There are twelve commercially-released CDs in the catalogue featuring the music of Richard Pantcheff, of which four contain his works exclusively. Five further discs are in currently in preparation, two of which feature his works exclusively.
Plans for forthcoming CD releases include :
- A second disc of choral and instrumental music recorded by the London Choral Sinfonia, conducted by Michael Waldron; includes Nocturnus I and Nocturnus VI in specially arranged versions for Flugelhorn and Strings (Opus 90); Evening Canticles – Frankfurt (Opus 23), and Missa Brevis (Opus 83B).
- ‘To Autumn’ (Opus 103) will be released on CD by Rupert Marshall-Luck (Violin) and Em Marshall-Luck (Narrator) on the EM Records label.
- Fantasia on Yorkshire Folk Tunes (Opus 102), Introduction and Allegro No.1 (Opus 97, No.1), and Introduction and Allegro No. 2 (Opus 97, No.2) will be released on CD By Rupert Marshall-Luck (Violin) and Joseph Spooner (Violoncello) on the EM Records label.
COMMERCIAL CD RECORDINGS
12. Numerous works for unaccompanied choir, choir and organ, and choir and piano appear on the CD The Music of Richard Pantcheff : Volume 1, released on 18th September 2020 by Orchid Classics – ORC100144. The London Choral Sinfonia are conducted by Michael Waldron, with Jeremy Cole (organ) and Matthew Fletcher (piano). Upon its release it entered the Gramophone Classical Charts directly at number 12.
James Manheim (www.allmusic.com) : “The music of Richard Pantcheff has been somewhat neglected, perhaps because he was working in South Africa when English cathedral music really hit its new golden age in the 2010s. Too, his music is more demanding than that of Rutter and his ilk, with close attention to the text and flexible treatment of tonality according to the demands of an individual work. Pantcheff studied with Benjamin Britten as a young man, and there are strong echoes of Britten in the choral music here; try Britten’s Flower Songs, Op. 47, for an idea of the mixture of the weighty and the lyrical in Pantcheff’s music. Michael Tippett might be another influence. The Pantcheff works here are a cappella or accompanied by piano or organ. They are both sacred and secular, without a strong stylistic differentiation between them, and this is key to the uniqueness of Pantcheff’s style: it has a slightly mystical tinge. Listen to the Four Poems of Stephen Crane, Op. 86, secular works much newer than the rest of the works on the album, but stylistically of a piece with them, for an idea of the seriousness of purpose in Pantcheff’s music. The clean and committed performances of the London Choral Sinfonia under Michael Waldron add much to the satisfying effect, as does the flattering sound from St. Mark’s Church, Regents Park, London. The music here was recorded in 2015; kudos to Orchid Classics for finally making it available.”
11. A Christmas Carol (Opus 88, No.2 for SATB Choir and Organ) appears on the CD O Holy Night, performed by the London Choral Sinfonia, conducted by Michael Waldron, on the Orchid Classics – ORC100110. Released on 15th November 2019.
5.4.com. December 2019 : “Richard Pantcheff‘s A Christmas Carol turns two stanzas of Swinburne’s text into a kind of hypnotised reverie. A persistent organ motif serves as a regular pulse beneath the more free, at times, ecstatic articulation of the words, the latter of which giving the impression the singers are caught up in the quietest of raptures. While not in the usual sense of the word a radical piece, it’s certainly one of the more unusual and most beautiful Christmas choral works that I’ve heard in a long time, yielding more and more on subsequent listenings.”
http://www.amazon.co.uk. January 2020. “Best of all (on the disc) is probably Richard Pantcheff’s Christmas Carol, a haunting and beautiful setting of words by Swinburne.”
MusicWeb International, December 2019 : “This is perhaps best exemplified in Richard Pantcheff’s haunting and deeply atmospheric A Christmas Carol, in which slow, sustained vocal lines waft elusively over an other-worldly organ accompaniment. No boisterous bells, no chirpy chanting, no delightfully ditties, but an intense reflection on the true miracle of the Christmas story, as related in Swinburne’s text.”
10. 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.
9. Suite – King Richard III (Opus 94, for solo violin) appears on the CD Richard III, performed by the work’s dedicatee, Rupert Marshall Luck. Released in November 2017 on the EM Records – EMR CD 45-46.
8. 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 – WHR043.
7. Sonata for Violin and Organ (Opus 74) appears on the CD King of Instruments, Instrument of Kings. Recorded in the Chapel of Jesus College, Cambridge, performed by Rupert Marshall-Luck (Violin) and Duncan Honeybourne (Organ) on the EM Records – EMR CD 29.
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…”
6. 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.
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”.
5. 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.
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.”
4. 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.
3. 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.
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…”.
2. 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 – LAMM 152D. April 2003.
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…”
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.