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SACRED CHORAL MUSIC

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En kvart million synger i kor i Norge, bare idretten kan skilte med større utbredelse enn korbevegelsen. Og det finnes et for alle.

Hos Naxos finner du den beste kormusikken og under hele høsten har vi spesialpris på et stort antall titler med kjente og ukjente korverk fra ulike epoker i musikkhistorien.

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Image A German Requiem
Anna Lucia Richter, soprano • Stephan Genz, baritone
MDR Leipzig Radio Choir and Symphony Orchestra
Marin Alsop

Brahms's A German Requiem, almost certainly triggered by the death of his mother in 1865, is one of his greatest and most popular works, quite unlike any previous Requiem. With texts taken from Luther's translation of the Bible and an emphasis on comforting the living for their loss and on hope of the Resurrection, the work is deeply rooted in the tradition of Bach and Schu¨tz, but is vastly different in character from the Latin Requiem of Catholic tradition with its evocation of the Day of Judgement and prayers for mercy on the souls of the dead.



kr 62 (kr 89)
Image Messa di Gloria & Credo in D
While the German tradition observes a strict distinction between sacred and secular styles, the 19th-century Italian Mass can feel more akin to attending an operatic performance. Donizetti's church music, consisting of at least a hundred items, has hardly been explored.

Individual movements were often later recycled by the composer, in cantata-like fashion to form a complete Mass and it is this ad hoc technique that Franz Hauk has used to create a new work, the Messa di Gloria and Credo in D. This includes an expansive Qui sedes with its violin solo written for the famous violinist-composer Pietro Rovelli, and is completed with movements by Johann simon Mayr from whom Donizetti learned his compositional craft in settings of sacred texts.


kr 62 (kr 89)
Image Mass in D & Te Deum
The ideal complement to Antoni Wit’s acclaimed recording of Dvorák’s Requiem on 8572874-75.


kr 62 (kr 89)
Image Messiah (Blu-ray)
Described by librettist Charles Jennens with typical English understatement as “a fine entertainment”, Handel's Messiah was initially controversial as a biblical oratorio written for secular theatres. Within years it was however being “received with universal applause” and its composer's purpose in delighting and charming his listeners has made this masterpiece an international favourite ever since. This eye-catching, audiovisual recording of Handel's masterpiece with its cast of renowned soloists captures the 2016 Easter concert in the impressive baroque Basilica of Klosterneuburg, Austria.

kr 167 (kr 239)
Image Il ritorno di Tobia (3 CD)
• Although Haydn’s place in the history of the oratorio has been secured by his great vocal masterpieces The Creation (Naxos 8.557380-81) and The Seasons (8.557600-01), his first oratorio, Il ritorno di Tobia (The Return of Tobias), is among the better-kept secrets of music history.

• The Italian libretto deals with the return of Tobias and the curing of his blind father, an exceptionally popular story in eighteenth century Vienna. With its vivid portrayal of the protagonists’ emotional turmoil, achieved largely through wide-ranging arias of great virtuosity, Il ritorno di Tobia is a work of considerable beauty and dramatic impact.

• This recording includes the two magnificent choruses ‘Ah gran Dio!’ and ‘Svanisce in un momento’ written for a performance of Tobia in 1784.









kr 167 (kr 239)
Image Spem in alium
Thomas Tallis anses, tillsammans med sin elev William Byrd, vara den främste renässanskompositören i England. Denna inspelning, som släpps med anledning av att det var 500 år sedan Thomas Tallis föddes, innehåller bl a den kända 40-stämmiga motetten "Spem in alium".
Oxford Camerata/Jeremy Summerly.



Thomas Tallis

1. Spem in alium


2. Salve intemerata



Missa Salve intemerata

3. Gloria

4. Credo

5. Sanctus

6. Agnus Dei



7. With all our heart

8. Discomfort them, O Lord

9. I call and cry to thee, O Lord



kr 62 (kr 89)
Image Stabat Mater, Rise Again, Song to the Soul
Choral music was central to Charles Villiers Stanford's life as a composer. Balancing solemnity with rapturous affirmation. The Resurrection was his first major choral work, written while he was studying under Carl Reinecke in Leipzig and anticipating Mahler's use of Klopstock's eponymous poem in his "Resurrection" Symphony. The dramatic, at times almost operatic and Wagnerian Stabat Mater is a cantata with two purely orchestral movements suggestive of a large-scale symphony, while Song to the Soul contains some of Stanford's most exhilarating utterances, though it was never performed in his lifetime.




kr 62 (kr 89)
Image Choral Masterpieces
Sir Hubert Parry composed some of the most masterful and moving choral music of the Victorian and Edwardian eras. His magnificent coronation anthem for Edward VII, I was glad, and his setting of Blake's mystical poem Jerusalem rightly remain famous, while his Magnificat and Nunc dimittis display his debt to Anglican musical traditions. The Songs of Farewell draw psalms and English poetry together into a charming garland, and Long since in Egypt's plenteous land from his oratorio Judith sets the composer's own prayerful text.









kr 55 (kr 79)
Image Christmas Oratorio, highlights






kr 55 (kr 79)
Image Christmas Oratorio
...I enjoyed the freshness of approach and the spirited music-making which characterizes the set as a whole...

(Gramophone)










kr 69 (kr 99)
Image Favourite Arias and Choruses
"...a decent introduction to the master's great choral masterpieces."
(American Record Guide)


kr 34 (kr 49)
Image Favourites Cantatas (Wedding Cantata / Ich habe ge






kr 55 (kr 79)
Image Magnificat / Gloria
"Fresh and lively"
(Penguin Guide)



kr 34 (kr 49)
Image Magnificat
J.S. Bach's famous Magnificat and that of his son Carl Philipp Emanuel were the templates for the teenage Mendelssohn's first major work for soloists, chorus and full orchestra, a brilliant setting of the Blessed Virgin Mary's song of praise, composed in 1822, floridly Baroque in conception and similar in scale to the Bach settings. His Ave Maria of 1830 again evokes Baroque splendour, but also points towards his later oratorios, Paulus and Elijah.









kr 55 (kr 79)
Image Magnificat BWV 243 / Cantata Ich habe genug BWV 82






kr 55 (kr 79)
Image Sacred Cantatas for Alto (Nos. 54, 169, 170 & 200)
5 AV 5 MÖJLIGA I BETYG I NERIKES ALLEHANDA



Som solist i dessa sakrala Bachkantater kan vi höra norskan Marianne Beate Kielland. Hon har alltsedan examen vid Musikhögskolan i Oslo etablerat sig som en av de mest efterfrågade sångsolisterna i Norge idag. Här sjunger hon bl a den vackra kantaten "Vergnügte Ruh, beliebte Seelenlust, BWV 170".

Marianne Beate Kielland, alt.

Cologne Bach Choir; Cologne Chamber Orchestra/

Helmut Müller-Brühl.
Johann Sebastian Bach

1-5. Vergnügte Ruh, beliebte Seelenlust, BWV 170
6-8. Widerstehe doch der Sünde, BWV 54

9-15. Gott soll allein mein Herze haben, BWV 169

16. Bekennen will ich seinen Namen, BWV 200

17. Schlage doch gewünschte Stunde, BWV 53

kr 55 (kr 79)
Image St. John Passion
GRAMOPHONE EDITOR'S CHOICE


Joe Littlewood, treble; James Bowman, countertenor;

Matthew Beale, tenor;
James Gilchrist, tenor;
Colin Baldy, bass;

John Bernays, bass;
Eamonn Dougan, bass

Collegium Novum; The Choir of New College Oxford/
Edward Higginbottom.

Choir of New College Oxford, under ledning av Edward Higginbottom, räknas som en av världens bästa körer. De använder sig av gossopraner istället för kvinnliga sopraner, som på Bachs tid, vilket skapar en mycket skir och homogen klang.


Som solister finner vi bl a den legendariske countertenoren James Bowman och tenoren James Gilchrist, som båda tidigare varit medlemmar i Choir of New College Oxford. Sopranariorna framförs, på tidstroget maner, av en gossopran.

CD 1

Johann Sebastian Bach

St. John Passion

1. Kör: Herr, unser Herrscher


2. Recitativ: Jesus ging mit seinen Jüngern


3. Koral: O grosse Lieb, o Lieb ohn' alle Masse


4. Recitativ: Auf dass das Wort erfüllet würde


5. Koral: Dein Will gescheh, Herr Gott, zugleich


6. Recitativ: Die Schar aber und der Oberhauptmann


7. Aria (Alt): Von den Stricken meiner Sünden


8. Recitativ: Simon Petrus aber folgete Jesu nach


9. Aria (Sopran): Ich folge dir gleichfalls


10. Recitativ: Derselbige Jünger war dem Hohenpriester bekannt


11. Koral: Wer hat dich so geschlagen


12. Recitativ: Und Hannas sandte ihn gebunden


13. Aria (Tenor): Ach, mein Sinn, wo willt du endlich hin


14. Koral: Petrus, der nicht denkt zurück





CD 2




1. Koral: Christus, der uns selig macht

2. Recitativ: Da führeten sie Jesum von Kaiphas


3. Koral: Ach, grosser König, gross zu allen Zeiten


4. Recitativ: Da sprach Pilatus zu ihm; So bist du dennoch ein König?


5. Arioso (Bas): Betrachte, meine Seel


6. Aria (Tenor): Erwäge, wie sein blutgefärbter Rücken

7. Recitativ: Und die Kriegsknechte flochten eine Krone

8. Koral: Durch dein Gefängnis, Gottes Sohn

9. Recitativ: Die Jüden aber schrieen und sprachen

10. Aria (Bas): Eilt, ihr angefochtnen Seelen

11. Recitativ: Allda kreuzigten sie ihn

12. Koral: In meines Herzens Grunde

13. Recitativ: Die Kriegsknechte aber, da sie Jesum gekreuziget hatten

14. Recitativ: Auf dass erfüllet wurde die Schrift

15. Koral: Er nahm alles wohl in acht

16. Recitativ: Und von Stund an nahm sie der Jünger zu sich

17. Aria (Alt): Es ist vollbracht

18. Recitativ: Und neiget das Haupt und verschied

19. Aria (Bas): Mein teurer Heiland, lass dich fragen

20. Recitativ: Und siehe da, der Vorhang im Tempel zerriss

21. Arioso (Tenor): Mein Herz, indem die ganze Welt

22. Aria (Sopran): Zerfliesse, mein Herze

23. Recitativ: Die Jüden aber, dieweil es der Rüsttag war

24. Koral: O hilf, Christe, Gottes Sohn

25. Recitativ: Darnach bat Pilatum Joseph von Arimathia

26. Kör: Ruht wohl, ihr heiligen Gebeine

27. Koral: Ach Herr, lass dein lieb Engelein





kr 69 (kr 99)
Image St. Matthew Passion, highlights
...A refreshingly lithe and young sounding Evangelist, Jósef Mukk, leads a team of Hungarian soloists with fresh clear voices...

(Penguin Guide)

Ibolya Verebits, soprano; Judit Nemeth, alto;

Jozsef Mukk, tenor;
Istvan Gati, bass; Peter Koves, bass

Hungarian Festival Chorus; Hungarian Radio Children's Choir;

Hungarian State Symphony Orchestra/Geza Oberfrank



kr 34 (kr 49)
Image St. Matthew Passion (3 CD)
Bland J S Bachs alla fina sakrala verk är hans "Matteuspassion" kronjuvelen. Detta verk skildrar på ett dramatiskt och gripande sätt bl a när Jesus blir korsfäst. Här medverkar flera toppsolister som till exempel tenoren Markus Schäfer och bassångaren Hanno Müller-Brachmann.







kr 167 (kr 239)
Image Missa Solemnis
...The Symphony Chorus is a splendid group who sing with confidence...

...The four soloists are really very good...

...Mezzo Robynne Redmon sings with fine, firm tone and great commitment. Tenor James Taylor is excellent too...

...Conductor Kenneth Schermerhorn clearly has a firm grasp of the work, and handles the architecture of the huge movements very well, with tempi that allow the character of the music to be felt strongly...

(www.musicweb.uk.net)
Lori Phillips, sopran;

Robynne Redmon, mezzosopran;


James Taylor, tenor;
Jay Baylon, basbaryton.

Nashville Symphony Chorus; Nashville Symphony Orchestra / Kenneth Schermerhorn.

