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1729 albums sorted by Date: from newest to oldest and filtered by Sacred Vocal Music

Masses, Passions, Requiems - Released March 15, 2019 | Profil

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Masses, Passions, Requiems - Released January 25, 2019 | Paraty

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Masses, Passions, Requiems - Released January 4, 2019 | Glossa

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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
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Sacred Vocal Music - Released November 2, 2018 | Herald

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Sacred Vocal Music - Released October 26, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
For his first album as a soloist, the Polish countertenor Jakub Józef Orliński chose to explore some of the rarest repertoires, to the point that several of the pieces presented here are world premieres. As a result, we are introduced to composers who are almost unknown today: Gaetano Schiassi (1698-1754), Domènec Terradellas (1711-1751) and Nicola Fago (1677-1745), alongside other composers who are famous today such as Hasse, Zelenka or Durante. Helped by the bass-baritone Yannis François, Orliński covers a large amount of time, from the end of the 17th century to the last third of the 18th century, though solely in the spiritual domain, with Masses, Dixit Dominus or sacred oratorios. That said, the vocal and instrumental writing borrows from baroque, with its vocalisations, its embellishments and its brightness. On top of this, the ensemble il pomo d'oro performs the work with great confidence. © SM/Qobuz
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Sacred Vocal Music - Released October 26, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 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

Masses, Passions, Requiems - Released October 19, 2018 | Glossa

Booklet Distinctions Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
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The modern-day appreciation of Francesco Bartolomeo Conti takes a decisive turn in the direction of his church music with this early eighteenth-century composer’s Missa Sancti Pauli given an ideal recording on Glossa by György Vashegyi, the Purcell Choir and Orfeo Orchestra. Conti was a Florentine who worked for much of his career in the Imperial Court in Vienna, generating much attention there – the ever-observant Johann Sebastian Bach and Zelenka were both known to have been attracted by his music. Curiously, it was liturgical works like this 1715 Missa Sancti Pauli which kept Conti’s name known until near to the end of the nineteenth century rather than the operas, oratorios and cantatas with which he delighted the Viennese Court and which have hitherto been receiving the attention of artists and record labels today. If Conti’s church music is less fledgling Classical than his dramatic fare, there is much in the way of melodic tunefulness and concertato style – for both voices and instruments – to combine with fugalimitative writing reminiscent of the “stile antico”. The work is a “Credo Mass” (both Mozart and Beethoven were to write examples of this genre, with its rondolike restatement of the word in the Credo section. The tone, control, presence and unity of the Purcell Choir have been amply demonstrated already on Glossa in music of the French Baroque – Rameau and Mondonville in particular – and the singers are given full opportunity to shine in Conti’s mass – as are the orchestra, comprised mainly of strings, and the vocal soloists, who include Adriána Kalafszky, Péter Bárány, Zoltán Megyesi and Thomas Dolié. Bárány and Megyesi are also soloists in two additional works: the motet, Fastos caeli audite and the aria Pie Jesu, ad te refugio. © Glossa
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Sacred Vocal Music - Released September 28, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
It's thanks to a complete stroke of luck that several of Pierre Bouteiller's rare works have been preserved for posterity, including this Messe à cinq voix. During a long journey from Paris to Strasbourg, Sébastien de Brossard – who was relying on the collegial hospitality of chapel masters at various churches along the route – found himself lodging with Bouteiller, who was working at Châlons-sur-Marne. The two musicians exchanged manuscripts, including thirteen motets and the Messe pour les défunts by Bouteiller, which have been found in Brossard's private library. In order to bring these works by Brossard and Bouteiller to life, and to perform them in the manner that they were sung in their day, during funerals, Paul Agnew, leader of the Arts Florissants has chosen to insert plain-chant sections to mark different points along the cortège and the funeral rites. In the reconstruction offered in this recording, Brossard's Miserere comes sandwiched between two organ pieces – the instrumental Kyrie by André Raison – which figures in the procession towards the tomb, and then the return to the church. The time of the Sun King is reconstructed with care, right down to the choice of acoustics (the Abbey of the Holy Trinity in Lessaye, Manche) and the selection of vocalists. © SM/Qobuz
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Sacred Vocal Music - Released September 28, 2018 | Editions Jade

