Cappella Romana explores the musical legacy of the ancient civilization of Byzantium- caught between Latin West and Islamic East- with majestic ceremonies for the cathedral of Hagia Sophia, triumphant assertions of superiority by Westerners, and fervent prayers for the healing of religious divisions. Fabled Byzantium ended with the fall of Constantinople to the Ottoman Turks on 29 May 1453, inspiring the two poignant laments sung here that give Greek and Latin perspectives on the end of a 1,000-year-old empire.
American composer Richard Toensing creates a vibrant musical synthesis of East and West with new settings of ancient Orthodox Christmas texts. Indebted to Slavic traditions, his virtuosic Choral Concerto for unaccompanied double choir and multiple soloists uses the dramatic words of St. Romanos the Melodist (6th c.) to recount the mystery of Jesus' birth. Toensing's more intimate New Orthodox Carols for the Nativity of Christ alternate between exuberant celebration and joyful contemplation as they bridge the gap between Byzantine and American hymnody. American composer and music educator Richard Toensing (1940-2014) received numerous award for composition during his lifetime, most notably from Columbia University, the John Simon Guggenheim Memorial Foundation, and the National Endowment for the Arts, and BMI.
Vanguard's reissues of Purcell, the composer most closely associated with Alfred Deller... The purity of tone, the extraordinary resonance of lower and middle notes, the technical skill and sensitivity of his singing all remain... Stylish playing by George Malcolm and others (including young Neville Marriner)... celebrated not only Deller himself but his generation who did so much to bring Purcell out to reveal his genius (Gramophone)
a deeply felt, thoughtful and, where needed, highly dramatic interpretation of an indisputable masterpiece. (Gramophone) "orchestral textures were sensuously coloured, and the vast symphonic structure flawlessly paced and handled. The choral singing, thrilling in it's immediacy and clarity, can only be described as electrifying from start to finish" (The Guardian) "For Davis, Elgar is a European composer, and the links to Wagner are clear... Davis is the star: guiding shaping, enhancing the beauty and the flow." (The Times)
it is no good having lewd words one cannot hear... so full marks for the City Waites and their swinging dialect style... items are sometimes accompanied, sometimes not, and this nicely provides contrast, but they are made into lively entertainments (Penguin Guide 3*) "a taste of the broadside ballad culture which pervaded the Restoration... The Maid's Complaint is a remarkably spontaneous scene, led by soprano Lucie Skeaping complete with a bunch of drunks who join in, late... Good fun but not very clean!" (Gramophone) "good diction allows particular clarity" (MusicWeb)
Solesmes' He Was Placed in the Tomb contains the Gregorian Office for Holy (or "Great") Saturday, the evening service that observes the time Christ spent in the bonds of death; it is signified by the lighting of the candle of Paschali... This performance of the Office is by the Monastic Choir of St. Peter's Abbey in Solesmes, presumably from their own edition, which has been the Vatican standard since 1903... This one of the very last recordings of the Solesmes choir as led by it's longtime director, the late Dom Jean Claire, who retired shortly thereafter. The choir is in excellent voice; the pacing of the chant is as it should be and the acoustic in the Abbey Church at Solesmes is warm and bathes the voices in a benevolent ambience. This office consists of four Nocturnes, Lauds, and Vespers, with the pieces toward the ends of the Nocturnes being the most captivating within the office, particularly the Mode 4 and 5 Responsory at the end of the first Nocturne and the breathtakingly beautiful Responsories in Modes 8 and 4 that conclude the Second Nocturne. "As a representation of the Holy Saturday service in Gregorian terms, this is about as liturgically accurate, and as well performed, as it gets. Outside of it's purely religious context, Solesmes' He Was Placed In The Tomb would be an excellent album to accompany late-night reading or other nocturnal, quiet activities. " (AllMusic. Com)
This album includes the moving Gregorian chants and prayers for the night before Jesus' Passion, when he gave the "mandate" to love one another as he has loved us. It includes Ubi caritas and Pange Lingua. This recording reflects the unmatched authenticity which characterizes the exquisitely gracious and moving performances of Gregorian chant by the Monks of Solesmes. "Paraclete Press offers a superb list of outstanding Christian music which is magnificently performed by the monks of Solesmes." (Reviewer's Bookwatch) "Setting the standard for Gregorian performance." (American Record Guide) In the late 19th century Pope Leo XIII charged the Abbey of Solesmes with the restoration and preservation of Gregorian Chant according to the original 10th-11th century manuscripts. The care and zeal with which the monks undertook this mission quickly extended the Abbey's influence beyond Europe.
