Following the success of Ceremony of Carols, Etherea Vocal Ensemble’s stunning debut album, Delos lost no time in producing their second effort. Containing several premiere performances, this CD is an enchanting mix of mostly uncommon works for female choir by Holst, Beach, Rheinberger, Mendelssohn and Rossini. While all of these works are standouts among the limited female choir rep, Holst’s third group of Choral Hymns from the Rig Veda and the Two Eastern Pictures are particularly exotic, and ripe for rediscovery.

Ms. Thomas – one of the world’s leading operatic sopranos – offers here a selection of our most beloved spirituals that may well even eclipse the legendary recordings of contralto Marian Anderson. Indra brings to them levels of sheer vocal beauty, intense emotional power and sacred sincerity that you may well have never heard in solo spirituals before … not to mention the full force of her African-American stylistic heritage.

Classical Music

Classical Music

Classical Music

Classical Music

The Italian Gambe di Legno has evolved into one of the leading ensembles of it's kind in recent years. Originally founded as a consort of viols, the ensemble has grown to include an ensemble of vocalists, instrumentalists and choir.

Before the early 20th century, any list of significant Western composers would have included Benedetto Marcello. Through his advocacy of a return to the proportional values and simplicity of ancient Roman civilization, he helped set the stage for the Classical era in Western music, soon to unseat the aesthetic norms of the Baroque in which he lived.

CARON Masses and Chansons • The Sound and the Fury • FRA BERNARDO 1207302 (3 CDs: 190:22)


Next to nothing is known of more than a few composers from the early Renaissance. Who is “Hyett,” that survives in a single work found in the Gyffard Partbooks? Who was the Trecento composer known only as “Maestro Piero,” of whom eight works (six madrigals, two examples of caccia ) remain?


It’s fairly safe to single out Firminus (in the Latin; or Fermin, or Fremin—popular names in Amiens at the time) Caron from that ghostly lot as the most illustrious in his day. Compère, no minor judge in matters musical, referred to Busnois, Dussart, and Caron as magister cantilenarum . Tinctorus wrote of Ockeghem, Busnois, Regis, and Caron as composing the most outstanding music he’d ever heard. (He also named Caron among several composers that were reported to him as poorly educated, as Tinctorus like his contemporaries set great store by a completed university education. But this was probably out of date when it was written, since in that same year, 1473, Caron is mentioned in a legal document as maistre , or Master of Arts.) Others among his contemporaries, as well as scholars of succeeding generations, continued to place Caron among the leading musicians of his time. The manuscript trading trails across Europe (their time’s equivalent of our group emails) that constituted the surest way of circulating sacred and secular music saw Caron’s works turning up repeatedly in Italy. He was popular, and a good thing, too, since although new and doctored texts by unknown hands not infrequently were added to extant works in transmission—editor Jaap van Benthem’s liner notes suggest this occurred to more than half Caron’s chansons—it helped save a good many of his compositions when the French Revolution went on a rampage through the cathedrals of France.


Yet little enough is known today of Caron’s life. Thanks to recently discovered source documents, a possible birth date has been suggested in the late 1430s, in Amiens. He may have come from a well-to-do middle class background, judging from a loan he regularly received payment on later in life, and the registered sale of a house with attachments owned by the man who was probably his deceased father: a well-to-do shoemaker with apprentices and servants. Beyond this lies that shadowy land named vague conjecture. He may have been trained at Cambrai, or in Amiens; may have worked in proximity to Busnois (“Accueilly m’a la belle” suggests the strong influence of the latter), and possibly known Dufay; may have served Charles the Bold in Burgundy—or at least, spent some time in some form of musical service there, accounting for his poor showing in the chansonniers compiled around 1470 in Loire Valley, part of the kingdom of France. His music begins turning up in fewer manuscripts in the mid-1470s, suggesting a possible terminus, but it’s more accurate to simply state that sources for any music he may have written at that time or later, assuming he lived that long, had dried up. Compared to the larger-than-life Busnois, Caron’s personality remains that of a shade.


It is the chansons that history repeatedly praises to us, but only seven are included here, and they comprise just two-thirds of one of the three discs on this new recording. As if to lower our expectations of them further, The Sound and the Fury (or at least their recording company, Fra Bernardo) has left out all texts and translations. I could wish they had done otherwise, as the entire lot collectively comprises a highlight of the set. Caron was innovative for his period, as Montagna notes in his “Caron, Hayne, Compère: a Transmission Reassessment,” for his imitative entrances, though he didn’t stop there. Those imitative textures are apt to occur flexibly, within a carefully varied texture that includes homophony, free movement, staggered, irregular contrapuntal entries (“Helas m’amour”) and the interplay of voices in quick exchange or diverse groups (“Mort du mercy”). The clarity of his parts at all times must be mentioned as well, along with the naturalness with which, at least in some of the of chansons heard here, Caron’s melodic line follows the phrasing of traditional French folksong (the short but charming “Du tout ainsi”). Geneviève Thibault, in her Grove I article on Caron, is just as enthusiastic while pointing out that his superius parts “have a beautiful melodic curve” that does not end with each verse line; and that’s certainly true of “Cuidez vous” and “S’il est ainsy.”


