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Sacred Vocal Music - Released March 10, 2014 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Sacred Vocal Music - Released October 28, 2016 | harmonia mundi

Hi-Res Booklet Distinctions 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Vocal Music (Secular and Sacred) - Released March 4, 2011 | harmonia mundi

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Sacred Oratorios - Released March 23, 2010 | harmonia mundi

Booklet Distinctions 5 de Diapason
Frank Martin's 90-minute oratorio Golgotha, written just after the Second World War, is a monument of 20th century choral music, but because modern concert audiences aren't exactly clamoring for large-scale religious works and because of its demands both on its performing forces and listeners, it remains a piece that is not frequently performed. The subject of Golgotha was close to the composer's heart, and it reveals him at the height of his expressive powers. He approached it with full awareness of the towering influence of Bach's Passions, particularly the St. Matthew Passion, and Bach's presence is evident not only in its music but in its gravity and emotional depth. Particularly in the chorales, the music sounds like Baroque structures filtered through a disturbingly raw contemporary sensibility. The use of dissonance feels entirely appropriate to the material, though, giving the story a visceral urgency, and in the moments of repose Martin's vocabulary recalls the perfumed exoticism of Debussy's Le martyre de Saint Sébastian. This is music that relies more on subtly probing evolution than on high drama and spectacular outbursts. Martin builds tension not so much through the conventional means of increasing volume or rhythmic momentum as with his harmonic movement, which he deploys with great effectiveness in the finely calibrated buildup of psychological anxiety as Jesus inexorably moves through the Passion Week toward the Crucifixion. Daniel Reuss, who has conducted several of the composer's major works for Harmonia Mundi, leads the combined forces of Cappella Amsterdam, Estonian Philharmonic Chamber Choir, and Estonia Symphony Orchestra in a powerful but nuanced account of the score. The soloists are all exceptionally fine, particularly baritone Mattijs van de Woerd as Jesus. This is a release that should have strong appeal for fans of contemporary choral music.
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Classical - Released October 26, 2018 | harmonia mundi

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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 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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Classical - Released October 23, 2007 | harmonia mundi