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See Terms & Conditions for p&p rates. | |  | Byrd - For My Ladye Nevell
1 My Ladye Nevells Grownde The Battell 2 I The souldiers sommons 3 IV The trumpetts 4 VI The bagpipe and the drone 5 VII The flute and the droome 6 VIII The Galliarde for the Victorie 7 The Seconde Pavian 8 The Galliarde to the Seconde Pavian 9 The Fifte Pavian 10 The Galliarde to the Fifte Pavian 11 The Seventh Pavian 12 The Eighte Pavian 13 A Voluntarie, “For my ladye nevell” 14 Lord Willobies Welcome Home 15 The Carmans Whistle 16 Sellingers Rownde 17 A Fancie 18 A Voluntarie 19 Fantazia Mr Bird
Historically significant manuscript recording in association with British Library. My Ladye Nevells Booke is one of the finest surviving Tudor music manuscripts. The contents are entirely devoted to the keyboard music of William Byrd, of which it is the single most important source. Byrd was the most important composer of the golden age of keyboard composition known as the English virginalist school. As a solo harpsichordist and chamber musician, Terence Charlston is well known to chamber music audiences through his work with many renowned artists and especially London Baroque. He founded the department of Historical Performance at the Royal Academy of Music, London, and is professor of harpsichord at the Royal College of Music, London. | 
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| |  | Barocking together
Sharon Bezaly (flute), Terence Charlston (harpsichord) & Charles Medlam (bass viol) Sharon Bezaly has demonstrated her great gifts as a flutist on a number of recordings on BIS ranging from the concertos written for her by renowned contemporary composers, including Sofia Gubaidulina and Kalevi Aho, to the classic staples of the flute literature such as Mozart’s concertos and flute quartets. Along the way there has been a wealth of imaginatively programmed recital discs, focusing on the great flute sonatas as well as the French flute tradition. On this disc, Bezaly visits the period in which the flute became established as a solo instrument in its own right. It was only in the eighteenth century that wind players began to specialize on flute rather than oboe or recorder and composers started writing specifically for it. This disc reflects these exciting developments in musical taste with a programme of six sonatas for flute and harpsichord, with and without the support of a bass instrument. Bezaly has chosen to perform with London Baroque members Charles Medlam and Terence Charlston. The result is a highly enjoyable disc, which marries together the golden tones of Bezaly’s modern flute with the stylistic expertise of two of the most experienced musicians in the field of historical performance. “Sharon Bezaly has a formidable reputation: a BBC New Generation Artist… with 20 recordings on BIS including several award-winners. Fast movements are effortless, and enlivened by lively tempos and high-spirited decorations.” BBC Music Magazine, August 2008 **** “There is no doubting the zestiness and technical mastery of Bezaly's playing. The most convincing performances tend to be of the faster movements, and the disc concludes with a lightly articulated performance of a joyful Telemann sonata.” Gramophone Magazine, October 2008 |
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| |  | Leçons de Ténèbres
Emma Kirkby and Agnès Mellon (sopranos), Charles Medlam (bass viol) & Terence Charlston (organ) The Leçons de Ténèbres gathered here are some of the finest in the genre. By the time of Couperin and Lalande, a practice of singing the Lamentations of Jeremiah during Holy Week had been established in which the text was divided into nine ‘lessons’ sung over three days, with one candle of a special candelabra being extinguished after each lesson, until ‘tenebrae’ or darkness was achieved on Good Friday. The three Leçons by François Couperin, composed for the royal monastery of Longchamp c. 1714, are highly regarded. (Couperin himself at one time referred to a full set of nine lessons, but only the three for Holy Wednesday are known today.) Couperin, named ‘Organiste du Roi’ in 1693, was the colleague of de Lalande, ‘Maître de Chapelle’ at the French court, whose own Leçons were composed for the royal chapel. “When the two voices swell fervently there is a sense of emotional arrival, mutual enhancement and discovery.” Gramophone Magazine, May 2008 | | | Usually despatched in 2 - 3 working days. |