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Cantatas (sacred) - Released September 21, 2018 | Phi

Hi-Res Booklet Distinctions 5 de Diapason
For the fourth time on the Phi label, Philippe Herreweghe presents three cantatas by Johann Sebastian Bach – Christ lag in Todesbanden, BWV 4, Gott der Herr ist Sonn und Schild, BWV 79, and Ein feste Burg ist unser Gott, BWV 80. Written at different moments in the composer’s life and based to a large extent on the works of Martin Luther, these cantatas reflect a marked taste for dramaturgy, vivid word painting and an invariably astonishing use of instruments and voices. Philippe Herreweghe and Collegium Vocale Gent give us an accomplished version of these masterpieces, confirming, if further proof were needed, their stature as ardent champions of Bach. © Outhere Music
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Choirs (sacred) - Released September 21, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Sacred Vocal Music - Released September 21, 2018 | L'empreinte Digitale

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Sacred Vocal Music - Released September 10, 2018 | Channel Classics Records

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Sacred Vocal Music - Released September 10, 2018 | Channel Classics Records

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The rediscovery of Dietrich Buxtehude, whom Bach walked across Germany to hear, continues to yield fascinating new masterpieces. Membra Jesu nostri (The Body Parts of Jesus), known only to a handful of specialists a decade ago, has attracted no fewer than three strong recordings from major early music ensembles: the Sixteen under Harry Christophers performs its framing ensemble sections with a small choir, while Konrad Jünghänel's Cantus Cölln and the present performance, by the Netherlands Bach Society under Jos van Veldhoven, simply join the four soloists together to form the chorus. Normally that's a questionable decision, but in this case it seems to work: this was experimental music, written for a small group of initiates and set down in a very odd tablature notation, a specimen of which is reproduced in the booklet for this disc. The Latin texts of these seven thematically linked cantatas, drawn from a medieval mystical poem, are devotions addressed to body parts of the crucified Christ: feet, knees, hands, side, breast, heart, and face. These texts are sung by soloists, with a different soloist taking each verse in music that changes but remains harmonically consistent with the other verses. Buxtehude frames each text with a choral setting of a line from the Bible that refers to the same body part. He alters the mode of expression in these little framing choruses; some are direct and passionate, others coolly contrapuntal. And he finds other ways of varying what could be a tedious sequence of seven similar cantatas; the work reaches a climax in the sixth cantata, on the theme of the heart, where the alto, tenor, violins, and cellos drop out and throw the remaining forces -- soprano, bass, and a group of gambas -- into sharp relief. This extraordinary cantata suggests the confluence of sacred and secular love found in both the Latin poem and in the Song of Songs text Buxtehude chooses from the Bible to frame it, and the suggestion is made without the recourse to Italian operatic language found in Bach. The music as a whole is intimate, personal, and intensely devotional; it may well appeal strongly to those whose religious impulses are stimulated by close consideration of individual biblical passages. There is a dramatic quality that lurks in Buxtehude's vocal music, and the soloists here choose to bring it out even as they keep to a generally quiet level -- in this performance the music is a quietly impassioned, private prayer. The other available performances are a bit warmer. Preferences among the three may be individual, but the acoustics of this recording bring out its subtleties and its general hushed, intense mood. This disc is strongly recommended for anyone who loves the passionate yet concrete quality of Bach's smaller sacred pieces.
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Sacred Vocal Music - Released September 10, 2018 | Channel Classics Records