Ludwig van Beethoven - Missa Solemnis Op 123

1. Kyrie eleison

2. Gloria - Gloria in excelsis Deo

3. Gloria - Qui tollis peccata mundi

4. Gloria - Quoniam tu solus sanctus

5. Credo - Credo in unum Deum

6. Credo - Et incarnatus est

7. Credo - Et resurrexit tertia die

8. Sanctus

9. Sanctus - Benedictus

10. Agnus Dei

11. Agnus Dei - Dona nobis pacem



kr 34 (kr 49)
Image L'Enfance du Christ (2 CD)
kr 104 (kr 149)
Image Requiem (2 CD)






kr 111 (kr 159)
Image Messa da Requiem
London Philharmonic Orchestra
Thomas Martin, conductor

Renowned worldwide in his lifetime and remembered today as a double bass virtuoso, Giovanni Bottesini excelled in every branch of musicianship, but his operas and sacred works were overshadowed by those of Verdi and have fallen into neglect. Composed in response to the death of his brother Luigi, Bottesini's large scale Requiem combines ecclesiastical counterpoint with formal innovation and the expressive lyricism and dramatic orchestration of operatic models.









kr 55 (kr 79)
Image A German Requiem
"...certainly worth considering"
(CD Review)


kr 34 (kr 49)
Image Ein Deutsches Requiem
The longest work in Brahms's entire oeuvre, A German Requiem was almost certainly triggered by the death of his mother, although it also seems likely that the tragic loss of his friend Robert Schumann, some years earlier, added to its depth and eloquence. Taking inspiration from Bach's contrapuntal genius but avoiding overt religious tradition, Brahms chose the texts himself, placing an emphasis on an affirmation of life with the suggestion that he would gladly have substituted 'human' for 'German' in the title. This release joins Antoni Wit's 'richly satisfying' (Gramophone) recording of Brahms Choral Music [8.572694].











kr 55 (kr 79)
Image Ein Deutsches Requiem (Blu-Ray)
The longest work in Brahms's entire oeuvre, A German Requiem was almost certainly triggered by the death of his mother, although it also seems likely that the tragic loss of his friend Robert Schumann, some years earlier, added to its depth and eloquence. Taking inspiration from Bach's contrapuntal genius but avoiding overt religious tradition, Brahms chose the texts himself, placing an emphasis on an affirmation of life with the suggestion that he would gladly have substituted 'human' for 'German' in the title.



kr 111 (kr 158)
Image Motets (Ave Maria / Psalm XIII / Geistliches Lied)




kr 55 (kr 79)
Image War Requiem (2 CD)
kr 111 (kr 159)
Image Membra Jesu Nostri






kr 55 (kr 79)
Image Vocal Music, Vol. 1
• Dietrich Buxtehude was one of the chief figures in North German music of his time. Although Buxtehude never held a position that required him to compose vocal music, he left over 120 vocal works featuring an extremely wide range of texts, scorings, genres and compositional styles.

• This first volume of the Naxos re-issue edition of the complete vocal music recorded by Dacapo includes such masterpieces as the funeral music Fried– und freudenreiche Hinfahrt, music of the most profound grief expressed using the simplest of means, and the sacred concerto Singet dem Herrn, Buxtehude’s only vocal work scored with solo violin, in which the composer seems to be pointing to violin playing as one of the wonders of God.

• “Kirkby seems to go from strength to strength and here I was particularly struck by the warm resonance of her mezzo range... an outstanding release”
(BBC Music Magazine (5*) on the original Dacapo release)

Emma Kirkby, soprano
John Holloway, violin
Manfredo Kraemer, violin
Jaap ter Linden, viola da gamba
Lars Ulrik Mortensen, harpsichord and organ
Dietrich Buxtehude
1. O fröhliche Stunden, BuxWV 84
2. O dulcis Jesu, BuxWV 83
3. Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus I
4. Was mich auf dieserWelt betrübt, BuxWV 105
5. Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus I (Evolutio)
6. Schaffe in mir, Gott, BuxWV 95
7. Fried– und freudenreiche Hinfahrt, BuxWV 76, Teil II: Klag-Lied
8. Gen Himmel zu dem Vater mein, BuxVW 32
9. Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus II
10. Singet dem Herrn, BuxVW 98
11. Fried– und freudenreiche Hinfahrt, BuxWV 76: Contrapunctus II (Evolutio)
12. Sicut Moses exaltavit serpentem, BuxWV 97
13. Herr, wenn ich nur dich hab, BuxWV 38


kr 34 (kr 49)
Image Vocal Music Vol. 2
Dietrich Buxtehude was one of the chief figures in North German music of his time. Although he never held a position that required him to compose vocal music, he left over 120 vocal works featuring an extremely wide range of texts, scorings, genres, and compositional styles. This second volume of the Naxos re-issue edition of the complete vocal music recorded by Dacapo (Volume One is available on Naxos 8.557251) includes such masterpieces as Alles, was ihr tut, Buxtehude’s most popular cantata during his lifetime, and one of the finest examples of the late sacred concerto, the dramatic Fürwahr, er trug unsere Krankheit, an intense and expressive setting of the passion theme which is remarkable for its stark dynamic contrasts and rests.









kr 55 (kr 79)
Image Masses for 4 & 5 Voices






kr 55 (kr 79)
Image Missa Dolorosa / Stabat Mater




kr 55 (kr 79)
Image Portuguese Requiem Masses






kr 55 (kr 79)
Image Oratorios: Jephtah / Jonas
Denna inspelning släpps för att uppmärksamma att det var 400 år sedan den italienske kompositören Giacomo Carissimi föddes. Här kan vi höra två oratorier av Carissimi - Jephte och Jonas.



Consortium Carissimi / Vittorio Zanon.




kr 55 (kr 79)
Image Ten Motets












kr 55 (kr 79)
Image Noëls and Christmas Motets
kr 62 (kr 89)
Image Te Deum
GRAMOPHONE EDITOR'S CHOICE




...The choir and instrumentalists of Le Concert Spiritual are on their usual lively form ... directed with stylistic assurance by Niquet...

(Gramophone)

Le Concert Spirituel / Hervé Niquet.





Marc-Antoine Charpentier

Te Deum, H 147

1. Te Deum



Mass, H 1

2. Kyrie eleison

3. Gloria

4. Credo

5. Precatio pro filio Regis, H 166

6. Sanctus

7. Elevation: Panis quem ego dabo, H 275

8. Agnus Dei

9. Domine Salvum fac regem



10. Canticum Zachariae: Benedictus, H 345



kr 62 (kr 89)
Image Requiem






kr 55 (kr 79)
Image Requiem
Capella Istropolitana
Kirk Trevor, conductor

Domenico Cimarosa's abilities as an operatic composer are evident in his large-scale Requiem in which the soloists and chorus range from the mournful supplication of the opening movements, through vivid evocations of the 'day of wrath' and the praises uttered by the heavenly hosts in the Sanctus, to the prayers for mercy, peace and eternal light which conclude the work. Composed to commemorate the death in 1787 of the wife of the French ambassador in St Petersburg, its overall character is one of classical restraint.






kr 62 (kr 89)
Image Missa L'homme armé / Supremum est mortalibus bonum
Guillaume Dufay (c. 1400 - 1474)

If Dufay's Missa L'homme armé (from the 1460s) had survived anonymously, one could easily believe it to be the work of a breathtakingly ambitious young composer. On the face of it, the Mass appears to be the work of a man determined to impress, keen to show that he is never lost for ideas, that he will not borrow any convention without turning his handling of it into a commentary of some kind - in short, a man who will always go one step beyond convention. The almost over-confident message seems to be: whatever others have done, I can do it better.

Yet Dufay was not a young man when he wrote the Missa L'homme armé. In fact he was almost certainly in his sixties, by which time illness had already forced him to turn his mind to his imminent death and the salvation of his soul. Unlike younger composers such as Regis, Caron, and Busnois, who were struggling in low-paid and onerous choirmasterships, Dufay was a wealthy ecclesiastical dignitary at one of the most prestigious establishments in Northern France: Cambrai Cathedral. He had been a musical celebrity ever since he had written his first motets in the 1420s and produced that astonishing series of state motets in the 1430s (including Supremum est mortalibus bonum). These early works had evidently become something of a legend, as they were still being copied and performed thirty years after their composition.

Yet the ageing Dufay was clearly not content with his legendary status alone, nor was he particu1arly wedded to the older styles in which he had once proved his international leadership. In the Missa L'homme armé he seems intent to prove (perhaps somewhat like the serialist Stravinsky of the 1950s) that his reputation had never depended on any particular stylistic idiom, but rather on his ability to carry every idiom to a plane of unprecedented artistic perfection. That intention - for a man who had little left to prove in this world (and might at that stage have been more concerned with his record in the next) - is no less remarkable than his undiminished artistic ability.

The Missa L'homme armé seems to have become a popular and successful work. It survives in four manuscripts (a large number for any 15th-century Mass), three of which were copied in Italy and one, remarkably, in Scotland, at a time when no other Continental works seem to have been appreciated in the British Isles. More importantly, in 1477 (three years after Dufay's death), the chief music theorist of the time held up the Missa L'homme armé as an outstanding example of the aesthetic principle of varietas ('to be thoroughly imitated').

That aesthetic principle may be hard for us to appreciate today, since the Missa L'homme armé moves entirely within the musical horizon of the 15th century, whereas the modern ear is conditioned mostly by what lay beyond that horizon. Given the astonishing range of musical styles to which we are exposed every day, Dufay's setting may strike us initially as homogeneous rather than varied, and perhaps as virtually indistinguishable from any other 15th-century Mass. It would take considerable effort to imagine the sensitive and discerning ear that would have been shaped by a lifetime spent singing, composing, and listening within the same horizon. Given the relative homogeneity of the musical idiom, variety would have been detectable in the smallest detail - the very level on which Dufay sought to impress his contemporary audience most.

Beyond that, we are heirs to a musical tradition that values unity (whether cyclic or motivic) more than variety. If modern analysis is meant to foster musical understanding (and thereby perhaps to enlighten musical experience), its very methods of reduction and distillation seem to predispose us to an understanding that is very different from that valued in the 15th century. In the Missa L'homme armé Dufay seems to have been concerned to create a fundamentally irreducible variety of kaleidoscopic detail in which moments are to be relished rather than eliminated in search of some deeper structure. To be sure, there is an underlying structure to the Mass in its recurring cantus firmus (the well-known L'homme armé song which opens this disc). Yet artistically that structure neither guarantees nor explains the quality of the work. Faced with a composition that places all musical significance in the individuality of each moment, our analytical tools are powerless, yet our ears await a feast of musical delight.

Rob C. Wegman© 1995

kr 62 (kr 89)
Image Sweet Harmony - Masses & Motets
ARTISTIC QUALITY: 10

SOUND QUALITY: 10


(CLASSICSTODAY.com)




Kören Tonus Peregrinus och Antony Pitts inspelning av Arvo Pärts ”Passio” (8.555860) fick mycket fina recensioner. Här sjunger de körverk av den engelske renässanskompositören John Dunstable. Dirigenten Antony Pitts säger följande om Dunstables musik:



...Technical descriptions can hardly explain just how superlatively amazing this music is...
Tonus Peregrinus/Antony Pitts.
John Dunstable

1. Quam pulchra es, JD 44


2. Kyrie, JD 1


3. Gloria a 4, JD 11


4. Credo a 4, JD 12


5. Gloria (Jesu Christe Fili Dei), JD 15



6. Credo (Jesu Christe Fili Dei), JD 16



7. Sanctus, JD 6



8. Credo (Da gaudiorum premia), JD 17



9. Sanctus (Da gaudiorum premia), JD 18




10. Agnus Dei, JD 14




11. Veni Sancte Spiritus - Veni Creator, JD 32




12. Gloria in canon



kr 55 (kr 79)
Image Requiem
Christiane Libor, Soprano • Ewa Wolak, Alto
Daniel Kirch, Tenor • Janusz Monarcha, Bass
Warsaw Philharmonic Orchestra and Choir
Antoni Wit

Antonín Dvorák's huge popularity in England was built largely on the success of his Stabat Mater, which he had conducted there in 1884 and 1885. It was well suited to the country's choral traditions and led eventually to a commission for a Requiem, which was premièred in Birmingham in 1891. Written in ten months during tours to Russia, England and Germany, its success was immediate. Sitting closer to the tradition of Cherubini than Verdi, its tone is compassionate and reflective, devoid of unnecessary drama, and movingly crafted with great sophistication.





kr 111 (kr 158)
Image Stabat Mater (2 CD)
kr 104 (kr 149)
Image Sacred Choral Music
GRAMOPHONE EDITOR'S CHOICE

Detta är suveräna kören Choir of St. Johns College Cambridges sjätte utgåva på Naxos med engelsk körmusik. SAMTLIGA dessa releaser har utsetts till EDITOR'S CHOICE i Gramophone!!!
Här framför kören musik av Elgar. Det är som vanligt, när det gäller Elgar, vackra melodier och harmonier.










kr 55 (kr 79)
Image Dream of Gerontius (2 CD)






kr 111 (kr 159)
Image Passio Jesu Christi
Bach's predecessor at the Leipzig Thomasschule, and a prolific composer with a contemporary reputation throughout Germany, Johann Friedrich Fasch composed works for the Lutheran church service as well as secular instrumental works, including overtures (suites), symphonies, partitas and a large amount of varied chamber music. His Passio Jesu Christi is a setting of the so-called Brockes Passion, known for its overt sentimentality and theatricality, which was also set by Handel and by Telemann, among others.









kr 55 (kr 79)
Image Complete Sacred Music for Five Voices
Don Carlo Gesualdo, Prince of Venosa, Count of Conza, was a murderer; he was also one of the most intriguing composers of his generation. These two statements are necessarily interrelated: the received image of a tortured soul writing idiosyncratic music in the aftermath of his wife's homicide is a powerful one. But to suggest that Gesualdo's evident state of mental unbalance affected his fundamental musical competence is both misleading and unfair.

Gesualdo murdered his wife and her lover in cold blood in 1590. The Prince's public display of the corpses represents the behaviour of a man who was convinced by the morality of his action. When Gesualdo remarried four years later his declining mental state drove his second wife to attempt divorce several times, albeit unsuccessfully. These are the facts that have led some critics to arrive at an unflattering assessment of Gesualdo's artistic achievements. It is regularly asserted that the music is technically unsound and that the composer's renown depends more on a colourful biography than on a legacy of great music. And while Gesualdo's fame will always rely on the documentation of his wife's murder, it is a poor musician who is incapable of recognizing the consistency and competence of Gesualdo's surviving works.