A rich experience of the church's liturgical year through Gregorian chant. This release delivers a stirring collection of Gregorian chants, celebrating "Ordinary Time" - the season of the liturgical year between the Feast of the Baptism of Our Lord and Lent, and from Pentecost Sunday until the beginning of the Advent season. Ordinary Time is the thread of the liturgical year, commemorating each Sunday with the Resurrection and the Paschal mystery. Expertly sung by the world-renowned monastic choir of Solesmes, France, this Gregorian chant recording enables listeners to participate in a rich experience of the church's liturgical year. "This recording has remained a touchstone of chant singing... It's elegance, it's utter rightness once more becoming evident." (Fanfare)
Mediterranean and Nordic Christmas music with Arianna Savall and her Baroque ensemble Hirundo MarisSince the founding of their ensemble in 2009, Hirundo Maris, the Catalan harpist and singer Arianna Savall, and the Norwegian tenor and violist Petter Udland Johansen have committed themselves to music from the Middle Ages up to the Baroque period. And a special emphasis has been Mediterranean and Nordic music. For their current album, “Silent Night – Early Christmas Music and Carols” both musicians and ensemble conductors have chosen traditional Christmas songs from the north and south. And in doing so, invite you along on a journey of sound into the magical world of centuries-old winter, Advent, and Christmas music.The German song “Silent Night” is laid out on the program alongside the Norwegian Christmas song “Mitt hjerte alltid vanker”, the Provençal “Ô nuit brillante” and the Catalonish, “El cant dels ocells”, which the legendary early music pioneer Jordi Savall, Arianna Savalls famous father, orchestrated for the recording.“Every country has its own Christmas traditions and its own treasure trove of Christmas songs” says the musician from the Hirundo Maris ensemble (the ensemble name is the Latin term for “sea swallow”). “Some of them, like “Silent Night” are known throughout the world and are translated in numerous languages, but many of these songs have remained hidden in their home countries like a national treasure. Hirundo Maris now showcases many such musical treasures in imaginative compositions that fuse the old with the present day.The expressive voices of Arianna Savall and Petter Udland Johansen give rise to an atmospheric dialogue with multifaceted instrumental parts. Such sounds emanate from cheerful bagpipes, an expertly played Cornetto, the poetic slide guitar “Dobro” and violins, flutes, harps and percussion. “Our music is based on four important elements: early music, folk music, our own composition, and improvisation. We all play different instruments, but the voices of Arianna and Petter are the main focus of our group.”The musicians of Hirundo Maris all come from many European countries: Norway, England, Germany, Poland, Spain, and Catalonia. And accordingly, the recording of beautiful melodies has become a kind of sound mirror reflecting the diverse musical traditions of European Christmas celebrations. “The singing of heavenly Christmas music brings everyone peace and hope” says Arianna Savall. “Singing is one of the best opportunities to bring people together. It is very spiritual. We cannot touch it, but we all feel it deep in our hearts.”TRACKLIST1. The Holly and the Ivy & El Noi de la Mare 04:24(El noi de la mare) - trad, English/Catalan , arr. Arianna Savall / Petter Udland Johansen2. El Desembre Congelat 05:29trad. Catalan, arr. Arianna Savall / Petter Udland Johansen3. ¡Ay, que me abraso! 04:43Juan García de Zéspedes, (17th century, Mexico) arr. Arianna Savall / Petter Udland Johansen4. Mitt hjerte alltid vanker 05:21trad. Norwegen, arr. Arianna Savall / Petter Udland Johansen5. Es ist ein Ros‘ entsprungen 03:27Michael Praetorius (1571 -1621), arr. Arianna Savall6. Wexford Carol 07:44trad, Irland, arr. Arianna Savall / Petter Udland Johansen7. Ô nuit brillante 07:17trad Noël Provençal arr. Joseph Bovet / Arianna Savall / Petter Udland Johansen8. El cant dels ocells 06:08trad. Catalan, arr. Jordi Savall9. Kling no, klokka 02:39trad. Norwegen10. La salve 06:50Arianna Savall (1972 )11. Rug Muire mac do Dhia 04:33(Mary bore a son to God) - trad. Ireland 18th century, arr. Arianna Savall12. Stille Nacht 03:55Franz Xaver Gruber (1787 - 1863) / Joseph Mohr 1792 - 1848), arr. Arianna Savall / Petter Udland Johansen
This release by Cappella Romana is a breathtaking collection of Medieval Byzantine Chant sung from manuscripts made at the Abbey of Grottaferrata in the suburban hills of Rome, which has operated continuously in the Byzantine rite since its founding, before the Great Schism, in 1004. During the Middle Ages, Grottaferrata was the site of an important scriptorium, the surviving manuscripts of which bear precious witness to musical repertories sung in Constantinople before the Crusader sack of 1204.
