Gregory Rose (b. 1948) absorbed the English choral tradition from his father, the Oxford conductor and composer Bernard Rose, expanding that inheritance with the techniques of European and American modernism, acquired in part during his own conducting career. This conspectus of over four decades of choral music presents a vivid combination of original compositions and agreeable arrangements, sung here with exultant virtuosity by one of Europe's leading choirs, conducted by Gregory Rose himself. Gregory Rose has been composing since the late 1960s, his catalogue including nearly twenty settings of the Mass. His music-theatre work Danse macabre, completed in 2011 and released on Toccata Classics was described by one reviewer as 'an absorbing musical masterpiece.' He has worked with orchestras, ensembles, and choirs throughout Europe and the Far East, particularly in Romantic and contemporary repertoire, and he has conducted hundreds of careers.

Monteverdi’s sacred vocal compositions introduced the expression of powerful and personal emotions to the world of church music. While it took him a number of years to find fulfillment in his work, Monteverdi was a revered composer within his lifetime and his music is regarded as revolutionary, marking the change from the Renaissance style to that of the Baroque. This album includes some of the finest works from Monteverdi’s years as director of music at St Mark’s in Venice, published posthumously in 1650 as the ‘Messa a quattro voci et salmi.’ “Pure- and vintage- Monteverdi, starting with a Dixit Dominus and ending, grandly with a version of Beatus Vir, using material we know from the familiar one. Ideal consort singing.” (The Sunday Times) “As always with The Sixteen, we get superb tuning, balanced ensemble work and a lively pace.” (BBC Music Magazine)

Michael Hurd was born in Gloucester in 1928, the son of a self-employed cabinetmaker and upholsterer. National Service with the Intelligence Corps involved a posting to Vienna, where he developed a burgeoning passion for opera. He studied at Pembroke College, Oxford with Sir Thomas Armstrong and Dr. Bernard Rose and became President of the University Music Society. Hurd's love of literature and the human voice illuminated a natural talent for word-setting. Hence his catalogue is dominated by choral and vocal works, including operas, 'pop' cantatas, songs and anthems. He was especially noted for his many scores for children and amateurs, and his care to ensure that the material he wrote was within the reach of non-professional singers and accompanists accords with his conviction that composers should adopt a practical approach to their craft. This release is volume two of Michael Hurd's choral music, and also includes his complete solo songs for voice and piano.

Skylark is a premiere vocal ensemble of leading American vocal soloists, chamber musicians, and music educators. Skylark’s music has been described as: “sublimely beautiful” (Opera Obsession) “engrossing...reaches in through the ribs and grips the vitals” (Q2/WQXR NY) “leave a hardened critic near tears” (Boston Music Intelligencer) With “some of Boston’s best singers” (Boston Globe) “Skylark can sway you softly into calm and then all but throw you across the room with sheer harmonic force” (Thought Catalog) The Project SEVEN: words from the cross, is a diverse and innovative program of music for Good Friday, pairing music from the United States with choral music from other parts of the world. This highly original album progresses through the scriptural seven last words of Christ on the Cross, pairing the music of William Billings and the Sacred Harp with the music of contemporary composers Anna Thorvaldsdottir and Jaakko Mäntyjärvi.

Yale Choral Artists has rapidly established itself as one of the most innovative professional choirs in the world, and its recordings of works by three Yale composers showcase the breadth of contemporary American choral music. They include the powerful ‘statement to the court’ by David Lang, whose ‘the little match girl passion’ won the Pulitzer Prize for Music. Ted Hearne’s ‘Consent’ uses four disparate texts in a complex personal exploration of the role of language in his life, while Hannah Lash’s ‘Requiem’ is an expression of sorrow framed through a re-translation of the Latin text. Lang’s work as well as Lash’s are receiving here their world premiere recordings.

