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Special offer. Elgar: The Apostles, Op. 49

Alison Hargan (soprano), Alfreda Hodgson (contralto), David Rendall (tenor), Bryn Terfel (baritone), Robert Lloyd (bass) & Stephen Roberts (bass)

London Symphony Chorus & London Symphony Orchestra, Richard Hickox

Elgar: The Apostles, Op. 49
Supported by a strong cast of soloists, Hickox delivers a warmly expressive and subtly nuanced interpretation which really catches fire in the more inspired second part of Elgar's oratorio.

Special offer. Elgar: The Apostles, Op. 49

Alison Hargan (soprano), Alfreda Hodgson (contralto), David Rendall (tenor), Bryn Terfel (baritone), Robert Lloyd (bass) & Stephen Roberts (bass)

London Symphony Chorus & London Symphony Orchestra, Richard Hickox

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Supported by a strong cast of soloists, Hickox delivers a warmly expressive and subtly nuanced interpretation which really catches fire in the more inspired second part of Elgar's oratorio.

About

Inspiration for The Apostles came at an early age for Elgar who, as a child, was fascinated to learn about Christ’s disciples, ordinary men who witness the most extraordinary events. A commission from the Birmingham Triennial Music Festival gave him the opportunity to explore this theme and in 1903 Elgar wrote The Apostles, the first in a planned trilogy of works depicting the lives of Jesus’ disciples (the third, intended to follow The Kingdom, never materialised). A narrative work, it deals with the calling of the disciples and their experiences of Jesus’ preaching, miracles, crucifixion, resurrection, and ascension.

An expansive oratorio, The Apostles calls for six soloists, lavish orchestration, and large chorus. Although often overshadowed by The Dream of Gerontius, written shortly before, it contains some of Elgar’s most inspired music, particularly in the dramatic portrayal of Judas and in the exalted, moving finale.

On this ‘241’ release Richard Hickox, a true champion of British music, conducts the London Symphony Orchestra and Chorus. The two most prominent roles, Mary Magdalene and Judas, are sung by Alfreda Hodgson and Robert Lloyd, respectively. The recording also features an outstanding performance from a young Bryn Terfel as Peter. The set is released as part of the Richard Hickox Legacy series.

Contents and tracklist

Prologue (Chorus)
Track length7:32
Part I: And it came to pass in those days (Tenor)
Track length2:46
Part I: The voice of Thy watchman
Track length5:38
Part I: Shofar
Track length1:34
Part I: It is a good thing to give thanks unto the Lord
Track length4:08
Part I: And when it was day, He called unto Him His disciples (Tenor)
Track length9:23
Part I: Blessed are the poor in spirit (Jesus)
Track length7:56
Part I: And straightway Jesus constrained His disciples to get into a ship (Tenor)
Track length1:50
Part I: O Lord Almighty, God of Israel (Mary Magdalene)
Track length5:56
Part I: This shall ye have of Mine hand (Mary Magdalene)
Track length8:29
Part I: When Jesus came into the parts of Cæsarea Philippi (Tenor)
Track length5:20
Part I: Thy face, Lord, will I seek (Mary Magdalene)
Track length5:12
Part I: Turn you to the stronghold (Chorus)
Track length7:57
Part II: Introduction
Track length4:20
Part II: And it came to pass that He went throughout every city and village (Tenor)
Track length1:50
Part II: Then gathered the chief Priests and Pharisees a council (Tenor and Bass)
Track length3:19
Part II: Hail, Master! (Judas)
Track length2:16
Part II: Thou also wast with Jesus of Nazareth
Track length3:21
Part II: Then Judas, which had betrayed Him (Contralto)
Track length3:39
Part II: Whither shall I go from Thy Spirit? (Judas)
Track length9:12
Part II: Truly this was the Son of God (Chorus)
Track length4:36
Part II: And very early in the morning they came unto the sepulchre … (Contralto)
Track length4:32
Part II: We trusted that it had been He which should have redeemed Israel
Track length4:21
Part II: And when He had spoken these things (Contralto)
Track length11:34

Awards and reviews

Christmas 2014

Supported by a strong cast of soloists, Hickox delivers a warmly expressive and subtly nuanced interpretation which really catches fire in the more inspired second part of Elgar's oratorio.
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