The sublime Choir of St. John’s College, Cambridge return with the third volume in their Advent series celebrating the advent season from within the Christian tradition; a season celebrated since at least the sixth century.

The Eton Choirbook is recognised as one of the UK's national treasures - an extraordinary survival of the religious iconoclasm which swept away so many choral institutions and musical manuscripts as well as a great deal of beautiful art, architecture, sculpture, stone carving, stained glass, and embroidery from the colourful, pre-Reformation world. The Eton Choirbook originally contained ninety-three works by twenty-five composers who hailed variously from Eton, Windsor, Eton's sister foundation at King's College, Cambridge, Oxford, and the Royal Court. It was compiled, with great care and no expense spared, and completed around 1504/5. But what makes the Eton Choirbook so special for both listener and performer is that the music it contains is hauntingly beautiful. There really is nothing like it in continental music of the time which the 'Eton' works surpass in scale (some last over fifteen minutes), number of voice parts, and use of wide vocal ranges - as well as the high degree of melodic invention and rhythmic complexity which places them beyond the reach of most choirs nowadays. � Russell Blacker

As Bath Abbey Boys' Choir marks it's 150th anniversary, we are delighted to present this album. I hope you will enjoy this varied collection, which has been designed to showcase the very best of our boys' choral singing. One of the highlights of this project has been welcoming our alumni to sing again in Bath Abbey as part of the recording. Seeing the joy of our former choristers at being back in the Abbey, some of whom left the choir over 50 years ago, demonstrates the lasting mark that their time as a chorister has made on their lives. We know how important these choirs are for training future musicians. However, I believe we often underestimate the impact that being part of a choir can have on the choristers who pursue other careers; the discipline, teamwork and concentration skills that will support them throughout their lives, helping to build the leaders and team players of the future. This recording has been made to celebrate the 150th anniversary of the introduction of the Boys and Lay Clerks (formally Men's choir) in 1875. At a time when boys' choirs are decreasing due to mixing the treble line with boys and girls, we are lucky that, despite there being no choir school at the Abbey, we can maintain our independent boys' choir. For part of this recording, we have invited our girls and lay clerk alumni to join us for two items as we celebrate the history and tradition that helped many singers to find their voice. � Huw Williams

This album marks the culmination of a landmark project to re-imagine new works from old for saxophone; choir and organ. Each work has been specially commissioned and boasts compositions by leading composers including Gabriel Jackson; Errollyn Wallen and Roderick Williams. Celebrated saxophonist Sam Corkin is joined by Canterbury Cathedral choir to bring a fresh perspective to some well-loved repertoire; recorded within the iconic surroundings of Canterbury Cathedral.

A new choral album of radiant melody and profound reflection Composer James Woodhall presents�Full of Grace, a deeply expressive new choral album that moves between the intimate and the exultant. Drawing inspiration from sacred texts, ancient prayers, and moments of divine revelation, this collection weaves together contemporary choral writing with timeless spiritual themes. The album opens with the title track,�Full of Grace, a lyrical meditation on the Angel Gabriel's greeting to Mary and the incarnation. With warm harmonies and a memorable, flowing melody, the piece captures both the stillness and the awe of that encounter, while it's vibrant central section echoes the heavenly proclamation to the shepherds. At the heart of the album lies�The Damascus Sequence�- an 11-movement cantata chronicling Saul's dramatic conversion from persecutor to preacher, drawn closely from Acts 9. This narrative arc, from darkness to vision, turmoil to peace, is vividly painted in choral textures, duets, and solos. Tracks such as�Murderous Threats,�I am Jesus, and�Saul Sees and is Saved�reflect Woodhall's gift for text-setting and storytelling through music, bringing ancient scripture to life with a keen sense of pacing and atmosphere. Later in the album, Woodhall returns to the Nativity in�The Shepherds' Carol, a haunting and intimate new text that juxtaposes pastoral imagery with celestial wonder. His setting of�Ave Verum Corpus�and�Ave Maria�offers fresh interpretations of these enduring texts, while the final track,�Light from Light, closes the album with a vision of hope and illumination - a reflection on divine presence in the world. Rooted in the choral tradition yet unmistakably contemporary,�Full of Grace�is a compelling addition to the sacred repertoire. It's accessible yet distinctive language will resonate with listeners who appreciate the choral music of James MacMillan, John Tavener, and Morten Lauridsen. For broadcasters, curators, and critics,�Full of Grace�offers music that is both spiritually resonant and musically rewarding - ideal for sacred seasons, reflective programming, and those seeking new choral music that speaks with clarity and depth.