The nineteen five-voice motets in the Sacrae Cantiones represents mixture of styles. Some are unashamedly madrigalian designed for performance by solo voices whereas others are every bit as expansive as any late-Renaissance examples of the genre. Each motet bears the obvious stamp of Gesualdo's individual musical language; even those motets that make minimal use of chromaticism exhibit unusual part-writing which is at best faintly bizarre and at worst baffling. Gesualdo's choice of texts with in the Sacrae Cantiones is similarly self-indulgent favouring motets whose themes embrace sin, death, and guilt. The calculated use of disturbing chromatic sidesteps at phrases such as 'miserere mei' (have mercy on me),'Iacrimismeis' (my tears), and 'dolormeus' (my sorrow) is self-piteous in the extreme.

It is difficult therefore to empathize with all of Gesualdo's work, peppered as it is with self-conscious mannerisms that are the result of psychological self-torture: it is easy to be blinded by the more superficial elements of the music. But Gesualdo's basic style is as competent as that of Palestrina or Monteverdi; without a sound contrapuntal technique the more extreme gestures would not be as effective as they undoubtedly are. Any early-Baroque composer would surely have been proud to have written the motets 'Peccantem me', 'Laboravi', or 'O vos omnes', while the still life 'O crux benedicta' is an unparalleled model of late Renaissance fluency.

kr 62 (kr 89)
Image Choral and Organ Music
GRAMOPHONE EDITOR'S CHOICE




...a welcome addition to the programme. At a budget price, this CD is worth every penny...

(Gramophone)

Laurence Cummings, orgel.

Oxford Camerata / Jeremy Summerly.


Orlando Gibbons

1. O clap your hands

2. Great Lord of Lords

3. Hosanna to the son of David



4. Preludium G-dur



5. Out of the deep

6. See, see, the word is incarnate



7. Preludium d-moll



8. Lift up your heads

9. Almighty and everlasting God

10. Magnificat (2nd Service)

11. Nunc dimittis (2nd Service)



12. Fantazia



13. Magnificat (Short Service)

14. Nunc dimittis (Short Service)

15. O God, the king of glory

16. O Lord, in thy wrath

kr 62 (kr 89)
Image Magnificat / Salve Regina / Credo
5 AV 6 MÖJLIGA I SVENSKA DAGBLADET



...Det är snudd på upprörande vacker musik...

...Jeremy Summerly, som leder Oxford Camerata i ett utmärkt framförande menar att Gombert var ett musikaliskt geni...Efter att ha lyssnat på den här cd:n är jag beredd att hålla med...

(Svenska Dagbladet)


Oxford Camerata/Jeremy Summerly.
Nicolas Gombert

1. Tulerunt Dominum meum


2. Magnificat primi toni


3. Credo in unum Deum


4. Super flumina Babylonis


5. Media vita in morte sumus


6. Salve regina


7. Salve regina


8. Epitaphium

kr 62 (kr 89)
Image Grande Messe des Morts / Symphonie à 17 parties (2






kr 111 (kr 159)
Image Alexander's Feast
First performed in London in 1736 to an admiring audience of 1,300 people, and enjoying considerable success thereafter, Handel's setting of John Dryden's 1697 poem Alexander's Feast evokes the power of music to stir the soul to acts of love and war, revenge and revels.

This splendid oratorio, set at Alexander the Great's victory celebrations for his conquest of Persia, culminates in an apotheosis to 'divine Cecilia', the patron saint of music whom Handel also praises in his Ode for St Cecilia's Day of 1739 (Naxos 8.554752).

"Singing, playing and theatrical and musical direction... are very good indeed and full of life and integrity. There really is much to enjoy here."
(MusicWeb International on 8.557960-62)









kr 55 (kr 79)
Image Athalia (English Oratorio in Three Acts)(2 CD)




kr 111 (kr 159)
Image Coronation Anthems
Georg Friedrich Händel (1685-1759) föddes i Halle i Tyskland. Han blev kapellmästare hos kurfursten av Hannover och när denne senare blev Georg I av England värvade han Händel till sitt nya hemland, där denne prompt döptes om till George Frideric Handel. När Georg I gick bort blev det Händels uppgift att komponera fyra hymner för kröningen av dennes efterträdare som ägde rum den 11 oktober 1727. Speciellt uppskattad har "Zadok the Priest" blivit och det är inte att undra på att den framförts vid varje kröning sedan dess! Härligt livsbejakande musik med vederbörlig pompa och ståt!
Elizabeth Franklin-Kitchen, sopran;
Rebecca Ryan, sopran;

David Bates, countertenor;
Edward Lyon, tenor;

Nicholas Warden, bas.

Tallis Chamber Choir;
Royal Academy Consort /
Jeremy Summerly.



Georg Friedrich - Coronation Anthems



Zadok the Priest HWV 258

1. Zadok the Priest

2. And all the people rejoiced

3. God save the king



Let thy Hand be stengthened HWV 259

4. Let thy Hand be stengthened

5. Let justice and judgement

6. Alleluia



The King shall rejoice HWV 260

7. The King shall rejoice

8. Exceeding glad shall he be

9. Glory and worship

10. Alleluia



My Heart is inditing HWV 261

11. My Heart is inditing

12. Kings' daughters

13. Upon thy right hand

14. Kings shall be thy nursing fathers



Silete Venti HWV 242

15. Silete Venti

16. Dulcis amor

17. O fortunata anima

18. Date serta

19. Alleulia




kr 34 (kr 49)
Image Deborah (Oratorio)(3 CD)






kr 167 (kr 239)
Image Dettingen Te Deum / Te Deum in A Major






kr 55 (kr 79)
Image Dixit Dominus






kr 55 (kr 79)
Image Gideon (Oratorio in Three Parts)(2 CD)
Efter Händels död 1759 fortsatte Händels assistent John Christopher Smith traditionen att regelbundet uppföra oratorier av Händel.
Oratoriet "Gideon", som uruppfördes 10 år efter Händels död, sammanställde Smith av tidigare skrivna verk av Händel (både sakrala och profana). Även Thomas Morell, som skrivit librettot, hade tidigare jobbat tillsammans med Händel.




kr 111 (kr 159)
Image Israel in Egypt (2 CD)
Handel's oratorio Israel in Egypt was written three years before the Messiah and, like the Messiah, is somewhat atypical of the composer's oratorios. Scored for double chorus and an orchestra using trombones, trumpets, timpani, woodwinds and strings with continuo, Israel in Egypt contains relatively little solo material but is dominated by large-scale virtuosic choruses that fully exploit Handel's lavish and sophisticated word-painting. Set pieces for which the work is most famous include swarming strings representing flies in 'He spake the word', the furious brass and timpani in 'He gave them hailstones for rain' and the famous depiction of frogs in the aria 'Their land brought forth frogs'.









kr 111 (kr 159)
Image Messiah
(1751 version) (New College Oxford Choir, Academy of Ancient Music, E. Higginbottom)

Handel’s most popular and joyous oratorio, a work of unfailing melodic invention and dramatic expressiveness, has become almost a British national institution, regularly performed by all manner of choirs and orchestras. This new recording provides the only modern re-
construction of Handel’s unique London performances in 1751, when he used boy treble voices not only for the choruses but for the arias as well. It is both a celebration of the British chapel choir tradition and a window onto a particular time and place in the history of Handel’s own performances of his masterpiece.

kr 69 (kr 99)
Image Music for the Chapel Royal
4 AV 5 MÖJLIGA I BETYG I HIFI & MUSIK

• This recording restores some of Handel’s finest but least-known music to the choir for which he wrote it and to the building where he performed it, probably for the first time since his own performances there.

• Forming one of the most impressive areas of Baroque music, Handel’s English church music spans his entire active career in London, from his first anthem composed soon after his arrival, to his last works nearly forty years later.

• Most of it was stimulated by Handel’s creative contact with the English Chapel Royal, a group of professional singers in a different tradition from the opera stars with whom he worked in the theatre.









kr 55 (kr 79)
Image Nabal - Oratorio in Three Acts (2 CD)
kr 104 (kr 149)
Image Ode for St. Cecilia's Day
Händels "Ode for St Cecilia’s Day", till text av John Dryden, uruppfördes 1739. Verkets kända sista sats är en mäktig körsats som lovprisar musikens kraft, och här kan man höra tongångar som man känner igen från oratoriet "Messias", som skrevs två år efter "Ode for St Cecilia’s Day".



...Den polska ensemblen och tyska kören framför verket mästerligt...

(Hifi & Musik)



...tenoren Mark Wilde imponerar med oförvägen, säker sång...

(Nerikes Allehanda)










kr 55 (kr 79)
Image Saul (English Oratorio in Three Acts)(3 CD)


kr 167 (kr 239)
Image Solomon (Oratorio)(2 CD)
4 AV 5 MÖJLIGA I MOTALA TIDNING/VADSTENA TIDNING



Dirigenten Joachim Carlos Martini tar sig här an ett av Händels finaste sakrala verk - oratoriet "Salomon". De två tidigare utgåvorna med Händeloratorier har fått fin kritik:



...A thoughtful performance of a musically satisfying piece...

(BBC Music Magazine om "Athalia", 8.554364)



...Martini and his energetic forces, with exciting string and harpsichord attacks underpinning the more warlike utterances, are a definite plus in this live recording...

(Classics Today om "Deborah", 8.554785)

Elisabeth Scholl, sopran

Nicola Wemyss, sopran

Ewa Wolak, mezzosopran

Knut Schoch, tenor

Matthias Vieweg, bas

Junge Kantorei; Frankfurt Baroque Orchestra/Joachim Carlos Martini



GEORG FRIEDRICH HÄNDEL

Solomon, HWV67

CD 1

DEL I

1. Uvertyr

2. Allegro

3. Your harps and cymbals sound (präster)

4. Air: Praise ye the Lord (Levite)

5. With pious hearts (präster)

6. Accompagnato: Almighty pow'r! (Solomon)

7. Recitativ: Imperial Solomon (Zadok)

8. Air: Sacred raptures (Zadok)

9. Throughout the land Jehovah's praise (israeler)

10. Bless'd be the Lord (Solomon)

11. Air: What tho' I trace (Solomon)

12. Recitativ: And see my Queen (Solomon)

13. Air: Bless'd the day (Queen)

14. Recitativ: Thou fair inhabitant of Nile (Solomon, Queen)

15. Duett: Welcome as the dawn of day (Solomon, Queen)

16. Recitativ: Vain are the transient beauties (Zadok)

17. Air: Indulge thy faith (Zadok)

18. Recitativ: My blooming fair (Solomon)

19. Air: Haste to the cedar grove (Solomon)

20. Recitativ: When thou art absent from my sight (Queen)

21. Air: With thee th'unshelter'd moor I tread (Queen)

22. Recitativ: Search round the world (Zadok)

23. May no rash intruder (kör)



DEL II

24. From the censer curling rise (kör)

25. Recitativ: Prais'd be the Lord (Solomon)

26. Air: When the sun o'er yonder hills (Solomon)

27. Recitativ: Great prince (Levite)

28. Air: Thrice bless'd that wise discerning king (Levite)

29. Recitativ: My sovereign liege, two women stand (Attendant, Solomon, First Woman)

30. Air & trio: Words are weak to paint my Fears (First Woman, Second Woman, Solomon)



CD 2

DEL II (forts)

1. Recitativ: What says the other (Solomon, Second Woman)

2. Air: Thy sentence, great king (Second Woman)

3. Recitativ: Withhold the executing hand (First Woman)

4. Air: Can I see my infant gor'd (First Woman)

5. Accompagnato: Israel, attend (Solomon)

6. Duett: Thrice bless'd be the king (First Woman, Solomon)

7. From the east unto the west (israeler)

8. Recitativ: From morn to eve (Zadok)

9. Air: See the tall Palm (Zadok)

10. Recitativ: No more shall armed bands (First Woman)

11. Air: Beneath the vine (First Woman)

12. Swell the full chorus (präster)



DEL III

13. Sinfonia "Arrival of the Queen of Sheba"

14. Recitativ: From Arabia's spicy shores (Queen of Sheba, Solomon)

15. Air: Ev'ry sight these eyes behold (Queen of Sheba)

16. Recitativ: Sweep the string (Solomon)

17. Air & kör: Music, spread thy voice around (Solomon, kör)

18. Air & kör: Now a diff'rent measure try (Solomon, kör)

19. Recitativ: Then at once (Solomon)

20. Draw the tear from hopeless love (kör)

21. Recitativ: Next the tortur'd soul release (Solomon)

22. Air & kör: Thus rolling surges rise (Solomon)

23. Recitativ: Thy Harmony's divine (Queen of Sheba)

24. Air: Pious king, and virtuous queen (Levite)

25. Recitativ: Thrice happy king (Zadok)

26. Air: Golden columns, fair and bright (Zadok)

27. Praise the Lord (kör)

28. Recitativ: Gold now is common (Solomon)

29. Air: How green our fertile pastures look (Solomon)

30. Recitativ: May peace in Salem ever dwell (Queen of Sheba)

31. Air: Will the sun forget to streak (Queen of Sheba)

32. Recitativ: Adieu, fair queen (Solomon)

33. Duett: Ev'ry joy, that wisdom knows (Solomon, Queen of Sheba)

34. The name of the wicked (kör)

kr 104 (kr 149)
Image Messiah (Choruses)
kr 55 (kr 79)
Image Messias, highlights
Kritikerrosad version av Händels Messias!
10 i Répertoire och 5 stjärnor i Classic CD.