Led by virtuoso cantor Ioannis Arvanitis, Cappella Romana recaptures on this recording the artistic vibrancy of medieval Italy's Greek minority with ecstatic 13th-century chants. Disc one is devoted to the life and work of the monastery's founders St. Neilos and St. Bartholomew, including kontakia in their honor, and an excerpt of a kanon for St. Benedict that was very likely composed for a Greek-rite all-night vigil at the Benedictine community at Montecassino in Sicily. Disc two features music for Pentecost, beginning with excerpts of its two kanons, the alleluiarion, and the communion verse for the feast. The central work on disc two is the Teleutaion (Final Antiphon) of the kneeling vespers in the medieval cathedral rite, featuring extended psalmody and ecstatic settings of the angelic refrain "Alleluia," foreshadowing the beautified ("kalophonic") chant of St. John Koukouzeles.
The booklet features a substantial essay on the music and its context by musicologist and Cappella Romana artistic director Dr. Alexander Lingas, and complete original texts in Greek with English translations by Archimandrite Ephrem (Lash). Beautiful photography of the Byzantine Abbey of Grottaferrata, taken on Cappella Romana's tour there in May 2006, illustrates the booklet, as well as a sample of medieval Byzantine notation (as opposed to contemporary notation in the received tradition) drawn from the opening verse of the Teleutaion in the Grottaferrata manuscript Psaltikon Ashburnamensis 64. The CDs combined feature over 82 minutes of music. Two CDs (CD1: The Founders of Grottaferrata; CD2: The Feast of Pentecost).
“The success of Gregorian chant in the past century, and the centered richness of prayer it brings to all of us, is almost singularly due to the herculean efforts of the Benedictine Monks of Solesmes, France.” —New Liturgical Movement
“The music is exceptionally inviting, engaging listeners’ ears with beauty and elevating their thoughts no matter what their spiritual or religious beliefs and doctrines may be.” —TransCentury Communications “The most famous and ‘authentic’ recordings of Gregorian chant for generations have been those made by the Solesmes monks.” —The Boston Globe
Moody: The Akathistos Hymn / Lingas, Cappella Romana
Cappella Records
CD · 2 discs
$22.99Mar 16, 2018
This release beautifully showcases the Akáthistos Hymn to the Virgin Mary, set by Ivan Moody. This lyrical masterpiece in 24 stanzas has been treasured for nearly 1,500 years by Eastern Christians. Father Moody’s 1998 setting, composed specially for the ensemble, weaves beloved Greek melodies into Russian choral textures as it progresses from reverent contemplation to ecstatic transcendence. Father Ivan Moody studied music and theology at the Universities of London, Joensuu, and York. He studied composition with Brian Dennis, Sir John Tavener, and William Brooks. His music has been broadcast and performed all over the world. He is an archpriest of the Ecumenical Patriarchate of Constantinople and is Chairman of the International Society for Orthodox Music. This is the world premiere recording of this work.
