Recorded in: Santa Sofia Cathedral, Polotsk Producer(s) A. Akopian Sound Engineer(s) Elena Buneeva Igor Veprintsev

Recorded in: All Saints' Church, Tooting, London 9-10 June 1992 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens Ben Connellan (Assistant)

Jan Novák’s oeuvre has not received the attention it undoubtedly deserves. His music is noted for its lightness, elegance, humor and slight provocation, and, in addition to Martinů and jazz, was inspired by Latin, which he perfectly mastered and applied (almost exclusively) in his works. The young Martinů Voices ensemble presents Jan Novák’s choral pieces, with two of them released on CD for the very first time. A special guest on the album is the composer’s daughter, flautist Clara Nováková.

This new release is an outstanding recording of Felix Mendelssohn’s Elias. This work was recorded live at Konzerthaus Berlin in July of 2015. Soloists featured include soprano Marlis Petersen, mezzo-soprano Lioba Braun, tenor Maximilian Schmitt, and baritone Thomas Oliemans.

Import Hybrid-SACD pressing.

HANDEL: Te Deum, HWV 283, "Dettingen"

Cantus angelicus

Today Camille SaintSaëns is classified as a conservative classicist by many people. By his contemporaries he was considered as a musical revolutionary who demanded "dreams of the future" his audience. His oratorio Le Déluge courted the pope's resentment; he criticized it as too secular. It certainly is a significant contribution to the French Oratorio, whose composer is finally rediscovered as one of the great personalities in the history of music.

Classical Music

Tracks:

DISC 1
1 Adjutant's Call - C.M.T.C. March 2:16     
2 Sound Off, into Trombones Triumphant 0:38     
3 Officer's Center - Officer of the Day March 2:27     
4 Inspection Waltz 3:56   
5 Bugles and Drums 2:22       
6 First Call 0:12     
7 Reveille 0:24   
8 Assembly 0:12     
9 Mess Call 0:14       
10 Attention 0:09       
11 Officers Call 0:10     
12 Drill 0:11     
13 Fatigue 0:14   
14 Carry On 0:08     
15 Recall 0:12     
16 Church 0:38     
17 Adjutant's Call 0:13     
18 Retreat (Solo) 0:25       
19 Retreat 0:29   
20 To the Colors 0:39     
21 Tattoo 0:56   
22 Taps (Solo) 1:01   
23 Taps 0:57     
24 Echo Taps 1:06     
25 Taps with Brass Accompaniment 1:22     
26 First Sergeant's Call 0:09     
27 Charge 0:10     
28 Roast Beef of Old England   0:58     
29 Yankee Doodle   1:23       
30 York Marsch   2:20     
31 President of the United States  0:50   
32 Vice-President of the United States 0:39   
33 Congressional Honors 0:45       
34 4 Ruffles and Flourishes and General's March (arr. F. Kepner) 0:26     
35 3 Ruffles and Flourishes and General's March (arr. F. Kepner) 0:25     
36 2 Ruffles and Flourishes and General's March (arr. F. Kepner) 0:23       
37 1 Ruffle and Flourish and General's March (arr. F. Kepner) 0:22     
38 4 Ruffles and Flourishes and Flag Officer's March (arr. W.H. Santelmann) 0:24     
39 3 Ruffles and Flourishes and Flag Officer's March (arr. W.H. Santelmann) 0:23     
40 2 Ruffles and Flourishes and Flag Officer's March (arr. W.H. Santelmann) 0:20     
41 1 Ruffle and Flourish and Flag Officer's March (arr. W.H. Santelmann) 0:19       
42 1 Ruffle and Flourish - Last 32 of Stars and Stripes Forever 0:39   
43 The Stars and Stripes Forever 0:37     
44 Trio to the National Emblem 1:20   
45 2/4 Drum Cadence 0:42     
46 6/8 Drum Cadence 0:44     
47 The Star Spangled Banner 1:22     
48 The Air Force Song (arr. R.R. Bennett) 0:37     
49 The Air Force Song (arr. J. Wasson) 3:10   
50 The U.S. Air Force Blue March (arr. L. Ludlow) 0:59     
51 Lord Guard and Guide, "The Air Force Hymn" 1:06   
52 Lord Guard and Guide, "The Air Force Hymn" (arr. F. Werle) 1:06     
53 The Air Force Dirge (arr. G. Cray) 5:18         
54 U.S. Army Song (arr. Lake) 0:37     
55 God of Our Fathers 1:31     
56 The U.S. Navy Song (arr. P. Yoder) 0:36       
57 Eternal Father, strong to save, "Melita" (arr. C. Smith) 1:07         
58 The Marines' Hymn (arr. D. Hunsberger) 0:38     
59 The Marines' Hymn (arr. Farmer) 1:28   
60 U.S. Coast Guard Song (arr. W.C. Schoenfeld) 0:36   
61 Armed Services Medley 3:34     
62 The Stars and Stripes Forever 3:26     
63 Gary Owen March (arr. J. McFulton) 2:30     
64 Semper Fidelis 2:46   
65 Heave Ho! My Lads, Heave Ho! 2:11   
66 The Song of the Seabees 3:15 
67 American Legion March 2:17     
68 American Red Cross 2:26     

