Verdi: Messa da Requiem / Luisi, Philharmonia Zurich
Accentus Music
Available as
DVD
$41.99
Oct 20, 2017
With the "Messa da Requiem“, Christian Spuck brought one of Verdi’s key works to the stage. In a large-scale co-production by the Ballett and Oper Zurich, the German choreographer and director ventured to portray an unusual interpretation of Verdi’s funeral mass in his scenic choreographic production. 36 dancers, the choir and supplementary choir of the Opernhaus Zurich as well as four highly acclaimed soloists joined together under the direction of Fabio Luisi for 13 wide ranging scenes dedicated to one of the most fundamental themes of humanity. Christian Spuck does not seek a mere religious interpretation of the liturgical text. Instead, he is interested in focusing on people who, in their vulnerability and helplessness, are in the search for comfort. In poetic tableaux he deals with basic human emotions and focuses on the feelings of fear, rage, pain, sadness and the search for redemption.
Verdi: Messa da Requiem / Luisi, Philharmonia Zurich
A 2021 GRAMMY Nominee for Best Choral Performance!
As Alfred Schnittke and Arvo Pärt both adopted the Orthodox faith in the 1970s, Orthodox choral traditions became increasingly prominent in their work, but both composers also looked to the music of the Western church. Schnittke’s Three Sacred Hymns set three prayers, familiar in the West as Ave Maria, the Jesus Prayer and the Lord’s Prayer, and evoke Orthodox chant. His Choir Concerto, on the other hand, draws on Russian choral music of the 19th century and the tradition of large-scale concert works based on Orthodox choral music. The texts by the medieval Armenian poet Gregory of Narek are informed by a humanistic individualism, with the poet directly expressing his emotions and often writing in the first person. In the case of Pärt, his detailed study of Orthodox chant caused him to develop his so-called ‘tintinnabuli’ system of composition as an extension of the harmonic practices of Orthodox choral music. He wrote his Seven Magnificat-Antiphons in 1988, applying the tintinnabuli technique to texts from the Catholic liturgy in the German language – a striking East-West hybrid. The Estonian Philharmonic Chamber Choir and Kaspars Putninš have combined sacred works by Schnittke and Pärt before, their previous release on BIS earning them a prestigious Gramophone Award in the Choral Music category.
REVIEWS:
The BIS catalog already boasts a fine version of Schnittke's Choir Concerto, but this newcomer surpasses it; and the music of Pärt is stitched into the choir’s DNA.
– BBC Music Magazine
This is an outstanding disc. The music is both eloquent and compelling and the EPCC gives memorable performances. The quality of their singing is matched by the excellence of the BIS recording.
A rare gem of a recording originally released on the Barclay label - first-ever CD & digital releases. Mozart's Die Zauberflote with an incredible cast led by Kiri Te Kanawa, Peter Hofmann, Edita Gruberova, Kathleen Battle, Kurt Moll and Jose Van Dam. 2 CD multipack with 100 page perfect bound book with original text and libretto in German, French & English.
DIE ZAUBERFLOTE
$15.49
CD
DECCA
May 21, 2021
DCA485520.2
JESUS-CHRIST NE DECOIT PAS
AWESOME TAPES FROM
Available as
CD
$14.63
May 15, 2026
Jess Sah Bi is well- known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country- Americana to the West African masses with their smash debut Our Garden Needs It's Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi-or Jesse, as he known to friends- became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped until he became a born-again Christian. He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. That album, Jesus-Christ Ne Decoit Pas [Jesus Christ Does Not Let Us Down], came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, and he enlisted some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. Jesus-Christ Ne Decoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message.
Anyone familiar with Bruckner, his symphonic architectures reaching for the stars as well as his later Missas from the 1860s, may well be amazed at how deep his Missa Solemnis is still rooted in the solid tradition of Viennese Classicism. In this recording, this rarely heard and recently re-edited and newly published gem is put into the context of the inauguration service of collegiate provost Friedrich Mayr on 14 September 1854 in St. Florian, for which it was written. It is interspersed with the original Proper settings by Robert Fuhrer, Joseph Eybler, and Johann Baptist Gansbacher. This brilliantly mastered album was recorded at the Konzerthaus Berlin in June 2017 as a coproduction with Deutschlandfunk Kultur.
Baritone Konstantin Krimmel, voted ‘Best Newcomer’ of the year at the 2023 Oper! Awards in Germany and a member of the eminent Bavarian State Opera company since 2021, presents his third recording for Alpha. In close partnership with pianist Daniel Heide, he places his artistry and his feeling for words at the service of the lied repertory. This is also an opportunity to discover his vision of the work, an unexpectedly contemporary, socio-psychological analysis: ‘Die schöne Müllerin is a work that romanticises the development of a mental illness, and shows, unfiltered, how a young person can feel without a tempered emotional world. With all its dark sides.’
On Sale
Schubert: Die Schöne Mullerin / Krimmel, Heide
$20.99
$15.99
CD
Alpha
Jul 07, 2023
ALPHA929
Liszt: Via Crucis
Alpha
Available as
CD
$20.99
Mar 08, 2019
Franz Liszt was 67 when he composed his Via Crucis, yet it did not receive it's first performance until 1929, 43 years after the composer's death. This work of his mature years is in 15 sections, retracing the Stations of the Cross that mark the stages of Christ's Passion, from being condemned to death to being laid in the tomb. Combining Gregorian chant, the Lutheran liturgy and the Latin, German and Aramaic languages, the Via Crucis shows real formal originality. A devout believer, Liszt gives us here his most important sacred work. He composed several versions: for mixed choir, soloists and organ (with the organ part optionally transcribed for piano), for piano solo, organ solo, and two pianos. After an album devoted to Janacek, the Collegium Vocale founded by Philippe Herreweghe is once again conducted by Reinbert de Leeuw in this new Alpha recording.
Liszt: Via Crucis
$20.99
CD
Alpha
Mar 08, 2019
ALPHA390
HOPE
DEUTSCHE GRAMMOPHON
Available as
CD
$15.49
Oct 08, 2021
With this album, Daniel Hope presents a personal collection of timeless classics by Schubert, Elgar and P"rt, several beloved traditional songs, and a brand new arrangement of the inspiring and spiritual Misa Criolla by Ariel Ram¡rez. "Music has a tremendous power," says Daniel Hope. "This album is my attempt to send out a ray of hope and provide people, including myself, with a sense of support and a feeling of trust."
HOPE
$15.49
CD
DEUTSCHE GRAMMOPHON
Oct 08, 2021
DEGRB003433602.2
Pott: Christus / Winpenny
Naxos
Available as
CD
$29.99
$14.99
Aug 13, 2021
Acclaimed for his sacred choral and organ works, Francis Pott was recognized in 2021 with the Medal of the Royal College of Organists, its highest award. Regarded as an Everest of the organ repertoire, Christus is a Passion symphony that traces this dramatic Biblical narrative through evolving tonality, portraying Christ’s vast struggle through betrayal and crucifixion towards ultimate triumph. Christus here enjoys itsfirst studio recording, made in the presence of the composer. Included also are premieres of Surrexit Hodie (a toccata for Easter Sunday) and a commemorative chorale prelude, Schmückedich, Oliebe Seele.
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Pott: Christus / Winpenny
$29.99
$14.99
CD
Naxos
Aug 13, 2021
8574252-53
Pseaumes de David
CPO
Available as
CD
$18.99
Oct 03, 2025
On the path to true faith and it's practice to please God, there have been regular heated debates over the role of music. Reactionaries repeatedly closed the lid on excessive cheer. This was also the case in the Netherlands of the 17th century. The reformist spirit of the Frenchman John Calvin led to an almost complete ban of music during worship services, despite the fact that the psalms of David ("Sing unto the Lord") provide unassailable proof to the contrary. Shortly before 1600, the great Dutch composer Jan Pieterszoon Sweelinck discovered how these psalms could be, and were permitted to be, set to new music. The "Orpheus of Amsterdam" succeeded in transforming imposed restrictions into acoustic wonders. Our small selection of psalms, alternating with several organ works, proves once again the victory of the spirit over heavy subject matter
HASSE Requiem in C. Miserere in c • Hans-Christoph Rademann, cond; Johanna Winkel, Marie Luise Werneburg (sop); Wiebke Lehmkuhl, Marlen Herzog (alt); Colin Balzer (ten); Cornelius Uhle (bs); Dresden C Ch; Dresden Baroque O (period instruments) • CARUS 83.349 (70:15 Text and Translation)
Carus Verlag of Stuttgart has an interesting dual purpose to its business by releasing discs such as this based upon its latest scores and parts. In general, this has been quite interesting, even given that the recording arm is now owned by Naxos, but the result has been a concentrated effort on composers whose names were mostly well known but whose works were little performed. I can say that the scores are generally quite nicely edited, and it is good to have such works as the two pieces performed here available in the series Music from Dresden. Johann Adolph Hasse is one of the pivotal figures of the 18th century. Married to soprano Faustina Bordoni and heir to George Frederick Handel’s title of “Il caro sassone,” he was a principal figure in opera and church music in Dresden, where he was Hofkapellmeister, but also in Italy, where he was commissioned to write up through his late-70s, as well as functioning as maestro di cappella at the Ospedale degli Incurabili. One might expect a vast amount of music to have been written during this time, and indeed this is the case, for he composed frequently and eloquently at the drop of the proverbial hat for any occasion. Like Telemann, he had no qualms about fulfilling any commission that was given him, no matter how large or trivial, and his style conformed to whatever the tastes were at that moment.
Hasse composed two Requiem Masses for Dresden, one in E?-Major (also recorded by Carus and the Dresden Baroque Orchestra) and this one in C Major. Both works seem to have been written in 1763 within a few weeks of each other, this one for Frederick August II and the other for his successor who kicked off only a couple of weeks later. Because Frederick August was a beloved leader, his obsequies seem to have been celebrated annually for almost a century, and Hasse’s music became a fixture in Dresden, even though it had long since gone out of fashion stylistically. The work is sprawling, with the text subdivided into numerous smaller movements and scored for a large ensemble. C Major may have been a rather odd key for a Requiem, but Hasse found that path between mourning and celebration of his ruler’s life that avoided a more maudlin setting in a minor key. Besides, he seems to have been less interested in an integrated work than one which would accompany a grand public event. In any case, the result is rather a mixed bag. For me, the opening presents one of the most suspenseful of the period, with a slow tattoo of tonic and dominant confusing the issue of key. Is it C Major, or is it C Minor? When the oboes enter, the major key becomes apparent, but at the words “et lux perpetua,” the shift to minor mode is both funereal and emotional. This captures the attention immediately, but expectations rise and fall during the course of the work. The Te decet hymnus is an old-fashioned paean with Baroque walking bass, and while the Kyrie is worthy of any major-key Mass by Joseph Haydn, the following highly contrapuntal Christe eleison with its strange harmonic twists seems anachronistic, even as it foils expectations. One might expect the Dies irae to have grist for a powerful image of the Last Judgment, but instead it is a rather weak homophonic chorus over dotted rhythms. There is nice woodwind writing in the Inter oves, reminding one of C. P. E. Bach, and the Lacrymosa’s heavy, minor-key, ponderous tread is less gentle tears than weeping, wailing, and gnashing of teeth. There are operatic moments, such as the delightful alto solo in the Recordare, and when Hasse pairs his women’s voices, such as the lyrical Hostias et preces, or the Sanctus with its pair of sopranos at the beginning and at the Hosanna in excelsis, we are more in the heavenly realm than heading in the opposite direction (musically speaking, of course). The final Lux aeterna, followed by a recap of the opening Requiem aeternam, is brief and to the point, with an all-male chorus.
The Requiem itself is too long to be paired with a similar work but too short for a single disc, and therefore Carus has opted to include a Miserere written originally for Venice. This apparently survives in a copy for Dresden with a four-part chorus, as opposed to the first version, which was for women’s voices only, in deference to the Ospedale forces. It is a competently composed but rather more pedestrian work. The tone is lighter, such as the operatic Tibi soli or the Quoniam si voluisses, and the chorus more homophonic (though there is a bit of counterpoint as required at the final Amen).
The performance by the Dresden early-instrument ensemble seems competent enough. The individual soloists for each movement are not enumerated on the track list, though one can probably intuit who sings which part. The voices in general blend well together, particularly sopranos Johanna Winkel and Marie Luise Werneburg, while Wiebke Lehmkuhl has a nice rich tone to her voice. Colin Balzer’s tenor can be a bit light at times, but his tone likewise is clear and unambiguous. Cornelius Uhle’s bass also fits in quite well, and in the Tibi soli he handles the part with ease. Hans-Christoph Rademann keeps his ensemble’s tempos moving along at a respectful pace, but he avoids any breakneck speeds and so allows the music to emerge well. I would have loved a bit more life in the Miserere, but Hasse’s conventionality probably prevents any real moments of brilliant light in the interpretation. My only qualm is the recorded sound, in which the strings are often a bit strident and one can hear the scraping of bows. The trumpets, too, could be more secure. You’ll probably want this disc if you are a fan of Requiems, and certainly the work would appeal to those interested in 18th-century music. It is certainly a decent recording, and brooks comparison with Hasse’s other Requiem.
FANFARE: Bertil van Boer
Hasse: Requiem in C
$20.99
CD
Carus
May 31, 2011
CV83349
Gottes Wille meint es gut - Complete Cantatas for Tenor and
CPO
Available as
CD
$18.99
Jul 17, 2026
Christoph Graupner must have made a deep and lasting impression on his contemporaries. Otherwise, more than two decades after his death, an admiring epitaph would scarcely have attested that he regarded church music as "so lofty, venerable, and sacred that he distinguished it from operatic and chamber styles as far as heaven from earth; the stranger who heard him for the first time marveled and believed himself transported into another world." Our catalogue now offers ample opportunity to test the truth of these words of praise. The cantatas released thus far represent only a small fraction of the nearly fifteen hundred works Graupner left behind. Yet, in every single one, we hear that he approached this genre "with diligence, punctuality, quiet serenity, and joy of heart." These same qualities have clearly inspired the performers, who now join forces for the sixth time in their commitment to the long-serving Kapellmeister of the Darmstadt court.
Gottes Wille meint es gut - Complete Cantatas for Tenor and
$18.99
CD
CPO
Jul 17, 2026
555785-2
Messiaen: Orchestral Works / Nagano, BRSO
BR Klassik
Available as
CD
$34.99
$17.49
Oct 01, 2021
Few performers are more familiar with the musical language of the French composer Olivier Messiaen than the American conductor Kent Nagano. Nagano has had Messiaen's orchestral works and oratorios in his program for several decades now, and he also participated in the world premiere of “Saint François d'Assise”, Messiaen's only opera. During the year 1982 Nagano spent his time with Messiaen in Paris, where not only an artistic relationship but also a close personal one developed between the two musicians.
BR-KLASSIK has now released three masterpieces by the French composer with the magical sound, presented by Kent Nagano to the Munich concert audience in recent years as conductor of the Symphonieorchester des Bayerischen Rundfunks: the oratorio “La Transfiguration de Notre Seigneur Jésus-Christ" (The Transfiguration of Our Lord Jesus Christ) for chorus, seven solo instruments and orchestra, the song cycle "Poèmes pour Mi" for soprano and orchestra, as well as "Chronochromie" for large orchestra. These three live recordings document outstanding artistic events from the Munich concert program of June 2017, July 2018 and February 2019.
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Messiaen: Orchestral Works / Nagano, BRSO
$34.99
$17.49
CD
BR Klassik
Oct 01, 2021
BRK900203
Henze: Das Floss der Medusa / Nylund, Schone, Eotvos, SWR Sinfonie Orchester
SWR
Available as
CD
$20.99
$10.49
Sep 13, 2019
A 2019 New York Times Gift Guide Selection
This is the second release ever of Henzes famous Oratorio, after the release of the general rehearsal for the world's first premiere from 1968 by Deutsche Grammophon. Excellent sound technique, first class singers and orchestra (conducted by none other than Peter Eötvös) as well as a booklet containing detailed liner notes and the libretto contribute in making this album a very important testimony about the music of the 20th century. Henze wrote the Oratorio as a Requiem for Che Guevara and set it to a text by Ernst Schnabel. It tells the story of the French frigate Meduse, which ran aground off the west coast of Africa in 1816, immortalized in the painting of the same name by Theodore Gericault. The work employs a large orchestra, a speaker, a soprano, a baritone, and choruses. In the course of a performance, the chorus members move from left side of the stage, “the Side of the Living,” to the right side, “the Side of the Dead.”
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REVIEWS:
Looking for that special something for that special someone this holiday?
Flowers? Those die.
Jewelry? Too bougie.
A day at the spa? Namaste!
An hour-long modernist requiem on the death of Che Guevara featuring a head of snakes, sung/spoken/sprechtimme’d IN GERMAN? Dear, you are so generous. I cannot possibly repay the kindness.
– New York Times 2019 Gift Guide
Anyone who wants to know Henze or know him better would be well-served and enlivened by this one. And it would be a valuable addition to the confirmed Henze fan's library. Recommended.
– Gapplegate Classical-Modern Music Review
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Henze: Das Floss der Medusa / Nylund, Schone, Eotvos, SWR Sinfonie Orchester
$20.99
$10.49
CD
SWR
Sep 13, 2019
SWR19082CD
Schubert: Lied Edition 5 - Die Schone Mullerin
Naxos
Available as
CD
$19.99
Jul 01, 2000
Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine.
Schubert: Lied Edition 5 - Die Schone Mullerin
$19.99
CD
Naxos
Jul 01, 2000
8554664
DIE KUNST DER FUGE BWV 1080
Thorofon
Available as
CD
$37.99
Nov 03, 2017
The art of the fugue of Johann Sebastian Bach is regarded as a fundamental achievement of music history. The version in print belongs to the unquestioned canon of the interpretive history as well. The burden of the work had so far been so heavy that one could easily overlook the fragmentary and sometimes foreign character of this version. But there is a history of work, and whoever wants to come to Bach’s only self-contained version must go to the earlier possible version. Bach’s Art of the Fugue is a collection of polyphonic pieces developed from a single main theme. The well-known and recent version was completed by Bach’s son, Carl Philipp Emanuel, after his death. This release, however, shows an even earlier version believed to be done entirely by Bach. This study and recording by Kalberer becomes a whole of theory and practice, an integral process of philosophical theory, musicological research, absolute artwork, autonomous sound events and subjective perception of the listener.
DIE KUNST DER FUGE BWV 1080
$37.99
CD
Thorofon
Nov 03, 2017
CTH26402
Schütz: Geistliche Chormusik
Capriccio
Available as
CD
$24.99
Jan 01, 1999
Schutz, H.: Geistliche Chormusik
Schütz: Geistliche Chormusik
$24.99
CD
Capriccio
Jan 01, 1999
C10858-59
Gift of God
GIA
Available as
CD
$18.99
Jan 01, 2001
The first general-purpose collection from Marty Haugen in years, Gift of God is top-notch, offering a wealth of hymns and songs for all Christians. The title song, extremely well received since its release in 2000, incorporates a simple repetitive response, making it an ideal piece for assembly participation at Christmastime. Introduced in Marty's musical The Feast of Life,"Where Your Treasure Is" is included here in a beautiful arrangement for choirs and is now available in an octavo. Gift of God also features a wonderful communion song, "Bread of Life from Heaven," set to a traditional Argentine melody. Several texts by Susan Briehl.
Gift of God
$18.99
CD
GIA
Jan 01, 2001
GIA CD-501
St Luke Passion
Capriccio
Available as
CD
$18.99
$14.99
Jan 01, 2003
Schutz, H.: St. Luke Passion / Die Sieben Worte Jesu Christi
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St Luke Passion
$18.99
$14.99
CD
Capriccio
Jan 01, 2003
C67019
A German Christmas / Broekroelofs, Hoving, Margeretha Consort
Naxos
Available as
CD
$19.99
$13.99
Nov 09, 2018
The pieces on this album originate largely from the Christmette by Michael Praetorius. In addition, nativity hymns by a range of different composers from the same era have been compiled. In Lutheran style the compositions on this album include solo pieces, choir arrangements, double choral motets, instrumental pieces and of course the church organ repertoire. The listener can also hear pieces, which were not necessarily meant for Christmas, but fit the program very well. The function of some of the pieces is liturgical, like “Gloria,” “Our Father,” or the mighty Entrance-Prelude. Two other pieces are meditative moments about the name of Jesus. Many of the songs are well-known. However, the arrangements for soloists and/or choir from Praetorius and his contemporaries are rarely performed. The Early Music ensemble Margaretha Consort was founded in 2009. The ensemble is based in the Netherlands, but the singers and instrumentalists are from all over Europe.Over the years a very skilled team has been created, where knowledge, musicality, and congeniality go hand in hand.
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A German Christmas / Broekroelofs, Hoving, Margeretha Consort
A new era in church music dawned with the creation of German-language sacred songs functioning as the counterpart to Latin Gregorian chant. The WESER-RENAISSANCE ensemble under its experienced conductor Manfred Cordes is now presenting a colorful selection of the most beautiful hymn settings from the Wittenberg first edition of 1524-25. The Urkantor Johann Walter was a close associate of Martin Luther and the founding father of the important institutional and artistic tradition of the Protestant cantorate. In his music Walter followed the model of the German tenor song, a genre important in the development of German music history and of secular orientation in its principal variant. The melody is in the tenor part of the song settings, all of them in four parts, and in formal respects differs only slightly from the monophonic tradition. With his Gesangk Buchleyn Walter marked the beginning of the significant tradition of Protestant chorale settings that would reach its artistic high point in the music of Johann Sebastian Bach.
By modern standards, Thomas Muntzer might be described as a liberation theologian. A few years before his violent death, the ordained priest married a former nun (like Martin Luther), devoted himself to helping the needy, and ultimately became actively involved in the Peasants' War-actions that alienated him from both the secular authorities and Luther himself. Muntzer, an impassioned advocate for the oppressed, met his end on the executioner's block in 1525. On May 27, 2025, the 500th anniversary of his execution will be commemorated. To mark the occasion, the vocal ensemble Amarcord presents two works Muntzer created as part of his liturgical reforms: the first German-language Christmas Mass and the Amt (Office) and Matins for Easter. Muntzer translated the texts from Latin into German, aligning them with traditional chorale melodies. The result is a deeply contemplative experience, lasting over 75 minutes.
Deutsche Evangelische Messe; Deutsches Kirchenamt
$18.99
CD
CPO
Jun 06, 2025
555700-2
Spohr: Messe in C Minor, Op. 54 & 3 Psalmen, Op. 85
Carus
Available as
CD
$20.99
$15.99
Nov 11, 2016
Louis Spohr’s only mass is one of the most important works of post-classical church music. In this unaccompanied mass, Spohr combines in a harmonious way the contemporary interest in Baroque compositional techniques and his own search for an individual, modern compositional style. The Kammerchor Stuttgart under its conductor Frieder Bernius succeeds in bringing to life the numerous facets of the work in a particularly impressive way. As well as the mass, this release also includes the Three Psalms op. 85. These two works by Spohr have been interleaved for the first time in a recording: the three Psalms have been inserted in the relevant places, representing the positions of the Introit, Gradual and Offertory, resulting in a truly impressive experience for listeners.
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Spohr: Messe in C Minor, Op. 54 & 3 Psalmen, Op. 85
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