SOMM Recordings is proud to present The Mira Ensemble, taking its name from the Latin word meaning "wonderful" or "admirable" and comprising professional singers from across the UK. The group was founded in 2025 to champion the extensive, yet little known and often-neglected body of music for upper voices. Their debut disc focuses on the upper-voices repertoire by Herbert Howells, and it features entirely premiere recordings that shine a light on a rarely discussed part of his output. The ensemble is directed by Newcastle-born conductor, composer, academic, editor, and orchestrator Tom Edney. They're accompanied by pianist Nick Salwey, who has performed live on BBC Radio 3, ITV, Channel 4, and Classic FM. Nick taught at Oxford, Eton College, and Winchester College, where he was Head of Piano from 2005 to 2025, and where he continues to teach and work as accompanist.

Herbert Howells (1892-1983) composed a significant body of lyrical, often pastoral partsongs characterised by rich harmony and expressive text-setting. Early partsongs featured on this disc include The Shepherd, a setting of William Blake; A Croon from an old cradle song; An Old Man's Lullaby by Elizabethan Thomas Dekker; and A Tinker's Song, an anonymous old London song from 1667.

Two unison songs from the 1920s - an old rhyme The Wonderful Derby Ram and a Spanish Lullaby - hint at Howells's own childhood singing experiences. A Golden Lullaby is another setting of An Old Man's Lullaby by Dekker, and Howells's different approaches to voicing are striking. My Master Hath a Garden, on an anonymous text, reflects the influence of Gustav Holst, while the old rhyme Sing Ivy evokes some of Holst's folk song arrangements-though it shifts midway to a sound reminiscent of Tudor keyboard music. Howells's interest in dance forms grew from his fascination with English Tudor music, and he adopted a Sarabande in setting a text by the late-Elizabethan Thomas Campion, Tune thy Music.

In the early 1930s, Howells dedicated a setting of one of Walter de la Mare's miniatures, Bunches of Grapes, to his two children. In similarly light-hearted vein, Sea Urchins with texts by Gladys Balcomb describes a seaside holiday across ten movements. Two poetic meditations on Elizabeth texts - Sweet Content by Robert Greene and To Music Bent by Campion - also come from this decade. Howells lost his nine-year-old son to polio in 1935, and Piping down the Valleys Wild - William Blake's depiction of a divine child asking the piper to continue to play - is the bittersweet offering of a grieving parent.

Howells composed fewer upper-voices partsongs after the Second World War. Featured among these are The Key of the Kingdom, another de la Mare text adapted from an old rhyme; Pink Almond, with a text by the Irish writer Katharine Tynan, in Sarabande form; and the delightful A Christmas Carol, to a text by 17th-century writer George Wither, composed on Christmas Day in 1957.