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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 Kantaten - Erschienen am 28. Januar 2014 | Phi

Hi-Res Booklet Auszeichnungen Gramophone Editor's Choice - 4 étoiles Classica - Herausragende Tonaufnahme - Hi-Res Audio
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Klassik - Erschienen am 12. März 2013 | Phi

Hi-Res Booklet Auszeichnungen 4F de Télérama - Gramophone Record of the Month - 4 étoiles Classica - Hi-Res Audio
Veteran historical-performance conductor Philippe Herreweghe and his Collegium Vocale Gent might seem a questionable choice for Antonín Dvorák's lushly Romantic Stabat Mater. And the booklet essay, which assigns the motivation for the work to Dvorák's 1870s employment at a church that favored pure Palestrina choral style, may further lead you to expect (or fear) a radically stripped-down reading of the work. But actually Herreweghe, like other performers who came of age in the historical-performance movement, has been moving into mainstream repertory, and his interpretation here, while not exactly possessing an intense subjectivity, is well within the mainstream. It's a bit deliberate in the tempos and tends to emphasize the work's roots in church music, but it is in no way chilly, and there's an X factor that comes from the performers' clear enthusiasm for the music. Herreweghe employs a choir of about 60 singers, a far cry from the 840 that performed the work in London, and more monumental performances exist. But it would no doubt have been very often performed by forces of this size, and everything is in balance and very smoothly done. Best of all are the quartet of Flemish and German soloists, whose ensemble work is both precise and relaxed, and who add a sort of lilt to many of their melodies. Listen to the work of mezzo soprano Michaela Selinger in the "Inflammatus et accensus movement" (track 9): she is highly expressive without letting the music expand to operatic dimensions. Herreweghe's characteristic orientation comes through in the final fugue, where the parts are all clearly sculpted and plenty of room is made for the brass underpinning. Add in clear, warm sound from Out Here's engineers, working in the Antwerp deSingel concert hall, and you have a worthy entry in the still not large catalog of recordings of the Stabat Mater. © TiVo
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Weltliche Vokalmusik - Erschienen am 27. Mai 2014 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
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Klassik - Erschienen am 25. September 2012 | Phi

Hi-Res Booklet Auszeichnungen 4 étoiles Classica - Herausragende Tonaufnahme - Hi-Res Audio
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Klassik - Erschienen am 15. Mai 2012 | Phi

Hi-Res Booklet Auszeichnungen Coup de coeur de l'Académie Charles Cros - 4 étoiles Classica - Hi-Res Audio
The recorded repertoire of Belgian conductor Philippe Herreweghe is centered on Bach, but stretches from the Renaissance to Mahler and Bruckner. Regardless of era, he seems to do best in sober, complex structures that he can unpack with a combination of perfect control and great surface beauty. He has rarely obtained more perfect results than with this recording of works by the towering figure of the Spanish Renaissance, Tomás Luís de Victoria. The Officium Defunctorum, described in the album annotations as a swan song, in fact fulfilled that role both for its dedicatee, the Empress Maria of Spain (Victoria's longtime employer), and for Victoria himself, who wrote nothing else after publishing this music in 1605; he died in 1611. The Offices consist of a requiem mass (Missa pro defunctis), a pair of motets, and a Libera me separate from the mass. The collection seems disparate, but everything is knit together in Victoria's setting. Each section absorbs plainchant seamlessly into the texture, and the overall somber mood is broken by the anguished pleas of the Offertory, asking God for deliverance from the trials of Hell. Herreweghe deploys a 13-voice version (all adults, mixed gender) of his Collegium Vocale here; many of the singers are stars of modest repute on their own, and the vocal textures he draws from them are awesomely rich despite the restricted palette of the music. A selection of Victoria motets rounds out the program, and any one of them would be worth the purchase price. Renaissance choral singing just does not get better than this. © TiVo
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Geistliche Vokalmusik - Erschienen am 27. Mai 2016 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason - Choc de Classica - Choc Classica de l'année
All four of the works on this album come from the last part of Stravinsky's career, when he accepted the reigning serialist orthodoxy of the day. As with other music of the period, these have declined in performance frequency (and were never that popular to begin with) since then. Yet they respond well to the rather stark performances of which early music singers are capable, and that's what you get here from the superb Collegium Vocale Ghent and Royal Flemish Philharmonic. Three of the four are serialist; the last is a completion of a motet by Renaissance experimentalist Carlo Gesualdo. Of the two large chorus-and-orchestra pieces, the Requiem Canticles of 1966 probably enjoy more frequent performances as Stravinsky's last major composition. They are short, almost fragmentary settings of requiem texts that bring Webern to mind. The lesser-known work is Threni (1958), a setting of selections from the Lamentations of Jeremiah the Prophet. This work perhaps comes closer than any other to bringing Stravinsky's late style full circle to the Russian-influenced sound of his early work. Sample the tenor-flügelhorn duet on different versions of the tone row in the "Quomodo sedet," curiously evocative of Orthodox chant. The two small unaccompanied choral pieces are genuine rarities, and they're beautifully sung here. Recommended for lovers of Stravinsky's serialist period, or even just for those who want to sample it. Outhere's engineering work at the De Singel arts center in Antwerp is impressive. © TiVo
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Klassik - Erschienen am 10. November 2011 | Phi