Over four centuries separate these two representatives of English music at it's finest. William Cornysh and Benjamin Britten were prolific in both sacred and secular music. Cornysh is actually two people, often confused with one another and quite possibly father and son. The matter of telling which man wrote which works is impossible to settle, so for the purpose of this album they are linked as one. So whether it be the Elder or the Younger, we are fortunate that they not only excelled at writing complex and adventurous antiphons for the church but also beautiful secular songs for the Tudor court. For Britten writing in the 20th-century life was very different; he is a composer who encompassed so many facets of music excelling in opera, solo song and all manners of vocal and instrumental music. This album looks at the way these composers mixed sacred with secular. Whilst Cornysh's sacred music is elaborate and rhythmically complicated, his secular music is simple yet subtly evocative. Britten makes constant demands on vocal artistry best displayed in the last work he ever wrote for unaccompanied voices, Sacred and Profane.

The Choir of St Catharine’s College, Cambridge with its director, Edward Wickham, present an exciting recording of extended and little-known Psalm settings by the Franco-Flemish Renaissance composer Claude Le Jeune. Selected from Le Jeune’s monumental 'Dodecacorde' collection of Psalms, and giving a fascinating insight into the exquisite French choral music of the late Renaissance, each Psalm is paired with a hymn setting of the same text by Louis Bourgeois harmonised by Claude Goudimel or Le Jeune himself. Framing the recording are hymn versions of the ‘Old Hundredth’ (Psalm 134) and the Song of Simeon. With musical activities ranging from intimate chamber/consort singing to large-scale choral consorts, from Anglican Evensong to Choral Compline, members of St Catharine’s College Choir have the opportunity to participate in a wide variety of musical activities; and in its role as an ambassador for St Catharine's outside the College walls, the Choir’s concerts and recordings, educational and community work, has earned it a reputation for innovation and excellence.

Vivaldi’s Gloria is one of sacred music’s most uplifting choral works and a joyful hymn of praise with moments ranging from festive brilliance to profound sadness. Composed in Venice, probably in 1715, for the choir of the Ospedale della Pietà, its wonderfully sunny nature and distinctive melodies and rhythms give it an immediate and universal appeal. Bach was a fierce admirer of Vivaldi’s work, and his extraordinarily inventive Mass in G major complements the Gloria perfectly. The group is well-versed in this program, as they, at the time of this release, prepare for their Orchestral tour featuring Vivaldi’s Gloria and Bach’s Mass in G Major and visiting 10 towns and cities across the UK including London, Lincoln, Worcester, Chichester and Manchester.

Drawing international media attention following their founding in 2014, the Girls’ Choir of Canterbury Cathedral have quickly become leading lights in the British choral music landscape. For their first recording with Signum – led by their director David Newsholme – they draw on the rich catalogue of what have become British cathedral anthems from the 16th Century to the 20th, performing works by composers including Tallis, Byrd, Stanford, Parry and Howells. They are joined on this recording by the Men of Canterbury Cathedral choir, as well as organists Aidan Bawtree and Nicholas Wearne. Canterbury Cathedral’s Girls’ Choir, formed in 2014, sings at Evensong in the Cathedral twice every month, frequently with the lay clerks. The majority of the girls attend local schools in Canterbury and they rehearse each Wednesday evening. Their first performance at Evensong, on the occasion of the feast of the Conversion of St Paul, in January, was attended by more than 600 people and widely covered by the international press.

