Welcome.

Stone Records was formed in 2008 to produce high quality classical CDs with a broad appeal. In a short space of time the label has received critical acclaim for its initial releases and embarked upon a number of ambitious and successful projects. With many further discs already in the pipeline, we are looking forward to making more interesting and inspiring music in the future.

Welcome.

Stone Records was formed in 2008 to produce high quality classical CDs with a broad appeal. In a short space of time the label has received critical acclaim for its initial releases and embarked upon a number of ambitious and successful projects. With many further discs already in the pipeline, we are looking forward to making more interesting and inspiring music in the future.

Great to see that Paul Carr's Seven Last Words CD has been picked up by Classic FM.

The Classic FM Playlist

www.classicfm.com

Playlist: Saturday, 17 May 2014 Smooth Classics with Myleene Klass Find and listen to recently played songs on the Classic FM, listen & download the best classical songs & recordings.

May 18th 12:30pm • No Comments

Thanks to BBC Music for their recommendation of our Complete Butterworth songbook in their Composer of the Month article (by Kate Kennedy)

The complete Butterworth songbook :: Stone Records, Independent Classical Music

stonerecords.co.uk

Stone Records was formed in 2008 to produce high quality classical CDs with a broad appeal. In a short space of time the label has received critical acclaim for its initial releases and embarked upon a number of ambitious and successful projects. With many further discs already in the pipeline, we a…

May 16th 6:47pm • No Comments

This looks like a very worthwhile venture.

London English Song Festival

The LESF celebrates & promotes the performance, composition and appreciation of English song through concerts & educational activities.

Apr 23rd 7:12am • No Comments

Felix Mendelssohn


Related Albums
 
Mendelssohn: The complete works for cello and piano

Felix Mendelssohn (1809-1847) lived a life largely of domestic tranquility and unhindered career fulfilment, in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the nineteenth century whose stature could rival that of Mozart. Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies. He and his sister Fanny were given piano lessons, and he also studied violin, and both joined the Berlin Singakademie. Carl Friedrich Zelter, director of the Singakademie, became Mendelssohn’s first composition instructor. Even in his youth, Mendelssohn moved with natural grace among the circles of influence in society, politics, literature, and art. Although he did spend some time at the University of Berlin, most of his education was received through friendships and travel. Mendelssohn’s advocacy was the single most important factor in the revival of Bach’s vocal music in the nineteenth century, most famously realized in the 1829 performance of the St. Matthew Passion at the Berlin Singakadamie. He did some touring as a pianist with Ignaz Moscheles, then took the position as music director in Düsseldorf from 1833 to 1835, which involved conducting both the choral and orchestral societies, preparing music for church services and later, becoming intendant for the new theatre. Tension with the theater owner caused him to resign some of his duties, and he began looking for a new post. In 1835, Mendelssohn became municipal music director in Leipzig, where he also would conduct the Gewandhaus Orchestra. He would raise the level of the still-thriving ensemble to a new standard of excellence. In 1838, he married Cécile Jeanrenaud, enjoying an idyllic marriage and family life that was quite unlike the stormy romantic entanglements which profoundly affected such composers as Berlioz, Chopin, and Liszt. He was in demand as a conductor, spent some time as royal composer and music director in Berlin, but remained committed to musical life in Leipzig. He was even able to establish a new conservatory in the city, which is still a well-respected institution.

Mendelssohn was a true Renaissance man. A talented visual artist, he was a refined connoisseur of literature and philosophy. While Mendelssohn’s name rarely arises in discussions of the nineteenth century vanguard, the intrinsic importance of his music is undeniable. A distinct personality emerges at once in its exceptional formal sophistication, its singular melodic sense, and its colorful, masterful deployment of the instrumental forces at hand. A true apotheosis of life, Mendelssohn’s music absolutely overflows with energy, ebullience, drama, and invention, as evidenced in his most enduring works: the incidental music to A Midsummer Night’s Dream (1826-1842); the Hebrides Overture (1830); the Songs Without Words (1830-1845); the Symphonies No. 3 (1841-1842) and No. 4 (1833); and the Violin Concerto in E minor (1844). While the sunny disposition of so many of Mendelssohn’s works has led some to view the composer as possessing great talent but little depth, his religious compositions—particularly the great oratorios Paulus (1836) and Elijah (1846)—reflect the complexity and deeply spiritual basis of his personality.