Albums

1993 albums gesorteerd op Date: from newest to oldest en gefilterd op Religieuze vocale muziek
€ 18,99

Sacred Oratorios - Verschenen op 27 april 2018 | deutsche harmonia mundi

Booklet
€ 17,99
€ 11,99

Religieuze vocale muziek - Verschenen op 30 maart 2018 | Ligia

Hi-Res Booklet
€ 15,39
€ 10,99

Religieuze vocale muziek - Verschenen op 30 maart 2018 | Mirare

Hi-Res Booklet
Today, only three remain out of the nine Leçons de ténèbres that François Couperin has seemingly written. Composed for the “Religious Ladies” who belonged to the Order of the Poor Clares in the Abbey of Longchamp, near Paris, which was completely destroyed during the French Revolution, these Leçons represent the height of Baroque pietism from the end of Louis XIV’s reign, still completely permeated by the Jansenism from the previous century. As the abbey was open to the public, it became usual to give these Leçons de ténèbres not at night, but on Wednesday, Thursday and Friday afternoons. This was a society event that the Parisians came to attend. Very popular in the second half of the 17th century, these lessons of darkness became a genre very sought-after by many composers, among whom Marc-Antoine Charpentier who composed at least thirty of them, but of those very few survived to the present day. If François Couperin covers this slightly archaic genre at the beginning of the 18th century, he managed to breathe into it a new form by blending the proper austerity and a very Italian expression of pain which give his pieces a troubling sensuality. The Troisième Leçon (Third Lesson), for two voices, is particularly ornamented with coloraturas filled with affectation. Thanks to the genius of François Couperin, this exacerbated expression of pain isn’t very far from the opera, whose representations were forbidden during Lent. You could therefore follow the delicious spectacle of the most feverish and subtle human passions under the pretext of religion. The ensemble Les Ombres, co-headed by Margaux Blanchard and Sylvie Sartre, offers us this new album the Leçons de ténèbres and extracts from Couperin’s masses and motets, in a chiaroscuro mood which skillfully blends the French rigor spirit and the sweet Italian theatrics. © François Hudry/Qobuz
€ 23,09
€ 16,49

Missen, passies, requiems - Verschenen op 23 maart 2018 | Aparté

Hi-Res Booklet
From the start of the 18th century, Lutheran Germany has kept the tradition of performing an oratorio for the Passion in Holy Week. In Hamburg, where Telemann is said to have spent 46 years as musical director, he would have overseen as many Passions. But if we include his previous jobs, that would take the number of works by Telemann for this theme alone to over sixty! These Passions could be strictly liturgical, that is, they could closely follow the text of one of the Gospels; but they could also liberally paraphrase the story of the Passion, following a version by a contemporary author; or they could represent a meditation on the events. And so Seliges Erwägen by Telemann, whose full title leaves no doubt as to the content: Oratorio of the Passion, or Spiritual Contemplation on the bitter suffering and death of Jesus Christ, to inspire prayer, in several meditations taken from the account of the Passion. Not a linear account of the Passion, as with Bach: but a series of individual meditations set to music. The work was first composed in 1719, and then reviewed and completed three years later for Hamburg, where the first performance took place on 19 March 1722 the success was considerable, and the work was performed again and again many times throughout the following decades. This was probably the most-performed work on the Passion in the 18th century, out ahead even of Telemann's Brockes Passion... There is no evangelist here, nor storyteller, but rather an evocation of the main events of the Passion. That is why there are only two main "roles" here: Christ, with six airs and six recitations, and the allegory of the Devotion (soprano or tenor) as the mouthpiece for the thoughts of the faithful, with eight airs and eight recitations. The sole narrator is Peter, with his denial and despair, and Caiaphas, the high priest who condemns Jesus, comes on for a single, very violent, air. This is very much a series of individual devotional meditations. The instrumentation in particular is extraordinarily rich. Alongside the strings, the continuo and the standard woodwind, a dash of colour is added by two horns, two chalumeaux, ancestors of the clarinet – what a pity that Bach never made the most of this sound – echoing recorders, a magnificent bassoon solo that intermingles with the soprano's voice; in short, once again, Teleman proves to us that far from being a mill for middle-of-the-road baroque, he is in fact one of the most imposing musical minds of his age. The Freiburger Barockorchester and a lovely soloists come together to perform this work.. © SM/Qobuz
€ 9,99

