Discography

There are nine commercially-released CDs in the catalogue featuring the music of Richard Pantcheff, of which three contain his works exclusively. Four further discs are in currently in preparation, two of which feature his works exclusively :

COMMERCIAL CD RECORDINGS

1. Choral work Phos Hilaron appears on the CD O Sapientia – Twentieth and Twenty First Century Choral Music. Performed by the City of Oxford Choir, conducted by Peter Leech. Parish Records. PARECCD004. April 2002.

2. Numerous choral and organ works appear on the CD Richard Pantcheff – Choral and Organ Works. Performed by the Choir of Christ Church Cathedral, Oxford, conducted by Stephen Darlington, with Clive Driskill-Smith, organ. Includes the work King Henry VIII’s Apologia, which was specially commissioned by Christ Church, Oxford, in celebration of the 450th anniversary of its foundation. Quilisma. QUIL405. September 2002.

3. Choral work For Lo, The Days Come appears on the disc Salvator Mundi – Music for Lent and Passiontide. Performed by the Arcadian Singers of Oxford University, conducted by Matthew O’Donovan. Lammas Records. LAMM 152D. April 2003.

Reviews :
Church Music Quarterly : “A splendid, gripping, unaccompanied setting, by Richard Pantcheff, of verses from Jeremiah.”

Cathedral Music 2/2003 : “…and including a fine new piece by Richard Pantcheff, commissioned for this recording.”

CD Review 2003 : “A well-blended and stylish choir sing an interesting range of sometimes little-heard music, including a premiere of Richard Pantcheff’s Behold, the Days Cometh (sic) *****.”

Journal of the Association of Anglican Musicians, June 2003 : “For lo, the days come…was commissioned for this recording; it is a compelling unaccompanied setting of verses from the Book of Jeremiah”.

American Record Guide, 2003 : “Pantcheff’s For lo, the days come, sounds like a blend of Howells and Leighton, with a dash of Finzi, as lush and tender harmonies alternate with extended passages of spare, two-part, writing, often concentrating on the intervals of the second, fourth, and fifth…”

4. Choral Ensemble work Five Elizabethan Lyrics appears on the CD A Garland of the Elizabethan. Performed by The Clerks of Christ Church, Oxford, for whom the work was specially commissioned. SOMM CD 047. October 2005.

Reviews :
MusicWeb International, April 2006 : “It is with the Five Elizabethan Lyrics by Richard Pantcheff that the programme takes a leap upwards. Pantcheff’s style is basically tonal, but has a wonderful turn of melodic phrase, by using expressionist dissonance. The overall feeling is sharp and quite spiky, modulated by a good feel for texture; but Pantcheff’s chromaticism is always in the service of the words. Pantcheff varies the texture of the pieces well, ranging from the quietly expressive opening of Beauty is but a painted hell, to the lively dance rhythms of Hey Nonny no. With such a distinguished group of lyrics and their strong links to Elizabethan/Jacobean music, it would have been easy for Pantcheff to have been overawed and to have produced music which was a pale copy of the Elizabethan. It is a testament to Pantcheff’s talent that he has taken his own path, providing a response to the poems which is always musical, but sometimes unexpected. This is a recital which deserves to be heard for Pantcheff’s settings of Elizabethan lyrics…”

5. Choral work Come, my beloved, appears on the disc The Voice of my Beloved – Settings of the Song of Songs from the Renaissance to the Present Day. The Choir of Lincoln College, Oxford, conducted by Paul Wingfield and Rebecca Taylor. Work specially commissioned by the Choir of Lincoln College, Oxford. Herald HAVPCD 324. February 2007.

6. Numerous works for Organ appear on the CD Richard Pantcheff: Sonata for Organ and Other Organ Works. Performed by Clive Driskill-Smith on the organ of Christ Church Cathedral, Oxford. Herald HAVPCD 339. January 2008.

Reviews :
Choir and Organ, July/August 2008 : “Richard Pantcheff’s sinewy Sonata puts the Rieger organ of Christ Church Cathedral through its paces to vivid effect. Clive Driskill-Smith makes much of the work’s knotty intensity, the muscular interplay of contrasted themes, and the solo-scored passages with demanding pedal that climax in a C Major sunburst of tremolando chords. The nine Hymn Preludes and twelve Short Interludes find Pantcheff elegantly pouring quarts into pint pots, with the nine individual feast-day pieces offering further evidence of an articulate compositional voice”.

