Spiritual
933 products
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Richard Stohr: Orchestral Music, Vol. 4
$20.99CDToccata
Nov 21, 2025TOCC0766 -
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Purcell: Hail! Bright Cecilia
$20.99CDChâteau de Versailles Spectacles
Dec 12, 2025CVS151 -
Dancing Organ
$23.99SACDAeolus
Dec 19, 2025AE11461 -
Martin, Ullmann & Faure
$19.99CDBerlin Classics
Nov 28, 20250303971BC -
J. S. Bach: Cantata a 2
$20.99CDHitasura
Jul 18, 2025HSP012 -
From Keys to Strings
$20.99CDGenuin
Nov 21, 2025GEN 25929 -
Bach on Nine Strings - Suite, Partita and Sonata for Two Pic
$20.99CDArcana
Feb 27, 2026A590 -
J.S. Bach: Concertos, Inventions & Motets for Recorder Ensem
$12.99CDBrilliant Classics
Feb 27, 2026BRI97093 -
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De Profundis
$18.99CDarcantus Musikproduktion
Oct 17, 2025ARC25050 -
Price: Violin Concertos Nos. 1 & 2, Piano Concerto in One Mo
$19.99CDNaxos
Jun 27, 20258559952 -
Nigun - Jewish Choral Music
$20.99CDSWR
Oct 03, 2025SWR19163CD -
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Singing into Space
$20.99CDToccata
Nov 14, 2025TOCN0044 -
Lili & Nadia Boulanger: Piano Music
$21.99CDPiano Classics
Jan 09, 2026PCL10325 -
…a riveder le stelle
$21.99SACDBIS
Nov 21, 2025BIS-2687 -
Paul Ben-Haim: Music for violoncello
$21.99CDCapriccio
Oct 03, 2025C5556 -
American Vignettes
$20.99CDToccata
Jul 18, 2025TOCN0023
Bach: Violin Sonatas And Partitas
REVIEWS:
American Record Guide (7-8/00, pp. 83-84 - "...Matthews...has excellent taste, does a wonderful job of characterizing each movement, and is very good at bringing out all the voices in the fugues....This superb recording
is...my top recommendation....A very auspicious debut...a major talent..."
Casals Edition - Schubert, Beethoven: Piano Trios
All You Need Is Bach / Carpenter
A virtuoso composer-performer unique among organists, Cameron Carpenter’s approach is to smash the stereotypes of organists and organ music. Described as “extravagantly talented” (New York Times), and “smasher of cultural and classical music taboos,” (The New Yorker), Cameron is the first organist ever nominated for a Grammy Award® for his debut album, Revolutionary. All You Need is Bach is the second recording made on Cameron’s new International Touring Organ. The organ, designed by Cameron himself, is a mobile digital organ that is artistically and sonically equal to any of the world’s great organs and will challenge the way the world thinks about organs.
Richard Stohr: Orchestral Music, Vol. 4
Silvestrov: Symphony for Violin & Orchestra / Lyndon-Gee, Lithuanian National Symphony
Valentin Silvestrov is Ukraine’s leading composer and one of the most distinctive musical voices of our time. This album brings together the two superlative works of Silvestrov’s early maturity – Postludium for Piano and Orchestra and the Symphony for Violin and Orchestra ‘Widmung’. Recorded in the presence of the composer. The Lithuanian National Symphony Orchestra conducted by Christopher Lyndon-Gee can also be heard on 8.574123 in Silvestrov’s Symphony No. 7, Ode to a Nightingale and Piano Concertino.
REVIEW:
If you don't know [this] 86-year-old composer's music, a new album by conductor Christopher Lyndon-Gee and the Lithuanian National Symphony Orchestra makes a sonically satisfying place to start. It contains a pair of symphonic works that embody two recurring ideas for Silvestrov: that an end can also be a beginning, and that sweet, nostalgic music can thrive alongside concussive eruptions.
In Postludium for Piano and Orchestra, the composer essentially offers an ending, a "postlude," that becomes something brand new by mixing the avant-garde with old-school romanticism. The piece convulses in orchestral earthquakes of low brass (complete with aftershocks), but eventually gives way to delicate music that yearns for the long-ago beauty of Mozart.
The more expansive work on the album is a 44-minute symphony for violin and orchestra titled Dedication. Who's it dedicated to? Lyndon-Gee, writing in the album's booklet, treats it as an homage to the "life-force" of the human race — which encompasses not only tragedy, but also love and renewal. And yet for Silvestrov, he says, "Everything is a postlude to that which is slipping, inevitably and unceasingly, from between our fingers."
In Dedication, the violin — played with unwavering detail by Janusz Wawrowski — is not battling against the orchestra for domination, as in a typical concerto. Instead, the two protagonists complement each other, breathing as a single organism in Silvestrov's colossal exhalations of sound. Great waves of percussion crest over a spiky violin, a reminder that Silvestrov's early works from the 1960s were considered too avant-garde for Soviet-era officials.