Innehåller bl a den kända Hallelujakören.










kr 55 (kr 79)
Image 3CD-BOX: Theodora
Wieland, Christina, soprano
Schmid, Diana, mezzo-soprano
Vitzthum, Franz, alto
Schoch, Knut, tenor
Mertens, Klaus, bass-baritone
Junge Kantorei
Frankfurt Baroque Orchestra
Martini, Joachim Carlos, Conductor

Set in a time of ancient Rome's persecution of the Christians, Handel's late masterpiece Theodora tells of the tragic martyrdom of the heroine and her lover Didymus. The challenging nature of the libretto with its religious conflict, cruelty, self-sacrifice and brothel scene was discomforting for contemporary audiences, and despite Handel's magnificent music the oratorio was his least successful. This is part of a series of Handel oratorios from Martini and Junge Kantorei.







kr 166 (kr 237)
Image Schöpfung, Die (The Creation)
GRAMOPHONE EDITOR'S CHOICE

ARTISTIC QUALITY: 10
SOUND QUALITY: 10

(CLASSICSTODAY.com)

GÖTEBORGS-POSTEN/JAN ARELL (MITT VAL)

BETYG: *****
LJUDKVALITET: *****

(Opus)

"...A superb, and energetic, new period-instrument recording of Haydn's late masterpiece, his oratorio The Creation - at Naxos's highly appealing price. Andreas Spering directs a young cast of solo and choral singers in a well-judged performance characterised by nicely sprung tempi, clean textures and some thrilling choral work. All in all, a bargain indeed..."
(Gramophone)

"...Piggt och vitalt..."
(Östgöra Correspondenten)


Sunhae Im, sopran; Christine Wehler, alt;

Jan Kobow, tenor; Hanno Müller-Brachmann, basbaryton.

Cologne Vocal Ensemble; Capella Augustina/Andreas Spering.



kr 69 (kr 99)
Image Harmonienmesse
Cologne Cathedral Choir
Cologne Chamber Orchestra
Eberhard Metternich, conductor










kr 111 (kr 158)
Image Stabat Mater
Together with the Missa Cellensis, the Stabat Mater (1767) was one of the first sacred works that Haydn composed in his new position as Kapellmeister of the Esterházy court. The Virgin Mary's vast range of emotions during the Crucifixion are reflected in Haydn's music through various musical techniques, including word-painting and even subtle elements of characterisation. Performed in Vienna in 1768, the Stabat Mater became Haydn's most popular sacred work and was circulated widely in his lifetime.









kr 55 (kr 79)
Image Mass No. 3 (Cäcilienmesse) / Missa Cellensis
Hoyt, Ann, soprano
Liston, Julie, soprano
Brackett, Luthien, alto
Sollek, Kirsten, alto
Hughes, Matthew, tenor
Sands, Stephen, tenor
Johnson, Bert K., bass
Lippold, Richard, bass
Trinity Church Choir, New York
REBEL Baroque Orchestra
Burdick, Owen, Conductor

The Missa Cellensis (or Cäcilienmesse) was Haydn's first Mass setting for his new employers at Eszterháza. In common with his Stabat Mater (8.572121), Haydn draws upon the wealth of musical styles and traditions associated with the Viennese Mass. Scored for strings, oboes, bassoon, trumpets, timpani and organ, plus soloists and choir, the work may originally have comprised the Kyrie and Gloria alone, with the other sections added in the mid-1770s. The final version, heard here, triumphantly concludes at 'Dona nobis pacem' with a grand fugue.









kr 55 (kr 79)
Image Masses Vol 4: Mariazellermesse / Paukenmesse
As Haydn scholar H.C. Landon explains, 'it is clear that with this Missa Cellensis...he reached, and reached with panache and astonishing vigour, the popular style for which he had been so long and so diligently searching.' For this reason, the Mariazellermesse 'is both the precursor to Haydn's late Masses as well as the culmination of his early efforts in the genre.' Fourteen years elapsed before Haydn's setting of the Mass in Time of War, also known as the Paukenmesse because of his evocative use of the timpani; the work demonstrates Haydn's new approach to the Mass, including dramatic extremes and more frequent integration of solo and chorus.









kr 55 (kr 79)
Image Masses Vol 5: Great Organ Mass / Heiligmesse
Ann Hoyt, soprano
Luthien Brackett, alto
Stephen Sands, tenor
Richard Lippold, bass

Trinity Church Choir, New York
Shin, Dongsok, organ
REBEL Baroque Orchestra
Owen Burdick, conductor

The Great Organ Mass of 1768/9 was among the earliest sacred works that Haydn wrote for the Esterházy court and includes an obbligato organ part that he himself probably played. Nearly thirty years later, the Heiligmesse of 1796 was written just after Haydn's return to the court to serve the new Prince, Nicolaus II. Taking its nickname from the use of an old German Sanctus tune, the work gives a particularly prominent role to the chorus. The Allgemeine Musikalische Zeitung wrote of this vivid setting: 'in the soul of this old man there blooms eternal youth'.









kr 55 (kr 79)
Image Masses Vol 6: Missa brevis / Harmoniemesse
Ann Hoyt, soprano
Julie Liston, soprano
Richard Lippold, bass
Trinity Church Choir, New York
REBEL Baroque Orchestra
Owen Burdick, conductor

The Missa brevis in F is Haydn's earliest authenticated Mass and was written shortly before his departure from St Stephen's in Vienna, where he had been recruited as a choirboy around 1740. Haydn himself, on rediscovering the work almost fifty years later, said he admired it for 'the melody and a certain youthful fire'. In contrast, the Harmoniemesse, written for the nameday festivities of Prince Nicolaus II's wife in 1802, was to be Haydn's last major composition. Using a full Harmonie (wind band), the work's expressive intensity belies the end of its composer's career.









kr 55 (kr 79)
Image Masses Vol 7: Missa brevis (1805 version) / Creati
Ann Hoyt, soprano
Julie Liston, soprano
Richard Lippold, bass
Trinity Church Choir, New York
REBEL Baroque Orchestra
Owen Burdick, conductor

In 1805, towards the end of his immensely productive and successful career, Haydn significantly expanded the youthful Missa brevis setting he had composed over fifty years earlier, enriching the orchestration with flute, clarinets, bassoons, trumpets and timpani. The other work on this disc, his Mass in B flat major of 1801, gained its nickname 'Creation Mass' from a short quotation taken from his most famous oratorio. Although this upset the Empress Marie Therese, audiences to this day smile in recognition at this musical phrase, which enlivens the work's overarching mood of splendour.









kr 55 (kr 79)
Image Masses Vol 8: Little Organ Mass / Theresienmesse
Trinity Church Choir, New York
REBEL Baroque Orchestra
Owen Burdick, conductor

This eighth and final volume of Naxos's acclaimed survey of Haydn's Masses contrasts the intimately scaled Little Organ Mass with the symphonically conceived Mass in B flat major, nicknamed Theresienmesse after Marie Therese (wife of Emperor Francis II and soprano soloist in the first performances of The Creation (8.557380-81) and The Seasons (8.557600-01)). The Great Organ Mass is available on 8.572125 as well as in the 8-CD boxed set of the Complete Haydn Masses (8.508009): 'Bravo!' (Early Music America); '...monumental recording...the first-ever collection of the complete Haydn Masses performed on period instruments.' (Baker & Taylor CD Hotlist)





kr 55 (kr 79)
Image Nelson Mass / Kleine Orgelmesse






kr 55 (kr 79)
Image Celestial Harmonies
★ ★ ★ ★ ☆
ÖSTGÖTA CORRESPONDENTEN

Now enjoying cult status since her 're-discovery' 25 years ago, Hildegard von Bingen, the tenth child of an aristocratic family, entered a convent at the age of eight and spent the remainder of her eighty years as a nun as well as a mystic, the latter half as abbess of her own convent. Hildegard's great musico-poetic collection was completed around the year 1150. Symphonia armonie celestium revelationum (Symphony of the Harmony of Heavenly Revelations) is a collection of 77 songs and one music drama. The subjects of these songs are an idiosyncratic collection of individuals and groups - the pieces included on this recording are variously addressed to the Creator, the Redeemer, the Blessed Virgin Mary, St John the Evangelist, Apostles, Confessors, and Martyrs.




kr 34 (kr 49)
Image Heavenly Revelations
"Jeremy Summerly approaches Hildegard's outpourings in a thoughtful and mature manner... the whole peaceful recital is never dull or monotonous ... an interesting and thought-provoking disc."
(Gramophone)


Hildegard von Bingen (1098-1179)
Heavenly Revelations
Hymns, Sequences, Antiphons, Responds

Born into the Rhenish aristocracy in 1098, Hildegard entered a convent eight years later because she was her parents' tenth child; she spent the remainder of her eighty years as a nun, the latter half as abbess of her own convent. Hildegard was not universally popular during her lifetime: the establishment of her own convent at Rupertsberg near Bingen (into which she attracted twenty nuns of noble birth) smacked of elitism. Added to which, Hildegard's community apparently worshipped in fine jewellery and ostentatious headgear. Our stereotypical image of the frugal medieval abbess in enclosed orders may therefore be somewhat wide of the mark. It seems rather that the sensuality of Hildegard's music and poetry sprung from an increasingly individualistic view of high Benedictinism.

Hildegard became famous for her prophecies and visions which brought her consultations with the most powerful rulers of her day. She recorded her visions in a trilogy which she assembled over a period of thirty years whilst also compiling treatises on medicine and natural history. Hildegard's great musico-poetic collection was completed around the year 1150. Symphonia armonie celestium revelationem (Symphony of the harmony of heavenly revelations) is a collection of 77 songs and one music drama, the Ordo virtutum (a morality play whose subject is the struggle between seventeen Virtues and the Devil over the destiny of a female soul). The songs form a liturgical cycle for the church year: Ave generosa, O virga ac diadema, O viridissima virga, and the Kyrie and Alleluia are in honour of the Virgin Mary; Laus Trinitati, O ignis vpiritus, and O pastor am arum celebrate various aspects of the Trinity; and O Euchari and O presul vere are sequences praising St Eucharius and St Disibod respectively.

Critics remain divided as to the assessment of Hildegard's competence as a poetess and musician. Her colourful imagery and capricious melodies can appear inspired or unpolished according to taste. To some her songs appear repetitive and formulaic; to others they are coherent miniatures of genius. And while Hildegard's lack of formal training in Latin results in inconsistencies and poor construction, the lack of grammatical convention enables a torrent of original imagery to bypass traditional poetic shackles.

kr 62 (kr 89)
Image Missa Solemnis / Te Deum
GRAMOPHONE EDITOR'S CHOICE

De få sakral verk som Hummel skrev har nästan alla kopplingar till Prins Nicolaus II av
Esterházy (där för övrigt Joseph Haydn var anställd som hovkompositör). Mellan åren 1796-1808 skrev Haydn, sedan Beethoven och slutligen Hummel flera sakrala verk år prinsen. Här kan vi för första gången på skiva höra Hummels "Missa Solemnis".
Patricia Wright, sopran;
Zan McKendree-Wright, alt;



Patrick Power, tenor;


David Griffiths, bas.






Tower Voices New Zealand;
New Zealand Symphony Orchestra /

Uwe Grodd.
Johann Nepomuk Hummel



1. Te Deum



Missa Solemnis C-dur

2. Kyrie

3. Gloria

4. Credo

5. Sanctus

6. Benedictus

7. Agnus Dei



kr 62 (kr 89)
Image Glagolitic Mass / Sinfonietta
Christiane Libor, soprano
Ewa Marciniec, alto
Timothy Bentch, tenor
Wojciech Gierlach, bass
Jaroslaw Malanowicz, organ

Warsaw Philharmonic Choir
Warsaw Philharmonic Orchestra
Antoni Wit, conductor

Leoš Janácek's dramatic Glagolitic Mass is set to a ninth century Old Church Slavonic text. With its highly individual synthesis of thunderous brass outbursts, rhythmic energy, radiant melodies and interludes of rapt contemplation, the work has established itself as a unique contribution to the choral repertoire. An avowed statement of his belief and patriotic pride in Czechoslovakian national independence, Janácek's Sinfonietta uses spectacular large-scale orchestral forces. Both of these works belong to the composer's last and most inspired decade, and represent his mature musical language at its most communicative.

Sound format: PCM Stereo / DTS-HD Master Audio 5.1





kr 111 (kr 159)
Image Missa L'homme armé / Ave Maria / Alma Redemptoris
kr 62 (kr 89)
Image Missa L'homme armé / Ave Maria / Absalom fili mi
kr 62 (kr 89)
Image Mass of the Seven Sorrows of the Blessed Virgin /
kr 62 (kr 89)
Image Complete Magnificats / Three Salve Reginas (2 CD)
At the turn of the 15th century, Pierre de La Rue was the leading composer working north of the Alps. A member of the Habsburg-Burgundian chapel, he composed polyphony for all the major liturgical genres. This is the first recording of La Rue’s seven surviving Magnificats as well as three of his six settings of the Salve Regina, one of which quotes chansons by Dufay and Binchois. Varied voicing, surprising tonal relationships and contrasting textures make each setting distinct. La Rue’s mastery of old and new musical styles endows these pieces with great expressive force.