Letters from Scandinavia is, I hope, an adventure... It certainly has been for me in creating it. It began with a chance stumbling on Mary Wollstonecraft's Letters Written During a Short Residence in Sweden, Norway & Denmark, written on the cusp of the nineteenth century, at a time when most of the rest of Europe was almost entirely ignorant of the 'wild north'. I soon discovered a treasure trove of historic travel writing about Scandinavia, which I duly devoured. It has grown into something between a song recital and a historical audio travel guide, I suppose. A weaving together of music and text as it follows in the footsteps of women journeying to nineteenth-century Nordic countries for the ?rst time. The music is drawn from a rich vein of song by composers and interwoven between the songs are new texts inspired by colourful and evocative nineteenth-century travel writing. I've had the huge pleasure of working with composer Peter Facer to bring these texts to life with new music to underscore the spoken word. I'm grateful that my fellow traveller is pianist Sholto Kynoch, who first introduced me to Backer Grondahl's works a few years ago, and who plays this repertoire so beautifully. Letters from Scandinavia is above all a love letter to all things Nordic. I very much hope you enjoy it. (Best served with a cinnamon bun...) Joanna Harries

This is a Christmas album that has a sense of place; clearly identifying the Chorale as both American and from a border state with Mexico; and something for everyone whether they prefer serious or light festive fare. There is Mexican influence in the repertoire choices; which include Catalan folksongs as well as Hispanic Renaissance music. It includes a commission by Cecilia McDowall; written for Christmas 2021; new arrangements of all tracks and also some contemporary Christmas favourites such as Sleigh Ride and Jingle Bells.

This marks the Chorale’s return to recording following an 8-year hiatus; and their first album with Signum Records. “Festive repertoire plays an important role in the performance cycle of every choir; and it felt fitting to begin our journey with a Christmas recording that established a sense of place for the ensemble: we chose to record repertoire that is all American or Hispanic in origin; save for the newly-commissioned piece by Cecilia McDowall that was written to mark the centenary of our home in Phoenix; Trinity Cathedral. Our aim is to translate the warmth of Arizona into our sound; to convey the rhetoric of every text; and celebrate the good health of the American Choral Tradition.” - Christopher Gabbitas

Antoni Gaudí’s monumental temple La Sagrada Familia is a universe within a building. Its mass of stone and metal is bathed in coloured light diffused from dazzling stained glass windows. The colossal structure is supported by great pillars inspired by the shapes of tree trunks that re-inforce the impression of a spiritual forest. Around the main access points to the basilica are three great facades; Nativity, Passion and Glory. Each is a visual world unto itself, stylistically apart yet united by Gaudí’s grandiose vision. These three facades are the inspiration of my three-movement La Sagrada Familia Symphony. The visual journey, from the representational to the abstract, is something I also tried to mirror in the music. When I visited La Sagrada Familia in October 2019 there was still scaffolding to support the work on the remaining towers. Whereas my symphony is inspired by that monumental building, I hope that my musical structure can stand alone as an homage to Gaudí in its own right. The two parts of the cantata begin similarly, presenting first the children of Seth - then in the second part, the children of Noah. Realizing that the aftermath of the destruction of the Tower of Babel could be anti-climactic, I left part of the Noah story unfinished at the end of Part I, and concluded it as an Epilogue. I wanted God’s promise to be the note on which the work should end, a message of hope that the divinity would protect His creation throughout the seasons: “While earth remains, seedtime and harvest, cold and heat, summer and winter, and day and night shall never cease.” These beautiful words are taken up by the choir and soloists contrapuntally and lead directly to the hymn: Praise My Soul The King Of Heaven, whose melody was woven into the closing section of Part One. Following Britten’s inspiration in Noye’s Fludde and St Nicholas, I invite the audience to join in the hymn, celebrating creation and the world that has been entrusted to us. Babel uses the chorus extensively to narrate both stories, as well as to evoke the terror of the flood and the exuberance of the construction of the tower. In addition to set pieces, such as the Nimrod baritone aria, and the soprano aria, “Do not fear the largeness of the showers,” the three soloists often sing together in close harmony as the other-worldly voice of God. The instrumental forces are relatively modest, with the piano duet supported by the sustaining power of the organ, backed by two percussionists. This sound world is redolent of those Britten masterpieces for amateur choirs, ensembles and audiences, which have inspired many composers since, and to which I too am gratefully indebted.