Hi-Res Booklet Auszeichnungen 4F de Télérama - Choc de Classica - Hi-Res Audio
Brahms' works for chorus account for a significant part of his output, far greater than would be guessed by the frequency of their performances in modern times, apart from Ein deutsches Requiem. His music for mixed choirs and women's voices, either a cappella or accompanied by piano, are the works that were the most often performed during his lifetime because of their dissemination through the proliferation of amateur community choirs of the era. He wrote relatively few works for chorus and orchestra, most of them in the later part of his career, and this CD brings together an attractive selection of five of them. The most familiar are the Rhapsodie for alto, men's voices, and orchestra, Op. 53, and Schicksalslied for choir and orchestra, Op. 54. Brahms wrote them not long after completing his Requiem, and it's easy to hear echoes of its depths of feeling and musical language in these shorter, but still profound pieces. Gesang der Parzen, Op. 89, his last choral-orchestral work, a setting of Goethe, also deserves broader exposure. It's perhaps the most eccentric musically, filled with unpredictable shifts in direction, but it makes a strong mystical impression particularly in its haunting final moments. The remaining works, the early Begräbnisgesang, Op. 13, and the motet, Warum ist das Licht gegeben, Op. 74/1, may be less likely to find wide audiences, but they are nonetheless satisfying and richly lyrical and are bound to interest the composer's fans and anyone who loves sumptuous Romantic choral music. Phillipe Herreweghe leads Collegium Vocale Gent, a group he founded in 1970, and it's evident from the easy give and take of the performance that there is fluid communication between them. The group sings with seamless phrasing and remarkable subtlety of dynamic inflections. Ann Hallenberg, usually known as a Baroque specialist, brings a light, pure, warmly focused mezzo to the Alto Rhapsody. The sound is clean and ambient, with a good sense of presence. © TiVo
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Geistliche Kantaten - Erschienen am 29. September 2017 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason - 5 étoiles de Classica
Philippe Herreweghe, nun auch schon über 70, ist und bleibt der elegische Lyriker unter den führenden Bach-Interpreten unserer Zeit. Diese Qualität ist essenziell, das „Technologische“ seiner Einspielungen dagegen durchaus flexibel. Dennoch besteht sein Chor in der jüngsten Aufnahme von drei Werken des Choralkantaten-Jahrgangs 1724/25 wieder, wie schon bei den vorangehenden Kantaten-Einspielungen, aus zwölf Stimmen inklusive der Solisten, und das Streicherensemble bleibt kammermusikalisch reduziert, sodass die Bläser farbbestimmend hervortreten und die Chorstimmen als koloristische Werte in ein völlig homogenes Klangganzes eingebettet werden: weich ineinandergleitend und verschmelzend zu herbstlich gedämpfter Tonigkeit, die sich bestens zu den oft verzagt um Erbarmen flehenden und dennoch erwartungsvollen Texten der drei Werke fügt. Dass diese fast mystische Tönung, dunkel glimmend wie farbige Kirchenfenster im Halblicht, manchmal zu Lasten der Textverständlichkeit geht, muss man wohl in Kauf nehmen. Das ist umso eher möglich, als bei dem akribischen Detailarbeiter Herreweghe die Musik selbst sprechend wird, genaue rhetorische Akzente, Klangbildlichkeit und Atmosphäre mindestens genauso wichtig werden wie die großräumigen Entwicklungszusammenhänge. Charakteristisch dafür ist der keineswegs liebliche, sondern dringlich insistierende Einsatz der Blockflöte in BWV 103. Auch das Solistenquartett hält sich fern von der bei Bach anderswo oft nachgefragten naiven Frische, betont eher Züge inniger, ins Transzendente strebender Schwermut, wie besonders Dorothee Mields in ihrer Gebets-Arie aus BWV 115; auch Thomas Hobbs agiert (mit bisweilen recht auffälligem Vibrato) samtig-weich und anti-heroisch, lässt selbst in der zuversichtlichen Ermunterungs-Arie aus BWV 103 Untertöne leiser Ängstlichkeit mitschwingen. Im Ganzen kein Auftrumpfen, stattdessen viel melancholisch gestimmte Nachdenklichkeit. © Felber, Gerhard / www.fonoforum.de
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Klassik - Erschienen am 16. April 2013 | harmonia mundi

