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Geistliche Vokalmusik - Erschienen am 2. März 2004 | naïve classique

Hi-Res Booklet Auszeichnungen 4F de Télérama
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Geistliche Vokalmusik - Erschienen am 15. Juli 2013 | naïve classique

Hi-Res Booklet Auszeichnungen Choc du Monde de la Musique - 4F de Télérama - Gramophone Editor's Choice - Hi-Res Audio
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Geistliche Vokalmusik - Erschienen am 20. Oktober 1995 | Euromuses

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Geistliche Vokalmusik - Erschienen am 1. Januar 1990 | HORTUS

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Messen, Passionen, Requiems - Erschienen am 29. September 2014 | naïve classique

Hi-Res Booklet Auszeichnungen 5 clés de sol d'Opéra
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Geistliche Vokalmusik - Erschienen am 26. Mai 2014 | naïve classique

Hi-Res Booklet Auszeichnungen Gramophone Award - Gramophone Record of the Month - 4 étoiles Classica - Hi-Res Audio
Rinaldo Alessandrini hat völlig recht, wenn er meint, dass man Monteverdis Vokalwerke nur in ihrem liturgischen Kontext richtig verstehen könne. Deshalb hat er aus der Sammlung „Selva morale e spirituale“ (1641) fünf Psalmen, einen Hymnus und ein Magnificat zu einer Vesper zusammengestellt, wie sie am Markustag in Venedig hätte erklingen können. Die Auswahl entspricht im Kern dem, was Andrew Parrott schon 1982 vorgestellt hat, doch hier kommen noch die (venezianischen, nicht römischen) Antiphone, fünf Sonaten bzw. Motetten als Antiphonersatz nach den Psalmen sowie der Introitus aus der „Marienvesper“ (1610) hinzu. Einmal mehr bestätigt sich, dass Alessandrini zu diesem Repertoire mehr zu sagen hat als zu späterer Literatur: Alles klingt sehr homogen, ausgewogen, in sich ruhend, die Gesten fallen deutlich, aber entspannt aus, die Tempi wirken, auch wenn sie sich bisweilen von Gewohntem abheben, immer plausibel. Sänger und Instrumentalisten agieren hier völlig gleichberechtigt, wobei eben manchmal das Instrumentale durchaus wichtiger sein kann als das Vokale. Die Altstimmen besetzt Alessandrini mit Falsettisten; Parrotts Entscheidung für hohe Tenöre hat noch etwas mehr Überzeugungskraft, aber das ist ein Detail für Spezialisten, das den erfreulichen Gesamteindruck dieser Aufnahme nicht mindert. Die mitgelieferte DVD dokumentiert zum einen sehr ausführlich die Aufnahmesitzungen, wobei sich der Eindruck einer konzentrierten und eher auf subtile Spannung als auf vordergründige Effekte ausgerichteten Musizierhaltung bestätigt; zum anderen zeigt sie den Dirigenten, wie er in der inspirierenden Umgebung von Monteverdis Wirkungsstätten oder auch beim Essen in der Küche über die Musik plaudert. © Hengelbrock, Matthias / www.fonoforum.de
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Geistliche Vokalmusik - Erschienen am 25. Oktober 2011 | harmonia mundi

Hi-Res Booklet Auszeichnungen Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Geistliche Vokalmusik - Erschienen am 1. März 2011 | harmonia mundi

Hi-Res Booklets Auszeichnungen Diapason d'or - Choc de Classica - Hi-Res Audio
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Geistliche Vokalmusik - Erschienen am 28. Januar 2013 | Mirare

Hi-Res Booklet Auszeichnungen Qobuzissime - Hi-Res Audio
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Geistliche Chormusik - Erschienen am 26. Mai 2011 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason - Choc de Classica - Herausragende Tonaufnahme - Hi-Res Audio
In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That's no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to "Singet dem Herr ein neues Lied," from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied. One crucial element is the absolutely pristine intonation and pure tone of the singers, which makes the harmonies clear and distinct. Herreweghe's graceful shaping of the phrases creates the sense of overlapping waves rising and falling rather than a monolithic wall of sound. The choruses' discipline in their precise observance of producing matching vowels is another factor that allows the intricacies of the music to come across as clean and well-defined. Although it is scored it for the same forces, in Komm, Jesu, komm Bach works with gleaming, transparent textures, where the felicities of Herreweghe's leadership and the refinement of the soloists, choruses, and orchestra are even more clearly in evidence. His attention to the emotional content of the piece gives the music a powerfully yearning warmth that, in spite of the large number of performers, feels intensely intimate. The engineers deserve much credit for creating such a carefully balanced aural environment, where details pop with amazing clarity and the sound is at the same time warm and enveloping. This is a release best experienced on a sound system that provides optimal separation and definition. Highly recommended; these are performances that should delight and dazzle fans of Baroque choral music. © TiVo
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Geistliche Vokalmusik - Erschienen am 12. Mai 2011 | Ricercar