Cappella Romana, a vocal chamber ensemble renowned for its ''robust and intriguing music'' (Washington Post), releases its latest recording ''Live in Greece.'' Its previous release ''Music of Byzantium'' sold over 14,000 copies. A 1000-year journey from Constantinople to California, ancient Byzantine chants are followed by musical encounters with Crusaders and Venetians, including Greek and Latin polyphony from Renaissance Crete. East meets West again at St. Sophia Cathedral in Los Angeles, where Frank Desby founded a tradition, continued by his Californian peers of Greek-American choral music.
“Full throated, full bodied, full of joy, these singers breathe passionate life into a rare and rarefied repertory. You’ll be willingly transported to their magical island. Bravo.” —Susan Hellauer (Anonymous 4) The Crusades brought to Cyprus French kings, whose imported musical traditions flourished alongside those of their Greek subjects. The vibrancy of their Mediterranean soundscape is captured in this recording, which traverses the diverse range of sacred music heard during the fifteenth century in Nicosia’s Orthodox and Catholic cathedrals: Greek and Latin hymns celebrating the divine patronage of St. Hilarion of Gaza, lavish prayers for French royalty set to Ars Nova polyphony from the codex Torino J.II.9, and virtuosic Byzantine chants by Constantinopolitan and Cypriot composers. Vocal ensemble Cappella Romana combines passion with scholarship in its exploration of early and contemporary music of the Christian East and West. Its name refers to the medieval Greek concept of the Roman oikoumene (inhabited world), which embraced Rome and Western Europe as well as the Byzantine Empire of Constantinople (“New Rome”) and its Slavic commonwealth.
Telemann: Don Quixote & Other Suites & Concertos / Sorrell, Apollo's Fire
Avie Records
CD · 1 disc
$9.99$19.99Save 50%Jun 01, 2016
Tilting at windmills. The long-suffering Sancho Panza. Sighs of love for Dulcinea. The familiar and fanciful themes of the Don Quixote legend are brought to life by Apollo’s Fire in Telemann’s imaginative portrayal. The Don Quixote Suite sits alongside other suites and concertos by the composer that reveal his cosmopolitan air and whimsical nature.
REVIEW:
Avie deserves credit for spotting this 2002 Koch International label disc and putting it back into circulation once again, as it remains a sterling release. The Cleveland-based Baroque orchestra Apollo's Fire and conductor Jeannette Sorrell pick a program that shows exactly why Telemann was so popular in his own day. They apply just the right level of broad gesture to the two representational suites, which reflect their subjects but are in no way overdone. A wonderful release that holds up to repeated hearings.
Feldman: Patterns in a Chromatic Field / Giger, Schleiermacher
MDG
CD · 1 disc
$23.99Feb 01, 2016
Steffen Schleiermacher has often fascinated his public with works by Morton Feldman. Along with Christian Giger, the solo cellist in the famous Gewandhaus Orchestra, he is now presenting Patterns in a Chromatic Field - an extensive composition showing us the minimalist master's more entertaining side. Here, highly virtuosic passages alternate with petrified soundscapes; now the instruments seem to melt, now their contrasting nature becomes the point of reference. While avoiding any sort of developmental idea, a tonal process of great suggestive power is produced over the course of some eighty minutes. -- MD&G
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REVIEW:
This is very satisfying and musically highly refined. There is a balance to be struck between enigmatic modernity and romantic affection for an abstract tradition which is in line with both Mark Rothko’s New York and Beethoven’s Vienna, and this is beautifully struck by these musicians. If you are a Feldman fan then this will be a very satisfying addition to your collection. Feldman newbies might find an 80 minute duo for cello and piano on a single CD track more than a little daunting, but, as with his other extended works, if you allow the piece its own space and inhabit it as you would an art gallery, then you will gradually sense your cells and synapses aligning themselves to something rather special.
