Classical Music

Includes work(s) by Veli-Markus Tapio. Ensembles: Huelgas Ensemble, Waverly Consort, Munich Capella Antiqua, Niederaltaich Scholars. Conductors: Paul Van Nevel, Michael Jaffee, Konrad Ruhland.

This is a DSD (Direct Stream Digital) recording

This is a DSD (Direct Stream Digital) recording

Choral Music (Russian) - DOUBENSKY, F. / RACHMANINOV, S. / L

Bach: Mass in B minor

Mendelssohn, Felix: St. Paul [Oratorio]

Haydn, J.: Jahreszeiten (Die)

Haydn, J.: Schöpfung (Die)

HAYDN: Mass No. 3 in C major, "Missa Cellensis"

Gloria

From the hero of Werther to the villain of Carmen, Carreras has shined in a wide range of operatic roles. His membership in the Three Tenors increased his fame yet more; now, he's the star of his own 2-CD anthology: Nussun Dorma from Turandot; E Lucevan Le Stelle from Tosca; C'est Toi! Ce'st Moi from Carmen plus everything from Grieg and Strauss to Rodgers & Hammerstein!

This score was composed by three-time Academy Award winning composer Howard Shore and was performed by Classical music superstar violinist Nicola Benedetti and the London Philharmonic.

It Is Time

Arthur Gottschalk is recipient of a number of accolades, including the Charles Ives Prize of the American Academy of Arts and Letters, Special Distinction by the ASCAP Rudolph Nissim Award in 2009 for Requiem: For the Living, Gold and Silver Medals from the Global Music Awards, The American Prize in Composition in 2013 and 2014, annual awards from the American Society of Composers, Authors, and Publishers since 1980, and Arthur Gottschalk Day (October 16) from the City of Houston TX. Mr. Gottschalk has worked in diverse areas of music, including composing and arranging music for feature films, television scores, numerous industrial films and commercials, music publishing, and artist management. He continues to work as an expert in music copyright cases and as a forensic musicologist. Featured soloists on Requiem for the Living include tenor Alberto Mizrahi and Grammy-nominated soprano Lauren Snouffer. Vladimir Lande conducts the St. Petersburg State Symphony Orchestra and the St. Petersburg Chamber Choir.

On his latest release on Navona Records, WISDOM-LOVE-ETERNITY, composer Michael G. Cunningham presents a collection of his choral works, performed by the Kühn Choir of Prague conducted by Marek Vorlícek, which explore the spiritual element of the human condition, addressing the uncertainty of death, the inexpressible emotion of love, and humans' search for an understanding of God. Poetry plays a significant role in many of the works in the album. Poetry from Henry Wadsworth Longfellow, Shakespeare, C. P. Cranch, Francesco Petrarch, Robert Herrick, Robert Burns, P. B. Shelley, and others is introduced, inspiring contemplative, dramatic, and elaborate vocal harmonies, instrumental accompaniment, and musical imagery. Some of Cunningham's more austere writing is found in his setting of text from the Christian liturgy in works such as Come, Holy Spirit (1975) and The West Wind (1961). Audiophile Audition praises Michael G. Cunningham as "a gifted and interesting composer" Cunningham has written over 200 compositions, spanning virtually every medium. He is a respected educator and author, with more than ten books published focusing on the subjects of composition and music theory His works have been performed in Europe, Japan, Australia, and throughout the United States Cunningham's other albums - PARAGONIA, SONIC FLIGHT, GALLERY, and COLONNADE - are available through Navona Records His works are featured on the Navona compilations VOICES OF EARTH & AIR, QUADRANTS, and CONTINUUM

Melodious Accord

DARK HOURS (Mystic Moments of Classical Music)

Theodorakis, M.: Sadduzaer-Passion

CANTUS ANGELICUS: Gregorian Chants

Classical Music

From a performance at the 2015 Valletta International Baroque Festival in Malta, this live performance of the engaging Cologne-based choir and orchestra Die Kölner Akademie led by Michael Alexander Willens aims to refocus attention on the little known Malta born Naples based late Baroque composer Girolamo Abos. The engaging performances of these Maltese Christmas masses with Die Kölner’s impeccable attention to detail bring new attention to this seldom recorded composer whose works are characterized by elegantly constructed forms and spirited contrapuntal thoroughbass that on this collection approach a level of revelation.

