Here, the polyphonic segments of the selected Magnificat compositions are based not on monophonic models but on pre-existent compositions. Accordingly, here we have to do with parody works in which a procedure widespread in Masses is applied to the Magnificat. Forty of Lasso’s 101 Magnificat compositions are to be assigned to this type. These imitation Magnificats in no way involve a simple re-textualization of pre-existent works. At the beginning Lasso mostly rather precisely draws on his particular model, but then he quickly departs from it. In the Magnificat on Rore’s Da le belle contrade the beginning corresponds to the original, but soon thereafter it departs from it the textual passage in Deo salutari« is completely freely set. This procedure thus is somewhat similar to collage technique: the possibilities range from the use of whole passages to the re-layering of blocks, paraphrasing, quotations of individual voices, free continuation, and so on. The result may safely be termed a new creation on the basis of a pre-existent work. The sound developed by the Singphoniker may be described as cathedral and no less directly immediate. The great fullness of sound displayed by this six-man vocal ensemble never fails to amaze the listener« (FonoForum 2/13).

Judith Clurman conducts her acclaimed chorus, Essential Voices USA, in Holiday Harmonies: Sounds of Christmas, the ensemble’s third recording for Sono Luminus. This holiday disc includes premiere recordings of new vibrant arrangements of seasonal favorites and new works that were written for the disc by some of America’s finest composers. Mezzo Soprano Jamie Barton, Soprano Maureen McKay, Pianist Tedd Firth, and Harpist Stacey Shames are featured performers. Traditional repertoire includes: “Angels We Have Heard on High” (arr. David Chase), “O Holy Night” (arr. Ryan Nowlin), “Silent Night” (arr. Tedd Firth and Judith Clurman), “The Virgin’s Slumber Song” (Max Reger), and “We Wish You a Merry Christmas” (adaptation Judith Clurman). New works include: “Whispered and Revealed” (Nico Muhly), “Love Came Down” (Jennifer Higdon) and “Merry Christmas Wishing Well” (Gene and Lorraine Gilroy, arr. Michael Gilbertson).

Initially regarded as a master composer of art songs, Jake Heggie has since become known as perhaps America’s leading contemporary composer of internationally acclaimed operas. Winning examples of both genres appear on this release: the world premiere recording of a short, one-act opera, The Radio Hour – as well as four shorter vocal pieces. The Radio Hour – the world’s first-ever “choral opera” – is a compact work for silent actress, with running narrative and commentary from a choir. The program is rounded out with four mostly art song-based works in varied arrangements, several with choral elements, sung by the vaunted John Alexander Singers. Susan Graham, one of America’s most beloved mezzo-sopranos, is heard in three of the shorter pieces; Pacific Symphony members provide the instrumentals. “A masterpiece of clarity and intensity, with a score that is at once thematically compact and richly inventive.” San Francisco Chronicle (review of Jake Heggie’s opera “Moby Dick”)

Although highly productive and respected in his lifetime as a Lied composer, Robert Franz (1815–92) has since become a peripheral figure in music history. As they began to explore the songs of Franz, Georges Starobinski and baritone Christian Immler were moved by their findings to devise a program including twenty-three of the composer’s often quite brief songs. Using the poet Heinrich Heine as their guiding star, they present these – all Heine settings but from different opus groups – in the form of two ‘imagined’ song cycles, framed by further settings of Heine poems by Schumann and Liszt.