Organists’ Review, May 2008 : “…one of the latest works from a renowned composer with an established reputation in the field of organ and choral music.”

7. Numerous works for Organ appear on the CD Richard Pantcheff : Suite for Organ and Other Organ Works. Performed by Iain Farrington on the Marcussen organ in the Chapel of Tonbridge School, Kent. Herald HAVPCD 365. January 2011.

Review :
The Organ Club Journal, 2012-1 : “ Richard Pantcheff is a name known to me for choral works, but until I saw this disc was not aware that he composed for solo organ… Pantcheff’s music is new to me, and totally pleasing to the ear, unlike some other modern composers’ works. I like it!”.

Choir and Organ, March/April 2012 : “The tonal language of Pantcheff’s music is accessible and possesses a modality which lends itself well to the organ…(the pieces are) traditional in style in the sense of mid-20th-century English church music. Many tend towards improvisations in form. Most successful are those specifically liturgical pieces (interludes, processionals, hymn preludes), where Pantcheff’s expression is at its best”.

8. Sonata for Violin and Organ appears on the CD King of Instruments, Instrument of Kings. Recorded in the Chapel of Jesus College, Cambridge, and performed by Rupert Marshall-Luck (Violin) and Duncan Honeybourne (Organ) on the EM Records Label.

Reviews :

MusicWeb International. June 2015: “The music of Richard Pantcheff was new to me, but on this showing he is worth monitoring…A completative muse lords it unchallenged over this surprising Sonata with the occasional pastel hint of Finzi, Messiaen, or Part. The final Tarantella recalls Shostakovitch among those sometimes unassuming voices.”

The Strad. September 2015 :”…it is an affecting work, much given to gentle musing, the violin’s long, flowing lines expressively played by Marshall-Luck.”

The Gramophone. November 2015 : “A Howellsian plangency dominates the first two movements of Pantcheff’s Sonata (with organ accompaniment) with particular emphasis on the plaintive violin, though this accentuated introspection is dispelled in the Tarantella finale”.

Choir and Organ. August 2015 : “…here the point of interest is Richard Pantcheff’s Op. 74 Sonata for Violin and Organ…it offers a remarkably assured blending of the keening middle voice and skittish and silky high strings of the violin to the more grounded timbres of the organ. The characterful, often nimble, dialogues that ensue (the lively Tarantella finale a case in point) prove exquisitely rewarding”.

Birmingham Post. July 2015 : The instrument referred to in the title is the organ, although here used not as a solo instrument but in a sonata with violin. That seems a mismatch at first sight, but works surprisingly well in Richard Pantcheff’s Sonata Op. 74. Although not afraid to unleash the organ’s sonorous power occasionally, it’s predominantly a lyrical work with Duncan Honeybourne (playing the Huddlestone organ, in the Chapel of Jesus College, Cambridge) and Rupert Marshall-Luck relishing the song-like opening movement, central Romanza, and lively final Tarantella.”

British Music Society Journal. 6th June 2015 : “…full of lyricism, passion, and energy…”

9. A Prayer for Saint Sebastian and Fanfare for St. Boniface (Two Short Pieces for Organ, Opus 34A) appear on the CD Arundel Experience, played by Alexander Eadon on the organ of Arundel Cathedral, England. Released on 23rd October 2016 on the Willowhayne Records label (WHR043).

Plans for forthcoming CD releases include :

  1. A disc of choral music recorded by the London Choral Sinfonia, conducted by Michael Waldron; includes Spirit of Mercy (Opus 33); Evening Canticles – Aedes Christi (Opus 37), Four Poems of Stephen Crane (Opus 86); and African- Caribbean Elegy (Opus 70).
  2. Christmas Carol (Opus 88 No.2) recorded for a disc of choral Christmas music, performed by the London Choral Sinfonia, conducted by Michael Waldron.
  3. A disc featuring the Suite – King Richard III (Opus 94) for solo violin, performed by Rupert Marshall-Luck.
  4. A disc of organ music performed by Christian Wilson, to include Trio Sonata No.1 (Opus 95), and Passacaglia on a Theme of Benjamin Britten (Opus 87).

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