It’s only natural, I suppose, to assume that an “arrangement” or “transcription” for piano of a great orchestral work will be inferior to the original. But that depends on the particular arrangement and on your mindset. Depending on the skill and creativity of the arranger, the pared-down version may actually prove to be equally worthy in its own right, and in the right hands (so to speak) can have, for listeners who know the original, the advantage of offering a fascinating way to hear the work anew. If you approach Brahms’ four-hand arrangement of Ein Deutsches Requiem in this way, and with this extraordinary recording, you will be pleasantly surprised and satisfied.

If nothing else, this version of the Requiem forces us to focus on the choral writing–which should be the star of the show anyway. And fortunately this chorus–actually two combined choruses– of around 50 singers is ideal in ensemble sound and precision, flexibility, and energy. I guarantee that you won’t hear a more purely exciting performance of this work–a work that’s not normally associated with that description–and that’s at least partly due to conductor Parick Quigley’s attempt (not always managed to the best effect) to “be faithful to” what he refers to as Brahms’ own preference for “elastiche tacht”–for rubatos and accelerandos in his own performances.

Of course we notice the piano as well, and how much it’s not an orchestra–a reality that perhaps is most obvious in the soprano-solo fifth movement, where the lack of subtlety and delicately shaded color in the “orchestra” undermines what actually is one of the more impressive renditions of this notoriously challenging solo: Teresa Wakim shows absolutely no fear of tessitura and her lovely tone and flawless technique exemplify the ethereal quality this at once tender and technically tough music demands. Her solo is a highlight of the disc–and surely among the finest on any recording.

Still, there are many moments–in the final movement, for example–where the conducting rudely runs over the text, where a bit of sensitivity, a slight rubato here and there, a less determined pace (this has nothing to do with piano) would have been welcome, and more true to the text and the spirit of Brahms’ score. Indeed, it seems that Quigley has decided that it’s necessary to somehow compensate for the lack of an orchestra’s weight and force and volume with–speed. At under an hour, I don’t think you’ll hear a swifter rendition of this work by anyone, ever, under any conditions. The “So seid nun geduldig…” section of the second movement literally flies in a mad dance through its 50 measures; but this same accent on celerity makes for the most rousing–and frankly electrifying–conclusion to that movement (“Die Erlöseten des Herrn werden wieder kommen…”) you’re likely to ever experience. The same goes for the choral conclusion of the next movement (“Der Gerechten Seelen sind in Gottes Hand…”).

Whatever else you may take away from this remarkable performance, you won’t forget—nor will you likely ever hear more pronounced in this work—the level of sheer dynamic force, the rifle-shot articulation, the focused energy, the extremes of expressive contrast, or the amazingly vibrant choral sound. And supporting it all is supreme musicianship, even though you may miss a certain aspect of subtlety and lyricism that this work really requires—does the final movement really need to be in such a hurry?

But even within these less-than-subtle moments the musicality and vocal artistry is never less than at the highest level. In the end you realize that to understand and appreciate this version of the Requiem you have to shed your attachment to the work you know and love and just hear it and accept it as a work that’s the same but different. And thanks to the superb chorus we have here—Seraphic Fire and its associate Professional Choral Institute from the University of South Florida—there is never a moment where we doubt the commitment or capability of these singers and pianists in truly setting a fire under a work that for 150 years has had a “slow and reverent” reputation.

-- David Vernier, ClassicsToday.com

Reincarnations: A Century of American Choral Music

Monteverdi: Vespers of the Blessed Virgin 1610

Steal Away: The African American Concert Spiritual explores the very essence of America's national heritage through the compelling sincerity of the Spiritual. With visceral illustrations of joy, pain, sorrow, and hope of a people yearning for a better life, Seraphic Fire takes a fresh look at this simple and candid expression of the human spirit.

Seraphic Fire has assembled a collection of music with which the ensemble has a visceral, tenacious connection. This self-titled recording contains Seraphic Fire signature works that have brought the ensemble to prominence eleven seasons after it's founding. Led by Founder and Artistic Director Patrick Dupre Quigley, Seraphic Fire brings the best ensemble singers from around the country to perform repertoire ranging from Gregorian chant to newly commissioned works.

