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Vocale muziek (wereldlijk en religieus) - Verschenen op 3 mei 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique
Fans of the British crown’s splendour will certainly marvel at this double album that reproduces the coronation anthems of the four monarchs of the 20th century: Edward VII in 1902, George V in 1911, George VI in 1937, and current Queen Elizabeth II in 1953. Very few of today’s ceremonies can reach such levels of grandeur.At the crossroads of tradition and innovation, these coronation ceremonies are characterised by the evocation of past heritage works, and the addition of numerous pieces commissioned specifically for the occasion to the best composers in the kingdom. For such events, Westminster Abbey is closed for several months to allow an army of craftsmen to build monumental galleries capable of hosting up to eight thousand guests. Then come the rehearsals with 400-singer choirs, half of them children, an immense orchestra, and the indispensable great organ.This recording is a selection of the best moments of these ceremonies, presented as a single liturgical structure. This ample reconstitution led by Paul McCreesh follows for the most part the 1937 ceremony, dropping however the era’s typical style when interpreting Handel. The musical approach has changed so much that it is presented here in the “baroque” style characteristic of our early 21st century. Some difficult choices were made, particularly regarding the Te Deum, the centrepiece and climax of the ceremony. A Cornelian choice between the ones from Stanford (1902), Parry (1911), Vaughan Williams (1937) and William Walton (1953). The latter was finally chosen, for its radiance and theatrical impetus. © François Hudry/Qobuz
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Religieuze vocale muziek - Verschenen op 11 mei 2018 | Signum Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
Fascinated by the Marian cult, whose contradictions he loves to highlight, Paul McCreesh offers here a purely choral programme, leaving behind the charms of orchestral instrumentation. Both virgin and mother, a symbol of both chastity and fertility, the figure of Mary also holds a strong erotic potential, which has not escaped Paul McCreesh, who designed this album by choosing English composers from the Renaissance to the present day, without any real disparity in style becoming apparent, proving the strength and continuity of British choral music. The great English movement of the rediscovery of polyphony in the 20th and 21st centuries doesn't stop at exploring the music of the Renaissance, but also rediscovering, and employing in new compositions, the beautiful medieval words set to music, which have been passed unamended down the centuries. Returning to the sources of Western music, Paul McCreesh asks whether the sudden popularity of religious music comes from a subliminal desire to recreate a world in which almost everyone believed in God. Fighting against a certain ethereal and angelic approach to religious choral music, McCreesh compares high polyphony to the architecture of a vast cathedral, trying to bring out its visceral side, on certain pieces at least. Listeners will note that this album contains the world's first recording of a new work commissioned by Paul McCreesh and the Gabriel Consort, written by the young British composer Matthew Martin. A Rose Magnificat (which also gives the whole album its name) was written for double choir and contains interjections from a medieval text. The composer wrote the piece in a "Stravinskian" manner, as he put it, while searching out Eastern and Byzantine flavours. © François Hudry/Qobuz
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Wereldlijke vocale muziek - Verschenen op 6 oktober 2017 | Signum Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Gabrieli ensemble, under the direction of their remarkable leader Paul McCreesh, explore here the immensely rich British choral repertoire which is known as partsong, a sort of choral piece made up of a profane song written or arranged for several vocal parts. The theme can originate in folk music (real or imagined), or it can be even older - the term covers a vast range of formats. This is a long way from the rather soppy variety of vaguely pastoral pieces that are widely-spread, but less rich because more constrained in rhythmic, melodic and textual terms: many of the lyrics in this record are great poetry, and represent a corpus of 20th Century madrigals every bit as rich as their glorious Renaissance ancestors. Vaughan Williams and Elgar lead the way, followed by Charles Villiers Stanford, Herbert Howell and Percy Grainger (Australian by birth, but very British at heart), Britten et Warlock (nom de plume and nom de guerre of Philip Heseltine, a flamboyant and louche figure), and finally James McMillan and Jonathan Dive bring us up to the present day. For all its modern elements, the record doesn't neglect its heritage - the iconoclastic avant-garde is dead and buried - making this a real treat for aficionados, and when this excellent music is sung by the Gabrieli ensemble, our happiness is complete. © SM/Qobuz
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Volledige opera's - Verschenen op 28 oktober 2016 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 11 februari 2013 | Parlophone Label Group

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 1 januari 1993 | Deutsche Grammophon (DG)