DISC 2
1 Liberty Fanfare 0:25   
2 Emperata Overture 0:22     
3 Ceremonial Fanfare 0:44       
4 3 Jubilant Fanfares: No. 1. Fanfare Jubilante 0:29     
5 Aloft! 0:28     
6 America The Beautiful (arr. C. Dragon) 3:15     
7 Battle Hymn of the Republic (arr. S. Nestico) 4:33     
8 God Bless America (arr. E. Leidzen) 2:17       
9 My country 'tis of thee, "America" 1:09     
10 This Is My Country (arr. F. Werle) 1:59   
11 God Bless the USA (arr. for wind ensemble) 3:08   
12 Wind Beneath My Wings 3:32     
13 Hero for Today 3:32     
14 The Last Full Measure of Devotion (arr. M. Davis) 5:03   
15 Americans We 2:48     
16 National Emblem 2:58     
17 The Washington Post March 2:38     
18 Chimes of Liberty 3:11     
19 Hail to the Spirit of Liberty 3:31   
20 Hands Across the Sea 2:47     
21 Auld Lang Syne 1:41         
22 Military March No. 1 in D major, Op. 39, "Pomp and Circumstance" (Land of Hope and Glory) (arr. C. Grundman) 5:36   
23 Amazing Grace (arr. W. Walker) 1:38       
24 Amazing Grace (arr. F. Ticheli) 4:43     
25 Eternal Father, strong to save, "Melita" (arr. C. Smith) 1:56     
26 God of Our Fathers 1:31     
27 Nearer my God to Thee (arr. P. Rawlins) 2:42

1. Tuo armon valkokyyhky 2:13
2. En etsi valtaa, loistoa 3:18
3. Nyt seimelle pienoisen lapsen 1:47
4. Joulun kellot (Hiljaa, hiljaa helkkyellen) 2:10
5. Kautta tyynen vienon yön 1:25
6. Tuikkikaa, oi joulun tähtöset 1:58
7. Ja neitsyt pikku poijuttansa 1:36
8. Rauhanruhtinas 1:34
9. Joulu tullut on 1:48
10. Joulupuu on rakennettu 2:14
11. Kun joulu on 2:40
12. Enkelien joululaulu 1:25
13. Seimeen syntynyt 2:05
14. Arkihuolesi kaikki heitä 1:30
15. Joulun kellot 3:11
16. Tulemme, Jeesus, pienoises 3:06
17. Joululaulu (Jeesuslapsi suloinen) 1:53
18. Jouluhymni 2:20
19. Olen löytänyt sen 3:14
20. Ilouutinen 2:44
21. Heinillä härkien kaukalon 2:29
22. Maa on niin kaunis 2:55
23. Jouluyö, juhlayö 2:51
24. Rukous 3:47
25. Jouluilta 3:09
26. Det är en ros utsprungen 4:15

[ 65:38 ]

Helsinki Chamber Choir (Finnish Radio Chamber Choir)
Johanna Rusanen, soprano
Timo Nuoranne, conductor

JOULURAUHA - Christmas at Turku Cathedral

Ondine continues its long-term collaboration with Einojuhani Rautavaara, the Latvian Radio Choir, and Sigvards Klava by presenting the world premiere recording of Rautavaara’s Missa a cappella. Being praised by Gramophone as an outstanding body of singers, the Latvian Radio Choir is one of the top chamber choirs in Europe. This is the choir’s follow-up disc to their highly successful recording of Rachmaninov's All-Night Vigil.

REVIEWS:
Opera News (4/00, pp.85-86) - "...All the vocal soloists give theatrically involved, musically sound performances. [Borst] sings with an undulating beauty that makes up for occasional unintelligibility.... Fersen delivers a fearsomely effective rendition of the Prophetess's incantation..."