It is definitely stimulating and challenging for an arranger to create unity between a folk trio and a chamber orchestra; let alone between different styles of music and instrumental playing. The Nordic Symphonic project; with its meeting of the Nordic trio and a classical orchestra; is a great example of the kind of musical cross-fertilisation one can only dream of. In this collaboration Nordic’s intricate swing-based style is set against the broader sound palette of the orchestra: the trio sets off on a whirlwind adventure; with sounds from across the whole planet; and the orchestra follows along.

Their second Christmas album on Signum Records, Armonico Consort and Christopher Monks return with a new album featuring a collection of carols both old and new. They have created the perfect soundtrack for those who love an atmosphere at Christmas. Featuring world premiere recordings by Composer Toby Young and the first ever recording of ‘Star Song’ by Jonathan Dove on a Christmas album, there are also exquisitely sublime versions from ‘Silent Night’ to ‘Away in a Manger’.

"It is ten years since our last carols recording, and we have collected some incredible works we have been so keen to record, including several commissioned from our composer in residence. Christmas somehow manages to inspire composers to write the most imaginative, both in terms of creativity and melodiousness, and Toby is an expert at making Christmas music sound just as we want it to be!" -- Christopher Monks

Christmas carols have a universal appeal stemming from the tradition of music being played; sung; re- arranged and rewritten by different generations in many different countries and over a number of centuries. Louis Halsey’s Nova! Nova!; a collection of new arrangements of many of the most well-known and beautiful carols from as far back as medieval times; represents perhaps the largest collection of carols by a single composer for many years. Hertfordshire Chorus and David Temple have recorded 24 of these carols in this beautifully presented new collection; including English; German; French; Czech; Basque; Welsh and Irish melodies. “What I love about Louis Halsey’s arrangements is that they are both tasteful and simple; allowing the beauty of each carol to shine through. We are thrilled to share these with a wider audience with this new recording.” David Temple

Folk tunes have always been an important part of the repertoire of the Norwegian Girls Choir; being a vital aspect of the choir's identity and of it's active enactment of cultural tradition. In STJERNEBRU orjan Matre has taken a selection of Norwegian folk tunes as his starting point, and they are combined with improvisations and arrangements as intermezzos. The word Stjernebru (Bridge of Stars) is taken from the hymn Nedi vester soli glader (The sun is sinking in the west), and alludes to the journey to the next world: the transition, or bridge, from the earthly to the eternal. The word can also refer to the night sky itself, and Lux Aeterna - eternal light - is a theme that runs through the whole album. Det Norske Jentekor Anne Karin Sundal-Ask, conductor Gjermund Larsen, fiddle Frode Haltli, accordion orjan Matre, composer Morten Lindberg, balance engineer and recording producer Disc 1 Hybrid SACD MCH 5.0 DSD Stereo DSD RedBook PCM: MQA CD Disc 2 Pure Audio Blu-ray 2.0 LPCM 192/24 5.0 DTS HDMA 192/24 7.0.4 Auro-3D 96kHz 7.0.4 Dolby Atmos 48kHz mShuttle: MQA + FLAC + MP3 Region: ABC - worldwide