VivaVoce/Peter Schubert
CD 1
Anonymous
1. Antiphon, "Sancta Maria succurre miseris"

Pierre de La Rue
Magnificat Tone IV
2. Magnificat anima mea Dominum - Et exultavit spiritus meus
3. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
4. Et misericordia eius a progenie - Fecit potentiam in brachio suo
5. Deposuit potentes - Esurientes implevit bonis
6. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
7. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio. Antiphon, "Sancta Maria succurre miseris"

Anonymous
8. Antiphon, "Tribus miraculis"

Pierre de La Rue
Magnificat Tone I
9. Magnificat anima mea Dominum - Et exultavit spiritus meus
10. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
11. Et misericordia eius a progenie - Fecit potentiam in brachio suo
12. Deposuit potentes - Esurientes implevit bonis
13. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
14. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio. Antiphon, "Tribus miraculis""

Salve regina V
15. Salve regina, mater misericordiae
16. Ad te clamamus, exsules filii Hevae
17. Eia, ergo, advocata nostra
18. O clemens, O pia, O dulcis Virgo Maria

Anonymous
19. Antiphon, "Dedit mihi Dominus pennas"

Pierre de La Rue
Magnificat Tone VII
20. Magnificat anima mea Dominum - Et exultavit spiritus meus
21. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
22. Et misericordia eius a progenie - Fecit potentiam in brachio suo
23. Deposuit potentes - Esurientes implevit bonis
24. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
25. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio. Antiphon, "Dedit mihi Dominus pennas"

Anonymous
26. Antiphon, "Virgo gloriosa"

Pierre de La Rue
Magnificat Tone II
27. Magnificat anima mea Dominum - Et exultavit spiritus meus
28. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
29. Et misericordia eius a progenie - Fecit potentiam in brachio suo
30. Deposuit potentes - Esurientes implevit bonis
31. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
32. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio. Antiphon, "Virgo gloriosa"

CD 2
Pierre de La Rue
Salve regina II
1. Salve regina, mater misericordiae
2. Eia, ergo, advocata nostra
3. Et Jesum, benedictum fructum ventris tui

Anonymous
4. Antiphon, "O quam gloriosum est regnum"

Pierre de La Rue
Magnificat Tone VI
5. Magnificat anima mea Dominum - Et exultavit spiritus meus
6. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
7. Et misericordia eius a progenie - Fecit potentiam in brachio suo
8. Deposuit potentes - Esurientes implevit bonis
9. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
10. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio.
Antiphon, "O quam gloriosum est regnum"

Anonymous
11. Antiphon, "Dum medium silentium"

Pierre de La Rue
Magnificat Tone VIII
12. Magnificat anima mea Dominum - Et exultavit spiritus meus
13. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
14. Et misericordia eius a progenie - Fecit potentiam in brachio suo
15. Deposuit potentes - Esurientes implevit bonis
16. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
17. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio. Antiphon, "Dum medium silentium"

Salve regina IV
18. Salve regina, mater misericordiae
19. Ad te clamamus, exsules filii Hevae
20. Eia, ergo, advocata nostra
21. O clemens, O pia, O dulcis Virgo Maria

Anonymous
22. Antiphon, "Bene omnia fecit"

Pierre de La Rue
Magnificat Tone V
23. Magnificat anima mea Dominum - Et exultavit spiritus meus
24. Quia respexit humilitatem ancillae suae - Quia fecit mihi magna qui potens est
25. Et misericordia eius a progenie - Fecit potentiam in brachio suo
26. Deposuit potentes - Esurientes implevit bonis
27. Suscepit Israel puerum suum - Sicut locutus est ad patres nostros
28. Gloria Patri et Filio et Spiritui Sancto - Sicut erat in principio. Antiphon, "Bene omnia fecit"

kr 111 (kr 159)
Image Requiem
Heidi Grant Murphy, soprano
Nora Gubisch, mezzo-soprano
Stuart Skelton, tenor
Nicolas Courjal, bass

Radio France Choir
Radio France Philharmonic Orchestra
Eliahu Inbal, conductor

Thierry Lancino's vast Requiem is a challenging and eloquent contemplation on human mortality which the composer describes as 'both an epic fresco and sacred ceremony'. In a paradox which brings the Christian into dialogue with the Pagan, Lancino presents an exploration of Death and Time which is both human and relevant, as well as posing eternal and unanswerable questions. This recording captures a unique and moving event, performed by a stellar cast of artists and France's leading choir and orchestra.

Sound format: PCM Stereo / DTS-HD Master Audio 5.1



kr 111 (kr 159)
Image Lagrime de San Pietro (Spiritual Madrigals)
...Naxos's stable of early music performers acquires a distinguished new member...

(Gramophone)





...a first-class Danish choir...offers singing of great sensitivity and a wide range of dynamics...


...Bo Holton shapes the performance to move onwards with gathering intensity towards its climax...


(Penguin Guide)





Ars Nova / Bo Holten.


Orlande de Lassus

Lagrime di San Pietro (Petri tårar)

1. Il Magnanimo Pietro

2. Ma gli archi

3. Tre volte haveva a l'importuna e audace

4. Qual' a l'incontro di quegli occhi santi

5. Giovane donna il suo bel volto in specchio

6. Cosi tal'hor

7. Ogni occhio del Signor lingua veloce

8. Nessun fedel trovai, nessun cortese

9. Chi ad una ad una raccontar potesse

10. Come falda di neve

11. E non fu il pianto suo rivo o Torrente

12. Quel volto

13. Veduto il miser quanto differente

14. E vago d'incontrar chi giusta pena

15. Vattene vitav va

16. O vita troppo rea

17. A quanti gia felici in giovinezza

18. Non trovava mia fe se duro intoppo

19. Queste opre e piu

20. Negando il mio Signor

21. Vide homo



kr 62 (kr 89)
Image Masses for Five Voices / Infelix ego
kr 62 (kr 89)
Image Stabat Mater
...One can only applaud Naxos's commitment to fine, original performances of standard repertoire at super-bargain prices...

(Gramophone)

Oxford Schola Cantorum / Jeremy Summerly.


Giovanni Pierluigi da Palestrina

Missa Hodie Christus natus est

1. Kyrie

2. Gloria

3. Credo

4. Sanctus

5. Agnus Dei



Motet: Hodie Christus natus est

6. Hodie Christus natus est



Stabat mater

7. Stabat mater



Orlande de Lassus

Missa Bell' Amfitrit' altera

8. Kyrie

9. Gloria

10. Credo

11. Sanctus

12. Agnus Dei



kr 62 (kr 89)
Image Sacred Music from Notre-Dame Cathedral
Viderunt omnes... “All the ends of the earth have seen the salvation of our God” – this great Old Testament vision aptly sums up the inspiration for both the architecture of Notre-Dame in Paris and the liquid equivalent to be found in the Cathedral’s magnus liber organi – “the great book of organum”.

A picture postcard of Notre-Dame Cathedral tells you something of its form and appearance but little of its detail and none of its power: even the best efforts of imagination are not enough to appreciate fully its immensity until you are right there, standing next to what John Julius Norwich neatly summarised as the “first cathedral built on a truly monumental scale”. Likewise the music written for the cathedral needs to be heard as near to lifesize volume as feasible to understand its intensity and force.

Visitors to the Cathedral of Notre-Dame are first of all struck by the imposing Western façade, but on entering the building the experience is transformed by what Abbot Suger of St Denis, one of the forefathers of the Gothic style of architecture, had conceived as “the wonderful and uninterrupted light of most sacred windows pervading the interior beauty”; then there is the awareness of a vast mass of people contained within the towering walls and arches; and above all, the unmistakable sound of distant voices and movement reflected from innumerable ancient corners. For the Parisian musicians and worshippers living in the late twelfth and early thirteenth centuries, however, this was a dynamic experience as the new structure slowly took shape above the city skyline: a building project that would span several generations from the laying of the cornerstone in 1163.

Léonin, who was considered the master of polyphonic composition in his time and who appears to have been responsible for the magnus liber in its original form, must have spent much of his career in the unfinished ‘choir’ or Eastern end of the Cathedral, separated from the regular sounds of construction by some kind of temporary screen which perhaps was moved column by column westwards over the years. By the time Pérotin made a new edition of Léonin’s magnus liber and added his own massive polyphonic versions of two Gradual chants, most likely for feast-days in 1198 and 1199, practically the entire space of the Cathedral was ready to resonate in sympathy. Over the next halfcentury and beyond work continued on the building until it was as complete as it ever would be.

Certainly that is the story that seems to be corroborated by the enormous body of music in the magnus liber itself. The foundation of this repertoire is plainchant, unmeasured melodies associated with every liturgical moment in the Church’s calendar. Viderunt omnes 2 is a chant for Christmas Day and its octave, the Feast of Circumcision.

There are two very simple ways of constructing polyphony out of plainchant: either by adding a drone, one note held on as a pedal under the plainchant, or by simultaneously singing the same plainchant at a fixed interval above or below (the most obvious example is of men and women, or men and boys singing the same tune an octave apart). The ninth-century treatise Scolica [or Scholia] enchiriadis demonstrates this spontaneous and unwritten practice of parallel organum with a number of examples which we have recorded here as individual verses of a psalm 30.

On top of these early edifices in Western polyphony we can imagine ad hoc experiments in the performance of plainchant in a measured style (with each note either the same length or twice as long as the next), and in the improvisation of a free part over the existing plainchant. Today it is easy to forget how well these tunes, especially those for feast-days such as Christmas or Easter, would have been known by both the professionals in the choir and the congregation in the nave.

The two-part music or organum duplum from Notre-Dame most commonly associated with Léonin 3-16 is built upon all these earlier developments, with the familiar tune of the plainchant either slowed down while a second part elaborates a clearly soloistic line (organum purum), or rhythmicised into the same ‘modal’ system as the new solo line (discantus). The rules for unravelling thirteenth-century notation are relatively unambiguous for discantus or discant style, but they leave us with plenty of rhythmic options for the longer, more virtuosic sections of organum purum – on this recording we have explored a number of the many solutions (compare tracks 3 and 9).

It was the more regular discantus sections which proved most memorable and consequently attracted the attention of up-and-coming composers, including Pérotin. One section from the Viderunt omnes in particular, with the single, crucial word “Dominus” (6 and 12) became favourite fabric for rhythmic and harmonic experimentation, and many new two-part versions of this section were composed (including tracks 17-21), either to be inserted as substitute clausulae or possibly as free-standing pieces. In the furnishing of new words to the upper part in Factum est salutare / Dominus 22 there is the audible framework of the motet, which was to become a separate musical structure with a future far outside its original liturgical setting.

With the addition of a third, and then a fourth voice, the rhythmic organization of the discant style of organum was fully extended to the upper parts throughout, just as the Cathedral’s original arcade, gallery, triforium, and clerestory had to be carefully coordinated. And just as the exceptional height of the Gothic style of architecture required new solutions to the problems of this scale of weight-bearing, there were also further harmonic implications of combining so many voices – composers had to discover how to balance intricate mixtures of consonance and dissonance (harmonic intervals which sound relatively more or less pleasing to the ear) over a long span of time. According to an Englishman visiting Paris in the later thirteenth century (the posthumously-labelled ‘Anonymous 4’) it was “Master Pérotin who made the best quadrupla”, and it is these earliest surviving examples of four-part harmony which open the manuscript Florence, Biblioteca Medicea-Laurenziana, plut. 29.1 (‘F’) from which the editions for this recording were largely made. Our approach on this recording has been to combine what we know of twelfth- and thirteenth-century notational theory with the practical results of our own encounter with this celebrated style; above all, we have aimed to adopt a pace and an intensity to match the scale of the building for which this music was written. If, as for today’s visitors to Notre-Dame or for the scribe of the manuscript known as ‘F’, it is size that creates the best initial impression, then go straight to Pérotin’s Viderunt omnes 23-28 or Sederunt principes 31, written for the day after Christmas when St Stephen the first Christian martyr (and co-patron of the Cathedral) was remembered. If, however, time allows listening all the way through from Pérotin’s freely-composed melody Beata viscera 1 to a four-part conductus Vetus abit littera 32, then it may be hoped that we shall have conveyed something of the staggering cumulative effect of a Gothic cathedral-in-progress.

