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See Terms & Conditions for p&p rates. | |  | Original Cannons Performing Version 1718
Susan Hamilton, Nicholas Mulroy, Thomas Hobbs, Nicholas Hurndall Smith & Matthew Brook Dunedin Consort & Players, John Butt Acis and Galatea is the Dunedin Consort's second Handel recording and follows their hugely successful 1742 version of Messiah, which earned the group a Classic FM Gramophone Award for "Best Baroque Vocal Album" in 2007 and a Midem Award in 2008. The Dunedin Consort continues its critically acclaimed practice of recording unusual but authentic recording versions of well-known works; Acis and Galatea is no exception. The Consort has recorded the Original Cannons Performing Version from 1718. There are notable differences in the Cannons version including changes in instrumentation and vocal scoring (there is no alto line) made by Handel to suit the forces at Cannons. This includes one-to-a-part choruses, in a similar manner to the choruses in the Consort’s Matthew Passion recording. Director John Butt chose this version because of the small forces involved (which was one of the aspects that made Messiah so distinctive) and although there have been 'first versions' of Acis recorded before, Butt felt that there were certain aspects of the original version that had not yet been sufficiently realised. Acis and Galatea is a beautiful pastoral entertainment, Handel's first dramatic work in English, with a simple yet highly emotional story that encompasses the extremes of love and tragedy. In 2007, the Dunedin Consort’s tenth anniversary year, the group reached a new level of critical acclaim, culminating in the Classic FM Gramophone Award for Messiah in the Baroque Vocal category. This is the only such award presented to a Scottish group in recent years (and the first to an ensemble that is not a Scottish National Company or BBC orchestra) and now gives the Dunedin Consort a truly international reputation. “A genuine sparkle which lifts Handel's music above the ordinary, and a fresh angle for just about every moment.” The Scotsman | 
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| |  | (Dublin version, 1742)
Susan Hamilton (soprano), Annie Gill (mezzo), Clare Wilkinson (alto), Nicholas Mulroy (tenor), Matthew Brook (bass), Edward Caswell (bass) Dunedin Consort, John Butt This is the first recording to seriously explore the version and performing forces that Handel used for his legendary Dublin première.The research was carried out by director and lecturer John Butt and the performance recreated by the acclaimed Scottish choral group the Dunedin Consort, with soloists taken from within the choir. The Dublin version of The Messiah is unique in several important ways and the resultant Linn recording signifies an exciting and historically considered representation as enjoyed by the Dublin audience of 1742.The challenge in this recording was to try and recapture something of the freshness of the first public performances, imagining what it was like to hear the work for the very first time, when many moments must have been quite unexpected. “... the freshest, most natural, revelatory and transparently joyful Messiah I have heard for a very long time” Gramophone Magazine, December 2006 “The Dunedin Consort's recording of Handel's Messiah strips the work back to how it was performed at its first outing in Dublin. Even less ornate than other 'authentic' performances, it is innately spiritual, and deeply satisfying.” BBC Music Magazine, December 2007 | | | Usually despatched in 2 - 3 working days. |
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| |  | In chains of gold
Dunedin Consort: Susan Hamilton (Soprano), Clare Wilkinson (Mezzo soprano), Ashley Turnell (Tenor), Warren Trevelyan-Jones (Tenor), Matthew Brook (Bass), John Kitchen (Organ) | | | Usually despatched in 2 - 3 working days. |
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| |  | The People's Mass
Dunedin Consort: Susan Hamilton (1st soprano), Libby Crabtree (2nd soprano), Kate Hamilton (alto), Nicholas Mulroy (tenor), Matthew Brook (baritone), Noel Mann (bass) Six contemporary Scottish-based composers come together in this new Mass setting performed by the Dunedin Consort. Polychoral pieces interweave with harp-accompanied songs in a spiritual work that achieves unity in diversity, designed to stimulate and inspire the listener’s inner soul. | | | Usually despatched in 2 - 3 working days. |
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| |  | In The Beginning
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| |  | Final performing version, c. 1742
Nicholas Mulroy (Evangelist), Matthew Brook (Jesus), Susan Hamilton (Soprano), Cecilia Osmond (Soprano), Clare Wilkinson (Alto), Annie Gill (Alto), Malcolm Bennett (Tenor) & Brian Bannatyne-Scott (Bass) Dunedin Consort & Players, John Butt “Crisp singing and clear diction is matched by outstanding technical ability by the singers” Sunday Herald “The thread of intensity is achieved largely by the focus and roundness of the Dunedin Consort's palette, the thrusting legatos (when called for) and the welcome presence of a strong, directed bass-line. No recorded St Matthew Passion…comes without its blemishes but few parade such a compellingly fresh and raw realism.” Gramophone Magazine, April 2008  BBC Music Magazine
Choral & Song Choice - April 2008 |
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Gramophone Awards 2007