Giovanni Battista Fasolo (1598-1664) took Franciscan orders as a young man and worked in Naples and Rome as a master of music at various chapels before moving Sicily, where he held the post of maestro di cappella to the Archbishop of Monreale, near Palermo, from 1659 until his retirement or death in 1664, when his name disappears from the historical record. Interspersed here with solo organ works are eight alternatim settings of the Magnificat, in which a choir intones a line of the hymn, followed by an instrumental fantasia based on the line of chant. Two organs are represented on the album, both of historical significance. The Magnificats, the Salve Regina, the Ricercate, and the Fughe sopra Girometta and Ut re mi fa sol la were recorded on the Antegnati organ (c. 1589) in Verona Cathedral; whereas the Canzoni are played on the organ at Trevi in Umbria, built in 1509 by Paolo Pietro da Montefalco. Despite subsequent alterations, the original nucleus of the pipes remains intact, such that when the instrument was restored during the 20th century the sound equipment was found to be pretty much as it was when it was first installed. Today it is recognized as one of the earliest organs in the world. This album is the latest in a series of successful partnerships on record between the organist and harpsichordist Federico del Sordo and the priest and conductor Alberto Turco. Together they have also recorded alternatim mass settings by Claudio Merulo (BC95145) and Giovanni Salvatore (BC95146). del Sordo has also accompanied the violinist Valerio Losito in Baroque sonata albums by Telemann (BC95131), Tessarini (BC94787) and Veracini (BC94822). The Merulo album was welcomed by MusicWeb International for its ‘stark beauty’ as ‘a fine experience… well worth exploring.’ There is much rewarding listening here for fovers of Renaissance and Baroque choral music as they explore another overlooked figure.

Riemuitkaamme! is an imaginative and unconventional selection of choral music associated with Christmas as it is celebrated in Finland. Several of the pieces are by Finnish composers – Sibelius, Rautavaara and Madetoja, to name a few – while others have become part of the Christmas traditions of the country despite their international background. Among these Berlioz’ The Shepherds’ Farewell and Tchaikovsky’s Christ, when a Child… are quite late additions compared to the medieval hymns Puer natus in Bethlehem, Ecce novum gaudium and Angelus emittitur. All three of these were included in the collection Piae cantiones from 1582, the oldest Finnish music publication. Here, they are performed in settings by various composers from different countries and eras – forming a kind of soundtrack of Christmases past and present, distant and close. Contemporary music forms an important part of the activities of the Helsinki Chamber Choir and Nils Schweckendiek, and true to form, the team includes a world premiere recording in their celebrations: Aattoilta, by the Canadian-born composer Matthew Whittall.

In an interview about great conductors with the newspaper Die Welt in 2015, Sir Simon Rattle said of Mariss Jansons, “He’s the best of all of us!” This new release from BR-Klassik focuses on the career of Mariss Jansons, and contains a total of five albums offering a representative cross-section of the classical symphonic repertoire- as well as a cross-section of the repertoire for which the chief conductor of the Symphonieorchester des Bayerischen Rundfunks has been highly praised again and again for his outstanding interpretative qualities. Landmarks of great choral music can be found here, as well as milestones in symphonic development and select orchestral songs. The works range from music of the First Viennese School to early 20th-century late romanticism; from Haydn’s “Harmoniemesse” to the Minuet from Haydn’s Symphony Hob. I:88; from Beethoven’s Fourth Symphony, Brahms’ Fouth Symphony and Mahler’s Ninth Symphony to Strauss’ Eine Alpensinfonie.

REVIEW

Jansons’ thoughtful interpretations are consistently clear and often profoundly insightful, and the playing of the Bavarian Radio Symphony Orchestra is impressive, whether in purely orchestral performances or with the Bavarian Radio Chorus in the Haydn and the Stravinsky. Considering Jansons’ high productivity, this set can only give a small sample of his many recordings, but fans who have yet to delve into his full repertoire will appreciate this package.

– AllMusic Guide.com

Voce Chamber Choir’s new disc is a moving tribute to Sir John Tavener, featuring a selection of works by him (many of which are previously unrecorded) and by Roxanna Panufnik. At the heart of the disc is the premiere recording of Panufnik’s 99 Words to my Darling Children, a moving setting of Tavener’s last message to his family. As well as the Voce Chamber Choir, the album features performances from cellist Matthew Barley, organist James Sherlock and narration from Simon Russell Beale. Voce is a dynamic London chamber choir founded by Suzi Digby and Harry Briggs in the summer of 2003. A diverse group of around 30 talented singers, they're well-known for their polished performances of challenging repertoire from across the musical spectrum; from major canonical works to traditional and popular music from around the world. They also regularly commission and perform new works from the brightest rising stars on the choral music scene.