REVIEW:

So, the debate over how many singers and players to a part in Bach's cantatas lives on. This time, it's another vote for the Joshua Rifkin theory, a one-voice-per-part configuration primarily based on circumstantial evidence and informed deduction from surviving part books. It's an intriguing if porous theory that nevertheless satisfies curiosities and fancies of legitimate and well-intentioned musicologists and performers. Whenever this subject comes up, I only have to wonder what an investigator, with little other direct evidence, would determine to be my own performing forces if, 300 years from now he or she were to discover the contents of one of my church choir libraries! I prefer to look at the single voice to a part idea as just another way to perform music that by its nature stands up to almost any configuration of voices and/or instruments you want to throw at it. Of course you can perform Bach badly, but whether you use four voices or 40, if you sing it well, it still works.

There's no getting around the fact that many of the cantatas--as is true for the three on this disc--are dominated by solos, with only perhaps an opening chorus and closing chorale. So for these works, we're not so aware of the size of the vocal forces, and the key to performance becomes finding sensitive and competent instrumentalists and some very good solo singers. Luckily for us, we get rather formidable doses of both on this recording from the Toronto-based Aradia ensemble, a relatively new group with some personnel ties to Tafelmusik and who specialize in period instrument performance of Baroque works. In fact, the main reason to hear this recording is for the exceptional solo singing--and I do mean exceptional, especially from tenor John Tessier, countertenor Matthew White (listen to the recitative in BWV 132), and, after a slightly shaky start, soprano Teri Dunn. Dunn's aria in BWV 36, with one of those sublime violin obbligatos that only Bach could have conceived, and a melody with one of the best "hooks" ever to work its irresistible, unforgettable way into a listener's heart, is a shining example of what happens when performer and music perfectly match. It would be easy to go on about all the felicities of the singing and how much really wonderful music is packed into these three relatively short works. But you should also know that where the ensemble joins in the choruses, the balances are not exactly clean and detailed--we hear too much soprano and lots of reverberation from the spacious church of St. Mary Magdalene--one of Toronto's most famous choral venues.

The instrumental playing is first rate and is well recorded, but balances tend to work against the soloists in the full-group sections. There's also some confusion concerning the version of BWV 36 that's performed here. The liner notes say it's the Advent cantata written for performance in 1731, but that one was an expanded version of the five-movement work that appears here--and was performed a year earlier. For the performance of BWV 61, the familiar Nun komm, der Heiden Heiland, conductor/violinist Kevin Mallon augments his solo forces with eight additional singers, essentially forming a ripieno chorus that is joined by the soloists in the tutti passages.

--David Vernier , ClassicsToday.com

When planning your wedding, one of the most exciting and enjoyable experiences is selecting the music that will be as colorful as the autumn season and complement your special autumn ceremony. Music will be an integral part of this unforgettable time, reflecting your style and personality through the events of the day. Perfect Autumn Wedding, provides a variety of styles to choose from to make your ceremony complete.

BBC Music Magazine: Recording of the Year and Choral Winner of the year: 2013.

Performed beautifully. Everyone is on quite spectacular form.

The 2011/12 season was a memorable one for the Hallé and its Music Director Sir Mark Elder who was celebrating his twelfth season with the Manchester based orchestra. What was for me a rather uninspiring Beethoven cycle was overshadowed by three unforgettable performances that will serve to increase the Hallé Orchestra’s burgeoning international reputation. In November 2011 the Bridgewater audience were treated to John Adams’s Harmonium for chorus and orchestra (1980/81) a setting of poems by John Donne and Emily Dickinson. Next, in collaboration with the Royal Exchange Theatre, Manchester, in April 2012 Sir Mark took the Hallé into the pit at the Lowry Theatre, Salford Quays for a spellbinding production of Bernstein’s feel-good musical Wonderful Town starring actress/singer Connie Fisher. Back home at the Bridgwater Hall on 5 May 2012 we were treated to this inspirational performance of Elgar’s The Apostles. Dedicated ‘ To the Greater Glory of God’ The Apostles is a large-scale two part oratorio for soloists, choir and orchestra written in the English choral tradition. Elgar selected his own texts from the Bible and the Apocrypha. Elgar himself introduced the oratorio at the Birmingham Triennial Festival in 1903.
 
