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Glory Tree

Cheryl Frances-Hoad

Glory Tree

Price: € 19.95
Format: CD
Label: Champs Hill
UPC: 5060212590220
Catnr: CHRCD 021
Release date: 01 June 2011
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€ 19.95
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Label
Champs Hill
UPC
5060212590220
Catalogue number
CHRCD 021
Release date
01 June 2011
Album
Artist(s)
Composer(s)
EN

About the album

"The Glory Tree had remarkable scoring, stratospheric singing and was performed with shamanic authority, her final scream reverberating through the cloisters."
- Keith Bruce, The Herald

Cheryl Frances-Hoad has a unique and special compositional voice, recently becoming the youngest composer to win two prizes in the same year at the British Composer Awards, in 2010.

Since winning the BBC Young Composer Competition in 1996, at the age of 15, Cheryl's works have garnered high praise and awards from all quarters. Over recent years, she has had numerous notable successes, with commissions including solo, chamber, orchestral and choral works, as well as opera.

The songs of the title work on this album - The Glory Tree - are arresting settings, in original Anglo-Saxon, from The Dream of the Rood and Judith, treated as the utterances of Shamanic ritual. Shamanism also provides the inspiration for the solo violin work The Snow Woman written for, and played here by, Natalia Lomeiko.

These works are typical of the fertile soil for musical invention which Cheryl Frances-Hoad finds in literary inspiration. Stories, poems or literary ideas have provided the spark for many works on this disc, performed by exceptionally talented musicians, including Nicholas Daniel (oboe), the Lendvai String Trio, the Kriesler Ensemble, Leonid Gorokhov (ʻcello), the London Mozart Trio, Ensemble na Mara, and others.

Artist(s)

Cheryl Frances-Hoad

Admired for her originality, fluency and professionalism, Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own. 'Intricate in argument, sometimes impassioned, sometimes mercurial, always compelling in its authority' (Robin Holloway, The Spectator), her output – widely premièred, broadcast and commercially recorded, reaching audiences from the Proms to outreach workshops – addresses all genres from opera, ballet and concerto to song, chamber and solo music.  Her works include From the Beginning of the World, a setting of Tycho Brahe's remarkably...
more
Admired for her originality, fluency and professionalism, Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own.
"Intricate in argument, sometimes impassioned, sometimes mercurial, always compelling in its authority" (Robin Holloway, The Spectator), her output – widely premièred, broadcast and commercially recorded, reaching audiences from the Proms to outreach workshops – addresses all genres from opera, ballet and concerto to song, chamber and solo music. Her works include From the Beginning of the World, a setting of Tycho Brahe's remarkably prescient thesis on the Great Comet of 1577 (BBC Proms, 2015), Pay Close Attention, a homage to electronic music gods The Prodigy, The Whole Earth Dances, a quintet influenced by the local landscape and the poetry of Ted Hughes (Spitalfields Festival, 2016) and Game On, a duet for piano and Commodore 64 inspired by Game Theory and the crimes of bankers (NonClassical at the Dalston Victoria, 2016).

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Composer(s)

Cheryl Frances-Hoad

Admired for her originality, fluency and professionalism, Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own. 'Intricate in argument, sometimes impassioned, sometimes mercurial, always compelling in its authority' (Robin Holloway, The Spectator), her output – widely premièred, broadcast and commercially recorded, reaching audiences from the Proms to outreach workshops – addresses all genres from opera, ballet and concerto to song, chamber and solo music.  Her works include From the Beginning of the World, a setting of Tycho Brahe's remarkably...
more
Admired for her originality, fluency and professionalism, Cheryl Frances-Hoad has been composing to commission since she was fifteen. Classical tradition (she trained as a cellist and pianist at the Menuhin School before going on to Cambridge and King’s College, London) along with diverse contemporary inspirations including literature, painting and dance, have contributed to a creative presence provocatively her own.
"Intricate in argument, sometimes impassioned, sometimes mercurial, always compelling in its authority" (Robin Holloway, The Spectator), her output – widely premièred, broadcast and commercially recorded, reaching audiences from the Proms to outreach workshops – addresses all genres from opera, ballet and concerto to song, chamber and solo music. Her works include From the Beginning of the World, a setting of Tycho Brahe's remarkably prescient thesis on the Great Comet of 1577 (BBC Proms, 2015), Pay Close Attention, a homage to electronic music gods The Prodigy, The Whole Earth Dances, a quintet influenced by the local landscape and the poetry of Ted Hughes (Spitalfields Festival, 2016) and Game On, a duet for piano and Commodore 64 inspired by Game Theory and the crimes of bankers (NonClassical at the Dalston Victoria, 2016).

