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1699 albums gesorteerd op Date: from newest to oldest en gefilterd op Religieuze vocale muziek
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Religieuze vocale muziek - Verschenen op 1 mei 2021 | The Teshin Company

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Sacred Oratorios - Verschenen op 23 april 2021 | Adora

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Sacred Oratorios - Verschenen op 23 april 2021 | Adora

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Religieuze vocale muziek - Verschenen op 9 april 2021 | Bayard Musique

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Missen, passies, requiems - Verschenen op 26 maart 2021 | Claves Records

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The Mass in B minor holds a very special place in J.S. Bach’s output: a work of grandeur, an opus ultimum, it was not composed as such but is the result of an assembly of pieces written at different times and for different circumstances. Bach worked on it during the years 1748-1749, until his eyesight, which had gradually deteriorated, was completely lost. The idea of bringing together pieces drawn essentially from the vast corpus of cantatas was not unusual; a similar approach was taken by several of his contemporaries, such as Handel, and Bach himself had done so for the short masses he composed in the late 1730s. These were called parodies. Moving from the German text of the cantatas to the Latin text of the masses meant adapting the vocal lines, with additions and deletions, polyphonic and harmonic enrichments, and changes in instrumentation. Throughout his life, Bach never ceased to revisit his works with a view to improving them. Imagining the production of a monumental Mass, which can be seen as a musical testament to him, Bach began by exploring the repertoire of his own music, while studying various Masses by other composers that were available to him (and among the scores he studied was Pergolesi’s Stabat mater, which he himself had adapted). He decided above all to use a mass (Missa in Lutheran language) composed in 1733 after the death on February 1 of Augustus the Strong, ruler of Lutheran Saxony, on which Leipzig and Catholic Poland depended. It consisted, as was the case with the Lutheran masses, of the Kyrie and the Gloria, the music of which was largely original (only four of the nine pieces in the Gloria come from earlier compositions). But Bach wanted to compose a Mass with the different parts of the Catholic Ordinary, with the Credo, Sanctus, Benedictus and Agnus Dei. Faced with the magnitude of the two movements of the Missa, each as impressive as the other, Bach was compelled to write a large Credo. © Claves Records
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Religieuze vocale muziek - Verschenen op 19 maart 2021 | harmonia mundi

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Here is the work of a genius who died at the age of twenty-six: Pergolesi's Stabat Mater is one of the miracles of eighteenth-century sacred music. Nourished by their experience of ‘setting in resonance’ early and contemporary repertories, Riccardo Minasi and the Hamburg musicians shed an astonishingly modern light on these moving pieces, in which the voices of Giulia Semenzato and Lucile Richardot intertwine in the most sublime of communions. The Stabat is echoed by Joan Rossell’s poignant Salve Regina, long attributed to Pergolesi himself. © harmonia mundi
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Religieuze vocale muziek - Verschenen op 19 maart 2021 | harmonia mundi

