Here We Are finds acclaimed jazz vocalist Lori Williams at the heart of a soulful, cross-continental collaboration with top-tier European jazz artists. Born out of friendships from the Poysdorf Summer Jazz Workshop, the album blends original songs and timeless standards with Brazilian grooves, romantic ballads, and classic swing. Williams' warm, expressive voice shines across each track whether delivering heartfelt lyrics or improvising with grace and nuance. Backed by a band that listens and responds as one, Here We Are is a celebration of connection, creativity, and the joy of making music together.
This new release features poignant soul music for moments of contemplation. Stabat Mater is a 13th-century Catholic hymn to Mary's suffering as Jesus Christ's mother at his crucifixion and has been set to music by many Western composers. This 4 album box presents timeless interpretations of the most important compositions of Stabat Mater. Soloists featured on the release include Margot Guilleaume, Ingeborg Danz, Marta Benackova, Elisabeth Höngen, James Taylor, Thomas Quasthoff and many more.
Bruhns: Cantatas and Organ Works, Vol.1 / Suzuki, Yale Institute of Sacred Music
BIS
SACD
$21.99Feb 04, 2022
When he died, Nicolaus Bruhns was just 31 years old, and only twelve of his vocal works and five organ compositions have survived. On the strength of these, he is nevertheless considered one of the most prominent North German composers of the generation between Buxtehude and Bach.
Buxtehude was in fact Bruhns's teacher, and thought so highly of him that he recommended him for a position in Copenhagen. There he worked as a violin virtuoso and composer until 1689, when he returned to Northern Germany to become organist in the main church of Husum. It was here that most if not all of the extant works were performed. According to Bach's obituary, Bruhns was one of the composers that he took ‘as a model’, and he is therefore naturally of interest to Bach specialist Masaaki Suzuki.
On this first of two discs made in collaboration with the Yale Institute of Sacred Music, Suzuki directs – from the organ – a group of singers and musicians, in six of the vocal works: so-called ‘sacred concertos’ scored for 1-3 soloists and various combinations of strings with basso continuo. Suzuki’s performances of two organ pieces by Bruhns – the larger of the two preludes in E minor, and the fantasia on the chorale Nun komm, der Heiden Heiland – appear here as well.
REVIEWS:
These performances by famed Bach conductor Masaaki Suzuki were recorded in 2016 and 2017 at Yale University in the U.S. but not released until 2022. Bruhns is closer to Buxtehude (and there's even the flavor of Heinrich Schütz) in these chamber cantatas than he is to Bach. Suzuki directs these pieces from the organ and gets wonderful results from the Yale Institute of Sacred Music choir; if it originally had an American sound, Suzuki smooths it out. His soloists are not quite the equal of those he assembled in Japan, but they are idiomatic and fully equal to the music, perhaps consistent with what the composer would have heard. A wonderful Baroque release commended to anyone with the slightest interest in Bach and his world.
Unlike Johann Sebastian Bach, one of the supreme composers of the high Baroque, Handel was not by profession a church composer. He did write a number of anthems and smaller sacred works and invented the English oratorio, a hybrid of sacred and secular elements that assures his renown in sacred music, particularly through a single work of that genre, Messiah. Messiah bookends this ten-album set, with a which begins with the original, and ends with Mozart's arrangement of the work. Also included are Saul, Alexander's Feast, Belshazzar, and Dettinger te Deum. These reference recordings are presented by the biggest names of baroque music scene: Karl Richter, Helmuth Rilling, Ulrich Stötzel.
Andreas Scholl writes of his new release The Family Songbook: “When my wife Tamar first introduced me to her family in Israel, her aunt Etui took the initiative and invited all her children and the rest of the family to a Shabbat dinner. That way, her niece's new boyfriend was able to get to know the whole family. I took the Shklarskys straight to my heart; at that first meeting we laughed so much, ate so much and such good food, and I was welcomed to the family with open arms. Music plays a big role with the Shklarsky family, just as it does with my family in Kiedrich. Everyone sings or plays an instrument, and after the meal, we all went down to the music room in the basement, where there is a piano and there are various guitars and electric guitars too. Since that first Shabbat dinner we have met up many times in Ramat Gan and about two years ago, after a few glasses of wonderful red wine from the Golan Heights, the idea came to me of making a recording with the Shklarskys which would capture the atmosphere and the joy of making music together and would bring future generations of our families closer together.”
