Browse Titles - 230 results
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10 Motets
composed by Heinrich Schütz, 1585-1672; conducted by Edgar Fleet; produced by John Boyden; performed by Pro Cantione Antiqua, London Cornett and Sackbut Ensemble and Restoration Academy (Quicksilva), 52 mins
Sample
composed by Heinrich Schütz, 1585-1672; conducted by Edgar Fleet; produced by John Boyden; performed by Pro Cantione Antiqua, London Cornett and Sackbut Ensemble and Restoration Academy (Quicksilva), 52 mins
Date Written / Recorded
1993
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Pro Cantione Antiqua, London Cornett and Sackbut Ensemble, Restoration Academy
Contributor
Edgar Fleet, Tony Faulkner, John Boyden
Author / Creator
Heinrich Schütz, 1585-1672, Pro Cantione Antiqua, London Cornett and Sackbut Ensemble, Restoration Academy
Publisher
Quicksilva
Tracks
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20. Exsultate, justi, in Domino
edited by Peter Bergquist; composed by Hieronymus Praetorius, 1560-1629 (1618), 20. Exsultate, justi, in Domino (Middleton, WI: A-R Editions, Inc., 1997), 5 page(s)
Sample
edited by Peter Bergquist; composed by Hieronymus Praetorius, 1560-1629 (1618), 20. Exsultate, justi, in Domino (Middleton, WI: A-R Editions, Inc., 1997), 5 page(s)
Collection
Classical Scores Library, Volume I
Date Written / Recorded
1618
Field of Study
Classical Music
Content Type
Score
Contributor
Peter Bergquist
Author / Creator
Hieronymus Praetorius, 1560-1629
Date Published / Released
1997
Publisher
A-R Editions, Inc.
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20. Veni, Domine, et noli tardare
edited by Peter Bergquist; composed by Hans Leo Hassler, 1562-1612 (1601), 20. Veni, Domine, et noli tardare (Middleton, WI: A-R Editions, Inc., 2002), 4 page(s)
Sample
edited by Peter Bergquist; composed by Hans Leo Hassler, 1562-1612 (1601), 20. Veni, Domine, et noli tardare (Middleton, WI: A-R Editions, Inc., 2002), 4 page(s)
Collection
Classical Scores Library, Volume I
Date Written / Recorded
1601
Field of Study
Classical Music
Content Type
Score
Contributor
Peter Bergquist
Author / Creator
Hans Leo Hassler, 1562-1612
Date Published / Released
2002
Publisher
A-R Editions, Inc.
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40: The Anniversary Collection
conducted by Harry Christophers, 1953-; performed by The Sixteen (Coro, 2019), 3 mins
Sample
conducted by Harry Christophers, 1953-; performed by The Sixteen (Coro, 2019), 3 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Sixteen
Contributor
Harry Christophers, 1953-
Author / Creator
The Sixteen
Date Published / Released
2019
Publisher
Coro
Copyright Message
Copyright © 2019 The Sixteen Productions Ltd.
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100 Best Vivaldi (CD 1-4)
composed by Antonio Vivaldi, 1678-1741 (Warner Music, 2008), 9 mins
Sample
composed by Antonio Vivaldi, 1678-1741 (Warner Music, 2008), 9 mins
Field of Study
Classical Music
Content Type
Music recording
Author / Creator
Antonio Vivaldi, 1678-1741
Date Published / Released
2008-01-15
Publisher
Warner Music
Tracks
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(Deutsche Grammophon, 2010), 5 mins
Field of Study
Classical Music
Content Type
Music recording
Date Published / Released
2010-10
Publisher
Deutsche Grammophon
Copyright Message
(C) 2010 Deutsche Grammophon GmbH, Hamburg
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Ach Herr, du Schöpfer aller Ding
edited by Julius August Philipp Spitta, 1841-1894; composed by Heinrich Schütz, 1585-1672 (1627), Ach Herr, du Schöpfer aller Ding (Breitkopf and Härtel, 1927), 3 page(s)
Sample
edited by Julius August Philipp Spitta, 1841-1894; composed by Heinrich Schütz, 1585-1672 (1627), Ach Herr, du Schöpfer aller Ding (Breitkopf and Härtel, 1927), 3 page(s)
Collection
Classical Scores Library, Volume I
Date Written / Recorded
1627
Field of Study
Classical Music
Contributor
Julius August Philipp Spitta, 1841-1894
Author / Creator
Heinrich Schütz, 1585-1672
Date Published / Released
1927
Publisher
Breitkopf and Härtel
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Ad arma, o spiritus, Op. 13
edited by Stewart Carter; composed by Isabella Leonarda, 1620-1704 (1695), Ad arma, o spiritus (Middleton, WI: A-R Editions, Inc., 1988), 13 page(s)
Sample
edited by Stewart Carter; composed by Isabella Leonarda, 1620-1704 (1695), Ad arma, o spiritus (Middleton, WI: A-R Editions, Inc., 1988), 13 page(s)
Collection
Classical Scores Library, Volume I
Date Written / Recorded
1695
Field of Study
Classical Music
Content Type
Score
Contributor
Stewart Carter
Author / Creator
Isabella Leonarda, 1620-1704
Date Published / Released
1988
Publisher
A-R Editions, Inc.
