Albums

1999 albums gesorteerd op Date: from newest to oldest en gefilterd op Religieuze vocale muziek
€ 9,99

Religieuze vocale muziek - Verschenen op 6 mei 2019 | Music Play

€ 9,99

Religieuze vocale muziek - Verschenen op 29 april 2019 | Agorila

€ 14,99

Religieuze vocale muziek - Verschenen op 19 april 2019 | Universal Music Division Decca Records France

Support the reconstruction of the Notre-Dame de Paris All revenue generated by the sale of this album - published by Universal following the terrible fire that devastated the Notre-Dame de Paris - will be donated to the Fondation du patrimoine, France’s heritage foundation. In 18 tracks, take a plunge into the most famous "church music" (with a few exceptions), through a selection of outstanding selections from Universal labels (Deutsche Grammophon, Decca, Philips, etc.). Recorded on the great organs of Notre-Dame, the album features some highlights of Pierre Cochereau, principal organist from 1955 to his death in 1984 (Toccata by Widor, Toccata et fugue en ré mineur (Toccata and Fugue in D minor) by Bach, Prière à Notre-Dame (Prayer for Notre-Dame) by Böellmann, Berceuse (Lullaby) by Vierne, Finale de la Symphonie n°3 by Saint-Saëns). Also in the spotlight is one of Notre-Dame's current principal organists, Olivier Latry, with Louis Vierne's astonishing transcription of Rachmaninoff's Prélude en ut dièse mineur (Prelude in C sharp minor), and a transcription of Bach's Sinfonia by Marcel Dupré. Excerpts from Vivaldi's Stabat Mater or Pergolesi's Salve Regina complete this musical fresco. © Pierre-Yves Lascar 
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Religieuze vocale muziek - Verschenen op 12 april 2019 | Ligia

Hi-Res Booklet
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€ 9,99

Missen, passies, requiems - Verschenen op 5 april 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Qobuzism
This spectacular new release of Maurice Duruflé’s complete choral output uncovers hidden gems of French classical music. Infused with modal harmonies and plainsong, Maurice Duruflé's choral works look back to Gregorian chant. The composer also found inspiration in the likes of Gabriel Fauré and Claude Debussy, incorporating definite lines and close harmonies into his music, and the result is astonishingly simple. His works were part of a whole stylistic movement in the 20th century (one that was far removed from neoclassicism) that tried to trace music back to its origins, separating itself from all the trappings of theatre and performance, and moving away from the highly abstract tendencies that characterised much of the music in the post-war period. Is Gregorian chant the “mother” of all music? Quite possibly. Duruflé aimed to create a serene, gentle mood all the while echoing a contemporary trend, one that was still emerging yet already rather developed, centred around harmony and floating atmospheres in the hope of bringing people together in communion. With little to show by way of recordings yet much by way of talent, the Houston Chamber Choir give a beautiful performance of the French composer's works. Their radiant singing is well worth discovering, made all the more breathtaking by the generous acoustics of the Edythe Bates Old Recital Hall at Rice University, which allow the conductor Robert Simpson to use broad phrasings. The conductor adds an especially touching quality to these naturally expressive works, making this recording – which is as moving as the composer's earlier recordings (Erato) - an ideal gateway into Duruflé’s hypnotic universe (Messe “Cum Jubilo”). It should be noted that despite his relatively long life, Duruflé’s composed only fourteen works. His final composition Notre Père (which lasts just ninety seconds!) was written especially for the Catholic Church though was never performed due to its sheer difficulty. This modest number of compositions reflects Duruflé’s crippling self-criticism and continuous search for perfection. This Houston Chamber Choir recording is a wonderful opportunity to rediscover one of the best kept secrets of the 20th century. © Qobuz
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Sacred Oratorios - Verschenen op 5 april 2019 | Philharmonia Baroque Productions

Hi-Res Booklet
€ 29,99
€ 19,99

Missen, passies, requiems - Verschenen op 5 april 2019 | Fra Bernardo

Hi-Res Booklet
€ 9,99

Missen, passies, requiems - Verschenen op 5 april 2019 | BR-Klassik

Booklet
€ 5,99

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

Onderscheidingen Diapason d'or
€ 14,99
€ 9,99

Missen, passies, requiems - Verschenen op 15 maart 2019 | Glossa

Hi-Res Booklet
It is to the distinctive compositional voice of Jan Dismas Zelenka that Ruben Jais and laBarocca turn for their latest release from the Glossa label with a new recording of the Missa Omnium Sanctorum. For more than thirty years Zelenka worked as a composer and as a double-bass player at the Dresden Court, the musical establishment which – in the first half of the eighteenth century – was regarded as one of the glories of its age. Zelenka finished this mass, an expansive, dynamic multi-movement work (notably the Gloria) scored for soloists, chorus and orchestra, in 1741; by this time the composer was in his sixties, and the mass stands as one of the summations of his creative endeavours. The Milanese Ruben Jais – who has previously prepared programmes of Bach and Gluck for Glossa – provides exuberant conducting for music which takes in studied choraal sections, exhilarating fugues, High Baroque flourishes as well as the dance-like tendencies of the galant style. In this musical diversity Ruben Jais is accompanied by a solo team consisting of Carlotta Colombo, Filippo Mineccia, Cyril Auvity and Lukas Zeman, but with more than important contributions being required from the choral and instrumental forces of laBarocca. © Glossa
€ 19,99

