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Missen, passies, requiems - Verschenen op 29 maart 2019 | Les Indispensables de Diapason

Onderscheidingen Diapason d'or
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Missen, passies, requiems - Verschenen op 25 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 14,99
€ 9,99

Missen, passies, requiems - Verschenen op 2 november 2018 | Carus

Hi-Res Booklet Onderscheidingen Diapason d'or
Of Zelenka's known works (roughly two hundred pieces) only about a dozen are not religious. And so it's no surprise that the catalogue contains heaps of masses, oratorios, requiems, psalms, litanies, Te Deums and Magnificats. He wrote all these marvels while working at the court of Dresden, where he spent the best part of his life, from 1710 until his death 35 years later. By all indications, the two successive monarchs he served liked his work a lot; but they were not his only fans. One Johann Sebastian Bach admired him enough to invite him to stay now and again, and to copy (or rather, to have his sons copy) several of Zelenka's works. His work would only come back into fashion after his death, thanks in particualr to the efforts of Smetana, who wanted to honour musicians of Czech origin, of whom Zelenka was one. The writing still shows great harmonic daring, stuffed to the brim with unusual chromaticisms in a great melting pot of national influences: there's North German counter-punctual rigour, of course, and Italian melodic flair – but then there is also something rarer: Bohemian and Moravian melismas, which are normally only found in the works of consciously "national" Czech composers, foremost of whom Smetana. Here we find his Mass of St Joseph, written in 1732 – making it a mature work of his – as well as some highly original psalms from the mid-1720s. The exceptional Frieder Bernius leads his his Stuttgart ensembles, the local Chamber Choir and Baroque Orchestra, which he has raised up to an international standard. This is the world's first-ever recording of this mass. © SM/Qobuz
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Missen, passies, requiems - Verschenen op 19 oktober 2018 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
The modern-day appreciation of Francesco Bartolomeo Conti takes a decisive turn in the direction of his church music with this early eighteenth-century composer’s Missa Sancti Pauli given an ideal recording on Glossa by György Vashegyi, the Purcell Choir and Orfeo Orchestra. Conti was a Florentine who worked for much of his career in the Imperial Court in Vienna, generating much attention there – the ever-observant Johann Sebastian Bach and Zelenka were both known to have been attracted by his music. Curiously, it was liturgical works like this 1715 Missa Sancti Pauli which kept Conti’s name known until near to the end of the nineteenth century rather than the operas, oratorios and cantatas with which he delighted the Viennese Court and which have hitherto been receiving the attention of artists and record labels today. If Conti’s church music is less fledgling Classical than his dramatic fare, there is much in the way of melodic tunefulness and concertato style – for both voices and instruments – to combine with fugalimitative writing reminiscent of the “stile antico”. The work is a “Credo Mass” (both Mozart and Beethoven were to write examples of this genre, with its rondolike restatement of the word in the Credo section. The tone, control, presence and unity of the Purcell Choir have been amply demonstrated already on Glossa in music of the French Baroque – Rameau and Mondonville in particular – and the singers are given full opportunity to shine in Conti’s mass – as are the orchestra, comprised mainly of strings, and the vocal soloists, who include Adriána Kalafszky, Péter Bárány, Zoltán Megyesi and Thomas Dolié. Bárány and Megyesi are also soloists in two additional works: the motet, Fastos caeli audite and the aria Pie Jesu, ad te refugio. © Glossa
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Missen, passies, requiems - Verschenen op 25 mei 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
In the 17th century, Roman churches were competing to put on the greatest show to celebrate their patron saints. On these occasions, extraordinary services were performed, where many different artists would be brought together, singers and instrumentalists alike, alongside ordinary musicians, for sumptuous pieces performed by several vocal and instrumental choirs. One contemporary description gives an idea of the scale: ten choirs and ensembles played together, two on fixed stages, and eight others distributed symmetrically right along the nave, on platforms built for the occasion. Every additional stage was provided with a positive organ, while many other instruments added to the sonic splendour. So that all the musicians could play well together in spite of the distance, "capi di coro” or time-keeping drummers, would play in unison. Orazio Benevolo (1605-1672) was one of the most remarkable architects of these extravagant, multi-choral monuments. Benevolo was a choirboy at the Church of St. Louis of the French in Rome before he entered the upper echelons by taking the job of Chapel Master in 1638. The composer has left behind him an abundant set of works, containing no fewer than 34 motets for a range of players, including Regna terrae, written for twelve soprano parts distributed across six vocal choirs, each with its own basso continuo. We are also indebted to him for twelve versions of the Magnificat, for between eight and 24 voices, including one for 16 voices, in quadruple choir, which appears here. Hervé Niquet and his Concert Spirituel have made use of the ample acoustics in the Notre-Dame-du-Liban church in Paris, perfectly structured to hold several choirs distributed across the building, to create the sensations of immersion and spatial plenitude that the composer aimed for. © SM/Qobuz
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Religieuze vocale muziek - Verschenen op 11 mei 2018 | Signum Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
Fascinated by the Marian cult, whose contradictions he loves to highlight, Paul McCreesh offers here a purely choral programme, leaving behind the charms of orchestral instrumentation. Both virgin and mother, a symbol of both chastity and fertility, the figure of Mary also holds a strong erotic potential, which has not escaped Paul McCreesh, who designed this album by choosing English composers from the Renaissance to the present day, without any real disparity in style becoming apparent, proving the strength and continuity of British choral music. The great English movement of the rediscovery of polyphony in the 20th and 21st centuries doesn't stop at exploring the music of the Renaissance, but also rediscovering, and employing in new compositions, the beautiful medieval words set to music, which have been passed unamended down the centuries. Returning to the sources of Western music, Paul McCreesh asks whether the sudden popularity of religious music comes from a subliminal desire to recreate a world in which almost everyone believed in God. Fighting against a certain ethereal and angelic approach to religious choral music, McCreesh compares high polyphony to the architecture of a vast cathedral, trying to bring out its visceral side, on certain pieces at least. Listeners will note that this album contains the world's first recording of a new work commissioned by Paul McCreesh and the Gabriel Consort, written by the young British composer Matthew Martin. A Rose Magnificat (which also gives the whole album its name) was written for double choir and contains interjections from a medieval text. The composer wrote the piece in a "Stravinskian" manner, as he put it, while searching out Eastern and Byzantine flavours. © François Hudry/Qobuz
€ 16,99