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Press

Play album Play album
01.
Memoria: : I. Prelude
08:59
(Cheryl Frances-Hoad)
02.
Memoria: : II. Fugue
08:25
(Cheryl Frances-Hoad)
03.
My Fleeting Angel:: I. Larghetto
01:57
(Cheryl Frances-Hoad)
04.
My Fleeting Angel: : II. Allegro spiritoso e scherzando
04:18
(Cheryl Frances-Hoad)
05.
My Fleeting Angel: : III. Allegretto eleganza
02:47
(Cheryl Frances-Hoad)
06.
The Snow Woman: : I. Allegro moderato
01:59
(Cheryl Frances-Hoad)
07.
The Snow Woman: : II. Adagietto
02:27
(Cheryl Frances-Hoad)
08.
The Snow Woman: : III. Allegro vivace
02:38
(Cheryl Frances-Hoad)
09.
The Ogre Lover: : I. Allegro vivace e ritmico
00:58
(Cheryl Frances-Hoad)
10.
The Ogre Lover: : II. Agitato
00:41
(Cheryl Frances-Hoad)
11.
The Ogre Lover: : III. Scherzando e eleganza
01:43
(Cheryl Frances-Hoad)
12.
The Ogre Lover: : IV. Adagietto
01:27
(Cheryl Frances-Hoad)
13.
The Ogre Lover: : V. Andante
01:09
(Cheryl Frances-Hoad)
14.
The Ogre Lover: : VI. Allegro vivace
01:35
(Cheryl Frances-Hoad)
15.
The Ogre Lover: : VII. Coda (Andantino rubato)
00:48
(Cheryl Frances-Hoad)
16.
Invocation
04:09
(Cheryl Frances-Hoad)
17.
Bouleumata
03:26
(Cheryl Frances-Hoad)
18.
Melancholia: Theme (Largo trascinando)
03:06
(Cheryl Frances-Hoad)
19.
Melancholia: Variation : I. Più mosso
02:18
(Cheryl Frances-Hoad)
20.
Melancholia: Variation: II. Meno mosso
03:01
(Cheryl Frances-Hoad)
21.
Melancholia: Variation : III. L'istesso tempo
05:11
(Cheryl Frances-Hoad)
22.
The Glory Tree: : I. 'Behold! I shall tell the choicest of visions'
03:51
(Cheryl Frances-Hoad)
23.
The Glory Tree: : II. 'Hail is the whitest of grains'
01:00
(Cheryl Frances-Hoad)
24.
The Glory Tree: : III. 'I have often suffered on the weary seas'
03:28
(Cheryl Frances-Hoad)
25.
The Glory Tree: : IV. 'The sun is always a source of hope'
01:44
(Cheryl Frances-Hoad)
26.
The Glory Tree: : V. 'What have you done, bloodstained one?'
03:51
(Cheryl Frances-Hoad)
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Often bought together with..

Totdat de wachter heeft gezongen - Songs from the Gruuthuse Manuscript (ca. 1400) and instrumental connections
Aventure
Violin Concerto, Op. 35 | Serenade after Plato’s “Symposium”
Liza Ferschtman

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