Classical Music

Goethe' Faust is one of the highest peaks of German Romantic poetry, and fascinated composers across Europe: Berlioz, Liszt and Gounod were just some of the many entranced by it's visionary power.

DURUFLE: Messe Cum Jubilo / Organ Suite, Op. 5

Ego sum Resurrectio: Gregorian Chant for the Dead

For their second release on Ondine, the acclaimed Estonian Philharmonic Chamber Choir under chief conductor Daniel Reuss perform Psalm settings by Felix Mendelssohn and Estonian composer Cyrillus Kreek. The first release of the Estonian Philharmonic Chamber Choir was given an ‘Editor’s Choice’ accolade by Gramophone. Cyrillus Kreek, a graduate of the St. Petersburg Conservatory and a collector of folk songs, laid the foundation for Estonian professional music. The unique coupling highlights the familiarity between Mendelssohn and Kreek in terms of vocal and harmonic setting.

Includes work(s) by Brian Ferneyhough. Ensembles: BBC Singers, Lontano. Conductor: Odaline De la Martinez.

As the third installment of “A Seraphic Fire Christmas”, Candlelight Carols: Music for Chorus and Harp is a unique collaboration between the pure, crystalline harp and warm, resonant voices. + This remarkable recording evokes an angelic, wintry atmosphere within an intimate, candle-lit chapel. + With Candlelight Carols, Seraphic Fire masterfully interweaves original arrangements of traditional carols with modern masterpieces. + Seraphic Fire is regarded as one of the preeminent chamber ensembles in the United States. In 2012, two of their recordings, Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas, were nominated for GRAMMY® awards. + Seraphic Fire was the only choral group in North or South America to be nominated, and the only classical ensemble in the world to receive nominations for two separate projects. + Led by Founder and Artistic Director Patrick Dupre´ Quigley, Seraphic Fire brings some of the finest singers and instrumentalists from around the country to perform repertoire ranging from Gregorian chant and Baroque masterpieces to newly commissioned works.

Classical Music

Classical Music

BWV 10, composed for the feast of the Visitation of the Blessed Virgin Mary, is a setting of the German translation of the Magnificat. The cantata is more compact than Bach’s Latin Magnificat––seven numbers (instead of 12) and about two thirds as long––and not as grand (one trumpet, for example, instead of three). The choir, as in most cantatas of the period, appears only in the opening chorus and the final chorale. In a duet for alto and tenor, the chorale melody is not sung, but intoned by the solo trumpet. Cantatas 93, 107, and 178 were composed for the fifth, seventh, and eighth Sundays after Trinity respectively. No. 93 is a prime example of the chorale cantata; all of its seven movements quote the chorale melody wholly or partially. Cantatas 107 and 178 show how flexible Bach was in applying the principle. BWV 107’s chorale tune appears in the opening choral fantasia and again in the expanded chorale finale, but not in the intervening movements, a recitative, and four consecutive arias. However, Bach uncharacteristically uses the unedited text of the chorale in all movements. In BWV 178, the chorale tune appears in four of the seven movements, but the text is paraphrased in the middle five. When listening to Bach’s cantatas one must always expect to be surprised.

Some general notes: after Maestro Suzuki himself, the closest thing to a constant in the series remains Peter Kooij’s steady bass. The leading soprano is now Yukari Nonoshita, whose clear, near white tone is entirely appropriate for Bach’s music. Tenors come and go; note that four different tenors, all satisfactory, appear on these four discs. Suzuki continues to alternate between male or female altos depending on the specific task at hand. The soloists participate in the chorus but do not sing alone. Western names have become quite rare in the list of performers, with Japanese musicians handling most parts, vocal and instrumental, with their by-now-accustomed excellence. The notes remain exemplary, but Klaus Hofmann now shares that task with Suzuki, whose function is generally to explain his decisions regarding problems with the performing editions. As always, BIS’s recordings are first-rate... Of course, I’m going to urge interested listeners to acquire [this disc]. Bach and Suzuki are still one of the best tandems going.

-- George Chien, FANFARE

Hermann Max and the Rheinische Kantorei set out on new paths toward the interpretation of Bach’s motet cosmos. The present CD also includes the Motets BWV Anh. 159 because Bach scholarship has come to regard these works, long ascribed to Johann Christian Bach, as compositions by Johann Sebastian Bach as they clearly bear his musical signature.