The Choral Music Sale
Over 400 choral recordings are now on sale on ArkivMusic!
Discover the luminous music of John Rutter, Morten Lauridsen, Rorem, and many more. Explore breathtaking performances from celebrated ensembles including Cantus, the Choir of Magdalen College, Oxford, I Fagiolini, and other world-renowned vocal groups. From timeless sacred masterpieces to contemporary choral gems, discover inspiring recordings that showcase the beauty, warmth, and transcendent power of the human voice.
Shop the sale before it ends at 9:00am ET, Monday, August 17th, 2026.
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Mattheson: Das Großte Kind (Christmas Oratorio) / Willens, Koelner Akademie
CPO · Nov 2010CD$18.99 -
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Christmas with St. John's / Nethsingha, Choir of St. John's Cambridge
Signum Classics · Aug 2016CD$19.99 -
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Monteverdi: Vespers of 1610 / Christophers, The Sixteen
Harry Christophers writes: 'Monteverdi's Vespers of 1610 is quite simply one of the greatest works of sacred music ever written and without doubt the most varied and inspired before Handel and Bach began composing their oratorios and passions. Where it was written, why it was written and who it was written for are actually immaterial - suffice it to say it was quite simply his calling card for the big job, Choirmaster at the resplendent Basilica of St Mark in Venice. Its variety alone makes it unique - thrilling psalm settings with virtuosic writing for both multi-part choir and instrumentalists to exotic and sensual settings of texts from the Song of Songs for solo voices. Every movement is full of luscious harmonies, drama and an evocative musical language which is so beautifully constructed for all concerned. 'There has been much scholarly debate about the pitch of Lauda Jerusalem and the Magnificat. These are notated in the part books in a combination of "high" (chiavetti) clefs which dictates a downward transposition of a fourth. For this recording I decided to include both versions, one at high pitch and one at low, so that you the listener can determine your own preference.'
A Musical Memorial for America's Veterans
Altissimo is proud to honor all veterans with this special compilation performed by the U.S. Military bands and choruses. The pieces featured on the album were selected for the message behind the music. Included are: Eric Ewazen's "A Hymn for the Lost and Living," which he composed as his musical response following September 11th; "That Others May Live" written by SSgt Jeremy Martin and dedicated to all of the medical workers in all branches of the U.S. Military; Gene Sheer's "American Anthem" composed to serve as a reminder of the selfless sacrifices of the men and women who fight for our nation; Robert Jager’s “Epilogue: Lest We Forget,” commissioned by Colonel Jack Grogran for the 50th Anniversary of WWII; "Gardens of Stone" by James A. Beckel, Jr. written for all fallen heroes buried at Arlington Cemetery; and "The Last Full Measure of Devotion" by Larry Grossman and Buz Kohan composed for the 1991 CBS Special "CBS All-Star Salute to Our Troops," among many other great pieces.
Where Late the Sweet Birds Sang (Latin Music from Tudor Engl
The Call Of The Beloved / The Sixteen
War and Peace - Music for Remembrance
The Cambridge Singers Christmas Album / Rutter
Over the past couple of decades, the Christmas recordings of John Rutter and his Cambridge Singers have claimed such a solid and widely enjoyed presence among choral music fans that we have to say that this group and its director/composer/arranger have long ago passed from phenomenon to tradition. This new release, which contains 19 previously issued but newly re-mixed tracks along with four never-before released selections, is both a celebration of that legacy and a re-affirmation of Rutter's uniquely influential contributions to a special genre that began years ago with his acclaimed carol arrangements and his now-classic anthem "What sweeter music". While this disc does not feature Rutter's own compositions--those can be found on an earlier companion disc, The John Rutter Christmas Album (type Q5895 in Search Reviews)--it does offer many of his carol arrangements (notably the infectious "Somerset Wassail") along with some of the finest by such masters as David Willcocks, H. Walford Davies, and Healey Willan (whose rarely-heard setting of "What is this lovely fragrance?" is happily included rather than the fine but ubiquitous Willcocks version).
