly early twentieth-century favourites are on the menu, including Basil Harwood’s O how glorious is the kingdom (written in 1899), while Jonathan Dove’s Seek him that maketh the seven stars (1995) and Matthew Martin’s virtuosic St Albans triptych for solo organ (expertly dispatched by Harrison Cole from the console of Ely Cathedral where this album was recorded) provide textural contrast and the album’s most recent music.

Santtu-Matias Rouvali and the Philharmonia Orchestra have recorded Richard Strauss’s Ein Heldenleben, the mighty tone poem which caused such a furore when first performed in 1899. Orchestra and conductor have already won their spurs with this composer, Fanfare magazine describing their previous Strauss programme as ‘nothing short of a triumph’. Also from Signum Classics, Little Wanderer is an intriguing new recital album from tenor Nick Pritchard and pianist Ian Tindale. Their chosen soundworld is very much ‘Benjamin Britten’—the programme is framed by Winter Words and a selection of the folksong settings—and we have complementary songs by Imogen Holst and Daniel Kidane, whose Songs of illumination set poems by William Blake and provide the inspiration for the album title.

Two new recordings from LSO Live this month bring us three symphonies from the middle decades of the twentieth century. First up we have Ralph Vaughan Williams’s Symphonies Nos 5 & 9, a second RVW instalment from Chief Conductor Sir Antonio Pappano and the London Symphony Orchestra and featuring two of the composer’s most moving contributions to the genre. And then Gianandrea Noseda takes to the podium for Prokofiev’s Symphony No 4, a work whose troubled gestation reached its final form only a few years after RVW’s No 5.