Religieuze vocale muziek - Verschenen op 26 januari 2018 | Warner Classics

Onderscheidingen Diapason d'or
Michel-Richard de Lalande was the leading composer of sacred music at the French court during the 17th Century. His Grands motets – he composed 77 – dominated the repertory of the Royal Chapel during his lifetime and after, until the 1770s in the programmes of the Concert Spirituel in Paris. His works are marked by both expressive harmonic vocabulary and contrapuntal mastery, which is exemplary in this set. Edward Higginbottom (b. 1946) developed a particular interest in French baroque music and spent time in France (1970-1972), studying the organ with Marie-Claire Alain. His love of French culture has borne fruit in many recording projects featuring French music. He has been Director of Music at New College Choir Oxford from 1976 to 2014 with which he recorded the bestseller albums "Agnus Dei I & II". The French conductor and chorus master Olivier Schneebeli studied with Pierre Dervaux and Jean-Claude Hartemann. In 1987, on the occasion of the rediscovery of Atys by Lully, he created with William Christie the chorus of Les Arts Florissants. He has made it his specialty to rediscover French sacred masterworks of the 17th and 18th centuries. © Warner Classics
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Religieuze vocale muziek - Verschenen op 1 december 2017 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
We can only welcome the appearance of new recordings of Bach's Motets: these unique works which defy classification are also often difficult to date accurately. The common factor shared by those Motets which have survived to the present day (because many were lost) appears to be the purely choral conception of the musical discourse, from end to end, the absence of instrumentation - if they are played with instruments, the latter only back up the choral parts (excluding the BWV118, initially believed to be a cantata as it was written with a small musical accompaniment, but the form remains that of a short motet, hence the uncertainty about which classification to give it) - the deliberate archaism  of the words, and the likely funereal purpose of most of the works. The Norwegian Soloists' Choir (Det Norske Solistkor) is one of the foremost Norwegian musical ensembles and one of the best chamber choirs in Europe. The choir is just as comfortable with the classical/romantic repertoire as with contemporary music and makes frequent forays into music derived from romantic national folkloric works. The ensemble was founded in 1950 by the composer Knut Nystedt, who led it for four decades. In 1990, he was succeeded by Grete Pedersen, and she now directs the group - with the help of the Allegria Ensemble, also Norwegian - for this fine recording. © SM/Qobuz
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Missen, passies, requiems - Verschenen op 13 oktober 2017 | SDG