Ulrich Krieger (born 1962 in Freiburg) is a German contemporary composer, performer, improviser and experimental rock musician based in Los Angeles. Krieger's artistic work spans a broad field from contemporary classical composition and free improvisation to experimental fusion with electronic music, rock, metal and noise. His special interest lies in the exploration of the physical fringes between acoustic and electronic produced sounds. In his music and with his instrument, the saxophone, he developed an original style of playing he calls "acoustic electronics". Acoustic electronics is about using sounds that appear to be electronic but are actually produced on acoustic instruments. His probably best known experimental project with acoustic electronics is the transcription of Lou Reed's guitar feedback opus Metal Machine Music, which he rearranged for chamber orchestra. Composers: Ulrich Krieger Performers: Eric Drescher, bass flute; Christian Vogel, bass clarinet; Ulrich Krieger, tenor saxophone; Ulrich Krieger, electronics; California E.A.R. Unit; Erika Duke-Kirkpatrick, cello; Vicki Ray, piano; Amy Knoles, percussion; Sonic Boom; Alex Srameck, contrabass clarinet; Chris Kallmyer, trumpet; Luke Storm, tuba; Robert Allaire, accordion; Ami Tamura, inside piano; Lydia Martin, percussion; Aniela Marie Perry, cello; Jake Rosenzweig, bass; Johannes Uhle, organ; Ulrich Krieger, sopranino saxophone; Ensemble Experimente; Dimitri Jurowski, cello; Maria Lobanowa, flute; Johanna Sponholz, recorder; Nikolaj Abramson, clarinet; Jonas Pieper, saxophone; Stephan Bienwald, electric guitar; Julia Schröder, harp; Alezander Schubert, accordion; Vinzenz Weißenburger, piano; Friedemann Werzlau, percussion; Moritz Colitti, violin; Antje Wunderlich, violin; Arthur Hornig, cello; Felix Eugen Thiemann, cello; Gerhard Scherer, Conductor
New York’s leading early music ensemble Tenet presents The Secret Lover, a program that celebrates music by, for, and about women and pays tribute to the 17th century Concerto delle donne, a trio of extraordinarily gifted professional female singers who were renowned for their performances in the courts of the late Italian Renaissance. Three of Tenet’s own leading ladies – sopranos Jolle Greenleaf and Molly Quinn, and mezzo-soprano Virginia Warnken – honor the spirit of these pioneering women with a recording featuring solos and trios that weave a story thread to create a musical portrayal of three women and their complex emotional lives. As a 21st century tribute, Tenet has commissioned a new work by Pulitzer Prize-winning composer Caroline Shaw, which they perform alongside music by Caccini, Rossi, Strozzi and others.
English Royal Funeral Music: Purcell, Morley, Tomkins
Ricercar
CD · 1 disc
$20.99Apr 09, 2013
We know now that Purcell's three Funeral Sentences were not written for the funeral of Queen Mary in 1695. Following the tradition of the English court, it was pieces by Thomas Morley, originally written for the funeral of Elizabeth I, that were sung there. Purcell's only contribution to the ceremony was the composition of two pieces for slide trumpets (March and Canzona), and the anthem in the archaic style Thou knowest, Lord. During the funeral procession to Westminster Abbey, a band of oboes played two marches written by John Paisible and Thomas Tollet. This recording assembles the music composed for the funeral of Queen Mary and that used at the funeral of Elizabeth I in 1603. The programme is completed by Purcell's sublime a cappella anthems and a moving anthem by Weelkes on the death of Thomas Morley. After the success of the recording of Schütz's Musicalische Exequien, voted Record of the Year by Gramophone magazine, this disc will be one of the major events of spring 2013.
Trio Settecento, the “superlative Chicago-based early music ensemble” (Gramophone) completes its grand tour of the European Baroque with An English Fancy, its highly anticipated survey of English Baroque chamber works. It is the final leg of a musical journey that has delighted record collectors and critics alike. Early-instrument enthusiasts will be intrigued by the prominent role of the viola da gamba in this repertoire. Previous installments include An Italian Sojourn, A German Bouquet, and A French Soirée.
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Josquin, Brumel and Lassus were truly European composers, leaving their origins to work in the top establishments of Aix-en-Provence, Ferrara, Rome and Munich. Their music has a unique sonority which will astound you all - from the depth of expression and fascinating texts of Josquin (prepare yourselves for the surreal nature of Praeter rerum seriem) to the overtly decorative mass movements of Brumel’s Missa Et ecce terraemotus where the 12 parts interweave in extensive imitation and thrilling tracery, culminating in the extraordinary harmonic stillness of Lassus’s Timor et tremor and his gorgeously evocative 10-part setting of Aurora lucis rutilat.