This new release features Russian music in all its wide variety, representing the many different peoples living in that continent-wide country. From fiery Gypsy music, early Orthodox choral music, tinkling balalaikas, Cossack songs, a cappella choirs (including the renowned Red Army Choir) as well as modern renditions of traditional music.Other ensembles include the St. Petersburg Instrumental Ensemble ‘Carousel’, Balalaika Ensemble ‘Wolga’, Talisman, Valentina Ponomareva, The Stars of St. Petersburg, Yale Strom, Arinushka, and more. All talented groups are skilled in their adaptations of this music of their mother country.

BYU Singers’ debut album under conductor Dr. Andrew Crane combines classical and contemporary sacred choral music in a variety of styles. From English Renaissance to American hymns to bluegrass, the choir inspires with its trademark beautiful sound, sparkling precision, and expressive artistry. The Brigham Young University Singers is a top-tier choir with impressive voices that performs a wide range of styles. Conducted by Dr. Andrew Crane, the group performs pieces from nearly every musical genre as well as many original works written or arranged for the choir. Known as one of the country’s finest choirs, BYU Singers celebrated their 30th anniversary in March 2015. The choir has performed in some of the most prestigious concert halls in the world, including Carnegie Hall, the Kennedy Center, the Sydney Opera House, and more. The choir consists of 40 students pursuing a variety of graduate and undergraduate degrees.

IDIS has the pleasure to present in a new digital remaster one of the greatest classics of Toscanini's artistic interpretation: the incredible Missa Solemnis op. 123 of Ludwig Van Beethoven that was live recorded in New York the 28th December 1940, with an extraordinary cast of artists; among them we must mention Zinka Milanov, and one of America public favorites: Jussi Björling. this work is one of the masterpieces of discographical history of XX Century and now is presented in a way that is wothy of his wonderful beauty. Digitally remastered for optimal sound quality, this is a recording that will no doubt soon be considered a must-have.

Albums rarely contain both chamber works and choral music, but in the case of composer Felix Mendelssohn, the juxtaposition is justified. For which is the more Bach-inspired? The a cappella works which breathe Bach into every note, or the Piano Trio no. 2 with the choral Herr Gott dich loben wir, which also motors Bach’s cantata 130? On this new release, an exceptional trio featuring violinist Pekka Kuusisto, cellist Pieter Wispelwey, and pianist Alasdair Beatson, as well as the acclaimed Flemish Radio Choir and conductor Herve Niquet, bring homage to the composer who gave second life to Bach, and grace and poetry to the romantics. The Vlaams Radio Koor (Flemish Radio Choir) was founded in 1937 by the Belgian public broadcaster of the day. Today it has become a choir of exceptionally high quality that counts both domestically and internationally among the top ensembles. The 24 professional singers rehearse under the baton of chief conductor Hervé Niquet in Studio 1 of the well-known Flagey building in Brussels, and perform throughout Flanders and Europe.

Hertfordshire Chorus continues to build on their reputation for commissioning and performing some of the very best in contemporary choral music. In their first recording with Signum they are joined by the BBC Concert Orchestra for a 2-album set featuring James McCarthy’s Codebreaker (an exploration of the life of the pioneering computer scientist and mathematician Alan Turing) and Will Todd’s Ode to a Nightingale (setting the famous poem by John Keats). Hertfordshire Chorus is known for commissioning new music, high-quality yet passionate singing, tackling difficult, rarely performed music as well as much-loved and well-known pieces and is one of the UK’s finest symphonic choirs. Under the musical direction of David Temple our members give their all to singing, believing in the sheer joy and power of music to bring people closer together.

This album is a musical tribute to the poetry of Wendell Berry and features new choral music and art songs from up-and-coming composer Andrew Maxfield. The album also features Wendell Berry reading his own poetry before each song is sung.