The five Masses supplied in this set ( L’Homme arme, Jesus autem, Accueilly m’a a la belle, Sanguis sanctorum, Clemens et benigna ) are in the five standard movements for their time and place: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. They all survive only in Italian sources, with the already mentioned caveat about text substitution applying. (As well as other caveats to accurate recreation: aging, ink corrosion, editorial transmission errors, and the crude, destructive cutting out of illuminated details have all played their part in rendering the results less than fully satisfactory.) The Sound and The Fury consists of five singers—a countertenor, two tenors, and two basses, along with a lutenist for “Du tout ainsi”—so there’s no doubling. This reinforces to our ears both Caron’s almost obsessively varied textures, and his preference for fragmenting the cantus firmus . Here, too, he was ahead of his time. In turn, Alan Atlas in his Renaissance Music takes evident delight in the way Caron incorporates an Italian song (“Madonna par la torno”), a French chanson (“Hélas, mestresse, m’amie”), and Johannes Joye’s chanson “Mercy mon duiel” into the Marian Mass, Clemens et benigna , in such a way as to make both textual and musical additions function as glosses.


Contrary to the norm in such matters, The Sound and the Fury isn’t a concertizing group. Aside from the very occasional recital, they gather solely for recording purposes, though they clearly spend much time in rehearsals. (You couldn’t get through this music with any semblance of dignity if you didn’t.) The Anglo-German ensemble focuses on the Franco-Flemish school and, if comments in the liner notes are any judge, they take the “sweet” side of the debate in matters of musica ficta . Their sound is tight and disciplined, with excellent enunciation and pitch control, though there are some moments (more in the chansons than in the Masses, oddly enough) where a few notes are split for breath’s sake. The engineering is among the best I’ve heard of sacred choral music of the period, being spacious and very forward, with a slight reverberance.


The texts would definitely help with the chansons, and the photographer responsible for the box’s artwork (the upper torso of some late teen looking out sternly, trying to impress us as he makes what he apparently figures is a karate chop with one hand) needs a courteous reminder of the music’s subject. But in all other respects I’m delighted with this set.


FANFARE: Barry Brenesal

The vocal ensemble known as Les Compagnons de la Chanson enjoyed a career lasting more than forty years, one of the finest examples of longevity in vocal groups. Their many performances on the world's stages, including concerts with some of the most famous artists of their times, and the subtlety of their vocal and instrumental arrangements, were just some of the factors that contributed to the exceptional success of a group who remained faithful servants of the French Chanson genre for a whole lifetime. The 36 songs included in this boxed-set - timeless pieces recorded between 1946 and 1958 - are evidence of an extraordinary career; they document a repertoire that is incomparable in it's diversity, including works by Charles Trenet, Charles Aznavour, Gilbert Becaud, Georges Brassens, Henri Salvador... Claude Colombini Fremeaux & Dany Lallemand

Region by region, Fremeaux & Associes Geographic constructs a geography of sounds. It presents the listener with a series of authentic, unaltered landscapes without reconstruction or addition. The approach focuses on natural and technological soundscapes and the way these change with each passing hour or season or as the heavens open. Fremeaux & Associes Geographic baut eine Geographie der Töne auf, deren Region die Werkeinheit ist. Die CD bietet dem Gehör eine Folge von authentischen Landschaften, ohne Umwandlung, ohne Rekonstruktion und ohne Hinzufügung. Der Ansatz interessiert sich für unser Besitztum und ist auf natürliche und technologische Tonlandschaften orientiert, ihre Entwicklungen je nach Uhrzeit, Jahreszeit, die Niederschläge… Fremeaux & Associes Geographic construye una geografía de sonidos, donde la región constituye la unidad de la obra. El disco propone escuchar una serie de paisajes autenticos, sin transformaciones, sin reconstrucciones ni anadidos. El enfoque pretende destacar el patrimonio y está orientado hacia los paisajes sonoros naturales y tecnológicos, y su evolución segun la hora, la estación, la climatología… Fremeaux & Associes Geographic costruisce una geografia dei suoni, la cui regione e l’unitA d’opera. Il disco propone all’ascolto una serie di paesaggi autentici, senza trasformazione, ricostruzione o aggiunta. In questi paesaggi... L’approccio e patrimoniale e si orienta verso paesaggi sonori naturali e tecnologici, verso le loro evoluzioni a seconda dell’ora, della stagione, delle precipitazioni atmosferiche... Fremeaux & Associes Geographic stelt een geografie van geluiden op, waarbij de streek een deel van het oeuvre vormt. Fremeaux & Associes Geographic brengt een opeenvolging van authentieke landschappen ten gehore, zonder vervorming, reconstructie of toevoegingen. De benadering is patrimoniaal en is gericht op natuurlijke en technologische geluidslandschappen, en hun ontwikkeling die afhangt van de tijd, het seizoen, de neerslag…

