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Religieuze vocale muziek - Verschenen op 10 maart 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Religieuze vocale muziek - Verschenen op 28 oktober 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Religieuze vocale muziek - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
This fine work from the Capella Amsterdam led by Daniel Reuss begins and ends with a lament: one to Ockeghem by Josquin around 1497, and one for Josquin by Gombert in 1521. These two requiems bookend an impressive range of religious motets by Josquin (in particular funeral motets) which mix Latin and French lyrics and religious lines and songs, invoking sylphs, nymphs and muses. "Nymphes des bois, déesses des fontaines" [Nymphs of the woods, goddesses of the fountains], wrote Jean Molinet in his epitaph to Master Jean Ockgam, "changez vos vois cleres et haultaines / En cris trenchantz et lamentations; Acoutrez vous d’abitz de deuil: Josquin, Pierchon, Brumel, Compere, Et plorez grosses larmes d’œil: Perdu avez vostre bon Pere" [change your clear and proud voices/ Into piercing cries and lamentations; Put on your mourning garb: Josquin, Pierchon, Brumel, Compere, And cry great tears: you have lost your good father] – it is clear that Josquin made use of these lines in his motet. The attentive listener will notice that the composer often introduces Gregorian cantus firmus into the middle of the song, embroidering it with a rich melodic and harmonic tissue (in French) and freeing it of all constraints. This is the sound of the great Renaissance motet being born. © SM/Qobuz
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Vocale muziek (wereldlijk en religieus) - Verschenen op 4 maart 2011 | harmonia mundi

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Sacred Oratorios - Verschenen op 23 maart 2010 | harmonia mundi

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 22 mei 2020 | harmonia mundi

Hi-Res Booklet
Though Orlande de Lassus displays overflowing vitality in his secular music, matters are quite different in his sacred music: the twelve motets assembled on this album (most of them composed in the last years of his life) bespeak a profound melancholy and show not only his ability to make use of a wide range of stylistic devices, but also great subtlety in the art of rhetoric. An expressive palette handled in masterly fashion by Daniel Reuss at the head of Cappella Amsterdam! © harmonia mundi

Klassiek - Verschenen op 17 november 2014 | harmonia mundi

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Klassiek - Verschenen op 23 oktober 2007 | harmonia mundi

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Sacred Oratorios - Verschenen op 3 februari 2017 | Mirare

Hi-Res Booklet
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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