A fantastic collection of American choral classics ranging from Thompson’s sublime Alleluia to the terrific choral arrangement of Gershwin’s Summertime from Porgy & Bess. Conductor Robin White’s excellent arrangement of the traditional Shenandoah balances the programme nicely along with Copeland’s "I bought me a cat". This is a surprising and entertaining collection. Alban Voices is a chamber-choir formed over 20 years ago by Robin White and his late wife, Freda, originally as a relief choir for services in St. Albans Abbey. It has always been an ad-hoc grouping, drawn together as and when required: many of the current members sing regularly in London’s top symphonic choirs. Among other appearances, it featured most notably in a pivotal episode of the BBC TV soap opera EastEnders in December 2003. More recently, the group’s recording of Robin’s original Christmas song, Light of the World, accompanied by the Royal Ballet Sinfonia, has been well received, and was played on Scala Radio and Classic FM in the run-up to Christmas 2022.

Robin White trained at Imperial College, London and the Royal College of Music, studying conducting with Vernon Handley and orchestration with Bryan Kelly. He has conducted open-air, pop-classics concerts at National Trust and other venues across the south-west of England and the midlands. He has also worked with leading soloists such as John Lill, Christopher Warren-Green, Alexander Baillie and Emma Johnson in concerts in Bristol and the Channel Islands. His 1992 recording of Edwardian light music for Chandos Records was played extensively on Classic FM.

THE TRAVELLER for choir, children’s choir, orchestra, tenor, violin and speaker. The Traveller was the third in a series of four major works with words by Vikram Seth and music by Alec Roth, commissioned jointly over four years by the Salisbury, Chelsea and Lichfield Festivals (2006-09). Each work featured the violinist Philippe Honoré as soloist, and each took a different geographical/cultural area as its starting point.

EARTH AND SKY for children’s choir and piano (with optional percussion). Earth and Sky was commissioned by the BBC for the Proms 2000 season. In keeping with the millennial theme, a work presenting a vision of the future was requested. Trying to be helpful, the BBC provided me with a video containing the predictions of various experts, but their ideas seemed dizzyingly contradictory.

-Alec Roth

Ex Cathedra has performed Alec’s music in over 200 concerts since 2007. There have been large-scale commissions and recordings and many short ‘gems’. It is of consistently high quality with moments of absolute genius. The relationship continues to flourish.

About the album; Andrew Nethsingha says: “Contemporary music and Commissioning have been central features of the last fifteen years at St John’s. It’s been a joy to work with talented student composers; singers and instrumental- ists; my own musicianship has been greatly enriched by their creativity and energy... After a 30-month break from sessions during the pandemic; we were very pleased to be able to record again in 2022. The material on this album comes from various times of year; whilst we were also continuing our Magnificat series. For the final sessions in December the outdoor temperature was forty degrees colder than it had been for the previous recording in July! The personnel of the lower voices had also largely changed; but I hope you will hear a successful continuity of sound- world. All the composers are alive today but; at the suggestion of one of them; we have omitted dates of birth so as not to intrude on their privacy. I’ve curated a sequence of music which aims to celebrate some of the broad range of styles in 21st-century choral writing. The premiere of Iain Farrington’s Nova Nova was the final piece in my last St John’s broadcast - I have often enjoyed pushing the boundaries of the Anglican choral tradition!”

Soprano Mary Bevan writes: In 1975, the original Bevan Family Choir released their debut album on vinyl, featuring an eclectic programme of sacred choral works, Welsh folk songs, and piano music. The Choir consisted of 11 of the 14 Bevan siblings and was conducted by their father, Roger. Later on the Choir was taken over by the second eldest son, David, who was to go on to become Assistant Director of Music at Westminster Cathedral. The musical tradition continued to flourish within the family until, in 2013, some of the second generation of cousins decided to create their own version of the family choir, naming themselves the Bevan Family Consort so as to distinguish them from their parents’ generation. The Consort has since ranged in size from 15-22 of the 53 first cousins. To honour David and the influence he had over us all as musicians, this disc consists of music that was introduced to us by him during his years at the Holy Redeemer Church and that have since become beloved by us as a choir.