Auszeichnungen Diapason d'or - Choc du Monde de la Musique
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Klassik - Erschienen am 18. November 2010 | Phi

Hi-Res Booklets Auszeichnungen 4F de Télérama - Hi-Res Audio
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Messen, Passionen, Requiems - Erschienen am 24. März 2015 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason - 4F de Télérama
Nach der exzellenten, vor zwei Jahren erschienenen Einspielung des Stabat mater kehrt Philippe Herreweghe mit dieser Aufnahme zu Antonín Dvorák zurück: Die jüngste Produktion des Labels Phi widmet sich dem 1890 entstandenen Requiem von Dvorák. Mit dem viel zu selten aufgeführten Meisterwerk zeichnet der Komponist ein Gegenbild zum Klischee des munteren tschechischen Musikanten, der mit beschwingten Melodien und Rhythmen nur so um sich schmeißt: In der engen motivischen Verzahnung und der formalen Disposition offenbart sich ein hoher kompositorischer Anspruch; der Tonfall ist überwiegend rau und dunkel. Herreweghe – ansonsten ja eher für einen Hang zur Milde bekannt – fördert die Dramatik des Stücks mit recht straffen Tempi und erstaunlich schroffen Klängen zu Tage, etwa zu Beginn des „Dies Irae“, mit seinen knarzigen Tremoli und den gemeißelten Unisoni des Chores. Das Royal Flemish Philharmonic verbindet muskulöse Kraft mit einem eher schlanken Ton und ist damit ein passender Partner für Herreweghes Collegium Vocale Gent. Auch in der auf 60 Sänger erweiterten Besetzung wahrt das Ensemble seinen warmen, geschmeidigen Sound und seine gute Intonationskultur – nur vereinzelt, etwa in der a-cappella-Passage des Männerchores am Ende des zweiten Satzes, klingt der Chor nicht ganz so sauber, wie er könnte. Aus der Solistenriege ragen zwei Sänger heraus, die schon in der Aufnahme des Stabat mater für Glanzlichter gesorgt haben. Der Tenor Maximilian Schmitt, dessen junges, lyrisches Timbre mittlerweile von einer etwas dunkleren Färbung bereichert wird, und die Sopranistin Ilse Eerens, die auch im Requiem wieder Momente von himmlischer Schönheit zaubert. Neben diesen Kollegen klingt der Bass Nathan Berg etwas einfarbig; bei Bernarda Fink schlackert das Vibrato bisweilen über die Schönheitsgrenze hinaus und trübt so den Gesamteindruck. © Stäbler, Marcus / www.fonoforum.de
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Klassik - Erschienen am 12. Mai 2017 | Phi

Booklet Auszeichnungen 4F de Télérama - 4 étoiles Classica
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Klassik - Erschienen am 14. Februar 2020 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason
Bachs Johannes-Passion mit ihrem berühmten, von Licht und Schatten durchzogenen Eröffnungschor, ist eine kraftvolle musikalische und spirituelle Reflexion. Dramatisch, grandios, komplex, entschlossen theatralisch: Es mangelt nicht an Superlativen, um dieses Meisterwerk der westlichen Musik zu beschreiben. Philippe Herreweghe und das Collegium Vocale Gent präsentieren eine gelungene Lesart, die das auf umfangreichen Recherchen basierende Wissen über den Komponisten widerspiegelt, und durch unzählige Konzerte vertieft wurde. Auch die Solisten Krešimir Stražanac und Maximilian Schmitt zeigen hier die ganze Bandbreite ihres Könnens in den Rollen des Jesus und des Evangelisten. © Phi
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Geistliche Kantaten - Erschienen am 28. September 2018 | Phi