Missen, passies, requiems - Verschenen op 15 maart 2019 | Profil

Booklet
€ 16,49
€ 10,99

Religieuze cantates - Verschenen op 8 maart 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following his recording of J. S. Bach’s solo cantatas for alto BWV 35 and 170 (issued in 2009), countertenor Damien Guillon has continued his work of research and interpretation, devoting a second album to the Cantata BWV 169 for alto solo and to the famous BWV 82 Ich habe genug ; though better known in its 1727 version for bass, from 1735 onwards it was also performed by an alto voice. To complement this cantata programme, organist Maude Gratton performs Bach’s Prelude and Fugue BWV 543, as well as the chorales Allein Gott in der Höh sei Ehr, BWV 662, BWV 663 & BWV 664. © Alpha Classics
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Missen, passies, requiems - Verschenen op 8 maart 2019 | Naxos

Hi-Res Booklet
€ 15,99
€ 11,49

Missen, passies, requiems - Verschenen op 1 maart 2019 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama
Fauré's Requiem, “funeral lullaby” written for enjoyment as the composer put it, has a unique place in history. It's soft, simple and modest poetry conveys moments of gentle contemplation and moving expressiveness which are entrusted to both the choir and the two soloists. With his Ensemble Aedes and the orchestra Les Siècles, Mathieu Romano is committed to render a Requiem faithful to its first performance. We hear thus the score in its original 1893 orchestration, where the organ plays a great role, and where Latin is pronounced in the French way as it used to be. The clearest articulation of the Ensemble Aedes then perfectly fits Éluard’s Figure humaine set to music by Francis Poulenc. We have never heard these sublime poems sung with such intelligibility before! Finally, the three Songs by Debussy elegantly close the album. Here again, the quality and clarity of the voices are stunning. Artistic director and founder of Ensemble Aedes has established himself as a magician of voices in a cappella scores. And voices ideally melt with the strings of Les Siècles under his baton. A 100% French cast in a 100% French music disc for a triple rediscovery. Essential! © Aparté
€ 12,49

Religieuze vocale muziek - Verschenen op 22 februari 2019 | Warner Classics

Onderscheidingen 5 de Diapason
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Missen, passies, requiems - Verschenen op 25 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen Diapason d'or
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Religieuze vocale muziek - Verschenen op 25 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 15,99
€ 11,49

Sacred Oratorios - Verschenen op 18 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 17,49
€ 12,49

Religieuze vocale muziek - Verschenen op 11 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or
The regime of Queen Elizabeth I dealt harshly with supporters of the old Catholic religion. Torn between obedience and conscience, some of England’s most talented musicians – Philips, Dering and Dowland – chose a life of exile abroad. Others chose to remain in spiritual isolation in England, comparing themselves to the exiled Israelites in Babylon. Amongst them were Robert White, whose five-part Lamentations are one of the glories of English music of any age, and William Byrd, whose anguished Catholic music is referenced in Shakespeare’s enigmatic poem The Phoenix and the Turtle, vividly set by Huw Watkins especially for stile antico. © harmonia mundi
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Missen, passies, requiems - Verschenen op 4 januari 2019 | Glossa

Hi-Res Booklet
Johannes Brahms’ consolatory Ein deutsches Requiem receives a fresh and considered interpretation from Daniel Reuss and the Orchestra of the Eighteenth Century. This renowned orchestra took the decision – following the death, some years back, of Frans Brüggen – to retain its founder’s dynamic process of alternating concert tours with recordings. And dispensing with the need for having a principal conductor, the orchestra now works with a range of musicians according to the repertoire being performed. Such a conductor is Daniel Reuss, who is also the artistic director of the Cappella Amsterdam, the choir which has frequently been appearing alongside the orchestra in recent times. A well-received reading of the Beethoven Missa Solemnis involving Reuss and the orchestra was issued by Glossa in 2017 and these musical forces have now turned their attention to Johannes Brahms’ pillar of religious music. Taped in the Rotterdam De Doelen concert hall this new recording involves Carolyn Sampson (soprano) and André Morsch (baritone) as its two soloists, in a version which attempts, as far as it is possible, to get close – in terms of tonal colours, interpretation and tempi – to Brahms’ original intentions. This extraordinary work, here maintaining a sweeping and moving spirit for some 70 minutes, contains texts from Martin Luther’s German translation of the Bible and, it is thought, was inspired by the loss of both the composer’s mother and also that of Robert Schumann. © Glossa