The program also provides a very healthy dose of original pieces, from Victoria's O magnum mysterium, Handel's For unto us a child is born, Kenneth Leighton's Lully, lulla, thou little tiny child, and Britten's A New Year Carol, to Sweelinck's double-choir Hodie Christus natus est, John Tavener's The Lamb, and Peter Warlock's Balulalow and I saw a fair maiden. The disc ends with Vaughan Williams' rousing Fantasia on Christmas Carols. As you might expect, there's not a dull moment during this very generously filled 77-plus-minute CD, and there's so much joy and beauty in these well-chosen, perfectly sung pieces that a simple numerical rating doesn't do it justice. The sound is appropriately full, vibrant, clear, and dynamic. Add this to your list. [11/8/2003]
--David Vernier, ClassicsToday.com
Pergament: Den judiska sången (The Jewish Song)
VOICE (Eternal)
Haydn: The Creation / Pearlman, Boston Baroque
HAYDN The Creation • Martin Pearlman, cond; Amanda Forsythe (sop); Keith Jameson (ten); Kevin Deas (bs-bar); Boston Baroque • LINN CKD 401 (2 SACDs: 96:09 Text and Translation)
I was disappointed in Boston Baroque’s recording of Cherubini’s C-Minor Requiem (Fanfare 30:5), but this Creation has, from its orchestral introduction, an essential rightness—of mood, sonority, drama, and tempo. As with Dinu Lipatti’s Schumann Concerto (the first time I experienced such a feeling), this is the way it should go. Martin Pearlman realizes the work’s character of being very serious yet radiantly joyful. His period orchestra (strings 6/5/4/4/2) has a full measure of both power and tenderness, without having to strain for either. The chorus (7/6/6/6) is magnificent; the opening of “Stimmt an die Saiten” (disc 1, track 11) is so electric that one wants to stand up and cheer. Pearlman’s vocal soloists are each superb, in voice and in delivery; their clean, never ostentatious ornamentations fit this particular work (the florid style of René Jacobs’s soloists is better suited to the more Baroque The Seasons), and they match beautifully in ensemble. The fortepiano continuo is always just right. Above all, the lofty spirit of the whole is thrilling.
The icing on the cake is Linn’s recorded sound, from Mechanics Hall in Worcester, Massachusetts, during October 2011. It is so realistic, so natural, that one might be sitting beside Beethoven at the premiere. Balances are ideal; the chorus is clearly spread from sopranos on the left to basses on the right, and every contrapuntal line comes through. This is Boston Baroque’s first recording for Linn, and it helps explain the vast improvement over its Cherubini. No doubt it is aided by listening on a system of all-Linn electronics (with KEF 104/2 speakers and/or Sennheiser HD 600 head phones). I blamed the Worcester Hall’s acoustics for the Cherubini’s problematic sound; either I was mistaken or Linn’s team, led by Thomas C. Moore of Five/Four Productions, Ltd., has worked miracles. SACD smoothes the sound, lessening the orchestra’s impact, but clarifies the choral lines even more; one has the sensation of almost hearing each individual voice, which is just as it should be. Surround sound restores any lost impact and throws the listener into the performance, a wondrous if slightly unreal effect.
Must there be something wrong? Okay, the side-by-side German/English libretto is in small white print on black pages, making one squint.
I haven’t been counting, but I’ll bet there have been 100 recordings of The Creation. This one stands comfortably at the pinnacle; among its close competitors, Thomas Hengelbrock on Deutsche Harmonia Mundi is sweeter but less dramatic, Neville Marriner’s incomparable EMI soloists steal the show in a modern-instrument performance. In more than six decades of listening, I have found that almost every new recording of any masterpiece brings more doubts, because every performance has characteristics that others lack. About once a decade have I found the recording, one that has everything: Willem Mengelberg’s (Telefunken) Franck D Minor, Otto Klemperer’s 1954 mono “Eroica,” David Willcocks’s “Lord Nelson” Mass, Klaus Tennstedt’s (pirate) live BSO Schubert Ninth, George Szell’s Schumann Second, Riccardo Chailly’s Gurrelieder, James Levine’s Prokofiev Fifth. Martin Pearlman’s Creation joins that list.
FANFARE: James H. North
Tavener Conducts Tavener
Life Stories: Choral Music of Eric Barnum
Mattheson: Das Großte Kind (Christmas Oratorio) / Willens, Koelner Akademie
Almost all of Mattheson's music vanished during World War II and was presumed lost, however missing scores and copies were discovered in 1998 in Yerevan, Armenia and were returned to the city of Hamburg. The rediscovered scores included four operas and most of the oratorios. The manuscripts are now located at the Staats und Universitätsbibliothek Hamburg, the former Hamburg Stadtbibliothek.
Christmas with St. John's / Nethsingha, Choir of St. John's Cambridge
– All Music Guide (James Manheim)