Hi-Res Booklet Auszeichnungen 5 de Diapason
Es ist bereits das vierte Mal, dass Philippe Herreweghe auf dem Label Phi drei Kantaten von J. S. Bach präsentiert: Christ lag in Todesbanden, BWV 4, Gott der Herr ist Sonn und Schild, BWV 79, und Ein feste Burg ist unser Gott, BWV 80. Die Kantaten, die ein sicheres Gefühl für Dramaturgie, lebhafte Wortmalerei und einen stets großartigen Umgang mit Stimmen und Instrumenten widerspiegeln, entstanden in drei unterschiedlichen Lebensphasen von Bach und basieren zu einem großen Teil auf Werken von Martin Luther. Philippe Herreweghe und dem Collegium Vocale Gent gelingt eine vollendete Version dieser Meisterwerke, und falls es noch eines weiteren Beweises bedurfte, zeigen sie sich ein weiteres Mal als leidenschaftliche Könner in Sachen Bach. © Outhere
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Klassik - Erschienen am 24. Januar 2012 | Phi

Hi-Res Booklet Auszeichnungen Hi-Res Audio
Philippe Herreweghe founded Collegium Vocale Ghent in 1970 and has been its primary conductor since, so it's no surprise that after 40 years, on this 2011 recording of J.S. Bach's B minor Mass, the conductor and choir project an organically unified approach to the masterpiece. From the opening Kyrie Eleison, the singers' intuitive understanding of each other is evident in the surging waves of sound expressing urgent supplications for God's mercy. Throughout, the group responds to Herreweghe's nuanced leadership with supple fluency. Herreweghe draws a bright, vibrant sound from his singers and instrumentalists. His approach to the music is fleet and buoyant, and the musicians respond to his tempi with agility. This reading is nearly 10 minutes shorter than the average version, but it never feels hurried. The group's instrumental ensemble, using period instruments, can produce a full, colorful, rounded sound in the larger choruses, but pares its tone to appropriate leanness in movements like the alto solo Agnus Dei. The horn obbligato in the bass solo Quoniam tu solus sanctus is particularly impressive, especially since it is played on a natural horn. The five vocal soloists are not international superstars but they are expert interpreters of this music, technically solid and distinguished in the purity and expressiveness of their voices. The sound of the Out Here CD is clean and crisp, and somewhat on the bright side. In music of this contrapuntal intricacy, that clarity makes it easy to hear Bach's elaborate interweaving of lines. The ambience is not lacking in warmth and depth, though, and the balance and stereo definition are excellent. © TiVo
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Geistliche Oratorien - Erschienen am 31. Juli 2007 | harmonia mundi

Auszeichnungen Diapason d'or
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Geistliche Oratorien - Erschienen am 16. Oktober 2015 | Phi

Hi-Res Booklet Auszeichnungen 4 étoiles Classica
The entire creation of the world in an hour a quarter… it had to be through Haydn’s extraordinary powers of concentration that this insane wager could possibly succeed; others would not even dare attempt it. The Creation, dating from 1798, is one of the most ultimate and powerful of Haydn’s masterpieces. The great composer was always a master of surprise, and his invention of the Big Bang in musical form – including an introduction proclaiming ‘And then there was light’ – is chorally orchestrated to phenomenal effect. The work also retains a wonderful description of the various creations of the Lord; the extravagant evocation of whales remains an intense moment of orchestral invention, and the score is full of a genius which Beethoven had merely tapped into… Philippe Herreweghe has chosen to focus on a certain transparency of place, rather than perpetuating the traditional, bombastic dramatic gestures of orchestras within the German sphere. And, thus, the score gains greater clarity.
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Geistliche Vokalmusik - Erschienen am 31. Juli 2007 | harmonia mundi

Auszeichnungen Qobuz' Schallplattensammlung
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Geistliche Vokalmusik - Erschienen am 19. Januar 2015 | harmonia mundi

Auszeichnungen Choc de Classica