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Sacred Vocal Music - Released September 7, 2018 | Coviello Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Sacred Oratorios - Released August 31, 2018 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
There is no shortage of parallels to be drawn between Caldara and Vivaldi: both Venetians, both boasting an impressive body of work running to several hundred pieces of all genres, both died in Vienna (in the same street and in the same penury!), although Caldara had written more operas and oratorios than the Red Priest. And here is one of these very 32 known oratorios, Maddalena ai piedi di Christo written in Venice around 1698; it is "oratorio volgare", that is, recited in Italian, rather than Latin. Originally written as an accompaniment to spiritual exercises, the oratorio came to replace profane operas when the theatres were closed, especially from November to Lent. It took on the guise of opera, and used many of its techniques: naves and altars were (re)decorated and mechanisms and costumes were employed. In reality, it was nothing but an opera with a religious theme... The words and the plot of Maddalena ai piedi di Christo are perfectly suited to these months of penitence. It is a drama of the moral breakdown that tortures the sinner who has to choose between worldly and heavenly love, between living a life of luxury and truly promising herself to Christ. The Le Banquet Céleste ensemble, led by Damien Guillon (who also sings the alto part of Divine Love), takes to this rare piece with fervour. © SM/Qobuz
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Cantatas (sacred) - Released June 22, 2018 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason
Most of the works presented here by the Clematis Ensemble and countertenor Paulin Bündgen come from the rich Düben collection held by the Uppsala University. In the 17th century, Gustaf Düben was kapellmeister at the Swedish court; he had mostly gathered manuscript scores of compositions from numerous German, French, Italian and Baltic authors. It is one of the largest sources of Lutherian repertoire of the 17th century, particularly as it contains numerous in unicum scores. Among the composers featured in this piece, some were Schütz’ successors or disciples, but it’s worth mentioning that the German composers of that time – particularly Schein, Franz Tunder (who was Buxtehude’s master) and Johann Fischer – were considerably influenced by Italian baroque. You’ll notice the presence of two Bachs on this album: Johann Michael (1648-1694) and Johann Christoph (1642-1703), two second-degree cousins of Johann Sebastian. Johann Christoph Bach’s Lamento − whom his cousin described as a “deep composer” – is without a doubt one of the best-known compositions of the sacred German repertoire of the time. Like in the entire repertoire, the role of strings remains essential. This sacred piece relies on the text’s numerous descriptive effects, like a “painting in musical form”: the sharpest terms (crying, sighing, sinking…) are underlined by similar vocal and instrumental effects. This Lamento is without a doubt the perfect example of the aria à da capo form that Johann Sebastian Bach so frequently used in his sacred works. This vocal music programme is accompanied by a few instrumental pieces that can be assimilated to church music. © SM/Qobuz
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Sacred Vocal Music - Released June 8, 2018 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Preis der deutschen Schallplattenkritik
In 1668, Dietrich Buxtehude, then thirty one years old, took up the very sought-after tenure of organist at the Marienkirche in Lübeck, then a Hanseatic metropolis of considerable relevance; the organist had at that time one of the most desirable social statuses. He soon caused a sensation with the church concerts he held outside of religious services and that happened every year, in the early evening, on the five Sundays preceding Christmas. During these “Abendmusiken” (vespertine music), as they were called, were sometimes performed great works falling withing the oratorio genre, but more often was performed a mix of instrumental pieces, church tunes, psalm arrangements and cantata-like works. From the 1700s, these series of concerts had become a major cultural event of the city. Released from the daily handling of religious music handled by the Marienkirche’s Cantor—as was often the case at the time in North Germany—, Buxtehude only composed works on his own initiative, which allowed him to give them a quality level noticeably higher than that of the Cantor, for example, forced to compose non-stop, from one Sunday to another. The cantatas recorded here demonstrate the high artistic ambitions of these vocal works: they often digress from stylistic and generic conventions of their time and answer the tasks imposed by the texts with bold musical solutions, daring and absolutely splendid. The sonatas from Buxtehude completing the vocal program of this disc are also characterized by their markedly experimental character. Olivier Fortin’s Masques Ensemble—recorder, strings, positive organ—and Lionel Meunier’s Vox Luminis join forces to offer us these gems from the turn of the North German 18th century, such gems that the young Bach didn’t hesitate, in 1705, to travel on foot from Arnstadt—a 100-league trip—to come listen to Buxtehude, his organ play and probably his famous Abendmusiken. © SM/Qobuz