Antony Pitts

kr 62 (kr 89)
Image Missa O magnum mysterium
kr 62 (kr 89)
Image Portuguese Requiem Masses






kr 55 (kr 79)
Image Motets
kr 62 (kr 89)
Image Grands Motets Vol 1 (Te Deum / Miserere / Plaude l
kr 62 (kr 89)
Image Grands Motets Vol 2: Quare fremuerunt / O Lachryma
kr 62 (kr 89)
Image Grand Motets Vol 3: Benedictus / Notus in Judaea D
kr 62 (kr 89)
Image Arianna a Nasso
Horak, Cornelia, soprano
Allen, Thomas Michael, tenor
Simon Mayr Choir
Simon Mayr Ensemble
Hauk, Franz, Conductor

The Bavarian-born composer Simon Mayr spent his compositional life in Italy, spreading the influence of Viennese classicism whilst himself being influenced by prevailing Italian models. His cantata Arianna in Nasso (Ariadne on Naxos) was written for the leading soprano Isabella Colbran, who was later to marry Rossini. Her virtuosity inspired Mayr, and his cantata is a stirring example of vivid nature writing, refined pathos, and joyous celebration. Franz Hauk and the Simon Mayr Chorus and Ensemble are the world's leading Mayr exponents and their recordings have received the highest critical acclaim.





kr 62 (kr 89)
Image David in the Cave of Engedi (Oratorio)(2 CD)
Born near Ingolstadt in Bavaria, Simon Mayr spent the greater part of his career in Bergamo, a flourishing cultural and economic centre in the early nineteenth century. An important figure in the promotion of Viennese classicism in Italy, he combined, in his own style, the legacy of Vienna with the dramatic and melodic genius of Italy, and held a dominant position in Italian opera before the emergence of Rossini. His oratorio David in spelunca Engeddi (David in the Cave of Engedi), with a Latin text, was written in 1795 for the Ospedale dei Mendicanti in Venice, one of the four great charitable institutions there, known for the musical achievements of its members. The oratorio deals with the conflict between David and Saul, and the refusal of David to harm the Lord’s anointed, in spite of the opportunity offered him.




kr 111 (kr 159)
Image Gioas
Brown, Andrea Lauren, soprano
Sellier, Robert, tenor
Frey, Cornel, tenor
Burkhart, Andreas, bass
Bavarian State Opera Chorus
Simon Mayr Choir
Simon Mayr Ensemble
Hauk, Franz, harpsichord
Hauk, Franz, conductor

Bavarian-born Johann Simon Mayr achieved renown as an Italianate opera composer, his earlier work taking the form of sacred oratorios. Gioas is a combination of both forms, being a parody-oratorio closely following Mayr's opera I misteri eleusini, which was considered by Stendhal to be "among [the] most powerful musical works of the age". This mythical drama of kings, priests and goddesses was ideally suited for its intended devotional use, and it joins other pioneering recordings from Franz Hauk which include David (8.570366-67) and Samuele (8.572721-22).


kr 111 (kr 159)
Image Il sagrifizio di Jefte
Bassenz, Hrachuhi, soprano
Iranyi, Stefanie, mezzo-soprano
Sellier, Robert, tenor
Kupfer, Jochen, bass
Simon Mayr Choir
Simon Mayr Ensemble
Hauk, Franz, harpsichord
Hauk, Franz, Conductor

It is only in the last few years, largely as a result of the pioneering performances of the Simon Mayr Chorus and Ensemble conducted by Franz Hauk, that Mayr has come to be valued as one of the most significant composers of operatic and sacred music of his time. Il sagrifizio di Jefte (The Sacrifice of Jephtha), first performed in 1795, is a dramatic oratorio with a wealth of variety in both the vocal and instrumental writing, which foreshadows the operas to come.



kr 111 (kr 159)
Image Jacob a Labano fugiens
Siri Karoline Thornhill
Andrea Lauren Brown
Gunhild Lang-Alsvik
Katharina Ruckgraber
Julie Comparini

Simon Mayr Chorus and Ensemble
Franz Hauk

Bavarian-born Simon Mayr spent much of his life in Italy where he promoted Viennese classical composition but also absorbed much from his studies in Bergamo and Venice. Though he was one of the most admired operatic composers of his day - he taught Donizetti, who revered him - he was particularly noted for his sacred oratorios. Jacob's Flight from Laban is marked by his characteristically vibrant musical palette, with important writing for wind instruments, operatically-based arias and confidently-handled ensembles and choruses. Franz Hauk is Mayr's leading interpreter and acclaimed for his many recordings. 'The music, performances, and recording are all first rate; unconditionally recommended.' (Fanfare on Il sagrifizio di Jefte / Naxos 8572719-20)






kr 62 (kr 89)
Image Gran messa di requiem in G Minor
Thornhill, Siri Karoline, soprano
Ruckgaber, Katharina, soprano
Holzhauser, Theresa, alto
Thoma, Brigitte, alto
Schafer, Markus, tenor
Sellier, Robert, tenor
Berner, Martin, bass
Mittelhammer, Ludwig, bass
Mischok, Virgil, bass

Simon Mayr Choir, Simon Mayr Ensemble / Franz Hauk

Admired for his fusion of German and Italianate musical elements, Johann Simon Mayr is increasingly recognised as one of the most intriguing and influential composers of his time. His Requiem in G minor is shrouded in compositional obscurity but it is clear that the published version is surpassed both in scale and instrumentation by the elaborate edition performed here, which has been assembled from the autograph manuscripts. Small sections were composed by Donizetti and then corrected by his teacher, Mayr. Church style and more Romanticised elements are finely balanced in this important example of Mayr's compositional language.






kr 111 (kr 159)
Image Samuele
Brown, Andrea Lauren, soprano
Bernhard, Susanne, soprano
Trost, Rainer, tenor
Hamann, Jens, bass
Simon Mayr Choir
Ingolstadt Georgian Chamber Orchestra
Hauk, Franz, conductor

Influential, popular and prolific in his day, Bavarian born Simon Mayr left his mark in providing a bridge between Northern classicism and the bel canto of Italy, his adopted country of residence. The oratorio Samuele deals with the calling of Samuel as a prophet, and was written in 1821 for the consecration of Pietro Mola as Bishop of Bergamo. Mayr set his oratorio to the Poesia of one of his pupils, Bartolomeo Merelli, the collaboration resulting in a fascinating work which combines theology with dramatic innovation such as the use of 'melodrama' or spoken text.






kr 111 (kr 159)
Image Stabat Mater in F minor
"Restored by Mayr expert Frans Hauk from two extant manuscript versions and heard here in its world premiere recording, Simon Mayr’s Stabat mater in F minor was singled out by a contemporary biographer 'for its marvellous effect' and 'heavenly beauty. Mayr himself frequently returned to this work, recycling one of its movements in his great Requiem [8.573419-20]. "

kr 62 (kr 89)
Image Missa solemnis
4 AV 5 MÖJLIGA I BETYG I GÖTEBORGS-POSTEN

It is uncertain whether the Missa Solemnis in C major was composed by Wolfgang Amadeus Mozart or by his father Leopold. Whatever the case, it was extremely popular during the 18th and early 19th centuries, and was performed by Simon Mayr who copied the score around 1802. Mayr's own festive Te Deum is believed to have been written for Napoleon's coronation as King of Italy in Milan Cathedral on 26 May 1805. Mayr's biographer Girolamo Calvi praised this effective work in the highest terms, declaring it a masterpiece.












kr 55 (kr 79)
Image The Marriage of Tobias (Oratorio)(2 CD)
One of the most important composers of opera and sacred music between Mozart and Rossini, and Donizetti's teacher, Johann Simon Mayr also composed several major oratorios, including David (8.570366-67) and The Marriage of Tobias. Like Haydn's more famous Il Ritorno di Tobia (8.570300-02), Mayr's work recounts how the archangel Raphael miraculously helps the boy Tobias to cure his aged father's blindness. Conductor Franz Hauk prepared the performing edition for this exciting new recording. Mayr's L'Amor coniugale (8.660198-99), and L'Armonia and Cantata sopra la morte di Beethoven (8.557958) are also available.



kr 111 (kr 159)
Image Choral Music
St Albans Cathedral Choirs
Tom Winpenny, conductor

Compared with large-scale oratorios such as St Paul, which includes the lyrical chorus How lovely are the messengers, Mendelssohn's smaller sacred choral works were influenced by Palestrina, ranging from short liturgical motets such as the Sechs Sprüche to the canticle settings of the Magnificat and Nunc dimittis. The famous sacred melody 'O for the wings of a dove' is to be found in Hear my prayer. The fine choristers of St Albans Cathedral can also be heard 'on sparkling form' (Gramophone) in John Rutter's Gloria (8.572653).









kr 55 (kr 79)
Image Elias (Elijah) (2 CD)
Ruth Ziesak, soprano
Claudia Mahnke, mezzo-soprano
Christoph Genz, tenor
Ralf Lukas, bass
and others

Leipzig MDR Radio Choir
Leipzig MDR Symphony Orchestra
Jun Märkl, conductor

Mendelssohn's magnificent oratorio Elijah brings to life the tumultuous times and personal drama of the Biblical prophet in a sweeping series of recitatives, arias and choruses in which the composer's Romantic genius drew deeply from the wellsprings of Bach and Handel. In this new recording, sung in German, Jun Märkl, one of the most notable conductors of his generation, leads an outstanding cast of soloists headed by Ralf Lukas, and Germany's longest-standing radio symphony orchestra and its acclaimed choir.









kr 125 (kr 178)
Image Magnificat
J.S. Bach's famous Magnificat and that of his son Carl Philipp Emanuel were the templates for the teenage Mendelssohn's first major work for soloists, chorus and full orchestra, a brilliant setting of the Blessed Virgin Mary's song of praise, composed in 1822, floridly Baroque in conception and similar in scale to the Bach settings. His Ave Maria of 1830 again evokes Baroque splendour, but also points towards his later oratorios, Paulus and Elijah.









kr 55 (kr 79)
Image Vespers of the Blessed Virgin (2 CD)
kr 111 (kr 159)
Image Mass No. 16 (Coronation Mass)
"...a spirited account"
(BBC Music Magazine)


kr 34 (kr 49)
Image Davide penitente (Oratorio)
"...utmärkta solister..."
(Kyrkans Tidning)

In 1785, at the height of his career in Vienna, Mozart was commissioned by the Viennese Society of Musicians to write a work for a Lenten benefit concert. Short of time, he recycled the Kyrie and Gloria from his earlier unfinished Mass in C Minor to form part of the oratorio Davide penitente. Drawing upon the psalms of David, both penitential and joyful, this is a work of great beauty, notable for its memorable choruses, exquisite writing for the woodwind and, in particular, the two new solo arias, A te, fra tanti affanni (In you, amid such tribulation) and Tra l’oscure ombre funeste (Amid the dark grievous shadows), both of which begin with a long expressive opening followed by a virtuoso second section.









kr 55 (kr 79)
Image Mass No. 18 (Great)
The Mass in C minor reflects Mozart's current preoccupation with the music of Handel and Johann Sebastian Bach, explored with the encouragement of Baron van Swieten, an important patron. The work is scored for pairs of oboes, bassoons, horns, trumpets and timpani, with three trombones, strings and organ continuo. After a brief orchestral introduction, the four vocal sections enter in contrapuntal imitation and the movement continues in the monumental and generally conservative style that the Salzburg Archbishop would certainly have discouraged. The soprano soloist introduces the florid Italianate Christe eleison and the contrapuntal choral texture is resumed with the return of the Kyrie. The Gloria opens in affirmative C major, leading almost at once to energetic fugal writing, relaxing momentarily at the words pax hominibus bonae voluntatis (peace to men of good will). Laudamus te is in F major, marked Allegro aperto. It is scored for solo soprano, oboes, horns and strings and is in operatic style. Trombones and bassoons return for the A minor Adagio of Gratias agimus tibi, now with a five-part choir. To this the D minor Domine Deus, Rex caelestis, scored for strings and two soprano soloists, offers an immediate contrast. In Salzburg the second soprano would presumably have been sung by one of the castrati employed by the court musical establishment. There is a return to a more traditional Baroque style in the solid dotted rhythms of the G minor Qui tollis peccata mundi, for two four-part choirs with the full orchestra. The two soprano soloists are joined by a solo tenor for the E minor setting of Quoniam tu solus Dominus, scored without trombones or horns. The solo voices enter in energetic contrapuntal imitation, over which the spirit of Handel seems to loom, seen through a Mozartian prism. There is a brief C major choral Adagio for the words Jesu Christe, before the splendid formal Baroque fugal setting of Cum Sancto Spiritu, in the same key. The unfinished Credo starts with a movement for five-part choir, scored without trombones. The setting continues up to the words descendit de caelis, although the scoring seems generally incomplete. It continues, with a change of key from C to F major, in a setting of the heart of the creed, Et incarnatus est, scored now for solo flute, oboe and bassoon, with strings, organ continuo and solo soprano. Again the instrumental parts are incomplete, although their nature may be inferred from the given bass-line and indicated harmonies. It moves forward to a cadenza for the soprano and solo instruments. The completed C major Sanctus, scored for double choir and full orchestra, follows its opening Largo with a fugal Allegro comodo setting of the Hosanna for four-part choir. The Hosanna returns after the A minor Benedictus in which the three solo singers are now joined by a bass, entering in formal imitation one of the other.


kr 34 (kr 49)
Image Missa brevis
Sinfonia Verdi
Andrew Lucas, conductor

During his years in Salzburg, Mozart wrote a series of shorter mass settings, for which he drew on the models of his senior colleague Michael Haydn. Regina coeli reveals his supreme skill at writing for the solo voice. The Missa brevis in D, K 194 is a work of great solemnity, employing a remarkable range of expressive contrasts, whilst the Missa brevis in B flat, K 275 is notable for its sublime lyricism and grace. The Allegro and Andante in F minor, K 608 is regarded as Mozart's finest work for the organ and and has become one of the cornerstones of the organ repertory.










kr 55 (kr 79)
Image Missa solemnis
4 AV 5 MÖJLIGA I BETYG I GÖTEBORGS-POSTEN

It is uncertain whether the Missa Solemnis in C major was composed by Wolfgang Amadeus Mozart or by his father Leopold. Whatever the case, it was extremely popular during the 18th and early 19th centuries, and was performed by Simon Mayr who copied the score around 1802. Mayr's own festive Te Deum is believed to have been written for Napoleon's coronation as King of Italy in Milan Cathedral on 26 May 1805. Mayr's biographer Girolamo Calvi praised this effective work in the highest terms, declaring it a masterpiece.












kr 55 (kr 79)
Image Solemn Vespers




kr 55 (kr 79)
Image Missa Caput / Salve Regina
kr 62 (kr 89)
Image Missa L'homme armé / Ave Maria / Alma Redemptoris
kr 62 (kr 89)
Image Requiem / Missa Prolationum / Intemerata Dei Mater
kr 62 (kr 89)
Image Santo Sepolcro (Il)
Simon Mayr Ensemble / Franz Hauk

Together with Johann Simon Mayr, Ferdinando Paër counts as one of the most important opera composers of his day, and he was unable to resist filling his oratorio on Christ's Passion, Il Santo Sepolcro with expressive extremes. Pain and grief contrast with joy and hope, and scenes including the terrible hours of the crucifixion, frenzy of the crowd, resurrection and Last Judgment are given potently descriptive music. Originally a prelude to Haydn's Seven Last Words, Mayr's Invito is a call to hear Paër's incomparable narrative.




kr 62 (kr 89)
Image Canticum Salomonis
Palestrina Ensemble Munich • Venanz Schubert

Palestrina's Fourth Book of Motets was dedicated to his patron Pope Gregory XIII and published in Rome in 1584. He took as his text The Song of Songs (also known as The Song of Solomon). The 29 motets, written in an age of religious tumult and Counter- Reformation, evoke the love of Christ in devotional music of chamber-like refinement and joy. This recording also includes plainchant antiphons related to the texts, and the motets Afferentur Regi and Quam pulchri sunt gressus tui.


kr 111 (kr 159)
Image Missa de Beata Virgine I (1567)
Born in Italy in the 16th century, Giovanni Palestrina, ranks with Lassus and Byrd as one of the most important figures in Early Music. Though conservative in style, he was one of the first composers to bring together the influences of Italian, French and Flemish music. His output was prolific, his sacred works containing 104 Masses, 375 Motets and 35 Magnificats. Publication took place soon after composition, and his influence quickly spread throughout Europe, creating an atmosphere of awe among his fellow musicians. Many eminent writers described him as the greatest composer of his time, a fact affirmed by the care that was taken to preserve his vast portfolio of music.

kr 62 (kr 89)
Image Stabat Mater
...One can only applaud Naxos's commitment to fine, original performances of standard repertoire at super-bargain prices...

