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Choral Music (Choirs) - Released April 10, 2020 | Gloriae Dei Cantores

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Classical - Released August 31, 2018 | Gloriae Dei Cantores

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Classical - Released August 31, 2018 | Gloriae Dei Cantores

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Choral Music (Choirs) - Released March 2, 2018 | Gloriae Dei Cantores

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Classical - Released February 2, 2018 | Gloriae Dei Cantores

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Classical - Released March 3, 2017 | Gloriae Dei Cantores

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There are Russians (and Ukrainians) involved in this recording of Rachmaninoff's great sacred work, the All-Night Vigil, Op. 37, but the bulk of the singers are American. What you miss in this recording is the distinctive sound of a Russian choir, with its rumbling basses and luxurious low female singers. What you get in exchange is a great deal. You pay your money, and you take your choice. Begin with the booklet, which lays out not only the history of the work, but the aims of the present interpretation, and the links between the two, in convincing detail. Among the goals of this particular recording is to embody the committed Christianity that the conductor and performers find in the work; your attitude toward this will naturally depend on your own background, but this is a sensitive, even impassioned performance by any standard. The performers are aided by the tempo choices of the conductor, Peter Jermihov. Tempo in this work is a matter of debate, for the composer declined to include metronome markings. The booklet presents an interesting theory as to why this was so, and Jermihov builds persuasive musical arguments for it, staying on the faster side and avoiding ponderous depths in favor of a swelling forward impulse, as in the "Bogoroditse Devo" (as good a place as any to start sampling). Jermihov deserves extra credit for getting a consistent sound out of the members of four very different choirs: Gloriæ Dei Cantores, the St. Romanos Cappella, the Patriarch Tikhon Choir, and the Washington Master Chorale. The Church of the Transfiguration in Orleans, Massachusetts, the home base of Gloriæ Dei Cantores, is a sympathetic space for the work, and engineer Keith O. Johnson wisely backs off from them a bit, allowing the dimensions of the music to emerge. Not necessarily a definitive recording of the All-Night Vigil, but one that certainly demands to be reckoned with. © TiVo
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Classical - Released October 14, 2016 | Gloriae Dei Cantores

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Classical - Released June 24, 2016 | Gloriae Dei Cantores

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Choral Music (Choirs) - Released May 1, 2015 | Gloriae Dei Cantores

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Classical - Released July 1, 2013 | Gloriae Dei Cantores

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Classical - Released July 1, 2013 | Gloriae Dei Cantores

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International Pop - Released March 1, 2013 | Gloriae Dei Cantores

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International Pop - Released February 1, 2013 | Gloriae Dei Cantores

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International Pop - Released January 15, 2013 | Gloriae Dei Cantores

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Classical - Released December 11, 2012 | Gloriae Dei Cantores

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Classical - Released December 1, 2012 | Gloriae Dei Cantores

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International Pop - Released August 1, 2012 | Gloriae Dei Cantores

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Classical - Released April 1, 2012 | Gloriae Dei Cantores

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Classical - Released April 1, 2012 | Gloriae Dei Cantores

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Classical - Released October 11, 2011 | Gloriae Dei Cantores

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One of the certainties a listener may have when approaching an album of unfamiliar music by Alan Hovhaness is how unpredictable it is likely to be. Hovhaness may be the most erratic major composer of the 20th century, capable of writing masterpieces like the astonishing, transcendent Second Symphony ("Mysterious Mountain"), as well as the most amateurish drivel. His sincerity is never in doubt; he was clearly a composer with integrity who only wrote what he deeply felt, but he seems to have lacked sound editorial judgment about what he produced. Most of the music on this beautifully performed collection of sacred choral works, From the Ends of the Earth, falls between his extremes, but it still represents a broad range in quality, some of it lovely and some of it embarrassingly clumsy. Among the most effective works is the ecstatically serene Ave Maria for women's voices, harp, oboes, and horns. "Wisdom," for mixed voices a cappella, is exquisitely chaste, and I will rejoice in the Lord conveys a mood of austere mystery. A Simple Mass, written for congregational singing, probably has too many melodic subtleties like eccentric modal inflections to make it easily accessible for most congregations and its movements vary wildly in their quality. The very shapely, graceful Prelude and "Lord, Have Mercy" are followed by the trite (and difficult to sing) "Glory to God in the Highest" and the droning, awkwardly set "We Believe in One God." Gloriae Dei Cantores, a Boston-based ensemble led by Elizabeth C. Patterson, sings with a warm, full sound. The group's intonation is for the most part very good, but there are a few moments when it's questionable. The sound is clean, detailed, and present. © TiVo