Silvestrov has created his own sound world, charged with turbulence and bittersweet fragments of melody that can seem like quotes from other composers, but aren't. Near the end of Dedication, an elegiac theme, reminiscent of Mahler, emerges in the strings, struggling to rise ever higher through a dark cloud of roiling harmonies.
-- NPR Classical (Tom Huizenga)
Mahler: Symphony No. 3
To celebrate the 75th anniversary of the Bavarian Radio Symphony Orchestra (BRSO) in 2024, the BR-KLASSIK label is releasing previously unreleased recordings of concerts worth listening to, available on CD and as a stream.
Gustav Mahler's Third Symphony remains today one of the greatest and most powerful creations of the Late Romantic period. The immense symphony, longer and more monumental than others, incorporates texts from the collection of poems by Clemens Brentano and Achim von Arnim entitled “Des Knaben Wunderhorn”. Composed over a period of four years from 1892 to 1896, with particular focus during the summers of 1895 and 1896 spent at the Attersee in Austria, it was premiered in its entirety on June 9, 1902, at the 38th “Tonkünstler Festival” in Krefeld. Mahler conducted the Städtische Kapelle Krefeld and Cologne’s Gürzenich Orchestra at this momentous event, which garnered great acclaim from his contemporaries. Between 1902 and 1907, the composer conducted his Third Symphony a further 15 times.
Among the symphony's six powerful movements, the slow fourth movement necessitates not only a large orchestra but also a mezzo-soprano solo for a setting of the “Midnight Song” (“O Man! Take heed!”) from Friedrich Nietzsche's poetical-philosophical work "Thus Spoke Zarathustra." In the cheerful fifth movement, the mezzo-soprano soloist is joined by a children’s choir and a female chorus for the song "Es sungen drei Engel" from "Des Knaben Wunderhorn." The symphony presents a significant challenge for all its performers, and this concert recording from December 2010 features a prestigious lineup: Mariss Jansons conducting the Chor and Symphonieorchester des Bayerischen Rundfunks, with the Tölzer Knabenchor, and solo parts sung by Nathalie Stutzmann.
Bach's Coffeehouse / Sorrell, Apollo's Fire
Purcell: Hail! Bright Cecilia
Corelli: Concerti grossi, Op. 6, 1-6
Dancing Organ
Hodgkinson, Frank, Mendelssohn, Weir & Wheeler: Songs for a New Century
The singing quality of string instruments ties together "SONGS FOR A NEW CENTURY," a program featuring both world premiere recordings of new music commissioned for the artists and world premiere recordings of masterpieces by Mendelssohn.
The program opens with a set of Mendelssohn’s Songs Without Words, beginning with the Opus 109 written by the composer for cello and piano. It continues with a set of arrangements for cello and piano, some recorded for the first time, by the 19th-century cellist Alfredo Piatti, a personal friend of Mendelssohn’s upon whose cello Jonathan Miller plays. Gabriela Lena Frank’s Operetta for violin and cello, the composer writes, expands upon Mendelssohn’s concept of the “song without words,” creating opera without words that evokes scenes and characters through singing music for the duo of violin (Lucia Lin) and cello. Scott Wheeler’s second cello sonata, Songs Without Words, was inspired by Miller’s singing cello tone. Finally, Judith Weir’s Three Chorales for cello and piano meditate on religious poetry, departing from hymn texts –– and in the third Chorale, a melody from Hildegard of Bingen –– in a triptych that evokes the human condition.
"Operetta," "Three Chorales," and "Cello Sonata #2: Songs Without Words" were commissioned by Jonathan Miller and Diane Fassino for the Boston Artists Ensemble.
Martin, Ullmann & Faure
J. S. Bach: Cantata a 2
Ockeghem: Complete Songs, Vol. 2 / Metcalfe, Blue Heron
Johannes Ockeghem (c. 1420-1497) was one of the most celebrated musicians of the fifteenth century and one of the greatest composers of all time. He was every bit the equal of J.S. Bach in contrapuntal technique and profound expressivity, and like Bach able to combine the most rigorous intellectual structure with a beguiling sensuality. His two dozen songs set French lyric poetry in the courtly forms of his era—rondeau, virelai, and ballade—to exquisitely crafted polyphony in which all voices are granted equally beautiful and compelling melodies.
This CD is the companion to Blue Heron’s 2019 release, Johannes Ockeghem: Complete Songs, Volume 1, which was named to the Bestenliste of the Preis der deutschen Schallplattenkritik and acclaimed in Gramophone as “performances of absolute clarity, beautifully in tune, beautifully balanced and beautifully recorded”; Early Music enthused that “the Boston-based ensemble is at its finest—a summit quite sublime.… The group’s extraordinary rapport with the music is evident everywhere in the recording; each melodic line is not only clear and precise but also imbued with obvious affection.”