Hi-Res Booklets Auszeichnungen Diapason d'or - Gramophone Record of the Year - Hi-Res Audio
Exequien in German are funeral observances, and Heinrich Schütz's Musikalische Exequien, SWV 279, were performed in February 1636 for the funeral of Heinrich Posthumus von Reuss, a prince and diplomat who was a personal friend of the composer. Reuss planned his own funeral down to the last detail, commissioning music from Schütz, providing him with German texts roughly analogous to the Latin requiem mass, and designing his own sarcophagus, which is reproduced in full color in the booklet. Prince Heinrich Reuss XIII even gets an album credit for making it available for a photograph. Various good recordings of this work are available, from Philippe Herreweghe (captures the emotional intensity in the periodic harmonic clashes) to John Eliot Gardiner (very Bachian). Forces deployed range from one voice per part (Weser-Renaissance) to medium-sized groups (the Sixteen) to full choirs or children's choirs. This reading by Lionel Meunier and the multinational group Vox Luminis is also well worth considering. You might think of it as the authentic performance among authentic performances. Meunier deploys two voices per part and draws his soloists from this group in the work's shifting antiphonal structures; there is manuscript evidence that this is the ensemble size Schütz had in mind. The continuo is realized by a small organ and a bass viol, solutions apparently suggested by Schütz himself. The Musikalische Exequien are introduced by other funeral motets and chorales by Schütz and others, setting the stage for the impact of the funeral rite itself and echoing the order of an actual Lutheran service. And the singers get the quality of memorial warmth in the music, which lives up to the comparison in the booklet notes of the Musikalische Exequien with the Brahms German Requiem, Op. 45. There are versions with more spectacularly sharp singing, but few others that seem to fit together as convincingly as this. The performance is strengthened by the ideal acoustics of a small church in the Loire region. Strongly recommended for any Schütz collection. © TiVo
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Geistliche Vokalmusik - Erschienen am 26. Februar 2012 | Ricercar

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - Qobuz' Schallplattensammlung - Hi-Res Audio
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Messen, Passionen, Requiems - Erschienen am 20. September 2010 | Alpha

Hi-Res Booklet Auszeichnungen Gramophone Editor's Choice - Hi-Res Audio
This is one of a pair of albums devoted to Bach's Missa Brevis settings by French ensemble Pygmalion. Both are strongly recommended. These settings, with Kyrie and Gloria only, were repurposed by Bach from various earlier works, mostly cantatas; they're not among his unquestioned monuments, but they do bespeak his genius. The presentation here by France's Alpha label is compelling. The label packages works from the 16th to the 19th centuries inside high-quality reproductions of paintings that related to the given music in some way, explained by an art-historical essay. Here the painting is The Sermon of Saint John the Baptist by Pieter Brueghel the Elder, of 1566; it is not chronologically matched to Bach, but the correspondences are nevertheless fascinating. Both drew religious scenes out of the cultural materials of ordinary folk. And both were, in the words of essayist Denis Grenier, "ecumentical": Bach was a Protestant who was at the very least influenced by styles of Catholic regions and wrote Latin masses, while Brueghel lived in the Catholic-controlled Habsburg Netherlands but depicted religious events in the down-to-earth way that would emerge under Protestant belief systems. The appeal of the music lies partly in the ways Bach adapts Protestant cantatas for the Catholic mass. The Gloria in excelsis movement of the Missa Brevis in G major, BWV 236, is based on the opening chorus of the Cantata No. 79, "Gott der Herr ist Sonn und Schild" (God the Lord is Sun and Shield), BWV 79: not a total stretch, but also not precisely the same thought, and Bach reworks the music rather than simply resetting it. Similar processes occur in several other movements, and they're fascinating for those well acquainted with Bach's choral music. The general listener may prefer to simply luxuriate in Pygmalion's coolly elegant sound, in the singing of a consistently strong group of soloists headed by soprano Eugénie Warnier, and in the superb Kyries of both masses, each embodying Bach's contrapuntal perfection on a modest scale. The program is rounded out by a short work sometimes known as a cantata but designated by Bach himself as a motet: O Jesu Christ, meins lebens Licht, BWV 118, a funeral work with two parts written for instruments designed by Bach with the name lituus. The booklet goes into a good detail about efforts to decide just what these were supposed to be; the players make the unadventuresome choice of a pair of oboes, but the musical execution is gorgeous. An exceptional Bach release. © TiVo