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Formed in 2008, Sebastien Daucé's Ensemble Correspondances is now firmly established as a byword for quality and creativity in the performance of early music, with their acclaimed revivals of both the known and the long-neglected sacred and secular music of seventeenth century France, and with a rich discography to match. This latest recorded offering now sees them step out beyond France's borders for a foray into the Germanic repertoire, the headline pieces being a major work each from Dietrich Buxtehude and Heinrich Schütz. Buxtehude's Membra Jesu Nostri (“The limbs of our Jesus”) opens the programme. An ambitious seven-part cycle of Passion cantatas over which an unnamed observer slowly raises their gaze from the feet of the scourged “Man of Sorrows” to his face, this was composed in 1680 for Buxtehude's friend Gustav Düben. Düben was music director to the Swedish court, and the work was probably commissioned for a court occasion, most likely premiered in the galleries of the German Church in Stockholm, which the court church at the time. Buxtahude's own official role was as organist at Lübeck's Marienkirche – a title which, in contrast to the kantor role which would have obliged him to be churning out new liturgical music every week, allowed him to compose when and how he wished, thus cutting no corners on quality. That's very apparent in this cycle, which book-ends poetic texts set as strophic arias with biblical words set for full instrumental and vocal forces, all couched within an imaginative tonal progression which opens with the feet in the darkest tonalities using flats, before gradually moving through to the brighter, sharp tonalities as the eyes move up towards the face (although it's eventually a C minor close, for architecture's sake). Daucé's personal contribution to the mix has then been to prepare a new edition from the original performing parts which has further enrichened the colouristic and textural palette: adding a viola part for three of the cantatas; changing the allocation of stringed bass instruments so that the viol and violone aren't systematically playing with the continuo or violins; having two voices to a part for the chorus numbers, thus clearly distinguishing between soli and ripieni. Add Ensemble Correspondances's expressive, crisply articulated and suavely blended vocal performances, and the lucid delicacy of the instrumental support, and the results are very fine. Schütz's major offering meanwhile is his late-career masterpiece, Die sieben Worte (“The Seven Words”), which inventively combines motet-like settings with expressive recitative. However the programme's joys aren't limited to its headline events. For instance there's also Schütz's Erbarm dich mein, o Herre Gott, a vocal concerto with densely contrapuntal instrumental textures which here grabs from the off with the beautiful puritan sobriety of the ensemble string tone, and the gently impassioned soprano entry. Then, for a real rarity, complementing mourning music from Buxtehude is the state music-redolent Lamentum by Swedish organist Ludert Dijkman (c1645-1717), written at the passing of two Swedish princes. It'll be fascinating to see where Daucé turns next. © Charlotte Gardner/Qobuz
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Religieuze vocale muziek - Verschenen op 12 februari 2021 | Aparté

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Le Concert de la Loge and Julien Chauvin continue the Haydn adventure with the "Paris" Symphonies No. 84 and No. 86. The conductor and his period instruments orchestra complete the programme with the beautiful Stabat Mater, one of Haydn’s most performed ones during his lifetime. Composed in 1767 during the "Sturm and Drang" period, the Stabat Mater’s strikingly sober and plain expression (« Fac me vere tecum flere ») doesn’t exclude some outstanding passages, as in the « Sancta Mater, istud agas ». © Aparté Music
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Religieuze vocale muziek - Verschenen op 12 februari 2021 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Musicalische Exequien of Heinrich Schütz, composed for the ceremonial obsequies of Heinrich II Posthumus, count of Reuß-Gera, is probably the best-known example of German funeral music of the seventeenth century. However, it is not an isolated piece; there were in fact a great number of virtually unknown vocal compositions from the same period, which were commissioned to commemorate the death of specific personalities and performed at their funeral services. The third album from Voces Suaves on the Arcana label offers a fresh perspective on Schütz’s famous masterpiece, complementing it with works by other major German composers of the seventeenth century such as Rosenmüller and Schein. The music is performed by singers and a continuo group without any additional instruments, so that the focus remains throughout on a flexible vocal presentation of these striking and moving works. © Arcana
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Missen, passies, requiems - Verschenen op 5 februari 2021 | harmonia mundi

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Faced with the plethora of Beethoven recordings released in 2020, we expect more from some than from others, and this applies to this Missa Solemnis. An absolute masterpiece of Western music, it is conducted by René Jacobs, whose recent recording of Leonore (the first version of the opera Fidelio by the same Beethoven) conquered the musical world.Composed in 1824, the Missa, "a rough and uncomfortable work that leaves no room for narcissism in the singers" according to René Jacobs (and he would know what he is talking about!) is an older sister to the Ninth Symphony which shares the same faith in man over divinity. Recorded in Berlin in May 2019, this version packs as intense a gut-punch as a live concert.The understated and profound Kyrie brings shadow and meditation. Then, a surging explosive Gloria, a stirring call for peace and brotherhood, from the heart of all humanity presses this splendid performance onward. Without doubt, the RIAS Kammerchor has added one more stone to an edifice of recordings of the highest quality. In addition we are treated to an instrumental finale rarely heard and four soloists who contribute to the expressive power of the whole. All of Beethoven is here, with his idealism, his tenderness, and also his way of hammering out peace with mighty blows. As Goethe would have said “He would squash a fly with a rock”. © François Hudry/Qobuz
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Sacred Oratorios - Verschenen op 28 december 2020 | Adora