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Alla Dolce Ombra
conducted by Paul Leenhouts; performed by The Royal Wind Music (Lindoro, 2006), 1 hour 2 mins
Sample
conducted by Paul Leenhouts; performed by The Royal Wind Music (Lindoro, 2006), 1 hour 2 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Royal Wind Music
Contributor
Paul Leenhouts
Author / Creator
The Royal Wind Music
Date Published / Released
2006-08-15
Publisher
Lindoro
Copyright Message
2002 La Tirana, SL
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Allegri: Miserere
conducted by Harry Christophers, 1953-; produced by Mark Brown, 1962-; performed by The Sixteen (Coro, 2003), 1 hour 3 mins
This 1994 disc is something of a classic of the new strain of the historical-performance movement, which is characterized by a certain amount of license to speculate in the reconstruction of lost works. The Miserere mei Deus of Gregorio Allegri is, of course, not a lost work, but one with an unbroken performance t...
Sample
conducted by Harry Christophers, 1953-; produced by Mark Brown, 1962-; performed by The Sixteen (Coro, 2003), 1 hour 3 mins
Description
This 1994 disc is something of a classic of the new strain of the historical-performance movement, which is characterized by a certain amount of license to speculate in the reconstruction of lost works. The Miserere mei Deus of Gregorio Allegri is, of course, not a lost work, but one with an unbroken performance tradition stretching back to its composition in the early seventeenth century (before 1638). It was sung for centuries at the Sistine Ch...
This 1994 disc is something of a classic of the new strain of the historical-performance movement, which is characterized by a certain amount of license to speculate in the reconstruction of lost works. The Miserere mei Deus of Gregorio Allegri is, of course, not a lost work, but one with an unbroken performance tradition stretching back to its composition in the early seventeenth century (before 1638). It was sung for centuries at the Sistine Chapel, where the singers were enjoined from circulating the music beyond Vatican walls. That prohibition wasn't enough to stop the 12-year-old Mozart, who wrote most of it down by ear as a tourist in Rome and filled in the gaps on a quick return visit; soon after that, British music writer Charles Burney got hold of either Mozart's copy (which hasn't survived) or another one and published the work. But by that time the Miserere had itself changed from what Allegri might have imagined. The work, which stood in a tradition of similar, earlier pieces, had an improvisational component, drawing on a centuries-old process of elaboration and harmony singing known as falsobordone (fauxbourdon in French, faburden in English). The Vatican singers, as the booklet explains and illustrates with contemporary quotations, gradually lost the skill to execute these improvisations, and the work took on the vivid but fixed contrasts between two choirs that are known today. French conductor Bernard Fabre-Garrus and his small choir A Sei Voci try, in the first track on the album, to reconstruct the work as Allegri might have heard it. The singers add a mostly upper line of counterpoint and elaborate it floridly, creating music that's completely different in effect, more spectacular and extroverted, than the Miserere. Fabre-Garrus exaggerates the contrast by calling for a sharp, coruscating sound from the singers and the initial Miserere, but then reining them in for the later version, performed at the end of the disc. The pairing offers a crash course in how much our understanding of seventeenth century music has been shaped by performance traditions. In between comes other music by Allegri, almost completely unknown but highly listenable and relevant in various ways to the mystery of the Miserere. The Missa vidi turbam magnam is a good example of what happened when composers tried to adapt the intrinsically conservative form of the mass to the new musical language of the seventeenth century; it is outwardly a work in the polyphonic stile antico of the Renaissance, but it is full of sunny major harmonies and direct harmonic moves that show the influence of modern styles. The three motets that follow (tracks 9-11) are in the new, continuo-accompanied manner; they are for three or four solo voices, in lush, close harmonies, and are accompanied here by a small organ. Altogether this was a disc that did much to illuminate a work whose connection to the extreme tendencies of the seventeenth century had mostly been forgotten, and it has inspired tribute in the form of various further attempts to refine performance of the Miserere mei Deus. ~ James Manheim, All Music Guide
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Date Written / Recorded
1989-11
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Sixteen
Contributor
Harry Christophers, 1953-, Anthony Howell, Mark Brown, 1962-
Author / Creator
The Sixteen
Date Published / Released
2003
Publisher
Coro
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