Besides twelve of Ockeghem’s songs, the disc includes two related works (Gilles Binchois’s Pour prison, quoted by Ockeghem in his song La despourveue, and Johannes Cornago’s Qu’es mi vida, arranged by Ockeghem) and an anonymous instrumental arrangement of Ockeghem’s Je n’ay dueil. The CD booklet contains complete texts and translations, and notes by music historian Sean Gallagher and Blue Heron’s artistic director, Scott Metcalfe.
From Keys to Strings
Bach on Nine Strings - Suite, Partita and Sonata for Two Pic
J.S. Bach: Concertos, Inventions & Motets for Recorder Ensem
Ives: The Anniversary Edition
On the 150th anniversary of the birth of Charles Ives - acclaimed by his champion Leonard Bernstein as the "first great American composer", who, "all alone in his Connecticut barn, created his own private musical revolution" - Sony Classical presents the most authoritative recording collection ever released of works by this eccentric, prophetic genius.
The 5-CD box set Charles Ives - The Anniversary Edition is a unique and provocative introduction only released previously 50 years ago on LP by Columbia Masterworks under the art direction of Henrietta Condak to celebrate Ives's centenary.
The first disc examines "The Many Faces of Charles Ives" through eight diverse works recorded between 1964 and 1970: Bernstein conducts the New York Philharmonic in The Fourth of July and The Unanswered Question; General William Booth Enters into Heaven, one of Ives's towering achievements, and The Circus Band are performed by the Gregg Smith Singers; baritone Thomas Stewart sings the moving song In Flanders Fields; organist E. Power Biggs plays Ives's Variations on "America"; composer Gunther Schuller conducts The Pond for chamber orchestra; and the Largo cantabile Hymn is performed by the New York String Quartet and double bass player Alvin Brehm. CD 2, "The Celestial Country", offers Ives's early cantata by that name, composed in 1897-99 for his conservative Yale composition teacher Horatio Parker. It is sung by the Gregg Smith Singers (accompanied by the Columbia Chamber Orchestra), who also perform arrangements of four of Ives's most powerful patriotic songs with the American Symphony Orchestra and Leopold Stokowski conducting. "The Things Our Fathers Loved", CD 3, contains 25 of Ives's songs, delivered by the soprano Helen Boatwright, who specialized in American song. She is partnered by John Kirkpatrick, who studied and worked closely with Ives and is still regarded as the most authoritative interpreter of his piano music. Gramophone in 1974 praised this famous recording as "the finest selection ever to appear" on LP of "what may well turn out to be considered his most important, characteristic and consistently inspired body of music."
Ives: Orchestral Works / Sinclair, Orchestra New England, Navarre Symphony
This album showcases a selection of Ives’ shorter works for orchestra. Experiments, marches, arrangements, and enticingly incomplete fragments are included alongside the Four Ragtime Dances and Chromâtimelôdtune, one of Ives’ most startling creations. Ives specialist James Sinclair conducts. Includes seven world premiere recordings. Released to mark the 150th anniversary of Ives’s birth.
De Profundis
Price: Violin Concertos Nos. 1 & 2, Piano Concerto in One Mo
Nigun - Jewish Choral Music
Walker: Complete Piano Works, Vol. 2 / Dossin
This second volume of George Walker's piano music joins its predecessor on Naxos 8.559916 (April 2024), together forming a unique complete piano works edition. On this new release, Steinway Artist Alexandre Dossin performs the cyclical Fourth Piano Sonata, which alternates between sections of virtuoso muscularity and lyrical repose, and the Piano Concerto, which integrates expansive Classical forms with inspiration derived from songs by Duke Ellington, something also cleverly hidden in Guido's Hand. The album closes with Walker's passionate Fifth Piano Sonata.
REVIEW:
Dossin makes much of the alternately moody and energetic first movement of the Piano Sonata No. 4. His ability to grasp the long line of Walker’s music is a really big factor in one’s enjoyment of his performances. The pianist's ability to use “space” in his interpretations makes these performances fascinating and ultimately rewarding.
— Art Music Lounge
Villa-Lobos: Complete Works for Solo Guitar
Bach, Corelli, Handel & Telemann: Corellimania / Perl, Petri, Esfahani
As the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli’s style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes – most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa – was a significant part of what his followers considered the ‘Corellian’ manner.
But Corelli’s actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli’s hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli’s style throughout all his surviving works and would establish the “Roman School” as the supreme measure of musical taste for generations.
For this exploration of the 18th century’s Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman’s influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio’s Bach recording: “While the tonal and expressive range of the recorder, viol and harpsichord may appear constrained in comparison to, say, flute, cello and piano, in the hands of foremost players such as these, even a relatively lightweight work such as the C major Sonata, BWV1033, comes over as the ideal demonstration of a particular facet of the composer’s style and the performers’ abilities.”
Singing into Space
Lili & Nadia Boulanger: Piano Music
…a riveder le stelle
Paul Ben-Haim: Music for violoncello