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Sacred Oratorios - Verschenen op 18 december 2020 | Adora

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Sacred Oratorios - Verschenen op 18 december 2020 | Adora

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Religieuze vocale muziek - Verschenen op 4 december 2020 | Marek Klein

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Sacred Oratorios - Verschenen op 13 november 2020 | LSO Live

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Few recordings exist of Beethoven’s unique oratorio which drew influence from Händel’s work Haydn’s The Creation and the Seasons. A revelation came in 1966 Philadelphia when Eugene Ormandy made a beautiful recording of the oratorio. Ormandy’s lead was then followed by several more recordings. But, the composition remains a rarity within repertoires, even the monumental Beethoven edition published by Deutsche Grammophone for the 200th anniversary of the composers birth omitted this deserving oratorio.Christ on the Mount of Olives’ writing and theatricality varies in an experimental fashion that would give birth to Leonore the following year and then Fidelio ten years later. Beethoven seems to oscillate between several genres with a writing style that mixes academia, operatic vocal virtuosity and innovation (stemming from his own language). The bad reception of his 1803 work seems to shadow this oratorio like a malediction.This new recording by Sir Simon Rattle, captured during a concert performed at the Barbican Centre in London in February 2020, turns a salutary spotlight onto an all too often neglected work. Elsa Dreisig plays the seraph with great virtuosity and Pavol Breslik as a determined Christ.It was the first time that a composer had had Christ sang by a tenor and not by a bass singer, as was tradition. David Soar accurately plays the role of Peter, who is somewhat treated as secondary on the score. The choirs are omnipresent in their representation of the crowds (the “turba”) and their cries and murmurs. The one hundred and twenty-five singers in the London Symphony Choir are the true heroes of this vigorous interpretation which is brought to life with energy and dramatism by a particularly inspired and elated Sir Simon. © François Hudry/Qobuz
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Religieuze vocale muziek - Verschenen op 1 november 2020 | Fuga

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Religieuze vocale muziek - Verschenen op 23 oktober 2020 | HORTUS

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Religieuze vocale muziek - Verschenen op 23 oktober 2020 | Herald

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Sacred Oratorios - Verschenen op 9 oktober 2020 | Alpha

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Several years ago, Giovanni Antonini and the Alpha Classics label set an exciting objective: to create a complete collection of Haydn’s 104 symphonies, mirroring the works of composers from different eras so as to highlight their relevance today. This monumental edition should be completed in 2032, marking the tercentenary of the Austro-Hungarian composer’s birth.The project is gradually being enriched by other productions celebrating Haydn’s genius. The oratorio Die Schöpfung (The Creation) is a major part of his catalogue. Haydn was inspired after hearing an oratorio by Handel in London during a large commemorative concert. The event was significant because there were few early works being performed at the time, and the large orchestra and choir (nearly 1000 strong) made a great impression on Haydn, being unaccustomed to such large numbers.
The result was The Creation, a spirited oratorio that required a colossal amount of preparatory work and left him shaky. But it was worth the effort. The work was a huge success and has been performed ever since. Giovanni Antonini reveals a very lively chamber version with an excellent instrumental ensemble, a perfectly balanced vocal trio with soprano Anna Lucia Richter, tenor Maximilian Schmitt and baritone Florian Boesch, not forgetting the participation of the wonderful Bavarian Radio Choir.This new recording ranks among the highest of a long series of Haydn’s masterpiece. It’s thanks to the radiant performances, where the love of music blends with the simple contemplation of nature. A perfect recording. © François Hudry/Qobuz
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Sacred Oratorios - Verschenen op 2 oktober 2020 | Bella Musica Edition