Named by The Economist as one of Twenty Living Polymaths, Sir Stephen Hough combines a worldwide career as a pianist with those of composer and writer. "My father said that I had memorised seventy nursery rhymes by the age of two. This sounds suspiciously like parental exaggeration to me, but I do know that such singing was my first form of musical expression, especially as we had no classical music in my childhood home. Then, by the age of six, the piano took over… but song remained in the background."

"This new album of music by Ralph Vaughan Williams, the latest by the London Choral Sinfonia and Michael Waldron, features collaborators including violinist Jack Liebeck and tenor Andrew Staples. The collection includes works such as Vaughan Williams's Violin Concerto; ""In Windsor Forest,"" adapted from the opera 'Sir John in Love;' and ""Prelude on Gibbons’ Song 13,"" newly orchestrated for strings. Among these adaptations are Vaughan Williams' own transcriptions of J.S. Bach's works, including the 'Giant' Fugue and 'Schmucke Dich' chorale, reflecting his admiration for Bach's music. The album contains poignant pieces like ""Nothing is here for tears,"" a sombre response to King George V's death, and ""Land of our birth,"" an homage to Britain's World War II victory. Highlighting string arrangements including the seminal “Silent Noon”, arranged for strings by Owain Park, as well as world premieres, the album underscores Vaughan Williams' musical adaptations and their ties to British legacies."

Named by The Economist as one of Twenty Living Polymaths, Sir Stephen Hough combines a worldwide career as a pianist with those of composer and writer. "My father said that I had memorised seventy nursery rhymes by the age of two. This sounds suspiciously like parental exaggeration to me, but I do know that such singing was my first form of musical expression, especially as we had no classical music in my childhood home. Then, by the age of six, the piano took over… but song remained in the background." "My first twenty years were filled with composing. Then followed almost twenty years of blank paper, writing virtually nothing except concert transcriptions for me to use as encores. Until, in my early 40s, I returned to composition with a passion…" This release celebrates Hough’s compositional output in works for choir and organ performed by the London Choral Sinfonia, with organist James Orford and conductor Michael Waldron.

On this essential new release, sacred and secular choral works by Samuel Coleridge-Taylor – many of them never recorded before – are performed by the London Choral Sinfonia directed by Michael Waldron, with James Orford at the organ. The music of Samuel Coleridge-Taylor has for too long been neglected despite being of exceptional quality. When Michael Waldron began to explore Coleridge-Taylor’s choral music, he was struck by the sheer variety and depth of skill he found – and that this music is not more widely known. This release brings together a representative selection of both sacred and secular works by this great British composer, from the simple, understated tones of Whispers of Summer, to the quasi-cantata grandeur of Now late on the Sabbath Day.

In an album that includes world-premiere recordings, Michael Waldron and the London Choral Sinfonia perform Francis Grier’s modern-day Passion, Sword in the Soul, to texts by Rowan Williams narrated by Simon Callow, Samantha Bond and Adrian Peacock. Alongside Grier’s Sword in the Soul, we hear Lux Eterna, the profoundly moving choral setting of Elgar’s famous ‘Nimrod’ from his Enigma Variations, as well as a rarely-heard piece by Elgar recorded only once before: the intensely poignant We Will Remember Them, a beautiful and simple a cappella arrangement of a famous text. The album also features music by contemporary composer David Bednall, and LCS’s Composer in Residence Owain Park.

The catalyst for this disc came with the chance discovery of a vocal score of Berkeley’s Variations on a Hymn by Orlando Gibbons. Not ever having heard of the piece, I saw the forces it is scored for and thought it fit rather well the remit of the LCS. A little research soon revealed that the piece had never been recorded, nor was there anything of a performance history either. I could tell there was a piece of real merit and substance here, and it most definitely deserved an outing. All this coincided with the arrival of the pandemic and subsequent lockdown. Planning live performances was impossible but working towards a recording further down the line seemed doable. January 2021 came and we – like so many others – had to cancel the planned recording. By January 2022, the project finally happened. I would like to add my personal thanks to the Lennox Berkeley Society, who have been so helpful and supportive since my very first email to them, not to mention patient as the pandemic forced recording plans to keep being postponed.