REVIEW:

The Bevan Family Consort are particularly good at strongly textured works such as Croce’s In spirito humilitatis, tinged with Venetian monumentalism, or Holst’s Nunc dimittis with its ecstatic ending. This last piece was not discovered until 1979, some 45 years after Holst’s death. Other rarities include the Dignare me by Fernando de las Infantas, apparently a Spanish nobleman working in Rome – so obscure as to be practically confidential. The works with intricate polyphony are pleasingly performed, though in the Kyrie and Gloria of Victoria’s Missa Vidi speciosam the upper voices are a little sharp and the overall acoustic seems rather distant. Breath control and phrasing is always musical and is apparent even in the plainsongs (Ave Maria). The most beautiful work here is Alonso Lobo’s Versus est in luctum. The voices of the Bevan Consort are slightly too disparately coloured to match the magical poise of this work achieved by the group Tenebrae (also on Signum) which shares an album with Victoria’s Requiem.

-- BBC Music Magazine

This album features relatively unfamiliar and previously unrecorded music written by contemporary female composers, and Renaissance composers. The repertoire features several texts based on a Marian theme.

Wonderland is full of magic and myth. Containing exclusively works commissioned by The King’s Singers across their 55 years, the album celebrates their trademark musical storytelling, with no shortage of comedy. György Ligeti’s six Nonsense Madrigals, each setting playful children’s poetry or extracts from Lewis Carroll’s Alice’s Adventures in Wonderland, provide a musical spine to the album, commemorating 100 years since the composer’s birth in 1923. From just over 50 years ago, the fairytale The Musicians of Bremen (1972) – set to music by the Australian composer and Master of the Queen’s Music Malcolm Williamson – sits alongside Time Piece (1972) by Paul Patterson, which tells an eccentric alternative creation story. These myth-based works have recent companions such as Judith Bingham’s extended work Tricksters (2019), which unearths what could happen if miscreants from different world mythologies could come together for the first time, and Ola Gjeilo’s A Dream within a Dream which questions the very nature of perception and reality. The album also features the legendary Japanese film and game composer Joe Hisaishi’s first ever choral work, I was there (2022), focussing on the cultural memory of tragic events such as 9/11 and the 2011 Japan Earthquake. Themes of hope and positivity, centred on the natural world, emerge in Makiko Kinoshita’s Ashita no uta (Song for tomorrow) (2020) and Francesca Amewudah-Rivers’ Alive (2022).

Luminous Voices presents Brahms’"Ein deutsches Requiem" alongside contemporary pieces by Zachary Wadsworth in the album 'Fire-Flowers.'

Exploring themes of loss, grief, and hope, the album is led by Timothy Shantz. Laura Brandt (soprano), Jonathon Adams (baritone), Cheryl Emery-Karapita (piano), and Leanne Regehr (piano) collaborated to bring these pieces to life. Wadsworth's"Battle-Flags," is inspired by Walt Whitman’s Civil War experiences. Brahms’ iconic Requiem reflects personal tragedies and calls for empathy. The album concludes with"Fire-Flowers," where Wadsworth captures E. Pauline Johnson’s poem in a musical tale of optimism and renewal.

'Fire Flowers' will be available on January 12, 2024.

On it's new CD from BR-KLASSIK, the Bavarian Radio Chorus, directed by Howard Arman, presents Christmas music from Italy. With his Lauda per la nativita del Signore, Ottorino Respighi modernised the medieval nativity play of the same name by the religious lyricist Jacopone da Todi. He had already explored art forms of the past in adaptations of early music, re-creations and free works based on Gregorian chants. In this piece, he assigned the medieval verses to three soloists - the angel, the Virgin Mary, and the shepherd - as well as a chamber choir. Accompanied by selected woodwind instruments reminiscent of the music of Italian shepherds, and by four-handed piano and triangle, the miracle of Christmas is brought to life in a simple yet impressive way. Francesco Paolo Frontini is remembered less for his compositions than for his many collections of Sicilian folk songs. From his Canti religiosi del popolo siciliano (Religious Songs of the Sicilian People, published in 1938), a collection of 22 songs for voice and piano underlaid with Sicilian dialect verses and their Italian translations, Howard Arman selected eight songs and arranged them for choir and instruments. Like Frontini, who already included regional variants from Catania, Palermo, and other parts of the Mediterranean island, Arman also arranged different regional versions of two songs. The melody of the Italian Marian carol O sanctissima, which is one of the most popular Christmas carols in the German-speaking countries with it's opening verse O du frohliche, could possibly also have originated from Sicily. The arrangement is once again by Howard Arman.