“Choral Music for Christmas” presents the very best of Advent and Christmas choral music from the Carus catalog. Contemporary arrangements of popular Christmas carols by composers such as Fredo Jung and Giacomo Mezallira feature alongside works by well-known composers including Handel, Bach, Heinichen, and Mendelssohn Bartholdy. The performers, including the Calmus Ensemble, the Kammerchor Stuttgart conducted by Frieder Bernius, the Dresdner Kammerchor conducted by Hans-Christoph Rademann, and the ensemble L’arpa festante, guarantee an absolute choral treat.

From the very earliest days of their formation in 2009 Harmonia Sacra has been strongly committed to the performance of new choral works and the support of both established and emerging choral composers. Almost every one of the choir’s concerts has included contemporary works, with names such as John Tavener, Arvo Pärt, Eric Whitacre, James Macmillan and David Bednall featuring prominently. Every year, on Advent Sunday, in the ethereal acoustics of the church of St Thomas the Martyr, Bristol, the choir performs a very popular Advent Reflections evening concert, the programmes of which typically comprise appropriate seasonal choral music, as well as world premieres of new contemporary choral works. The long-term relationship which the choir has forged with Lawrence Whitehead, in particular, has produced three works which, together with the majority of items on this album, are recorded here for the first time. These have been juxtaposed with new works by Robert Hugill, Jonathan Lee, David Bednall and Peter Leech, many of which are set to texts which deal with the subjects of heavenly light and remembrance, hence the title of the album. The choir is extremely grateful to Adrian Farmer for providing the inspiration for this project, which is dedicated to the memory of the very fine organist and composer Christopher Manners LRAM, who died suddenly in 2013.

The fifth volume in this highly acclaimed series, conducted by The Sixteen’s Associate Conductor, Eamonn Dougan, celebrates the music of Polish composer Marcin Mielczewski. Together with Bartlomiej Pekiel, Mielczewski was amongst the most notable of 17th-century Polish composers and was recognised as a leader among his contemporaries. Influenced by the many Italian composers who graced the Polish courts in the 1600s, Mielczewski was a prolific composer. The cross-section of works recorded here shows an exceptionally accomplished musician at work, one whose music deserves a wider audience and who can confidently stand alongside the maestri who came before him and from whom he learnt his craft.

The past two decades have marshaled an advent of numerous new professional choral ensembles in the United States, enriching the artistic environment for choral music lovers and professional singers alike. A product of that new landscape, Kinnara Ensemble has forged a bold path in the busy musical marketplace in New Jersey and the surrounding areas. The ensemble was founded in the fall of 2008 by a handful of Westminster Choir College alumni who sought to continue the musical fulfillment they enjoyed as students. Ten years later, Kinnara Ensemble, now comprising singers from throughout the nation, releases this album commemorating our provenance and shared path of musical and human exploration. Kinnara Ensemble strives to honor the capacious choral tradition – that rich inheritance – with exemplary choral experiences that speak to the modern soul. Kinnara Ensemble's first album, Provenance, is a bold step out for this recent arrival on the choral scene. The ensemble tackles a wide array of choral repertoire: di Lasso, Brahms, Poulenc, Paulus... and the austere, stunning, and rarely recorded Lamentations of Jeremiah by Alberto Ginastera.

Perspectives is an a cappella ensemble comprising five singers who explore every kind of music, from the Renaissance to jazz and popular song. This release is a journey through emotions and sentiments, travelilng on a musical itinerary that begins in the Renaissance, enters Romantic territory with Schubert, then traverses the golden age of choral music in the Victorian age. (Outhere)

"Songs of Darkness and Hope" was the culmination of a project conceived and created by choral music teacher Pam Rhein of the Meesalonskee Public Schools - Rural School Unit #18 in Oakland Maine for the “Shoah Student Education Initiative” of the Maine State Holocaust and Human Rights Center in the state capital of Augusta. The songs are composed from poems written by interred children found on the walls of concentration camps after WW2, along with a few camp work songs found in the Center’s historical archives. Sung by over 400 students from 5th grade through high school, combined choirs and select auditioned choirs conducted by high school choral teacher Kevin Rhein, the creation of this album was a moving experience in education which changed the lives of those involved, students and teachers alike, many of whom were moved to tears upon hearing the pre-production master.