Region by region, Fremeaux & Associes Geographic constructs a geography of sounds. It presents the listener with a series of authentic, unaltered landscapes without reconstruction or addition. The approach focuses on natural and technological soundscapes and the way these change with each passing hour or season or as the heavens open. Fremeaux & Associes Geographic baut eine Geographie der Töne auf, deren Region die Werkeinheit ist. Die CD bietet dem Gehör eine Folge von authentischen Landschaften, ohne Umwandlung, ohne Rekonstruktion und ohne Hinzufügung. Der Ansatz interessiert sich für unser Besitztum und ist auf natürliche und technologische Tonlandschaften orientiert, ihre Entwicklungen je nach Uhrzeit, Jahreszeit, die Niederschläge… Fremeaux & Associes Geographic construye una geografía de sonidos, donde la región constituye la unidad de la obra. El disco propone escuchar una serie de paisajes autenticos, sin transformaciones, sin reconstrucciones ni anadidos. El enfoque pretende destacar el patrimonio y está orientado hacia los paisajes sonoros naturales y tecnológicos, y su evolución segun la hora, la estación, la climatología… Fremeaux & Associes Geographic costruisce una geografia dei suoni, la cui regione e l’unitA d’opera. Il disco propone all’ascolto una serie di paesaggi autentici, senza trasformazione, ricostruzione o aggiunta. In questi paesaggi... L’approccio e patrimoniale e si orienta verso paesaggi sonori naturali e tecnologici, verso le loro evoluzioni a seconda dell’ora, della stagione, delle precipitazioni atmosferiche... Fremeaux & Associes Geographic stelt een geografie van geluiden op, waarbij de streek een deel van het oeuvre vormt. Fremeaux & Associes Geographic brengt een opeenvolging van authentieke landschappen ten gehore, zonder vervorming, reconstructie of toevoegingen. De benadering is patrimoniaal en is gericht op natuurlijke en technologische geluidslandschappen, en hun ontwikkeling die afhangt van de tijd, het seizoen, de neerslag…

"Region by region, Fremeaux & Associes Geographic constructs a geography of sounds. It presents the listener with a series of authentic, unaltered landscapes without reconstruction or addition. The approach focuses on natural and technological soundscapes and the way these change with each passing hour or season or as the heavens open." Patrick FReMEAUX Fremeaux & Associes Geographic baut eine Geographie der Töne auf, deren Region die Werkeinheit ist. Die CD bietet dem Gehöreine Folge von authentischen Landschaften, ohne Umwandlung, ohne Rekonstruktion und ohne Hinzufügung. Der Ansatz interessiert sich für unser Besitztum und ist auf natürliche und technologische Tonlandschaften orientiert, ihre Entwicklungen je nach Uhrzeit, Jahreszeit, die Niederschläge… Fremeaux & Associes Geographic construye una geografía de sonidos, donde la región constituye la unidad de la obra. El disco propone escuchar una serie de paisajes autenticos, sin transformaciones, sin reconstrucciones ni anadidos. El enfoque pretende destacar el patrimonio y está orientado hacia los paisajes sonoros naturales y tecnológicos, y su evolución segun la hora, la estación, la climatología… Fremeaux & Associes Geographic costruisce una geografia dei suoni, la cui regione e l’unitA d’opera. Il disco propone all’ascolto una serie di paesaggi autentici, senza trasformazione, ricostruzione o aggiunta. In questi paesaggi... L’approccio e patrimoniale e si orienta verso paesaggi sonori naturali e tecnologici, verso le loro evoluzioni a seconda dell’ora, della stagione, delle precipitazioni atmosferiche... Fremeaux & Associes Geographic stelt een geografie van geluiden op, waarbij de streek een deel van het oeuvre vormt. Fremeaux & Associes Geographic brengt een opeenvolging van authentieke landschappen ten gehore, zonder vervorming, reconstructie of toevoegingen. De benadering is patrimoniaal en is gericht op natuurlijke en technologische geluidslandschappen, en hun ontwikkeling die afhangt van de tijd, het seizoen, de neerslag…

This previously unrecorded opera composed by Isabelle Aboulker is ment to bring the children to discover Moliere, one of the greatest masters of comedy in our literature. The CD alternates a narration by Roland Giraud and songs interpreted by a choir of children. In French.