In the Revelation of James, an apocryphal gospel that was not included in the Bible, events and details surrounding the birth of Christ are reported that do not appear in the better-known versions of the Christmas story from the gospels of Matthew and Luke. The Christmas story is presented by James in a vivid, dramatic, and almost theatrical manner.

Howard Arman's Christmas Story follows the tradition of works such as Bach's "Christmas Oratorio", where newly-composed settings of the Gospel alternate with chorales. Here, Gregorian and polyphonic chorales as well as several motets from the 17th century are woven into Arman's composition and form a second narrative level. They frame the episodes of the Christmas story and can also be understood as musical reactions to the narrated events.

This new BR-KLASSIK CD is complemented by the chorales from Peter Maxwell Davies' Christmas cantata "O magnum mysterium". Arman contrasts the powerful language and mysticism of James’ gospel by reducing musical means to their essentials: monophonic singing, syllabically conceived solo passages and, as the only accompanying instrument, a hurdy-gurdy, which with its monotonous, archaic sound represents a certain timelessness. All of this results in maximum text comprehensibility, whereby the emotional declamatory singing style almost makes the figures resemble characters in a stage play. A key moment is Joseph's vision shortly before the birth of Christ: time seems to stand still, and the mystical and sublime aspect of this scene is intensified by poetic words full of linguistic contrasts and contradictions. – The chorales and motets integrated into Arman’s Christmas Story gradually develop ever greater polyphony. Thus, three settings by Nicolaus Zangius, Hieronymus Praetorius and Hans Leo Hassler, scored for ever greater numbers of voices, lead to a fourth, ten-part composition by Melchior Vulpius, which concludes with the words "Peace on earth". In its formal layout, Arman's Christmas Story bears similarities to Peter Maxwell Davies' cantata "O magnum mysterium". This work, written in 1960 for the choirmaster of Manchester Cathedral, also consists of chorales and instrumental sonatas, although the order is not compulsory. The four a cappella chorales in particular constitute a self-contained unit in terms of both content and music.

Step into a realm of musical enchantment with Luminos Ensemble's forthcoming album, "In the Crystalline Vault of Heaven." This collection of ethereal harmonies and transcendent melodies is a testament to the ensemble's dedication to innovation and artistic excellence. With a profound passion for small ensemble performance, Luminos Ensemble, under the guidance of Artistic Director Dr. Margot Rejskind, presents a transformative listening experience that engages both heart and mind. From the captivating shores of Prince Edward Island, composers like David Buley and EKR Hammell lend their talents to the album, infusing it with a unique maritime spirit.

The album's journey is an exploration of emotions and themes that resonate universally. Delve into the introspective "I am an Island that Dreams" and the contemplative "Trust," both composed by gifted artists from Prince Edward Island. These compositions, among others, weave a tapestry of sound that is both captivating and thought-provoking. Luminos Ensemble redefines the choral experience, forging connections between artists and audiences, and inviting you to actively partake in this musical journey. Available soon on Leaf Music, this album promises to enrich your sonic horizons and inspire your imagination.

Introducing "ISPICIWIN," the new album by Luminous Voices. The title track captures a collaboration spanning months and years, representing both a personal and collective journey. Andrew's compositions, infused with Cree text, evoke a range of emotions – yearning, hope, fear, and spiritual longing. The album features remarkable artists: Jessica McMann on bass flute and Walter MacDonald White Bear on Native American courting flute and guitar.