I was present that Saturday May evening reporting on The Apostles for Seen and Heard International and this review is essentially based on that report. Together with a number of friends we had travelled down to witness a performance that will live long in the memory. Thankfully the Hallé’s performance under Sir Mark was recorded together with a rehearsal for patching purposes. As expected the performance was taken extremely seriously and far more hours than normally allocated for rehearsal were clocked up.
 
Prior to the start there was an uplifting feeling of keen anticipation in the packed hall. It’s a shame that the listener not present on the night cannot also share that sense of expectancy. Eschewing histrionics, one hardly noticed Sir Mark on the podium, just getting on with the job of directing this substantial work. This was a highly assured account all the more impressive given the task of bringing the massed forces together in a coherent way. I particularly admired the unerring control of the massive dynamic extremes with tempi that felt judicious. Potency and beautifully incisive playing demonstrated the orchestra’s ascendant prowess.
 
In radiant voice the choirs made a significant contribution to the evening’s success. This was matched in passionate commitment by the sextet of well chosen soloists. Standing out magnificently was Jacques Imbrailo as Jesus. He solidly projected his richly mellow and expressive timbre with immense purpose. A fine choice as the First Narrator/John was Paul Groves who was notable for his steady bright and clear diction. Brindley Sherratt’s Judas was well powered, polished and authoritative. Although acceptable bass-baritone David Kempster in the role of Peter at times became rather swamped by the choir and orchestra and would have benefited from a greater amplitude and clearer diction. Rebecca Evans as the Angel Gabriel/Virgin Mary was bright with a moderately warm sound and sang with affecting piety. Evans’ vibrato was noticeable but never intruded. Mezzo-soprano Alice Coote as Mary Magdalene/Second Narrator has a substantial amount of text to sing. She was in glorious, reverential voice, well projected throughout.
 
Right from the orchestral Prelude to the scene The Calling of the Apostles the choir intoning the words from St. Luke’s Gospel To preach the acceptable year of the Lord sent a shiver down the spine. We were left in no doubt but that we had embarked on a visionary journey. The programme notes for the concert asserted that a genuine shofar player had been found. This caused much discussion amongst many audience members and subsequently on internet message boards. If people expected a traditional Hebrew Ram’s horn instrument that wasn’t what soloist Bob Farley played. From my seat it looked like a crossbreed of some sort of long straight brass trumpet that I would guess was around 6ft long becoming slightly angled just before the start of the bell. Nevertheless the playing, by the soloist positioned at the side of the hall, made a splendid impact both sonically and theatrically. The shofar can be heard to memorable effect at the start of CD 1 track 3.
 
At the beginning of Part 2 the solemn orchestral Introduction to the scene of The Betrayal of Christ was remarkable, with the doom-laden brass being lightened by the strings and winds then darkening again with all the drama of a Puccini opera. Depicting the crucifixion, the disturbing Golgotha section featured weighty orchestral textures especially the shadowy-toned brass and percussion. The electrifying final section The Ascension of Christ to heaven in his resurrected body required all the forces uniting in a colossal Alleluia. This was one of the most moving things I’ve experienced in classical music.
 
Released on the Hallé’s own label I found the sound quality of the Hallé/Elder disc highly satisfying. To the infuriation of many audience members an errant clapper virtually instantaneously at the end of both halves ruined the special moments of contemplation. Thankfully I can report that the patching session has successfully removed the unwanted racket. Michael Kennedy’s booklet notes are as authoritative as I would expect from this Elgar scholar. It’s good to see that a full libretto is included in the booklet. Some incorrect numbering against the part two text is the only glitch I found with this issue.
 
The rival recordings of The Apostles include the digitally re-mastered analogue 1973/74 account from the Kingsway Hall, London under the baton of Sir Adrian Boult with the London Philharmonic Orchestra and Choir on EMI. Then there’s the 1990 digital recording from St. Jude on the Hill, Hampstead, London by the London Symphony Orchestra and Chorus under Richard Hickox on Chandos. Both are very fine performances. Of the two I favour the Boult/EMI for its splendid singing and sense of reverential awe. On the down-side Boult’s singers may sound dated to some listeners and the LPO’s distinctive bottom-heavy sound can be off-putting. On balance the recording of The Apostles that I will reach out for the most will be this new Hallé release. It’s performed beautifully throughout and achieves an otherwise elusive spirituality. Everyone is on quite spectacular form. If proof were needed of the importance of The Apostles then this release is the evidence.
 
-- Michael Cookson, MusicWeb International