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Peter Dijkstra|Messe für Doppelchor

Messe für Doppelchor

Frank Martin

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Dutch conductor Peter Dijkstra leads Chor des Bayerischen Rundfunks in a luminous performance of three classics of twentieth century sacred choral music. Frank Martin's a cappella Mass for two mixed choirs is one of the most demanding modern works for chorus, not for its harmonic or rhythmic complexity, but because its transparency requires absolute precision in pitch -- a genuinely daunting task in an a cappella work lasting almost half an hour -- as well as exceptional stamina, focus, and nuanced musicality. Chor des Bayerischen Rundfunks is fully successful in delivering on the work's technical demands and also turns in a performance of great purity and subtlety. The choir's intonation is immaculate and its blend is radiant and warm. Dijkstra leads the group with expressive suppleness of phrasing, tempo, and dynamic shading. At its quietest, the choir's tone emerges almost imperceptibly out of silence, but the singers can also produce a powerfully full sound, as at the closing of the Sanctus. Kodály describes his work as a Missa Brevis even though it includes all the text of a full mass, including the credo, as well as an Introitus and Ite, missa est. Written in the midst of the Second World War and scored for mixed choir and organ, it is overall an earthier, more conventional and less integrated setting than Martin's, but its pleas for mercy and peace are especially heartfelt, and its sections for solo voices are particularly lovely. Poulenc's Litanies à la Vierge Noire, for women's voices and organ, is one of the composer's earliest sacred choral pieces, but it already shows the distinctively sensuous harmonic and melodic tendencies that characterize many of his works in that genre. While the Kodály and Poulenc don't rise to the level of transcendence of the Martin Mass, the choir brings to them the same skill, sensitivity, and commitment. BR Klassik's SACD sound is clean and present, with a warm ambiance.

© TiVo

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Messe für Doppelchor

Peter Dijkstra

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Mass for Double Choir (Frank Martin)

1
Kyrie eleison
Peter Dijkstra
00:05:57

Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

2
Gloria
Peter Dijkstra
00:06:21

Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

3
Credo
Peter Dijkstra
00:05:59

Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

4
Sanctus
Peter Dijkstra
00:04:18

Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

5
Agnus Dei
Peter Dijkstra
00:05:21

Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

Missa Brevis (Zoltán Kodály)

6
Introitus
Max Hanft
00:02:35

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

7
Kyrie
Max Hanft
00:02:42

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

8
No. 3, Gloria
Max Hanft
00:04:22

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

9
Credo
Max Hanft
00:06:35

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

10
Sanctus
Max Hanft
00:02:35

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

11
Benedictus
Max Hanft
00:03:43

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

12
Agnus Dei
Max Hanft
00:05:55

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

13
Ite, missa est
Max Hanft
00:02:48

Masako Goda, soprano - Barbara Fleckenstein, soprano - Michaela Knab, soprano - Sigrid Horvath, contralto - Andrew Lepri Meyer, ténor - Werner Rollenmüller, basse - Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

14
Litanies a la vierge noire
Max Hanft
00:07:43

Max Hanft, orgue - Chœur de la Radiodiffusion bavaroise - Peter Dijkstra, direction

2009 BR-Klassik 2009 (P) BR-Klassik

Album review

Dutch conductor Peter Dijkstra leads Chor des Bayerischen Rundfunks in a luminous performance of three classics of twentieth century sacred choral music. Frank Martin's a cappella Mass for two mixed choirs is one of the most demanding modern works for chorus, not for its harmonic or rhythmic complexity, but because its transparency requires absolute precision in pitch -- a genuinely daunting task in an a cappella work lasting almost half an hour -- as well as exceptional stamina, focus, and nuanced musicality. Chor des Bayerischen Rundfunks is fully successful in delivering on the work's technical demands and also turns in a performance of great purity and subtlety. The choir's intonation is immaculate and its blend is radiant and warm. Dijkstra leads the group with expressive suppleness of phrasing, tempo, and dynamic shading. At its quietest, the choir's tone emerges almost imperceptibly out of silence, but the singers can also produce a powerfully full sound, as at the closing of the Sanctus. Kodály describes his work as a Missa Brevis even though it includes all the text of a full mass, including the credo, as well as an Introitus and Ite, missa est. Written in the midst of the Second World War and scored for mixed choir and organ, it is overall an earthier, more conventional and less integrated setting than Martin's, but its pleas for mercy and peace are especially heartfelt, and its sections for solo voices are particularly lovely. Poulenc's Litanies à la Vierge Noire, for women's voices and organ, is one of the composer's earliest sacred choral pieces, but it already shows the distinctively sensuous harmonic and melodic tendencies that characterize many of his works in that genre. While the Kodály and Poulenc don't rise to the level of transcendence of the Martin Mass, the choir brings to them the same skill, sensitivity, and commitment. BR Klassik's SACD sound is clean and present, with a warm ambiance.

© TiVo

Details of original recording : 67:05 - DDD - Enregistré du 16 au 19 septembre 2008 en l'église du Sacré-Cœur, Neuhausen, Munich - Notes en français, anglais et allemand

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