Alongside Antognini's "I am the Rose of Sharon," it includes works by Canadian composers from Turtle Island. Luminous Voices' exceptional performances and commissioned premieres enrich the collection. Andrew Balfour is an innovative composer/conductor/singer / sound designer with a large body of choral, instrumental, electro-acoustic, and orchestral works. Jessica McMann, member of Cowessess First Nation in Saskatchewan, is an Alberta-based, multidisciplinary Cree artist. She interweaves land, Indigenous identity, history, and language throughout her dance and music creation/performance practice.

Walter MacDonald White Bear’s music reflects his personal journey as a First Nations person in Canada. Luminous Voices, known for illuminating choral music, continues to captivate audiences through performances, recordings, and workshops. ISPICIWIN marks the fifth commercial recording for Luminous Voices and the third that the choir has released through Leaf Music. Join this odyssey where the music reflects an incredible array of talent from composers closely connected to Luminous Voices both in geography and in creative collaboration.

The MVcremona label, which has always been committed to enhancing the musical heritage of the city of Cremona, presents this CD dedicated to the precious Maineri-Acerbi organ of the church of San Sigismondo, a wonderful church located just outside the city. The first documented news of the construction of this monumental organ dates back to 1567 but the organ only began service in 1572. After an eighteenth-century intervention which partially modified it's phonic structure, a restoration which took place in 1860 by the organ builder Luigi Vincenzo Acerbis, he configured the current phonic structure, where all the original sixteenth-century pipes both in metal and wood are still present. This makes the instrument very versatile and suitable for performing a wide musical repertoire. The Cremonese organist Paolo Bottini, already a protagonist in the valorization of other historical organs of Cremona through numerous recordings for various record labels, presents in this CD a series of pieces by composers who worked in the Cremona area, starting from himself and going to back in time to Claudio Monteverdi, born in Cremona in 1567, the year in which construction of the organ began. The church and monastery of San Sigismondo in Cremona are governed by an order of cloistered nuns and therefore the Maineri-Acerbi organ is used only for liturgical purposes: this makes this CD even more precious because it allows you to listen to the voice of this historic organ in a repertoire of exceptional stylistic variety.

This production is dedicated to the works of two American composers, of whom Morten Lauridsen is certainly the better known in Germany. His choral work O magnum mysterium (1994) in particular has become one of the hits of contemporary choral literature in recent years. Lauridsen (born 1943) grew up in Portland, Oregon, the son of Danish immigrants. The songs of Jerome Kern, Cole Porter and Richard Rodgers were very present in his home. He initially studied English and history and worked as a fireman. He then turned his attention entirely to music and moved to the University of Southern California, where, after graduating, he taught music theory and later became a professor of composition. As a creator of primarily vocal music he received many awards, including the National Medal of Arts in 2007. From 1994 to 2001, he was composer in residence with the Los Angeles Master Chorale, one of the leading professional choirs in the USA, which also premiered his Lux aeterna. All five movements of this cycle refer to the "Eternal Light". While Lauridsen was setting the underlying liturgical texts to music, his mother was dying - but the words about light as a universal symbol of all-encompassing enlightenment gave him consolation. Jake Runestad is one of the latest additions to the list of great American composers and is in the process of securing his place in US music history. Born in 1986 in Rockford, Illinois, he grew up in a family that sang a lot. There was also a piano, and during his primary school years he began to play little melodies on it - also teaching himself Scott Joplin's The Entertainer. From 2009 to 2011, he studied at the Peabody Conservatory of Johns Hopkins University, after which he quickly gained recognition, especially in the field of choral music. However, his catalogue of works also includes operas, orchestral pieces and chamber music. He has received commissions from the Washington National Opera, the vocal ensemble VOCES8 and the Swedish Radio Symphony Orchestra, among others. His first album, The Hope of Loving, was immediately nominated for a Grammy Award. A keen mountaineer and camper, Runestad finds nature a great source of inspiration. In his Earth Symphony, Mother Earth herself is given a voice; the five interrelated sections deal with her destruction, her sorrow, her healing, and also her hope for humanity.