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| |  | Albertus Bryne - Keyboard Music
Terence Charlston (piano) | | | Usually despatched in 2 - 3 working days. |
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| |  | Cinema Classics 2006Classical Music Made Famous In Films
Bach, J S: | Motet 'Jesu, meine Freude' (excerpt) Kingdom of Heaven Scholars Baroque Ensemble | Donizetti: | L'elisir d'amore: 'Una furtiva lagrima' Match Point Vincenzo la Scola (tenor) Hungarian State Opera Orchestra, Pier Giorgio Morandi | Elgar: | Symphony No. 1 in A flat major, Op. 55 - Opening Theme Wallace & Gromit in the Curse of the Were-Rabbit BBC Philharmonic Orchestra, George Hurst | Mozart: | Porgi amor from The Marriage of Figaro The Skeleton Key Marina Mescheriakova (soprano) Nicolaus Esterházy Sinfonia, Michael Halász First movement from String Quartet No. 21 Monster-in-Law Eder Quartet | Pachelbel: | Canon & Gigue The Upside of Anger Cologne Chamber Orchestra, Helmut Müller-Brühl | Purcell: | Dido and Aeneas: Dido's Lament The Downfall (Der Untergang) Kym Amps (soprano) Scholars Baroque Ensemble Rondeau from Abdelazer Pride and Prejudice Terence Charlston (harpsichord) | Rimsky Korsakov: | Capriccio espagnol, Op. 34 Royal Philharmonic Orchestra, Adrian Leaper | Rossini: | Il barbiere di Siviglia Overture Robots Failoni Chamber Orchestra, Will Humburg | Strauss, J, II: | An der schönen, blauen Donau, Op. 314 The Life and Death of Peter Sellers Slovak State Philharmonic Orchestra, Johannes Wildner | Strauss, R: | Sunrise from Also Sprach Zarathustra Charlie and the Chocolate Factory Slovak Philharmonic Orchestra, Zdenek Košler | trad.: | Song of the Volga Boatmen Lord of War Red Army Choir & Band, Victor Fedorov |
“Naxos has issued numerous discs in its series Cinema Classics. They offer a wide assortment of music, are generally easy listening, and are a reminder of the frequent use that is made of classical music by film makers. What a resource for film buffs!” FM Program Guide | | | Usually despatched in 2 - 3 working days. |
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| |  | The Trio Sonata in 17th-Century England
Ingrid Seifert, Richard Gwilt, (violins), Charles Medlam (bass viol), Terence Charlston (harpsichord, chamber organ) London Baroque ‘A programme of outstanding music … A gem of a disc’ Goldberg Magazine | | | Usually despatched in 2 - 3 working days. |
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| |  | Bach, Flute Sonatas Vol. 1
Ashley Solomon (traverso) and Terence Charlston (harpsichord) | | | Usually despatched in 2 - 3 working days. |
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Ashley Solomon (traverso) Terence Charlston (harpsichord) | | | Usually despatched in 2 - 3 working days. |
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Terence Charlston (harpsichord) Given the stature of Italian music in the Baroque era, it is not surprising to find a vein of Italian musical style running through the keyboard works of Johann Sebastian Bach. The young Bach took the latest styles and clichés from Vivaldi and Albinoni and studied the music of Frescobaldi and Corelli for counterpoint and structure. Many of the forms in which he worked – including the fantasia, aria, toccata and fugue – were transplanted from Italy during the seventeenth century to find new roots north of the Alps. The pieces recorded here span Bach’s entire working life and show how these stock ideas profoundly influenced all the genres in which he worked. | | | Usually despatched in 2 - 3 working days. |
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| |  | Complete Keyboard Works of Matthew Locke
Terence Charlston (harpsichord, virginals, organ) Matthew Locke was one of the leading English composers of the mid-C17th and his music stands out for its bold treatment of musical ideas, clear melodic sense and unusual treatment of dissonance. His keyboard music occupies a very significant position in the development of both the keyboard suite and the English organ voluntary and represents the first flowerings of a truly baroque style in English music. | | | Usually despatched in 2 - 3 working days. |
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