he music of the Stift Heiligenkreuz in the Vienna woods became known throughout the world a few years ago: the CD “Chant – Music for Paradise”, on which Cistercian monks from the monastery sang Gregorian chorals, became an international chart success. On this CD, the esoteric aspect of contemplative sacred vocal music is less prominent; the focus is rather on the power of the vocal and instrumental works of the baroque age that are linked liturgically. In fact, a brother of the monastery wrote some extremely important compositions as early as the 17th century; one of the places in which he published them was the collection “Cultus Harmonicus”. From the works of Father Alberich Mazak, the musical form of a baroque liturgical mass at the Stift Heiligenkreuz can also be reconstructed and this has been complemented on the CD by pieces from other composers of the 17th century. Leading the way here is the ensemble dolce risonanza, the founder and conductor of which, Florian Wieninger, reconstructed the vespers for Holy Cross Day (Exaltatione Sanctae Crucis, 14 September). The CD therefore offers a variety of ways of approaching the music: celebrate solemn vespers in the company of the dolce risonanza ensemble and the monks of the Stift Heiligenkreuz while you discover the works of an Austrian composer that were almost unknown until now and which have been preserved in the library of the Stift Heiligenkreuz.

In the year 1580, a young Luca Marenzio published his first collection of compositions: Primo libro de’ madrigali a cinque voci, to all a supreme master. Thanks to these works, Marenzio won a position of primacy among Italian composers, his fame soon reaching other European countries. In England, Marenzio’s works were highly admired. This CD contains an overview of the profane musical genres of the late ‘1500's, of which Marenzio and his contemporaries were the leading figures.

Max Reger has remained a controversial composer, in a way perhaps comparable to Wagner, Hindemith and Shostakovich. Even today, the presence of his oeuvre is by no means a matter of course in concert life or on recordings. There are still numberous musicians, including serious ones, who reject Reger's work, at times with good reason. Even a trained, experienced listener may find his works difficult to grasp, let alone comprehend. This release does a great deal to compensate for the gap in knowledge of Max Reger.

The Brodsky Quartet is joined by soprano Susana Cordón in the premiere recording of the chamber oratorio A Mortuis Resurgere by the contemporary Spanish composer Jorge Grundman (b. 1961). Featuring Mr. Grundman’s trademark contemplative harmonies and expressive writing, this work of remarkable accessibility tells the story of the Resurrection of Christ. This multi-faceted artist and humanitarian is also a professor of acoustics, a writer and co-founder of the Non Profit Music Chamber Orchestra.

“El ciego tañedor” or “the blind keyboardist”, Antonio de Cabezón was one of the most inspired masters of his day and a protégé at the court of King Philip II (whose favourite painting, reproduced on the cover of the booklet, came into his possession while Cabezón was with him in Brussels in 1555). Keyboard music was attaining a status equal to vocal polyphony at this time, and Cabezón’s sophisticated Tientos are at the forefront of a rapid rise in a new intensity of expression. Where the Tientos relate to vocal styles the Variations can frequently be traced to popular songs and dance tunes such as the Folía.