The King’s Consort celebrate their hundredth CD and the launch of their new classical label, VIVAT, with TKC’s largest recording in 15 years.

Huge period instrument orchestra gathered from fifteen nations, plus TKC’s award-winning choir, and world-class soloists including Carolyn Sampson and David Wilson-Johnson.

TKC records the glorious sacred ceremonial music of two of Britain’s greatest composers, Stanford and Parry.

“The King’s Consort is starting its own record label: Vivat. It’s all performed on period instruments, with gut strings and wind and brass from the era” (BBC Music Magazine)

“The King’s Consort are set to re-enter the recording catalogue with the world’s first period instrument recordings of Parry’s I was glad and Jerusalem, alongside other Coronation music by Parry and his colleague Charles Villiers Stanford” (Gramophone)

“Their new album of British choral music, launching their new classical music recording label, VIVAT” (

STANFORD / PARRY I was glad. Carolyn Sampson, David Wilson-Johnson, The King’s Consort / Choir of The King’s Consort / Robert King. VivatSTANFORD / PARRY I was glad. Carolyn Sampson, David Wilson-Johnson, The King’s Consort / Choir of The King’s Consort / Robert King. VivatView or buy

First recordings on period instruments, including the four great Stanford canticle settings, heard in the composer’s lavish orchestrations (Stanford in G with radiant singing from Carolyn Sampson), Parry’s I was glad (restoring a long-missing section for the 1911 coronation), a magisterial performance of Blest pair of Sirens, the 1911 Coronation Te Deum and a stunning Jerusalem in Elgar’s vivid orchestration.

Parry’s classic “I was glad”, heard at the Coronation of King George V in 1911, is partnered by an equally splendid Coronation “Te Deum” and the sumptuous double-choir setting “Blest pair of Sirens”, richly orchestrated. Stanford’s four magnificent settings of the Magnificat and Nunc Dimittis are performed on CD for the first time on period instruments in the composer’s original orchestrations, and include the evergreen Magnificat in G, whose orchestration is especially delicious, including a prominent part for harp, effortlessly played by Catrin Finch. Parry’s famous setting of “Jerusalem” is heard in Edward Elgar’s vivid orchestration.

New editions of the four Stanford works parallel-published by Oxford University Press.

The first of a series of releases on TKC’s new VIVAT label.

Other recordings by: