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- Rubbra: Rosa Mundi, Op. 2
- Rubbra: Cradle Song, Op. 8 No. 1
- Rubbra: Nod
- Rubbra: Orpheus with his Lute, Op. 8 No. 2
- Rubbra: Who is Silvia? Op. 8 No. 3
- Rubbra: Out in the dark, Op. 13 No. 1
- Rubbra: It was a lover, Op. 13 No. 3
- Rubbra: The Night, Op. 14
- Rubbra: Rune of Hospitality
- Rubbra: A Duan of Barra
- Rubbra: A Widow Bird Sate Mourning, Op. 28
- Rubbra: A Prayer
- Rubbra: Songs (2), Op. 22
- Rubbra: In Dark Weather, Op. 33
- Rubbra: Invocation to Spring, Op. 17 No. 2
- Rubbra: Two Sonnets by William Alabaster
- Rubbra: Songs (2), Op. 4
- Rubbra: A Hymn to the Virgin, Op. 13 No. 2
- Rubbra: The Jade Mountain, Op. 116
- Rubbra: Nocturne, Op. 54
- Rubbra: Salve, Regina, Op. 119
- Rubbra: No Swan So Fine, Op. 91
- Rubbra: Fly Envious Time, Op. 148
- Rubbra: Psalms (3), Op. 61
- Rubbra: Dear Liza, Op. 7
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Rubbra: The Jade Mountain / Crowe, Barnett-Jones, Farnsworth, Finch, Ridout, Burnside
Chandos · Mar 2023CD$21.99 -
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More Divine Than Human - Music From Eton Choirbook / Choir Of Christ Church Oxford
Avie Records · Jun 2009CD$19.99 -
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MILLE AFFETTI
ERATO
CD
$18.36
Dec 27, 2024
In his exploration of the vocal music of Mozart and his contemporaries, soprano Bruno de Sa evokes Mille affetti - a thousand emotions - and adds six world premiere recordings to the catalogue: arias by Luigi Cherubini, Luigi Caruso, Felice Alessandrini, Franz Seydelmann, Johann Friedrich Reichardt, and Niccolo` Antonio Zingarelli. Joining him for this adventurous programme of sacred and secular repertoire are the Wroclaw Baroque Orchestra, organist Marcin Szelest, the NFM Choir and conductor Jaroslaw Thiel. For his debut Erato album, Roma Travestita, Bruno de Sa focused on Baroque repertoire, causing BBC Music Magazine to marvel at his "immaculate legato, gift for scintillating decoration, dramatic octave drops and stratospheric ascents above the stave." Now he applies those talents to the Classical era. "This seemed like the moment to explore different musical possibilities," he says, "and also a period that really speaks to me - emotionally, musically and technically. There are some very virtuosic things here, but I've never struggled with them because they are such a joy to sing. I hope that people feel and hear that." Repertoire features: W.A. Mozart: Exsultate Jubilate, Franz Seydelmann: excerpts from Il Turco in Italia, Johann Friedrich Reichardt: excerpts from Andromeda, Niccolo Antonio Zingarelli: Salve, Regina, and more (repertoire selection by Yannis Francois).
Fasolo: Masses & Hymns
Brilliant Classics
CD
$12.99
$16.99
Save 25%
Apr 18, 2025
Majesty, solemnity and brilliance: Volume 3 of a series dedicated to the works of Giovanni Battista Fasolo (1598-1664), a little-known friar and composer for the church from southern Italy. Individual pieces by Fasolo have featured on a few compilations of sacred music from 17th-century Italy, but until now there has been no comprehensive survey of this overlooked but significant figure. Made at the cathedral of Verona in August 2024, this new 3CD set of his organ masses is the most substantial set of his work ever issued. All the music here was published in 1645, but composed at least a decade earlier, from Fasolo's period of service to various ducal chapels in Naples and Rome. The three Mass settings follow the orthodox form of 'organ masses': each line of the text is sung in Gregorian chant, alternating with new and original instrumental elaborations of those lines on the organ. Thus the weight of musical 'content' falls heavily on the organ part, performed here with both exuberance and sensitivity by Federico del Sordo. The 51 verses composed by Fasolo for this trio of organ Masses cover a spectrum of musical styles. They show how much Fasolo wished to break out of the idioms he had inherited from Renaissance composers such as Frescobaldi, and extend the syntax into Baroque territory. The Masses are complemented on each disc by Fasolo's settings of motets and ancient hymns for the church such as the Te Deum and Pange lingua, all organised according to the same alternatim practice. Alberto Turco and Federico del Sordo have won praise for two previous collections of Fasolo's music on Brilliant Classics. Of their collection of Magnificats and a Salve Regina (95512), the critic in Fanfare wrote: 'The keyboard playing by Federico del Sordo is capable and always lively... I like the brilliant registrations chosen for the organ, which give it considerable resonance. A fine disc, and one that should show that Fasola was no slouch when exercising his craft.' - Giovanni Battista Fasolo (1598-1680) was born in Asti (Italy) and spent his life as a Franciscan Friar in Rome, Naples and finally as Maestro di Cappella at the Cathedral of Monreale, Sicily. He is mainly known for his "Annuale", the largest compendium of organ music for liturgical use written in the 17th century. - Fasolo'sworks exemplify the intricate and expressive qualities of sacred music during the era. Fasolo's contributions to liturgical music, particularly his masses and hymns, reveal his mastery in fusing traditional polyphony with the emerging Baroque idioms. - Fasolo's masses stand out for their balance of solemnity and melodic grace, tailored for the sacred context. Utilizing the contrapuntal style inherited from the Renaissance, he infused these works with a sense of spiritual depth while embracing the clarity and harmonic richness characteristic of the early Baroque. His masses often feature clear textual declamation, ensuring liturgical accessibility. - His hymns similarly demonstrate an affinity for melodic inventiveness and expressive nuance. Fasolo crafted these pieces with attention to the liturgical calendar, providing a musical foundation for communal worship. These compositions are marked by their lyrical beauty and ability to evoke devotion, often employing alternation between chant-like simplicity and more elaborate polyphonic textures. - Performed by the Nova Schola Gregoriana of Verona, conducted by Alberto Turco, and Federico Del Sordo, playing the historic Antegnati organ of the Verona Cathedral. Both musicians have already successfully recorded works by Fasolo, Merulo and Salvatore for Brilliant Classics.
EARLY ENGLISH POLYPHONY ETON CHOIRBOOK
WARNER CLASSICS
CD
$18.99
Dec 10, 2021
This double album includes two recordings never published before: Robert Hacomplaynt's Marian Antiphon: Salve Regina, and Robert Fayrfax's Magnificat 'Regale', both from the Eton Choirbook. The other recordings in the album include works from the Early English Polyphony era, by composers John Taverner, Christopher Tye, Thomas Morley and last but not least Thomas Tallis
Rubbra: The Jade Mountain / Crowe, Barnett-Jones, Farnsworth, Finch, Ridout, Burnside
Chandos
CD
$21.99
Mar 17, 2023
Whilst the English composer Edmund Rubbra is best known for his symphonic output, he composed a good deal of vocal music, and wrote songs throughout his compositional life. Rubbra studied with Cyril Scott and Gustav Holst, and was a great friend of his contemporary Gerald Finzi. The songs are notable for their variation in accompaniment (less than half are set for piano, the rest for harp, string quartet, string orchestra, or full orchestra). This album contains all his published songs with piano and harp accompaniment, and includes the first and last songs of the composer’s output. Lucy Crowe, Claire Barnett-Jones, and Marcus Farnsworth are the three singers on the album, Catrin Finch (harp) and Iain Burnside (piano) the accompanists. Timothy Ridout (viola) joins for the Two Sonnets by William Alabaster, Op. 87.
CONTENTS:
REVIEW:
Soprano Lucy Crowe and baritone Marcus Farnsworth sing with tonal beauty, clear diction, and great sensitivity for the music and text. Pianist Iain Burnside is a marvelous collaborator, as are harpist Catrin Finch and violist Timothy Ridout. The booklet includes complete song texts and superb liner notes by Jonathan Clinch. [Rubbra] his songs are the product of a thoughtful and sensitive composer, and well worth exploration.
-- Fanfare
EARLY ENGLISH POLYPHONY ETON CHOIRBOOK
WARNER CLASSICS
CD
$18.56
Dec 10, 2021
This double album includes two recordings never published before: Robert Hacomplaynt's Marian Antiphon: Salve Regina, and Robert Fayrfax's Magnificat 'Regale', both from the Eton Choirbook. The other recordings in the album include works from the Early English Polyphony era, by composers John Taverner, Christopher Tye, Thomas Morley and last but not least Thomas Tallis
Willaert: Musica Nova - The Motets / Singer Pur
Oehms Classics
CD
$47.99
Mar 26, 2013
WILLAERT Huc me sidereo. Dilexi quoniam exaudiet. Audite insulae. Haec est domus Domini. Verbum supernum prodiens. Confitebor tibi Domine. Te Deum Patrem ingenitum. Beati pauperes spiritu. Sustinuimus pacem. Praeter rerum seriem. Alma Redemptoris Mater. Mittit ad Virginem. Benedicta es coelorum Regina. Salve Sancta parens. Inviolata integra et casta. Sub tuum praesidium. O admirabile commercium. Aspice Domine. Peccata mea. Domine quid multiplicati sunt. Pater peccavi. Miserere nostri Deus omnium. Avertatur obsecro. Omnia quae fecisti. Recordare Domine. Victimae paschali laudes. Veni Sancte Spiritus • Singer Pur • OEHMS 835 (3 CDs: 225:35 Text and Translation)
When Adrian Willaert (c.1490-1562) arrived in Venice in 1527, he was the first Flemish musician to be appointed maestro di cappella of St. Mark’s basilica, and the last of a long and distinguished line of Franco-Flemish musicians to dominate the Italian musical scene in the 15th and early 16th centuries. Although his position gave him the opportunity, not to say the duty, of supplying music for Mass and Vespers for his celebrated choir, his output does not appear on records as frequently as the music of his successors, most notably Monteverdi. Only a fraction of his 150 motets are available, and I have only three of his eight Masses in my collection. (His madrigals are better represented.) The Musica Nova , from which these motets come, was published by Gardano in 1559 at the behest of Alfonso d’Este, soon to be duke of Ferrara, who acquired the manuscript from the singer Polissena Pecorina. It contained 25 madrigals and 27 motets, works dating back through his career but kept apart from other music already published earlier. With the madrigals issued earlier ( Fanfare 33:4), Singer Pur has now recorded the entire publication. In the previous review, I indicated that I had not found any of the madrigals on records (no reader has written to offer any information on this).
Most of these motets have two parts; some have three, and O admirabile commercium has seven parts. The motets are set out here in order of themes, not the order of the published book, where the motets are grouped in ascending order of settings for four, five, six, and seven voices. The first disc is generally in praise of the Blessed Trinity, the second is entirely Marian in devotion, and the third is penitential, concluding with the sequences of Easter and Pentecost. Except for the last two pieces, it is remarkable that three very full discs can be equally divided along three distinct themes. The texts are from the Psalms and other scriptural and liturgical sources. Considering that the composition of these motets may have extended over a period of some years, the polyphonic style is notably uniform.
One motet that is special for its breadth is O admirabile commercium , the seven-part motet that takes its text from the seven antiphons for Lauds and Vespers of January 1. (While this is the feast of the Circumcision, it is structured as a Marian feast, and since 1970 has been known as the feast of Mary, the Mother of God.) This motet for five voices runs almost half an hour. The liturgical texts draw on biblical allusions, as in Rubum quem viderat , the third section, which takes the account of the burning bush unburnt from Exodus as a parallel to Mary’s giving birth while her virginity remained intact. Singer Pur’s execution is uniformly exquisite, with four male singers added to the six members of the ensemble (five former choirboys at Regensburg cathedral plus a soprano). Along with the Cinquecento disc (34: 2), these two sets of Musica Nova may be regarded as the preeminent observance of the composer’s 450th anniversary. With this recorded evidence, Willaert demonstrably occupies a place leading up to the glories of the High Renaissance that the next generation of composers achieved. Be sure to hear this impressive set.
FANFARE: J. F. Weber
Suddeutsche Orgelmeister / Kelemen
Oehms Classics
CD
$37.99
Mar 02, 2018
The term "South German" in keyboard music refers geographically to the southern part of the German-speaking region, also containing parts of Austria and Switzerland – and even eastern European regions of Poland, Bohemia and Transylvania. The composers featured on this six-album release include Kerll, Muffat, Pachelbel, and Hassler, as well as selections from the Buxheimer Orgelbuch. Joseph Kelemen has been an active church musician in the South German region since 1986. He is passionately dedicated to historical performance practice and is considered in the specialist world as the authority for German organ music of the 17th century and the organ works of Johann Sebastian Bach. He studied at the Franz Liszt Music University, and then emigrated to Switzerland where he studied at the Schola Cantorum Basiliensis in Basle. He now resides in Germany. His previous releases have won him several awards, including the French Diapason d’or.
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DETAILED TRACKLIST:
CD 1
Johann Caspar Kerll (1627–1693)
[01] Toccata prima . . . . . . . 03:24
[02] Canzone prima . . . . . . . 02:09
[03] Toccata ottava . . . . . . . 03:34
[04] Ciaccona . . . . . . . 02:22
[05] Canzone sesta . . . . . . . 02:37
[06] Toccata quarta Cromatica con durezze, e ligature . . . . . . . 04:41
[07] Capriccio sopra’ il cucu . . . . . . . 02:24
[08] Canzone quarta . . . . . . . 01:55
[09] Toccata quinta . . . . . . . 03:14
[10] Canzone terza . . . . . . . 03:11
[11] Toccata sesta per il pedale . . . . . . . 02:48
[12] Ricercata . . . . . . . 03:07
[13] Canzone seconda . . . . . . . 02:29
[14] Toccata terza . . . . . . . 04:33
[15] Canzone quinta . . . . . . . 02:26
[16] Toccata settima . . . . . . . 03:08
[17] Battaglia . . . . . . . 04:59
[18] Toccata seconda . . . . . . . 03:27
[19] Passacaglia . . . . . . . 06:12
total 64:12
Egedacher Orgel (1708)
Prämonstratenserstift Schlägl (A)
CD 2
Georg Muffat (1653–1704)
[01] Toccata prima . . . . . . . 06:00
[02] Toccata secunda . . . . . . . 05:57
[03] Toccata tertia . . . . . . . 05:49
[04] Toccata quarta . . . . . . . 07:11
[05] Toccata quinta . . . . . . . 05:57
[06] Toccata sexta . . . . . . . 09:22
[07] Toccata septima . . . . . . . 09:51
[08] Toccata octava . . . . . . . 06:32
[09] Toccata nona . . . . . . . 06:56
total 64:29
CD 3
Georg Muffat (1653–1704)
[01] Toccata decima . . . . . . . 06:00
[02] Toccata undecima . . . . . . . 06:39
[03] Toccata Toccata duodecima
et ultima . . . . . . . 07:25
[04] Ciacona . . . . . . . 06:18
[05] Passacaglia . . . . . . . 13:49
[06] Nova Cyclopeias Harmonica . . . . . . . 11:57
total 52:40
Freundt-Orgel 1642 Stiftskirche Klosterneuburg (A)
CD 2: [01], [03], [05], [06], [08]
CD 3: [03], [04], [06]
L’orgue Silbermann 1732 d’Ebersmunster (F)
CD 2: [02], [04], [07], [09]
CD 3: [01], [02], [05]
CD 4
Johann Pachelbel (1653 –1706)
[01] Praeludium d Minor . . . . . . . 05:34
[02] Wir glauben all an einen Gott . . . . . . . 04:04
[03] Ciacona f Minor (transponiert nach d-Moll) . . . . . . . 07:03
[04]–[9] Magnificat octavi toni . . . . . . . 05:26
[10] Ricercar C Major . . . . . . . 03:45
[11] Toccata C Major . . . . . . . 02:09
[12] Ricercar c Minor . . . . . . . 05:42
[13] Fuga d Minor . . . . . . . 03:02
[14] Toccata c Minor . . . . . . . 02:59
[15] Fuga C Major . . . . . . . :22
[16]–[25] Was Gott tut, das ist wohlgetan . . . . . . . 02:22
[26] Herr Christ, der einig Gotts Sohn . . . . . . . 03:46
[27] Nun lob mein Seel den Herren . . . . . . . 02:13
[28] Vom Himmel hoch da komm ich her (transoponiert nach C-Dur) . . . . . . . 01:22
[28]–[35] Aria tertia . . . . . . . 07:01
[36] Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt . . . . . . . 03:04
[37] Wie schön leuchtet der Morgenstern . . . . . . . 02:49
[38] Toccata C major . . . . . . . 01 : 49
total 75:08
[01]–[10] / [26]–[38] Stertzing-Orgel 1702, St. Petri, Erfurt-Büßleben (D)
[11]–[25] Crapp-Orgel 1722, Klosterkirche, Pappenheim (D)
CD 5
Buxheimer Orgelbuch (ca. 1460)
[01] Glockenläuten, Glocke St. Andreaskirche Ostönnen, gegossen am 24. Juni 1306 . . . . . . . 00:44
[02] Redeuntes in idem (231) . . . . . . . . 03:35
[03] Wolhin laß vögelin sorgen (14) . . . 01:40
[04] Portigaler (43). . . . . . . . . . . . . . . . . 03:42
[05] Vil lieber Zit uff diser Erde (51) . . . 02:20
[06] Kyriel(eyson) Angelicum – Christeleyson – Ultimum Kyriel(eyson) (153–155) . 01:43
[07] Praembulum Super C (232a) . . . . . 01:52
[08] Praembulum Super Mi (233a) . . . . 01:37
[09] Redeuntes in mi (232d) . . . . . . . . . 02:09
[10] Allegalea (185) . . . . . . . . . . . . . . . . 02:07
[11] Praembulum Super D (232c) . . . . . 02:17
[12] Gaudeamus (omnes in Domino) (35). . . . . . . . . 04:41
[13] Ellend du hast umbfangen mich (48) . . . . . . . . . . . 03:42
[14] Sequitur adhuc semel Ellend und Jamer (49) . . . . . . . . . . . . . . . . 03:28
[15] Redeuntes in idem (231) . . . . . . . 03:23
[16] Ein fröuwlin edel von natueren (19) . . . . . . . 03:10
[17] Veni virgo (76) . . . . . . . 01:54
[18] Salve Radix Josophanie (250) . . . . . . . 01:19
[19] Se la phase pale (255) . . . . . . . 02:06
[20] Redeuntes in d (232b) . . . . . . . 02:02
[21] Descendi in ortum meum (161) . . . . . . . :32
[22] Rorate celi desuper et nubes pl(uant iustum) (36) . . . . . . . 03:45
[23] Jeloy mors (18) . . . . . . . :18
[24] Redeuntes in La (234) . . . . . . . 01:09
[25] Anna vasanna (92) . . . . . . . 02:35
[26] Kyrieleyson de S(ancta) Maria V(irgine) – Christeleyson – Kyrieleyson Ultimum (150) . . . . . . . 02:23
[27] Ave Regina (258) . . . . . . . 02:57
total 64:12
Anonymus-Orgel ca. 1425, St. Andreaskirche, Soest-Ostönnen (D)
Ebert-Orgel 1558, Hofkirche Innsbruck (A)
CD 6
Hans Leo Hassler (1564–1612)
[01] Introitus IV. toni. . . . . . . . . . . . . . . . 14:20
[02] Canzon in C. . . . . . . . . . . . . . . . . . . 02:15
[03] Kein grösser frewdt. a. 8. voc: (transponiert nach g-Moll). . . . . . . . 04:14
Orgelmesse
[04] Kyrie Apostolorum. . . . . . . . . . . . . . 02:07
[05] Kyrie Secondo. . . . . . . . . . . . . . . . . 03:44
[06] Christe . . . . . . . . . . . . . . . . . . . . . . . 01:31
[07] Kyrie. . . . . . . . . . . . . . . . . . . . . . . . . 02:42
[08] Et in terra pax. . . . . . . . . . . . . . . . . . 03:18
[09] Domine Deus. . . . . . . . . . . . . . . . . . 02:25
[10] Cum Sancto Spiritu. . . . . . . . . . . . . 04:41
[11] Ach Gott von Himel sieh darein. . . 03:38
[12] Credo in unum Deum. . . . . . . . . . . 04:13
[13] Introitus in d. . . . . . . . . . . . . . . . . . . 03:07
[14] Ricercar in e. . . . . . . . . . . . . . . . . . . 06:39
[15] Canzon in C. . . . . . . . . . . . . . . . . . . 03:27
[16] Ach weh der schweren pein. . . . . . . 03:09
[17] 2. Theil: Und weicht von mir gar ferr. . . . . . . . . . . . . . . . . . . . . . . 03:46
[18] Ricercar del secondo tono. . . . . . . . . 10:30
total 79:51
[01]–[12] Freundt-Orgel 1642 Stiftskirche Klosterneuburg (A)
[13]–[18] Günzer-Orgel 1609 St. Martin, Gabelbach (D)
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DETAILED TRACKLIST:
CD 1
Johann Caspar Kerll (1627–1693)
[01] Toccata prima . . . . . . . 03:24
[02] Canzone prima . . . . . . . 02:09
[03] Toccata ottava . . . . . . . 03:34
[04] Ciaccona . . . . . . . 02:22
[05] Canzone sesta . . . . . . . 02:37
[06] Toccata quarta Cromatica con durezze, e ligature . . . . . . . 04:41
[07] Capriccio sopra’ il cucu . . . . . . . 02:24
[08] Canzone quarta . . . . . . . 01:55
[09] Toccata quinta . . . . . . . 03:14
[10] Canzone terza . . . . . . . 03:11
[11] Toccata sesta per il pedale . . . . . . . 02:48
[12] Ricercata . . . . . . . 03:07
[13] Canzone seconda . . . . . . . 02:29
[14] Toccata terza . . . . . . . 04:33
[15] Canzone quinta . . . . . . . 02:26
[16] Toccata settima . . . . . . . 03:08
[17] Battaglia . . . . . . . 04:59
[18] Toccata seconda . . . . . . . 03:27
[19] Passacaglia . . . . . . . 06:12
total 64:12
Egedacher Orgel (1708)
Prämonstratenserstift Schlägl (A)
CD 2
Georg Muffat (1653–1704)
[01] Toccata prima . . . . . . . 06:00
[02] Toccata secunda . . . . . . . 05:57
[03] Toccata tertia . . . . . . . 05:49
[04] Toccata quarta . . . . . . . 07:11
[05] Toccata quinta . . . . . . . 05:57
[06] Toccata sexta . . . . . . . 09:22
[07] Toccata septima . . . . . . . 09:51
[08] Toccata octava . . . . . . . 06:32
[09] Toccata nona . . . . . . . 06:56
total 64:29
CD 3
Georg Muffat (1653–1704)
[01] Toccata decima . . . . . . . 06:00
[02] Toccata undecima . . . . . . . 06:39
[03] Toccata Toccata duodecima
et ultima . . . . . . . 07:25
[04] Ciacona . . . . . . . 06:18
[05] Passacaglia . . . . . . . 13:49
[06] Nova Cyclopeias Harmonica . . . . . . . 11:57
total 52:40
Freundt-Orgel 1642 Stiftskirche Klosterneuburg (A)
CD 2: [01], [03], [05], [06], [08]
CD 3: [03], [04], [06]
L’orgue Silbermann 1732 d’Ebersmunster (F)
CD 2: [02], [04], [07], [09]
CD 3: [01], [02], [05]
CD 4
Johann Pachelbel (1653 –1706)
[01] Praeludium d Minor . . . . . . . 05:34
[02] Wir glauben all an einen Gott . . . . . . . 04:04
[03] Ciacona f Minor (transponiert nach d-Moll) . . . . . . . 07:03
[04]–[9] Magnificat octavi toni . . . . . . . 05:26
[10] Ricercar C Major . . . . . . . 03:45
[11] Toccata C Major . . . . . . . 02:09
[12] Ricercar c Minor . . . . . . . 05:42
[13] Fuga d Minor . . . . . . . 03:02
[14] Toccata c Minor . . . . . . . 02:59
[15] Fuga C Major . . . . . . . :22
[16]–[25] Was Gott tut, das ist wohlgetan . . . . . . . 02:22
[26] Herr Christ, der einig Gotts Sohn . . . . . . . 03:46
[27] Nun lob mein Seel den Herren . . . . . . . 02:13
[28] Vom Himmel hoch da komm ich her (transoponiert nach C-Dur) . . . . . . . 01:22
[28]–[35] Aria tertia . . . . . . . 07:01
[36] Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt . . . . . . . 03:04
[37] Wie schön leuchtet der Morgenstern . . . . . . . 02:49
[38] Toccata C major . . . . . . . 01 : 49
total 75:08
[01]–[10] / [26]–[38] Stertzing-Orgel 1702, St. Petri, Erfurt-Büßleben (D)
[11]–[25] Crapp-Orgel 1722, Klosterkirche, Pappenheim (D)
CD 5
Buxheimer Orgelbuch (ca. 1460)
[01] Glockenläuten, Glocke St. Andreaskirche Ostönnen, gegossen am 24. Juni 1306 . . . . . . . 00:44
[02] Redeuntes in idem (231) . . . . . . . . 03:35
[03] Wolhin laß vögelin sorgen (14) . . . 01:40
[04] Portigaler (43). . . . . . . . . . . . . . . . . 03:42
[05] Vil lieber Zit uff diser Erde (51) . . . 02:20
[06] Kyriel(eyson) Angelicum – Christeleyson – Ultimum Kyriel(eyson) (153–155) . 01:43
[07] Praembulum Super C (232a) . . . . . 01:52
[08] Praembulum Super Mi (233a) . . . . 01:37
[09] Redeuntes in mi (232d) . . . . . . . . . 02:09
[10] Allegalea (185) . . . . . . . . . . . . . . . . 02:07
[11] Praembulum Super D (232c) . . . . . 02:17
[12] Gaudeamus (omnes in Domino) (35). . . . . . . . . 04:41
[13] Ellend du hast umbfangen mich (48) . . . . . . . . . . . 03:42
[14] Sequitur adhuc semel Ellend und Jamer (49) . . . . . . . . . . . . . . . . 03:28
[15] Redeuntes in idem (231) . . . . . . . 03:23
[16] Ein fröuwlin edel von natueren (19) . . . . . . . 03:10
[17] Veni virgo (76) . . . . . . . 01:54
[18] Salve Radix Josophanie (250) . . . . . . . 01:19
[19] Se la phase pale (255) . . . . . . . 02:06
[20] Redeuntes in d (232b) . . . . . . . 02:02
[21] Descendi in ortum meum (161) . . . . . . . :32
[22] Rorate celi desuper et nubes pl(uant iustum) (36) . . . . . . . 03:45
[23] Jeloy mors (18) . . . . . . . :18
[24] Redeuntes in La (234) . . . . . . . 01:09
[25] Anna vasanna (92) . . . . . . . 02:35
[26] Kyrieleyson de S(ancta) Maria V(irgine) – Christeleyson – Kyrieleyson Ultimum (150) . . . . . . . 02:23
[27] Ave Regina (258) . . . . . . . 02:57
total 64:12
Anonymus-Orgel ca. 1425, St. Andreaskirche, Soest-Ostönnen (D)
Ebert-Orgel 1558, Hofkirche Innsbruck (A)
CD 6
Hans Leo Hassler (1564–1612)
[01] Introitus IV. toni. . . . . . . . . . . . . . . . 14:20
[02] Canzon in C. . . . . . . . . . . . . . . . . . . 02:15
[03] Kein grösser frewdt. a. 8. voc: (transponiert nach g-Moll). . . . . . . . 04:14
Orgelmesse
[04] Kyrie Apostolorum. . . . . . . . . . . . . . 02:07
[05] Kyrie Secondo. . . . . . . . . . . . . . . . . 03:44
[06] Christe . . . . . . . . . . . . . . . . . . . . . . . 01:31
[07] Kyrie. . . . . . . . . . . . . . . . . . . . . . . . . 02:42
[08] Et in terra pax. . . . . . . . . . . . . . . . . . 03:18
[09] Domine Deus. . . . . . . . . . . . . . . . . . 02:25
[10] Cum Sancto Spiritu. . . . . . . . . . . . . 04:41
[11] Ach Gott von Himel sieh darein. . . 03:38
[12] Credo in unum Deum. . . . . . . . . . . 04:13
[13] Introitus in d. . . . . . . . . . . . . . . . . . . 03:07
[14] Ricercar in e. . . . . . . . . . . . . . . . . . . 06:39
[15] Canzon in C. . . . . . . . . . . . . . . . . . . 03:27
[16] Ach weh der schweren pein. . . . . . . 03:09
[17] 2. Theil: Und weicht von mir gar ferr. . . . . . . . . . . . . . . . . . . . . . . 03:46
[18] Ricercar del secondo tono. . . . . . . . . 10:30
total 79:51
[01]–[12] Freundt-Orgel 1642 Stiftskirche Klosterneuburg (A)
[13]–[18] Günzer-Orgel 1609 St. Martin, Gabelbach (D)
Music From The Golden Age Of Rembrandt
Brilliant Classics
CD
$17.99
Mar 15, 2019
Mahler based the second movement of his Seventh Symphony on The Night Watch by Rembrandt, but the painter himself depicted few musicians and no acquaintances with musicians are known. His most famous musical contemporary was the keyboardist and composer Sweelinck, whose setting of Psalm 1 is presented here in a consort-style recording alongside three keyboard works played on harpsichord and organ. This collection also highlights much more unfamiliar names to illustrate the rich musical culture of the Low Countries at the time of the painter’s flourishing. There are vivid sacred madrigals by Herman Hollanders; stylish pavans by Cornelis Schuyt; a transcribed, extensive Salve Regina for organ by Pieter Cornet; a song for solo recorder by the lutenist Jacob van Eyck, Doen Daphne d’Over schoone Maegt; solo-vocal motets by the poet and diplomat Constantijn Huygens, who did in fact know Rembrandt; and much, much more. All the works and composers, however unfamiliar, are elucidated in an invaluable booklet essay. The organ recordings were made in the Oude Kerk of Amsterdam which played a significant role in Rembrandt’s life (and became the resting place of his wife, Saskia), on the church’s transept organ, which has been newly restored to the meantone temperament which the composers on this album would have known and written for. Full sung texts are also included in this invaluable and unrivalled collection.
More Divine Than Human - Music From Eton Choirbook / Choir Of Christ Church Oxford
Avie Records
CD
$19.99
Jun 01, 2009
In 1440 King Henry VI of England founded simultaneously two educational establishments to show his devotion to the Blessed Virgin Mary. These were ‘the College Roialle of our Ladie at Eton beside Windsor and….the College Roialle of our Ladie and St. Nicholas of Cambridge.’ Thus were established what became two of the most venerable seats of learning – and of liturgical music – in England: Eton College and King’s College, Cambridge.
At Eton, where the college actually opened its doors in 1443, evening devotion to the Virgin was prescribed in the statutes from the start, with the singers required to sing in the chapel an antiphon in her honour every evening – in Lent it was always to be the ‘Salve Regina’. Over the years a corpus of music was assembled at Eton and by the early sixteenth century a significant amount of it had been copied into that remarkable treasury of music, which survives to this day, the Eton Choirbook.
The Choirbook contains a substantial amount of music. Some composers are represented by just one piece, whereas John Browne has no less than fifteen of his pieces preserved in it. From this vast collection Stephen Darlington has chosen five pieces, all of them quite substantial and all of considerable interest. Music from the Choirbook has been recorded by many ensembles, not least by The Sixteen, but here Darlington offers us the authentic experience of hearing it sung by an all-male church choir which is just a little larger than the Eton establishment of the time: the Eton choir consisted of sixteen choristers and ten lay clerks while for this recording Christ Church’s choir comprised eighteen trebles, four altos and five each of tenors and basses.
Just before discussing the performances, it’s appropriate to note the reason for the well-chosen title of the CD. Stephen Darlington tells us in the booklet that in 1515 an Italian visitor to Eton described the singing he heard there as ‘more divine than human’.
I’m unsure if the music is presented in chronological order in the programme. Indeed, little is known about many of the composers whose music is included in the Choirbook, still less is it possible to date with precision the date of composition of individual pieces. However, to judge from the dates of birth and death of the featured composers, it seems plausible to suppose a rough chronology. Furthermore, the pieces do seem to grow in complexity and intricacy as the disc progresses. So listening to the contents of the disc in the order in which they’re presented makes a lot of sense, I think. It was interesting to come to this disc hot on the heels of reviewing a disc by the choir of Edinburgh Cathedral devoted to the music of John Taverner. Taverner’s music was probably written a little later than anything on this present disc and his output represented the high water mark of the English florid style. There’s nothing in this programme to match the sheer exuberance of Taverner’s music though one can sense that trait developing as the pieces succeed one another. Interestingly, Darlington’s choir are not as unbuttoned and open-throated as their Edinburgh peers – that’s not an implied criticism – and their smoother, more mellifluous style is appropriate, I think, to the slightly more sober, though no less interesting music that they have recorded here.
John Fawkyner’s name was completely new to me and, it seems, nothing is known of his life. Gaude rosa sine spina is one of two pieces by him in the Choirbook. It’s not a particularly elaborate piece. I think I’d describe it as patient music, since it makes its effect cumulatively. Stephen Darlington’s fine choir sing it with suitable patience too and build it up well so that the final, affirmative stanza makes the proper effect.
There were two composers named William Cornysh, the second (younger?) of whom died in 1523. It is thought that this setting of ‘Salve Regina’ is by the earlier Cornysh, who can claim a footnote in musical history as the very first informator choristorum at Westminster Abbey. His five-part ‘Salve Regina’ shows an advance on Fawkyner’s piece in that the music is richer in texture and harmony and the polyphony is more intricate. It’s also a very beautiful composition. The present performance is a splendid one. Not only is the music very skilfully sung but a fine sense of atmosphere is generated. Listening to it, I found it quite easy to conjure up a mental picture of a candlelit evening rendition in the Eton chapel.
Walter Lambe’s ‘Magnificat’ is an alternatim setting This is a fine piece in which the polyphony frequently sounds celebratory. Stephen Darlington leads a strong performance.
Equally successful is the account of Richard Davy’s In honore summe matris. This is a luxuriantly expansive piece. The technical aspects of the music are very clever for we read in Timothy Symons’ good notes that the piece contains passages for no less than nine different combinations of two-part writing. These are all well done and the sections for full choir are no less impressive. Towards the end, leading up to and during the closing ‘Amen’, Davy employs triplets in some of the parts. In my experience this rhythmic device is not that common in music of this period and it makes an exciting effect.
Finally we hear Browne’s ‘Stabat Mater’, one of the jewels in the Choirbook. As befits the text, the tone of the music is quite sombre at the start but the music opens up as it unfolds and much of the full choir writing is texturally rich. It’s an imposing piece, which becomes ever more impressive as it progresses, and the concluding ‘Amen’ is quite magnificent. The choir perform it splendidly, sustaining the long lines, which are musically and mentally taxing, expertly.
There’s some marvellous music here. Throughout this fine disc the singing of the Christ Church is cultured and very impressive. They display excellent control and the tone is full and consistently pleasing to hear. There’s always good clarity in the delivery of the part writing, no matter whether a small group or the full choir is singing. It’s obvious that they’ve been expertly trained by Stephen Darlington. The recorded sound is atmospheric and reports the choir with clarity and presence.
-- John Quinn, MusicWeb International
At Eton, where the college actually opened its doors in 1443, evening devotion to the Virgin was prescribed in the statutes from the start, with the singers required to sing in the chapel an antiphon in her honour every evening – in Lent it was always to be the ‘Salve Regina’. Over the years a corpus of music was assembled at Eton and by the early sixteenth century a significant amount of it had been copied into that remarkable treasury of music, which survives to this day, the Eton Choirbook.
The Choirbook contains a substantial amount of music. Some composers are represented by just one piece, whereas John Browne has no less than fifteen of his pieces preserved in it. From this vast collection Stephen Darlington has chosen five pieces, all of them quite substantial and all of considerable interest. Music from the Choirbook has been recorded by many ensembles, not least by The Sixteen, but here Darlington offers us the authentic experience of hearing it sung by an all-male church choir which is just a little larger than the Eton establishment of the time: the Eton choir consisted of sixteen choristers and ten lay clerks while for this recording Christ Church’s choir comprised eighteen trebles, four altos and five each of tenors and basses.
Just before discussing the performances, it’s appropriate to note the reason for the well-chosen title of the CD. Stephen Darlington tells us in the booklet that in 1515 an Italian visitor to Eton described the singing he heard there as ‘more divine than human’.
I’m unsure if the music is presented in chronological order in the programme. Indeed, little is known about many of the composers whose music is included in the Choirbook, still less is it possible to date with precision the date of composition of individual pieces. However, to judge from the dates of birth and death of the featured composers, it seems plausible to suppose a rough chronology. Furthermore, the pieces do seem to grow in complexity and intricacy as the disc progresses. So listening to the contents of the disc in the order in which they’re presented makes a lot of sense, I think. It was interesting to come to this disc hot on the heels of reviewing a disc by the choir of Edinburgh Cathedral devoted to the music of John Taverner. Taverner’s music was probably written a little later than anything on this present disc and his output represented the high water mark of the English florid style. There’s nothing in this programme to match the sheer exuberance of Taverner’s music though one can sense that trait developing as the pieces succeed one another. Interestingly, Darlington’s choir are not as unbuttoned and open-throated as their Edinburgh peers – that’s not an implied criticism – and their smoother, more mellifluous style is appropriate, I think, to the slightly more sober, though no less interesting music that they have recorded here.
John Fawkyner’s name was completely new to me and, it seems, nothing is known of his life. Gaude rosa sine spina is one of two pieces by him in the Choirbook. It’s not a particularly elaborate piece. I think I’d describe it as patient music, since it makes its effect cumulatively. Stephen Darlington’s fine choir sing it with suitable patience too and build it up well so that the final, affirmative stanza makes the proper effect.
There were two composers named William Cornysh, the second (younger?) of whom died in 1523. It is thought that this setting of ‘Salve Regina’ is by the earlier Cornysh, who can claim a footnote in musical history as the very first informator choristorum at Westminster Abbey. His five-part ‘Salve Regina’ shows an advance on Fawkyner’s piece in that the music is richer in texture and harmony and the polyphony is more intricate. It’s also a very beautiful composition. The present performance is a splendid one. Not only is the music very skilfully sung but a fine sense of atmosphere is generated. Listening to it, I found it quite easy to conjure up a mental picture of a candlelit evening rendition in the Eton chapel.
Walter Lambe’s ‘Magnificat’ is an alternatim setting This is a fine piece in which the polyphony frequently sounds celebratory. Stephen Darlington leads a strong performance.
Equally successful is the account of Richard Davy’s In honore summe matris. This is a luxuriantly expansive piece. The technical aspects of the music are very clever for we read in Timothy Symons’ good notes that the piece contains passages for no less than nine different combinations of two-part writing. These are all well done and the sections for full choir are no less impressive. Towards the end, leading up to and during the closing ‘Amen’, Davy employs triplets in some of the parts. In my experience this rhythmic device is not that common in music of this period and it makes an exciting effect.
Finally we hear Browne’s ‘Stabat Mater’, one of the jewels in the Choirbook. As befits the text, the tone of the music is quite sombre at the start but the music opens up as it unfolds and much of the full choir writing is texturally rich. It’s an imposing piece, which becomes ever more impressive as it progresses, and the concluding ‘Amen’ is quite magnificent. The choir perform it splendidly, sustaining the long lines, which are musically and mentally taxing, expertly.
There’s some marvellous music here. Throughout this fine disc the singing of the Christ Church is cultured and very impressive. They display excellent control and the tone is full and consistently pleasing to hear. There’s always good clarity in the delivery of the part writing, no matter whether a small group or the full choir is singing. It’s obvious that they’ve been expertly trained by Stephen Darlington. The recorded sound is atmospheric and reports the choir with clarity and presence.
-- John Quinn, MusicWeb International
Widor: Organ Symphonies, Vol. 2
Naxos
CD
$9.99
$19.99
Save 50%
Apr 10, 2020
Charles-Marie Widor was a hugely influential and venerated musician in his day, and his innovative organ symphonies are both a pinnacle of the repertoire and a testament to his creative and technical mastery of the instrument. These spectacular works are in the grand Romantic manner, but Widor was keenly aware of his musical ancestry, referring to music of the past such as Bach's St. Matthew Passion in the opening of the Third Symphony. The Scherzo of the Fourth Symphony is one of Widor's finest symphonic movements, exploring the organ's sonic beauties. The original E major Scherzo from the Symphony No. 2, which Widor subsequently replaced with a Salve Regina can be heard on Track 6.
Palestrina, Vol. 1 / The Sixteen
Coro
CD
$20.99
May 31, 2011
2011 sees the first recording by The Sixteen devoted entirely to Palestrina. The disc marks the start of a new project which will result in a series of new recordings exploring a selection of the composer's vast output, and a Choral Pilgrimage tour. Palestrina was born in 1525 not far from Rome, in the town whose name he bore and from which we take the cover images for this new series of discs. Possibly the greatest composer of liturgical music of all time, Palestrina was a towering figure in Renaissance polyphony. Choral singers world-wide will know his Missa Papae Marcelli (recorded by The Sixteen on COR16014) as, without doubt, it is the most renowned of Palestrina's works and possibly the most famous mass of all time. On this new disc The Sixteen has recorded some of the sumptuous music he wrote for the Assumption including his Missa Assumpta est Maria and Salve Regina. Without doubt, Palestrina was the great master of all Papal composers and his spiritual craft and harmonic vitality fulfilled the needs of the Vatican. His motets for the Assumption also entitled Assumpta est Maria, are glorious examples of such work and can be heard in all their splendour on this recording. By his death in 1594, Palestrina had published a huge amount of music including over 100 Masses and over 350 motets.
QUEEN OF HEAVEN
Coro
CD
$20.99
Apr 02, 2013
This CD features all the music from The Choral Pilgrimage 2013, The Sixteen's annual UK tour, including the new version of Allegri’s Miserere and MacMillan’s new, and equally memorable, setting of the same text. The disc also features music by Palestrina including some of his wonderful music for Easter including the Stabat Mater a8 and excerpts from the Missa Regina caeli.