This is the follow-up Christmas recording to Seraphic Fire's 2012 Grammy-nominated A Seraphic Fire Christmas. This recording includes four world premiere recordings ('Gitanjali Chants,' 'Little Child in a Manger,' 'Nino de Rosas' and 'Silent Night').

For nearly 20 years, Seraphic Fire’s Christmas concerts have heralded the change of seasons for our audiences in South Florida, and there is no piece more associated with these yearly musical celebrations than Jesus Christ the Apple Tree. Written by Elizabeth Poston, English composer and purported World War II spy for the Allies, Jesus Christ the Apple Tree takes a Federal-era American text and clothes it in music so simple, that it could easily be an 18th-century colonial hymn. With its elegant treble-voice verse and luxurious ending canon, Jesus Christ the Apple Tree has become an indispensable part of Christmastide for thousands of our friends in our hometown of Miami, FL, and beyond.

With Poston’s masterpiece as our polestar, this new holiday recording by Seraphic Fire celebrates the simple and the authentic. From Praetorious’s double choir setting of In dulci jubilo and Gottfried Wolter’s spine-tingling Maria durch ein Dornwald ging, to familiar American carols arranged by composer contemporaries of Seraphic Fire (including Susan LaBarr, Edwin Fissinger, Timothy Takach, and Seraphic Fire’s founder Patrick Dupre Quigley), this new recording hopes to introduce new settings of old melodies that will hopefully become instant classics in your Christmas soundscape. Each Seraphic Fire Christmas program is special, and we hope that The Apple Tree: Christmas with Seraphic Fire will continue our tradition of bringing peaceful, tuneful contemplation to our beloved audiences, near and far. – James K. Bass

Track Listing: 1) Pater Noster; 2) Ave Maria; 3) Tota Pulchra es Maria; 4) Verbum caro factum est; 5) Adeste Fideles / O Come, All Ye Faithful; 6) Once in Royal David's City; 7) Quem pastores laudavere; 8) O magnum mysterium; 9) O Little Town of Bethlehem; 10) There is no Rose of such vertu; 11) Once as I Remember; 12) Es ist ein Ros; 13) Tomorrow Shall Be My Dancing Day; 14) The Lamb; 15) Jesus Christ the Apple Tree; 16) There Will Be Rest; 17) A Merry Christmas

Seraphic Fire, GRAMMY®-nominated professional choir, presents it's newest recording, Hildegard of Bingen: Ordo virtutum. This recording is the first complete performance of the 12th century masterpiece on album. Composed by 1151 CE, Ordo virtutum tells the story of a wandering soul, Anima, and her struggles between the forces of good and evil. The musical roles of Ordo virtutum are exclusively female. The Devil, who faces off against the heavenly Virtues in a battle for Anima's soul, is the only male character in the play, and is unable to sing-he can only shout. Luthien Brackett sings the role of Anima; Clara Osowski portrays Humility, Queen of the Virtues; and James K. Bass gives voice to the song-less Devil. Virtues, Embodied Souls, and Patriarchs and Prophets are sung by the women of Seraphic Fire, and artistic director Patrick Dupre Quigley conducts.

As the third installment of “A Seraphic Fire Christmas”, Candlelight Carols: Music for Chorus and Harp is a unique collaboration between the pure, crystalline harp and warm, resonant voices. + This remarkable recording evokes an angelic, wintry atmosphere within an intimate, candle-lit chapel. + With Candlelight Carols, Seraphic Fire masterfully interweaves original arrangements of traditional carols with modern masterpieces. + Seraphic Fire is regarded as one of the preeminent chamber ensembles in the United States. In 2012, two of their recordings, Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas, were nominated for GRAMMY® awards. + Seraphic Fire was the only choral group in North or South America to be nominated, and the only classical ensemble in the world to receive nominations for two separate projects. + Led by Founder and Artistic Director Patrick Dupre´ Quigley, Seraphic Fire brings some of the finest singers and instrumentalists from around the country to perform repertoire ranging from Gregorian chant and Baroque masterpieces to newly commissioned works.

This stunning recording by Grammy-nominated Seraphic Fire is an expertly informed collection of some of Western music’s purest compositions.