Religieuze vocale muziek - Verschenen op 15 maart 2018 | Art House Records

€ 25,19
€ 17,99

Missen, passies, requiems - Verschenen op 9 maart 2018 | harmonia mundi

Hi-Res Booklet
€ 14,99
€ 9,99

Religieuze vocale muziek - Verschenen op 9 maart 2018 | Arcana

Hi-Res Booklet Onderscheidingen Diapason découverte
Why yes, even now, in the 21st century, there are still some works by Pergolesi which are yet to be recorded! It's hard to believe that these works have been neglected for three hundred years; it's almost as if his tremendously famous Stabat Mater had thrust the rest of this composer's ample output into the shade! But here they are: these two religious works date from the end of his tragically short life, from 1730 to his death six years later. Remarkably, his Mass in D Major from 1732 or 33 (the era of La Serva padrona) was written for two choirs and two orchestras, a deliberately stereophonic effect which is very well-executed in terms of the spatial distribution of the sound and the music. But that doesn't keep the composer from deploying all the dynamic options at his disposal, rather than taking the mass as an excuse to just blast away. As for the motet Dignas laudes resonemus, it is a great Neapolitan concert motet: a monumental form, which here also uses a double choir and two distinct orchestras. The score had been lost until some contemporary orchestral material resurfaced which made it possible to reconstruct the entire work. Here we discover a more lyrical side of Pergolesi, who, let us not forget, composed ten operas, and had he not died at 26, would have surely composed dozens more pieces of even greater quality. © SM/Qobuz
€ 15,39
€ 10,99

Religieuze cantates - Verschenen op 16 februari 2018 | Mirare

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Diapason d'or / Arte
The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written. For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty. Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/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
€ 20,99
€ 13,99

Religieuze cantates - Verschenen op 12 januari 2018 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
An icon of French Romanticism thanks to the enduring popularity of his operas Faust and Roméo et Juliette, Charles Gounod competed three times for the prestigious Prix de Rome between 1837 and 1839. Thus he composed three unpublished cantatas for soloists and orchestra, including Marie Stuart et Rizzio and La Vendetta, which he never had the opportunity to hear in performance. Revealed for the first time, these three cantatas, fine examples of French Romanticism, show a young composer with a remarkable flair for opera. In the end Fernand won him the coveted prize, carrying with it the privilege of a three-year stay (from 1840) at the Villa Medici in Rome. While there he produced several sacred compositions, which have also remained unknown until now. His splendid Messe vocale for unaccompanied choir, written in a neo-Palestrinian style, deserves a place on the programme of every vocal ensemble. © Palazzetto Bru Zane
€ 1,07

Religieuze vocale muziek - Verschenen op 6 januari 2018 | Zauberwald Records

€ 20,24

Religieuze vocale muziek - Verschenen op 22 december 2017 | profimusic

€ 13,49

Religieuze vocale muziek - Verschenen op 22 december 2017 | profimusic

€ 4,04

Religieuze vocale muziek - Verschenen op 10 december 2017 | First Love Media

€ 1,39
€ 1,07

Religieuze vocale muziek - Verschenen op 8 december 2017 | BENDEZ RECORDS

Hi-Res
€ 14,99
€ 9,99

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
€ 1,07

Religieuze vocale muziek - Verschenen op 1 december 2017 | profimusic

€ 22,49
€ 14,99

Missen, passies, requiems - Verschenen op 1 december 2017 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
This album, In excelcis Deo, with two religious works written at the time of the Spanish war of succession, presents the Missa Scala Arentina to four choirs by the Catalan composer Francesc Valls (1671-1747) and the Mass for Two Choirs and Two Orchestras by the French composer Henry Desmarest (1661-1741), each held up as a mirror to the other. These exceptional masterpieces are tightly connected in time, one dating from 1701 and the other from 1704. The Spanish war of succession raged from 1701 to 1714 and was the last of the major wars fought by Louis XIV of France: this terrible European conflict revolved around the succession to the Spanish throne following the death of the last Spanish Hapsburg, Charles II (he was epileptic, he contracted syphilis from his mother at birth- yes, that's a thing - and he was also infertile) and, through it all, political and commercial dominance in Europe. Finally, Spain lost more or less all of its European possessions - in Italy, the Netherlands, Sardinia, and even in Spain itself, with Gibraltar falling into British hands. The Bourbons would be installed on the Spanish throne (where they still sit today), while Barcelona was "recaptured", Catalonia having taken the side of Austria and the Austrian Hapsburgs... A can of worms was opened which is still squirming today! This album, musically very ecumenical thanks to the talent of Jordi Savall, juxtaposes the works of musicians who came from countries on opposite sides of the war, whose masses were held one in Barcelona, and the other in Versailles. It is up to the listener to form their own opinion as to whether the music of the very Catholic French and the very Catholic Catalans is so different after all! © SM/Qobuz
€ 13,49

Religieuze vocale muziek - Verschenen op 21 november 2017 | Housemaster Records

€ 10,79

Religieuze vocale muziek - Verschenen op 17 november 2017 | Embark Music