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - 5 Sterne Fono Forum Jazz
So much can be said about this new recording featuring among others − but as the pièce de résistance − Bach’s Magnificat, performed by John Eliot Gardiner, that we simply don’t know where to start! In 1983 – already 35 years ago! – Gardiner gave his first vision of Magnificat BWV 234 in D major; here the version in question is the BWV 234a in E flat major, the original and initial version, the – extended – one Bach wrote as soon as 1723 while the BWV 234 version (more often played nowadays) only arose from adjustments made ten years later. Of course one can debate on the advantages of one over the other but for this recording, Gardiner put emphasis on the brilliance, vibrancy and stunning virtuosity imposed by the E-flat major tone and vigorous tempi, in other words: undeniably modern! Magnificat is preceded by the Mass in F major, one of Bach’s four Lutheran masses, proper gems that are too rarely performed. It’s worth noting that most movements are recycled from previous cantatas, but with thorough rewrites of course! You’ll also find one of Gardiner’s favourite cantatas, Süßer Trost, mein Jesus kömmt (Sweet comfort, my Jesus comes), BWV 151, composed for the Christmas period. With his English Baroque Soloists, his Monteverdi Choir and a broad group of soloists (the alto parts are given to a male voice, it’s worth mentioning in case… it’s not your cup of tea), Gardiner is once again standing on top of a great success.
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Religieuze vocale muziek - Verschenen op 21 juli 2017 | Genuin

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
€ 19,49
€ 13,99

Religieuze vocale muziek - Verschenen op 5 mei 2017 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Diapason d'or / Arte - 5 Sterne Fono Forum Klassik
€ 14,99
€ 9,99

Religieuze vocale muziek - Verschenen op 5 mei 2017 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 17,49
€ 12,49

Religieuze cantates - Verschenen op 21 april 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
€ 16,99
€ 14,49

Sacred Oratorios - Verschenen op 7 april 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
€ 4,95

Religieuze vocale muziek - Verschenen op 3 maart 2017 | Coro

Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de Classica - Choc Classica de l'année
€ 14,99
€ 9,99

Religieuze vocale muziek - Verschenen op 27 januari 2017 | The Sixteen Productions Ltd.

Hi-Res Onderscheidingen Diapason d'or
€ 8,99

Religieuze vocale muziek - Verschenen op 5 januari 2017 | Nibiru

Onderscheidingen Diapason d'or
€ 8,99

Religieuze vocale muziek - Verschenen op 20 november 2016 | Nibiru

Onderscheidingen Diapason d'or
€ 16,99
€ 14,49

Missen, passies, requiems - Verschenen op 3 juni 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - 4 étoiles de Classica
In July 2015, just eight months before his death, Nikolaus Harnoncourt conducted spiritual opus of Beethoven, the enigmatic and titanic Missa Solemnis, for a final time. It was a work that he addressed very late in his career, with 1988 being the first time. At the head of his Concentus Musicus and the Arnold Schönberg Choir, he produces an uncluttered reading, stripped of all excess weight that has restricted so many conductors in the past, including the most famous. It’s almost like attending a huge Mass! Both the Piano and silence are key, allowing the monument to emerge in all its grandeur from the calm. Suddenly the lines become clear and intelligible, the "lengths" acquire their entire purpose... what we see from the old lion Harnoncourt here is most extraordinary, with his ability to allow the listener to peer into the soul of Beethoven. If there is only one record to keep... © SM / Qobuz
€ 8,99

Religieuze vocale muziek - Verschenen op 1 maart 2008 | Coviello Classics

Onderscheidingen Diapason d'or