Signum Classics has been one of Britain's leading, independent classical music record labels for nearly 25 years. We have curated some of our favorite Signum Classics releases of 2020 and 2021 placing them on sale for a limited time. The complete list of featured titles is below.
(Sale ends at midnight ET, 6/29/2021.)
The Mozartists bring their usual flare and insightful interpretative style to this British composer's greatest opera, a work that after premiering in 1762 remained in the Covent Garden repertory until the late 1830s.
The performances of these four works are ideal. Clearly, the soloists have taken ownership of these concertos, and the orchestra and conductor have entered into the spirit of this music.
Adès’s account of On an Overgrown Path eschews sentimentality and refuses to duck the suppressed violence that occasionally erupts. His care shown over Janácek’s inner part writing is often revelatory.
The Sacred Veil is notable simply as one of the most deeply personal pieces of concert music heard in quite some time. The performances by the Los Angeles Master Chorale, under Whitacre's direction, are superb, and the sound is exemplary.
This splendid disc is a notable addition to David Matthews’ discography. Admirers of this fine composer will need no prompting from me to acquire this disc those who have yet to experience his music will find it a very good place to start.
This welcome release not only adds to the composer's distinctive discography but also adds wonderfully to the discography of English song. The artists can all be heard very clearly as individuals and in well-judged balance with each other.
These late works of Brahms, inspired by the great Meiningen Court Orchestra clarinetist Richard Mühlfeld, are presented here in a new recording by clarinetist Julian Bliss in partnership with pianist James Baillieu.
The final installment in the Beethoven and Barry recording series which, over three volumes, has traced all nine of Beethoven’s Symphonies coupled with music by the celebrated Irish composer Gerald Barry.
Under Adès, the Britten Sinfonia provide lean performances of Beethoven’s middle three symphonies. There are a few scrappy moments, but generally this is stylishly incisive Beethoven. Barry’s pieces are no mere filler.
Adès tackles the “Eroica” in a blazing performance, very energetic but not lacking in affection. He has the horns and trumpets ring out with great presence and his dynamic range is good.
This is perhaps the most consistently enjoyable and satisfying recording of Tchaikovsky piano solos of recent years. Throughout, there is a lightness of touch, a crisp transparency, and clarity of texture that makes the listening highly rewarding.
The two Strauss performances are certainly worthy of an enthusiastic thumbs up. Ernest Ottensamer died suddenly in 2017 at the age of 61, and the Copland was his last concerto recording. That, too, adds to the value and poignancy of this release.
NYC's renowned Saint Thomas Choir of Men and Boys offer a fitting tribute to their former Choirmaster and Organist Gerre Hancock (1934-2012), a pivotal figure who created a wealth of extraordinary choral and organ music during his career.
Sombart and the RPO examine each concerto in sublime detail, demonstrating the various contrasts of each piece in an elegant and passionate fashion.
This Italian’s salute to his home country is inspired indeed. The standout performance is a spellbinding account of the Dante Sonata; few accounts of the first two pages are so filled with menace and mystery.
Mary Bevan is not just an exceptionally fine soprano. She’s also a superb actress. She is at her best in the sprinkling of Wolf’s Mörike Lieder, including an ecstatic ‘Gebet’. Middleton’s playing is always sensitive, never overwhelming the singer.