Classical Music

Classical Music

Forget everything you ever knew about all-male choirs – unless you already know the two other GENUIN CDs previously released by the highly successful Camerata Musica Limburg... Not familiar with the discs yet? Then be sure to get the new recording of Romantic vocal repertoire featuring works by Schubert, Vaughan Williams and Sjöberg. The warm timbre of the male chorus and the four fantastic French horns glow like stars in the night, and the excellent soloists Alison Browner and Christoph Prégardien are beautifully supported and can allow their artistry to effortlessly unfold. The snow melts away and love is awakened in your heart... An absolute highlight!

Combine the artistry of Richard Proulx and the glorious choral strains of the Cathedral Singers with delightful, often forgotten works of master composers like Mozart, Salieri, Diabelli, and Bruckner and you've got this must-have recording! Not only is the music stunning, but music enthusiasts will also love the wealth of historical notes on each piece and composer included in this collection!

Reunited for a fourth time, the talents of John L. Bell and the voices of Chicago's Cathedral Singers combine to produce a truly remarkable recording of top-notch choral music with Take This Moment! Like much of John Bell's work, Take This Moment sends us soaring around the globe, featuring such pieces as "Te Ensalzarÿ, SeËor," a lively, bilingual setting of Psalm 30 commissioned by the Diocese of Austin, Texas. The lovely Easter text of "While Earth Remains" is set to an exquisite Korean tune, while "I Bow My Head in Prayer" takes us back to John Bell's homeland with an ancient Scottish-Celtic text set to an even older Celtic melody. Also featured on this recording, making his debut with the Cathedral Singers, is GIA composer and guitarist Stephen Petrunak! The rich, full music in this collection is intended for parish choirs with options of three- or four-part harmony. Take This Moment is simply a glorious collection of choral works that is as enjoyable for the music-loving listener to hear as it is for the musician to perform!

It's been some time since we've heard from the composer of the beloved "Taste and See," but Come to the Feast is certainly worth the wait. A resident of Vienna, Austria, James Moore has made a special return visit to the United States to record this lively new collection. Along with favorites never before available on CD, this collection also includes new material Jim has written in the past several years. Known for simple refrains perfect for assembly singing, this collection offers "Let Us Go Rejoicing," featuring a delightful refrain in canon; "Love Endures," a wedding song with a simple congregation response; and "Praise Ye the Lord," a wonderful new hymn. "I Am Special" was written for use with children's choirs and may also be used with a combined choir of adults and children. "Alive!" is a lively song written especially for youth, while "Be Still" is a meditative tune ideal for after Communion.

During the 2005-6 season, Gwyneth Walker traveled across the US working with a variety of musicians as they premiered and recorded her works. During a week spent in Walla Walla, WA, she worked with the choirs at Whitman College as they rehearsed and recorded this new program of choral music, which employs evocative texts by Langston Hughes, Anne Morrow Lindbergh, and Virginia Hamilton Adair, among others. Booklet notes include the full song texts. 17 World Premiere Recordings! "Gwyneth Walker is a master composer with a fertile imagination..."

Classical Music

Classical Music

Includes hymn(s) by various composers. Ensembles: National Cathedral Choral Society Washington, D.C., Washington Ringing Society. Conductor: J. Reilly Lewis. Soloists: Eric Plutz, Edward M. Nassor, Rachel Barham, James Shaffran, John G. Sprague.

Copland & Thomson: Sacred & Secular Choral Music - Celebrating the centenary of Aaron Copland's birth, Gloriae Dei Cantores presents a broad spectrum of choral music by Aaron Copland and Virgil Thomson. These two musical giants exemplified the ideals of American culture and established a truly American style for music. The centerpiece for this recording is the first American recording in many years of Copland's choral masterpiece In the Beginning, featuring American mezzo-soprano Luretta Bybee. Also included are Thomson's beloved Four Southern Hymns and some of his fascinating early works written during his sojourn in Paris, and a selection of vibrant choral arrangements of Copland's Old American Songs. "Best of all are the Hymns from the Old South, sung with care, elegant but never lost their bright simplicity. Green Fields may be the loveliest hymn I've ever heard." - American Record Guide