(Gramophone)

Oxford Schola Cantorum / Jeremy Summerly.


Giovanni Pierluigi da Palestrina

Missa Hodie Christus natus est

1. Kyrie

2. Gloria

3. Credo

4. Sanctus

5. Agnus Dei



Motet: Hodie Christus natus est

6. Hodie Christus natus est



Stabat mater

7. Stabat mater



Orlande de Lassus

Missa Bell' Amfitrit' altera

8. Kyrie

9. Gloria

10. Credo

11. Sanctus

12. Agnus Dei



kr 62 (kr 89)
Image Missa Papae
kr 62 (kr 89)
Image Missa sine nomine / Misse L'homme armé / Three Mot
kr 62 (kr 89)
Image First Great Service / Responds for the Dead
This recording aims to provide Robert Parsons, who died tragically in his forties, with a memorial service he never received and aid his return to a place alongside the greatest English Renaissance composers. Movements from the First Great Service, scored for two antiphonal choirs, provide the core of this ‘remembrance service’ for Robert Parsons. In scale and polyphonic grandeur the work maintains the old Catholic tradition, while making use of the new Protestant liturgy with its revolutionary setting of the 1549 English texts. Interspersed between movements of the First Great Service are a number of pieces taken from the Responds for the Dead, set to Latin texts. The Magnificat, which opens this recording, is the largest-scale single work that Parsons wrote.









kr 55 (kr 79)
Image Polish Requiem (2 CD)
"Polish Requiem" är den polske kompositören Krzysztof Pendereckis mest kraftfulla och ödesmättade verk. Penderecki skrev det under en period på tretton år med början 1980.



...Wits och Warzawafilharmonikernas inspelningar (Requiem & Lukaspassionen) är självklara alternativ för nästan inga pengar alls...

(Svenska Dagbladet)
Izabela Kłosiƒska, sopran;


Jadwiga Rappé, alt;



Ryszard Minkiewicz, tenor;


Piotr Nowacki, bas.



Warsaw National Philharmonic Choir; Warsaw National Philharmonic Orchestra / Antoni Wit.


Krzysztof Penderecki - Polish Requiem



CD 1

Krzysztof Penderecki

A Polish Requiem

1. Introitus

2. Kyrie

3. Dies Irae

4. Tuba mirum

5. Mors stupebit

6. Quid sum miser

7. Rex tremendae

8. Recordare Jesu pie

9. Ingemisco tanquam reus

10. Lacrimosa



CD 2

1. Sanctus

2. Agnus Dei

3. Lux aeterna

4. Libera me, Domine

5. Offertorium - Swiety Boze

6. Libera animas



kr 111 (kr 159)
Image Stabat Mater
...we can hardly fail to take a special pleasure in the loverly sound of Julie Faulkner's voice...

... In the Pergolesi her tone is equally pure and in full bloom, her style spendidly clean and athletic in the broad intervals and florid work. The voices match beautifully in duet, and in all such respects the performances deserve warm recommendation...

(Gramophone)
Julia Faulkner, soprano; Anna Gonda, alto.

Budapest Camerata/Michael Halász.

Giovanni Battista Pergolesi

Stabat Mater

1. Stabat mater dolorosa

2. Cujus animam gementem

3. O quam tristis et afflicta

4. Quae moerebat et dolebat

5. Quis est homo

6. Vidit suum dulcem natum

7. Eja mater fons amoris

8. Fac, ut ardeat cor meum

9. Sancta mater, istud agas

10. Fac, ut portem Christi mortem

11. Inflammatus et accensus

12. Quando corpus morietur



Orfeo (kantat)

13. Recitativo: Nel chiuso centro

14. Aria: Euridice, e dove, e dove sei?

15. Recitativo: Si, che pieta non v'e

16. Aria: O, Euridice, n'andro festoso


kr 34 (kr 49)
Image Sacred Music from Notre-Dame Cathedral
Viderunt omnes... “All the ends of the earth have seen the salvation of our God” – this great Old Testament vision aptly sums up the inspiration for both the architecture of Notre-Dame in Paris and the liquid equivalent to be found in the Cathedral’s magnus liber organi – “the great book of organum”.

A picture postcard of Notre-Dame Cathedral tells you something of its form and appearance but little of its detail and none of its power: even the best efforts of imagination are not enough to appreciate fully its immensity until you are right there, standing next to what John Julius Norwich neatly summarised as the “first cathedral built on a truly monumental scale”. Likewise the music written for the cathedral needs to be heard as near to lifesize volume as feasible to understand its intensity and force.

Visitors to the Cathedral of Notre-Dame are first of all struck by the imposing Western façade, but on entering the building the experience is transformed by what Abbot Suger of St Denis, one of the forefathers of the Gothic style of architecture, had conceived as “the wonderful and uninterrupted light of most sacred windows pervading the interior beauty”; then there is the awareness of a vast mass of people contained within the towering walls and arches; and above all, the unmistakable sound of distant voices and movement reflected from innumerable ancient corners. For the Parisian musicians and worshippers living in the late twelfth and early thirteenth centuries, however, this was a dynamic experience as the new structure slowly took shape above the city skyline: a building project that would span several generations from the laying of the cornerstone in 1163.

Léonin, who was considered the master of polyphonic composition in his time and who appears to have been responsible for the magnus liber in its original form, must have spent much of his career in the unfinished ‘choir’ or Eastern end of the Cathedral, separated from the regular sounds of construction by some kind of temporary screen which perhaps was moved column by column westwards over the years. By the time Pérotin made a new edition of Léonin’s magnus liber and added his own massive polyphonic versions of two Gradual chants, most likely for feast-days in 1198 and 1199, practically the entire space of the Cathedral was ready to resonate in sympathy. Over the next halfcentury and beyond work continued on the building until it was as complete as it ever would be.

Certainly that is the story that seems to be corroborated by the enormous body of music in the magnus liber itself. The foundation of this repertoire is plainchant, unmeasured melodies associated with every liturgical moment in the Church’s calendar. Viderunt omnes 2 is a chant for Christmas Day and its octave, the Feast of Circumcision.

There are two very simple ways of constructing polyphony out of plainchant: either by adding a drone, one note held on as a pedal under the plainchant, or by simultaneously singing the same plainchant at a fixed interval above or below (the most obvious example is of men and women, or men and boys singing the same tune an octave apart). The ninth-century treatise Scolica [or Scholia] enchiriadis demonstrates this spontaneous and unwritten practice of parallel organum with a number of examples which we have recorded here as individual verses of a psalm 30.

On top of these early edifices in Western polyphony we can imagine ad hoc experiments in the performance of plainchant in a measured style (with each note either the same length or twice as long as the next), and in the improvisation of a free part over the existing plainchant. Today it is easy to forget how well these tunes, especially those for feast-days such as Christmas or Easter, would have been known by both the professionals in the choir and the congregation in the nave.

The two-part music or organum duplum from Notre-Dame most commonly associated with Léonin 3-16 is built upon all these earlier developments, with the familiar tune of the plainchant either slowed down while a second part elaborates a clearly soloistic line (organum purum), or rhythmicised into the same ‘modal’ system as the new solo line (discantus). The rules for unravelling thirteenth-century notation are relatively unambiguous for discantus or discant style, but they leave us with plenty of rhythmic options for the longer, more virtuosic sections of organum purum – on this recording we have explored a number of the many solutions (compare tracks 3 and 9).

It was the more regular discantus sections which proved most memorable and consequently attracted the attention of up-and-coming composers, including Pérotin. One section from the Viderunt omnes in particular, with the single, crucial word “Dominus” (6 and 12) became favourite fabric for rhythmic and harmonic experimentation, and many new two-part versions of this section were composed (including tracks 17-21), either to be inserted as substitute clausulae or possibly as free-standing pieces. In the furnishing of new words to the upper part in Factum est salutare / Dominus 22 there is the audible framework of the motet, which was to become a separate musical structure with a future far outside its original liturgical setting.

With the addition of a third, and then a fourth voice, the rhythmic organization of the discant style of organum was fully extended to the upper parts throughout, just as the Cathedral’s original arcade, gallery, triforium, and clerestory had to be carefully coordinated. And just as the exceptional height of the Gothic style of architecture required new solutions to the problems of this scale of weight-bearing, there were also further harmonic implications of combining so many voices – composers had to discover how to balance intricate mixtures of consonance and dissonance (harmonic intervals which sound relatively more or less pleasing to the ear) over a long span of time. According to an Englishman visiting Paris in the later thirteenth century (the posthumously-labelled ‘Anonymous 4’) it was “Master Pérotin who made the best quadrupla”, and it is these earliest surviving examples of four-part harmony which open the manuscript Florence, Biblioteca Medicea-Laurenziana, plut. 29.1 (‘F’) from which the editions for this recording were largely made. Our approach on this recording has been to combine what we know of twelfth- and thirteenth-century notational theory with the practical results of our own encounter with this celebrated style; above all, we have aimed to adopt a pace and an intensity to match the scale of the building for which this music was written. If, as for today’s visitors to Notre-Dame or for the scribe of the manuscript known as ‘F’, it is size that creates the best initial impression, then go straight to Pérotin’s Viderunt omnes 23-28 or Sederunt principes 31, written for the day after Christmas when St Stephen the first Christian martyr (and co-patron of the Cathedral) was remembered. If, however, time allows listening all the way through from Pérotin’s freely-composed melody Beata viscera 1 to a four-part conductus Vetus abit littera 32, then it may be hoped that we shall have conveyed something of the staggering cumulative effect of a Gothic cathedral-in-progress.

Antony Pitts

kr 62 (kr 89)
Image Cantiones Sacrae Quinis et Octonibus Vocibus
Sarum Consort / Andrew Mackay

Peter Philips was the most famous English composer of his time, and only Byrd, a generation older, had more compositions published. Much of Philips's life was spent on the Continent, where he wrote music of intricate, text-conscious colour, both deeply expressive and architecturally powerful. His motets and anthems, whether celebratory, meditative or dramatic, embrace the widest range of feeling and texture. The much-admired Sarum Consort's disc All the Queen's Men (8.572582) was praised for its 'energy and aplomb'. (American Record Guide)




kr 62 (kr 89)
Image Messa di Gloria
"The performances are first rate. Pier Giorgio Morandi, longtime first oboe at La Scala and assistant to Riccardo Muti, emphasizes both the lyricism and the drama in the Mass, almost making us believe it is a major work, while his readings of the two orchestral pieces have an admirable flow and rich sound. Tenor Antonello Palombi is a find, for he displays a strong, darkish timbre, with a firm spin from top to bottom. He knows how to sing, too, as he demonstrates in the 'Agnus Dei'. Baritone Gunnar Lundberg seems less at home in this music, which requires a delicate balance of restraint and expression. Excellent sound, and overall a worthwhile glimpse of lesser Puccini."
(American Record Guide)


kr 34 (kr 49)
Image Full Anthems & Organ Music / Music on the Death of






kr 55 (kr 79)
Image Vespers
Vacker sakral körmusik!









kr 55 (kr 79)
Image Czech Christmas Mass




kr 55 (kr 79)
Image Complete Vespers
Juan García de Salazar är en av de mest betydande spanska barockkompositörerna inom sakral musik.



...Skimrande spansk vesper...

...mästerliga spanska sångare och musiker...

...stor musikalisk, melodisk skönhet...

