Tracklista:1. Symphonic Poem No. 11, 'Hunnenschlacht'2. Symphonic Poem No. 7, 'Festklange'3. Symphonic Poem No. 5, 'Prometheus'4. Symphonic Poem No. 6, 'Mazeppa'
The English anonymous fifteenth-century Missa Caput at the centre of this disc is probably the most significant work from the period. It was copied all across Britain and the Continent and was largely responsible for the universal adoption of the 'parody mass' technique and of today's standard four-part choir arrangement. It is a work of great stature and beauty, in this performance interspersed with a curious Latin poem which describes how two small boys composed the Salve regina antiphon while languishing in Hell. (The poem has recently been discovered and is the subject of a forthcoming monograph by Christopher Page.)
Tracklista: CD 1 1. Seasons 2. Steppenwolf 3. Utopia 4. Opa Loka 5. Spiral Galaxy 6. Reefer Madness 7. Sentinel 8. Spirit of the Age CD 2 1. Earth Calling 2. Born to Go 3. Down Through the Night 4. Poem 1st Landing 5. Lord of Light 6. Poem Black Corridor 7. Space Is Deep 8. A Step Into Space 9. Orgone Accumulator 10. Upside Down 11. Poem 10th Second of Forever 12. Brainstorm 13. Seven By Seven 14. Sonic Attack 15. Time We Left 16. Masters of the Universe 17. Welcome to the Future
Tracklista: 1. Symphony No. 1, Op. 26 2. Symphony No. 5, Op. 60: 3. Prometheus - The Poem of Fire
1. Symphony No. 1, for orchestra in E minor Op. 39 39:502. Symphony No. 4, for orchestra in A minor, Op. 63 32:583. Symphony No. 2, for orchestra in D major, Op. 43 46:304. Finlandia, tone poem for orchestra, Op. 26 8:085. Karelia Suite, for orchestra, Op. 11 16:446. Symphony No. 3, for orchestra in C major, Op. 52 29:477. Symphony No. 6, for orchestra in D minor, Op. 104 28:278. Tapiola, tone poem for orchestra, Op. 112 18:179. Symphony No. 5, for orchestra in E-flat major, Op. 82 31:4410. Symphony No. 7, for orchestra in C major, Op. 105 22:3711. En Saga, tone poem for orchestra, Op. 9 19:2612. Violin Concerto, for violin & orchestra in D minor, Op. 47 34:2813. Earnest melodies (2), for violin & orchestra, Op. 77 7:2814. Serenades (2), for violin & orchestra, Op. 69 15:0115. Romance, for string orchestra in C major, Op. 42 5:3316. Valse Triste, for orchestra (from Kuolema), Op. 44/1 5:2617. Luonnotar (The Spirit of Nature), tone poem for voice & orchestra, Op. 70 9:18
Tracklista:1. Nature2. Sowing Seed3. Autumn Song4. When All the World Is Hidden5. The Burning of the Leaves6. The Phoenix7. Tall Nettles8. The Trumpet9. The Mill-water10. Out in the Dark11. The Gallows13. No One Cares Less Than I14. Last Poem (The Sorrow of True Love)15. Lights Out12. Rain
G.V. SVIRIDOV PETERSBURG A VOCAL POEM, SIX ROMANCES
Tracklista:1. Petro do sol (Close to the sun)2. Tapete escaldante (The fervent carpet)3. Bossanomia4. Vela no vento (Like a candle in the wind)5. Tao bom (It feels so good)6. Satisfaçao (Satisfaction)7. Passarinho (Little bird)8. Todos juntos (All together)9. A vida (Life is)10. Poema para outra mulher (A poem for the other woman)11. La suite
“To Notice Such Things”, the follow up album to Durham Concerto, is a collection of four newly-recorded orchestral works featuring Jon himself on piano. The title work is written as a six-movement suite for solo flute, piano and string orchestra. It is a poignant tribute to Jon’s long time friend, the late John Mortimer, QC. Literary references abound, appropriately for the creator of Rumpole of the Bailey. The music emanates from the stage show, Mortimer’s Miscellany, which Lord accompanied. To Notice Such Things is the last line of the Thomas Hardy poem “Afterwards”, which ended Mortimer’s show. The first movement, As I Walked Out One Evening, from the W H Auden poem of the same name, opened the revue. The second movement, At Court, captures the 60s and 70s heyday of the free-speaking barrister, whilst Turville Heath, evokes the raconteur reposing in his well-tended garden. The peculiarly named The Stick Dance refers to the days when Mortimer’s legs were failing him; he still loved a good jive but mainly observed the jiving of a female companion whilst supporting himself on his stick. The Winter of a Dormouse is a twist on Lord Byron’s Summer of a Dormouse, which describes the indignity of ageing. Mortimer had chosen the diminutive creature to appear on his coat of arms when appointed a Knight of the realm. The work ends with Afterwards, a fitting mirror image to Mortimer’s Miscellany. Jon Lord played To Notice Such Things at Mortimer’s memorial service in November 2009, in front of an illustrious audience that included the Duchess of Cornwall, members of the Mortimer family, Lord Mandelson, Neil Kinnock, Jeremy Paxman, Alan Rickman, Peter O’Toole, Sir Tom Stoppard and Jeremy Irons who closes the album with his reading of the poem “Afterwards. This recording will serve as the lasting memento of a great, beloved English eccentric. The album proceeds with a gorgeous instrumental arrangement of Jon’s Evening Song – the original version appears on his best-selling album Pictured Within – here substituting the vocal line with the mellow strains of alto flute and horn conjuring a gentle summer sunset. The next track, For Example, combines clever puns with heartfelt homage. Written for the Trondheim Soloists, it’s a nod towards one of Jon’s favourite composers, Edvard Grieg, whose initials provide the play on words of the title. An early piano teacher introduced Jon to the great Norwegian composer, whose charming and folksy Wedding Day at Troldhaugen is woven into the fabric of the work. Air on a Blue String follows, a blues-meets-Bach fusion delivered with heart and soul. The album ends with Jeremy Irons’ noble reading of the poem “Afterwards”. Jon’s music easily joins a tradition of great English composition of the last century. It is visceral and direct, deeply touching to anyone who hears it. To Notice Such Things is a window into Jon’s humanity, his observance of life’s cycles, and his generous spirit which will spread far and wide through his compositions.
Tracklista: 1. Symphony No. 1 in D minor, Op. 13 2. Isle of the Dead (symphonic poem), Op. 29