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Opera - Released February 28, 2020 | Chandos

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Recorded after the first London performance for over 130 years, Parry’s neglected oratorio here appears for the very first time. Having been commissioned by the Birmingham Festival, Parry decided to combine the Old Testament stories of Manasseh and Judith. A good deal of the libretto was provided by Parry himself, who took other texts from the biblical books of Isaiah, Psalms, and Judith. Having originally conceived the work in four acts, Parry condensed it into two. Judith was premiered by Richter in Birmingham in August 1888, and it consolidated Parry’s reputation as a choral composer, numerous performances following in Edinburgh and in London. Although popular in his lifetime, Judith fell into obscurity after Parry’s death. © Chandos
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Classical - Released November 1, 1997 | Chandos

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Classical - Released January 1, 2003 | Decca (UMO)

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Classical - Released January 1, 1997 | Decca (UMO)

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Classical - Released March 1, 2012 | Nimbus Alliance

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Classical - Released November 4, 2016 | Signum Records

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Classical - Released November 4, 2014 | Naxos

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Chamber Music - Released May 24, 2002 | Cello Classics

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Classical - Released January 1, 1989 | Decca (UMO)

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Classical - Released November 1, 2009 | Past Classics

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Classical - Released January 1, 1990 | Decca (UMO)

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Classical - Released January 1, 2000 | Maestoso

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Classical - Released November 4, 2008 | Avie Records

Booklet
The subtitle of this album is "New Works for Remembrance," and its four selections by British composers are united by their use of texts that deal, either explicitly or implicitly, with the personal ravages of war. They were performed by the Portsmouth Grammar School Chamber Choir at the school's annual Remembrance Day concerts. Cecilia McDowall's Ave Maris Stella would be lovely except that it is difficult to take seriously because its opening and closing sections are a brazenly transparent rip-off of Morten Lauridsen's O Magnum Mysterium. Lynne Plowman's Cries Like Silence, for four soloists, choir, orchestra, organ, children's choir, brass band, electric guitars, and bass drums, sets a grim anti-war poem by Ted Hughes. Her musical language is reminiscent of Britten, and she brings a strong sense of drama to the text. Tarik O'Regan's And There Was a Great Calm uses texts by a variety of writers, including Rumi, Milton, Wordsworth, and Hardy. Its prevailing tone of resigned acceptance and serenity is punctuated with explosive affirmations of hope. The Lion and the Deer, by Sally Beamish, uses five poems by fourteenth century poet Hafiz, with spoken interjections of poetry written by students at the Portsmouth Grammar School. The choir sings with discipline, passion, and focus and is ably accompanied by the London Mozart Players, led by Nicolae Moldoveanu. © TiVo
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Symphonic Music - Released January 1, 1958 | BnF Collection

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Classical - Released November 1, 2009 | Past Classics

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Classical - Released January 1, 2000 | Maestoso

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Classical - Released January 1, 2000 | Naxos Classical Archives