(Kyrkans Tidning)









kr 55 (kr 79)
Image Pianto degli Angeli della Pace (Sacred Cantata)
Giovanni Battista Sammartini hade en lång karriär som musiker. Han var "maestro di capella" och organist i hela tio kyrkor. Här kan vi höra Sammartinis kantat "Il pianto degli Angeli della Pace" som uruppfördes i Milano 1751.









kr 55 (kr 79)
Image Sacred Cantatas
VÄRLDSPREMIÄR PÅ SKIVA

Daniele Ferraris inspelningar med sakral musik av G P Sammartini av lovordats av bl a Gramophone. De skrev bl a "an air of elegance all round" om CDn "Il pianto degli Angeli della Pace" (8.557432). Båda verken på denna CD får här får sin










kr 55 (kr 79)
Image Sacred Cantatas
Vi vill även påminna om följande Naxos-CD som innehåller den sakrala kantaten "Il pianto degli Angeli della Pace":



8.557432.









kr 55 (kr 79)
Image Mass No. 6 / Stabat Matter
One of a remarkable series of works Schubert wrote in his final year, Mass No. 6 in E flat lay unperformed until a year after his death. With an unusually prominent part for trombones, this is a powerful and disquieting masterpiece, reconciling the liturgical grandeur and monumentality of the vast fugues that end the Gloria and Credo, with the composer's natural lyricism and daring chromatic digressions.









kr 55 (kr 79)
Image Masses Nos. 2 & 4
Reinhard, Claudia, soprano
Wehler, Christine, alto
Minarschik, Raimund, tenor
Berndt, Tobias, bass
Immortal Bach Ensemble
Leipzig Chamber Orchestra
Schuldt-Jensen, Morten, Conductor

A chorister from the age of eight until his voice broke seven years later, Franz Schubert was well placed to compose sacred music, including several splendid settings of the Mass. His second, completed in 1815, and fourth, written during the following year, follow Mozart's examples but with strikingly Schubertian touches such as his dramatic use of key relationships and contrasting vocal textures to express the prayerful, meditative and glorious nature of the liturgical text. For the so-called German Mass, Schubert wrote unassuming yet heartfelt settings of congregational hymns for performance during the service.









kr 55 (kr 79)
Image Masses Nos. 1 & 3
Immortal Bach Ensemble
Leipzig Chamber Orchestra
Morten Schuldt-Jensen, conductor

Aged only 17, Schubert conducted his first complete Mass setting, in F major, D. 105, in September 1814, gaining the approval of his former teacher Antonio Salieri. An amazingly accomplished work for so young a composer, it follows Classical precedents, while already giving glimpses of Schubert's special lyrical gifts. It also makes effective use, particularly in the forward-looking Sanctus, of the vocal soloists, choir and an orchestra rich in wind and brass including three trombones. The Mass in B flat major, D. 324, composed the following year and like its predecessor scaled for liturgical performance, similarly combines beauty with splendour. Schubert's Masses Nos. 2, 4 and 6 are available on 8.570864 and 8.570381.









kr 55 (kr 79)
Image German Requiem / Seven Words of Jesus Christ on th
Heinrich Schütz var en av de ledande kompositörerna i 1600-talets Tyskland. I sina sakrala verk kombinerade Schütz italienska influenser, från bl a Gabrieli, med tysk musik med rötterna i den protestantiska traditionen.
Förutom "Musicalisches Exequien" ingår här även bl a "Die sieben Worte Jesu Christi am Kreuz".









kr 55 (kr 79)
Image Psalmen Davids
Heinrich Schütz (1585-1672)
Psalmen Davids

Schütz's life spanned an era of great instability and upheaval in Central Europe, times of ravaging warfare, economic hardship, and religious division. It is thus all the more astonishing that a musician living under such conditions should lead the way in establishing a national tradition of choral writing, leaving a legacy of composition and teaching whose influence was to persist for many generations after his own.
Venice, the illustrious city which fostered so much innovation in church music in the sixteenth century, was a natural destination for the young Schütz from Saxony to pursue his studies in composition. The formative years of 1609 to 1612 were spent under the supportive tutorship of Giovanni Gabrieli whose practice of writing for divided choirs was enthusiastically adopted by Schütz.

Dresden, with its elegant architecture and cultured court life, was one of many German cities in the seventeenth century whose ruling family took pride in the church music which it could promote, and in 1617 Schütz obtained a permanent position at the court of the Elector, as senior director of the Chapel Royal. With responsibilities for both directing and writing choral and chamber music for services and for secular occasions, and at the head of an élite band of musicians widely acclaimed as the finest in the German Protestant church, Schütz found himself in an environment which favoured lavish display and which thus encouraged his burgeoning creativity.

At a time when the preferred religious texts in Germany for meditation or musical use were of either a devotional or introspective nature, Schütz was attracted to the descriptive and the dramatic aspects of sacred texts, especially from the Bible. In 1619 he produced a collection of 26 Konzerte ("anthems"), the Psalmen Davids, explicitly acknowledging his indebtedness to his mentor Gabrieli and using a kaleidoscopic variety of colours and textures for his settings, which followed the recent local fashion of using German for psalm texts in preference to the prevailing Latin. Schütz provides detailed instructions on the disposition of the voices and the use of instruments; the choirs sometimes have parallel ranges, sometimes they are divided into high and low sections, and on occasions soloists are required. The Italian influence is evident not only in the vocal textures but also in Schütz's transformation of poetry into music. Whereas in many German settings of religious texts the paramount consideration had been the regular metrical pattern, Schütz is swayed by the declamatory characteristics of individual phrases, and so, following his text, he varies the pace from solemn stateliness to vigorous insistence, often using repetition or echo - in a manner reminiscent of the Italian madrigal. Unexpected chromaticism appears at moments of special poignancy - being all the more poignant with an accompaniment on instruments of unequal temperament - and Schütz utilizes the rich qualities of the German vowel sounds and the sparkle of the consonants to powerful emotional effect.

In nearby Leipzig, Schütz had a close friend in the musical director at the Thomaskirche, Johann Hermann Schein (1586-1630), who wrote a substantial corpus of church music and also a number of instrumental suites which include stately pavan movements. Schütz was present at Schein's death-bed and composed Das ist je gewißlich wahr for his funeral. At the age of 85 Schütz wrote his exuberant German Magnificat as a thanksgiving for the grace of God manifest in his life. His Latin epitaph pays fitting tribute to him as "the Christian singer of psalms, a joy for foreigners, and a light for Germany".

Oxford Camerata
The Oxford Camerata was formed in order to meet the growing demand for choral groups specializing in music from the Renaissance era. It has since expanded its repertoire to include music from the medieval period to the present day using instrumentalists where necessary. The Camerata has made a variety of recordings for Naxos spanning the music of nine centuries and in 1995 was awarded a European Cultural Prize.

Jeremy Summerly
Jeremy Summerly studied Music at New College, Oxford from where he graduated with First Class Honours in 1982. For the next seven years he worked for BBC Radio and it was during this time that he founded the Oxford Camerata and undertook postgraduate research at King's College, London. In 1989 he became a lecturer at the Royal Academy of Music and in the following year he was appointed conductor of Schola Cantorum of Oxford. In 1991 he signed a long-term contract with Naxos to record a variety of music with Schola Cantorum and the Oxford Camerata.

In 1996 he was appointed Head of Academic Studies at the Royal Academy of Music, and he currently divides his time between lecturing, researching, conducting, and writing and presenting programmes for BBC Radio 3.

Laurence Cummings
Laurence Cummings was organ scholar at Christ Church, Oxford from where he graduated with First Class Honours in Music in 1989. He subsequently studied with Robert Woolley at the Royal College of Music where he won the prestigious intercollegiate Raymond Russell Prize and currently studies with Jill Severs. He is active as both solo harpsichordist and continuo player and has toured and broadcast extensively with The Sixteen Choir and Orchestra. In 1993 he embarked upon a series of recordings of harpsichord music for Naxos, beginning with the music of Louis and Francois Couperin.


kr 55 (kr 79)
Image Choral Works: Anthems and Services
GRAMOPHONE EDITOR'S CHOICE







kr 55 (kr 79)
Image Requiem (2 CD)
Stanfords "Requiem" skrevs till minne av konstnären Lord Leighton, som var en mycket betydande gestalt inom engelskt kulturliv under slutet av 1800-talet. Ingår gör här också utdrag ur Stanfords första opera "The Veiled Prophet of Khorassan" som är baserad på Thomas Moores "Lalla Rookh".









kr 111 (kr 159)
Image Mass for Four Voices / Motets
kr 62 (kr 89)
Image Best of Thomas Tallis, The
Though he lived through some of the most tumultuous times in English history, from the reigns of Henry VII to Elizabeth I, Thomas Tallis (c. 1505-1585) composed music for both the Catholic and Anglican churches that resounds the world over to this day. Whether singing the monumental splendour of his famous 40-part motet Spem in alium or the intimate prayer I call and cry to thee, O Lord, the internationally renowned Oxford Camerata conducted by Jeremy Summerly are perfectly attuned to Tallis's timeless genius.









kr 55 (kr 79)
Image Liturgy of St. John
kr 55 (kr 79)
Image Choral and Organ Music
kr 62 (kr 89)
Image Missa Pastoralis / Missa Solemnis
kr 62 (kr 89)
Image Requiem
GRAMOPHONE EDITOR'S CHOICE


HÖGSTA BETYG I P2:s CD-REVYN



...Naxos have done it again. I have little hesitation in preferring this version among modern large-scale performances...

(Gramophone)

Elena Filipova, sopran;
Gloria Scalchi, mezzosopran;

Cesar Hernandez, tenor;
Carlo Colombara, bas.











Hungarian State Opera Chorus & Orchestra / Pier Giorgio Morandi.


Giuseppe Verdi - Requiem



CD 1

1. I Requiem and Kyrie

2. II Dies irae

3. II Tuba mirum

4. II Mors stupebit

5. II Liber sciptus

6. II Quid sum miser

7. II Rex tremendae

8. II Recordare

9. II Ingemisco

10. II Confutatis

11. II Lacrymosa

12. III Offertorio: Domine Jesu

13. III Offertorio: Hostias et preces tibi

14. IV Sanctus

15. V Agnus Dei



CD 2

1. VI Lux aeterna

2. VII Libera me

3. VII Dies irae

4. VII Requiem aeternam

5. VII Libera me



Quattro pezzi sacri

6. I Ave Maria

7. II Stabat mater

8. III Laudi alla vergine Maria

9. IV Te Deum

kr 69 (kr 99)
Image Missa O magnum mysterium
kr 62 (kr 89)
Image Magnificat / Gloria
"Fresh and lively"
(Penguin Guide)



kr 34 (kr 49)
Image Gloria RV 589 / Beatus vir RV 597






kr 55 (kr 79)
Image Sacred Music Vol 1: Dixit Dominus / Gloria
Förutom "Gloria RV 588" och "Dixit Dominus RV 588" ingår här "Nulla in mundo pax sincera". Musik ur det sistnämnda verket användes i filmen "Shine".












kr 55 (kr 79)
Image Sacred Music Vol 2: Laudate pueri Dominum (RV 600)
"Den rödhårige prästen", som Vivaldi också kallades, komponerade otroligt mycket musik. Eftersom han förutom musiker och kompositör även var präst så skrev han en hel del sakral musik. I denna andra volym i Naxos serie med Vivaldis sakrala musik ingår bl a den vackra "Stabat Mater, RV621". Vi vill även påminna om den första volymen i denna serie som har skivnummer 8.557445.
Tracy Smith Bessette, sopran

Marion Newman, alt

Aradia Ensemble/Kevin Mallon

ANTONIO VIVALDI

Laudate pueri Dominum, RV600

1. Laudate, pueri Dominum

2. Sit nomen Domini benedictum

3. A solis ortu

4. Excelsus super omnes gentes

5. Quis sicut Dominus

6. Suscitans a terra

7. Ut collocet eum

8. Gloria Patri

9. Laudate, pueri...Sicut erat in principio

10. Amen




Stabat Mater, RV621

11. Stabat Mater dolorosa

12. Eia Mater, fons amoris

13. Fac, ut ardeat

14. Amen




Canta in prato, ride in monte, RV623

15. Canta in prato

16. Sacra fulgescit

17. Avenae rusticae

18. Alleluia




Clarae stellae, scintillate, RV625

19. Clarae stellae, scintillate

20. Coeli repleti iam

21. Nunc iubilare

22. Alleluia



kr 55 (kr 79)
Image Sacred Music, Vol. 3
Vivaldi's sacred music occupies a place of honour in his vast output, dovetailing passages of great tenderness and sombre beauty, rich in cantabile expressiveness, with highly operatic movements of colourful and exciting virtuosity. Volume 3 of the complete sacred music features the final and expanded version of Vivaldi's G minor setting of the Magnificat, his setting of the Vespers Psalm 126, Nisi Dominus, with its strongly characterized instrumental accompaniment, and the dramatic yet poignant Roman motet, In furore iustissimae irae (In the fury of most righteous anger Thou showest thy divine power).




kr 34 (kr 49)
Image Anthems
• Samuel Sebastian Wesley was the pre-eminent organist-composer of the early Victorian era. During his career he worked tirelessly for over forty years to raise the standard of music offered in English cathedrals, and this collection of his most popular anthems, including the exquisite Thou wilt keep him in perfect peace, reflects the culmination of his achievements in this field.



• Unashamedly Romantic yet original in style, Wesley’s music speaks with a powerful and wholly distinctive voice.



• Previous recordings of the Clare College Choir on Naxos have gone down a storm include the best-selling Rutter Requiem: “Naxos continues its conquest of Cambridge's college choirs and finds that from Clare College on excellent form. I suspect this will be one of those Naxos recordings that sells by the ten thousand rather than merely the thousand.” Gramophone on 8.557130










kr 55 (kr 79)
Image Missa Christus resurgens / Christus resurgens / Ma
kr 62 (kr 89)
Image St. Mark Passion
Charles Wood made an important contribution to Anglican church music, with liturgical settings that remain part of cathedral choral repertoire. Answering a request from Eric Milner-White, the then Dean of King’s College, Cambridge, Wood completed his setting of the St Mark Passion in August 1920. As with J.S. Bach’s inclusion of Lutheran chorales in his St John Passion, here the flow of the biblical narrative in English, interspersed with well-known hymns for choir and congregation, provides the key to the work’s success.









kr 55 (kr 79)
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