Browse Titles - 70 results
American Choral Music
conducted by Matthew Best; produced by Mark Brown, 1962-; performed by Rachel Masters, Gary Kettel, Thomas Trotter, Dominic Martelli, fl. 1981-1987 and Catherine Denley, Corydon Singers (Hyperion), 54 mins
Sample
conducted by Matthew Best; produced by Mark Brown, 1962-; performed by Rachel Masters, Gary Kettel, Thomas Trotter, Dominic Martelli, fl. 1981-1987 and Catherine Denley, Corydon Singers (Hyperion), 54 mins
Date Written / Recorded
1986-05-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Corydon Singers, Rachel Masters, Gary Kettel, Thomas Trotter, Dominic Martelli, fl. 1981-1987, Catherine Denley
Contributor
Matthew Best, Anthony Howell, Mark Brown, 1962-
Author / Creator
Corydon Singers, Rachel Masters, Gary Kettel, Thomas Trotter, Dominic Martelli, fl. 1981-1987, Catherine Denley
Publisher
Hyperion
Tracks
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Beyond all mortal dreams
conducted by Stephen Layton; performed by Trinity College Choir Cambridge (Hyperion, 2011), 1 hour 9 mins
Sample
conducted by Stephen Layton; performed by Trinity College Choir Cambridge (Hyperion, 2011), 1 hour 9 mins
Date Written / Recorded
2010-07
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Trinity College Choir Cambridge
Contributor
Stephen Layton
Author / Creator
Trinity College Choir Cambridge
Date Published / Released
2011
Publisher
Hyperion
Copyright Message
Copyright 2012 by Hyperion
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Brahms: Motets
composed by Johannes Brahms, 1833-1897; conducted by Matthew Best; produced by Mark Brown, 1962-; performed by John Scott, 1930-, Christine Barratt and Joya Logan, Corydon Singers (Hyperion), 1 hour 12 mins
It always comes as a relief to turn to the a cappella motets of Brahms. In them the composer was no less profound, or deep, or intellectual, or sentimental than he was in his other works, but here these elements are more austere, more concentrated, more sublimated into the warp and woof of the musical fabric. In t...
Sample
composed by Johannes Brahms, 1833-1897; conducted by Matthew Best; produced by Mark Brown, 1962-; performed by John Scott, 1930-, Christine Barratt and Joya Logan, Corydon Singers (Hyperion), 1 hour 12 mins
Description
It always comes as a relief to turn to the a cappella motets of Brahms. In them the composer was no less profound, or deep, or intellectual, or sentimental than he was in his other works, but here these elements are more austere, more concentrated, more sublimated into the warp and woof of the musical fabric. In the motets, the listener gets the sense that one is hearing the true Brahms, unadorned by the trappings of instrumental color and virtuo...
It always comes as a relief to turn to the a cappella motets of Brahms. In them the composer was no less profound, or deep, or intellectual, or sentimental than he was in his other works, but here these elements are more austere, more concentrated, more sublimated into the warp and woof of the musical fabric. In the motets, the listener gets the sense that one is hearing the true Brahms, unadorned by the trappings of instrumental color and virtuosity.
The true Brahms was a darkly pessimistic composer, a composer who could set the bleakest texts without flinching, who could look into the bottomless abyss of life and death and not turn away. Brahms' setting of Job's curse "Wherefore is the light given to him that is in misery" is unrelenting in its grim melancholy. And that setting is cheerful compared with Brahms' final three motets: "I am but sorrowful," "Ah, poor world, you deceive me," and "When we in direst distress" are among the most sorrowful settings in the German language.
Herreweghe's interpretations of the motets are beautiful. His choirs sing with a rounded tone and blend into a warm sonority without sacrificing clarity of articulation. Harmonia Mundi provides them with a resonant but not overly large acoustical setting. Everything is perhaps too beautiful for Job and death and sorrow and pain, but beautiful nevertheless.
Highly recommended. ~ James Leonard, All Music Guide Show more Show less
The true Brahms was a darkly pessimistic composer, a composer who could set the bleakest texts without flinching, who could look into the bottomless abyss of life and death and not turn away. Brahms' setting of Job's curse "Wherefore is the light given to him that is in misery" is unrelenting in its grim melancholy. And that setting is cheerful compared with Brahms' final three motets: "I am but sorrowful," "Ah, poor world, you deceive me," and "When we in direst distress" are among the most sorrowful settings in the German language.
Herreweghe's interpretations of the motets are beautiful. His choirs sing with a rounded tone and blend into a warm sonority without sacrificing clarity of articulation. Harmonia Mundi provides them with a resonant but not overly large acoustical setting. Everything is perhaps too beautiful for Job and death and sorrow and pain, but beautiful nevertheless.
Highly recommended. ~ James Leonard, All Music Guide Show more Show less
Date Written / Recorded
1989-10-21
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Corydon Singers, John Scott, 1930-, Christine Barratt, Joya Logan
Contributor
Matthew Best, Anthony Howell, Mark Brown, 1962-
Author / Creator
Johannes Brahms, 1833-1897, Corydon Singers, John Scott, 1930-, Christine Barratt, Joya Logan
Publisher
Hyperion
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Libera me
composed by Anton Bruckner, 1824-1896 (1854); conducted by Matthew Best; produced by Mark Brown, 1962-; performed by Phillip Brown, Roger Brenner, Colin Sheen, Olga Hegedus, John Scott, 1930- and Thomas Martin, Corydon Singers; in Bruckner: Masses; Te Deum (CD 2) (Hyperion, 1996), 7 mins
Sample
composed by Anton Bruckner, 1824-1896 (1854); conducted by Matthew Best; produced by Mark Brown, 1962-; performed by Phillip Brown, Roger Brenner, Colin Sheen, Olga Hegedus, John Scott, 1930- and Thomas Martin, Corydon Singers; in Bruckner: Masses; Te Deum (CD 2) (Hyperion, 1996), 7 mins
Date Written / Recorded
1854, 1986
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Corydon Singers, Phillip Brown, Roger Brenner, Colin Sheen, Olga Hegedus, John Scott, 1930-, Thomas Martin
Contributor
Matthew Best, Mark Brown, 1962-
Author / Creator
Anton Bruckner, 1824-1896, Corydon Singers, Phillip Brown, Roger Brenner, Colin Sheen, Olga Hegedus, John Scott, 1930-, Thomas Martin
Date Published / Released
1996
Publisher
Hyperion
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Bruckner: Motets
composed by Anton Bruckner, 1824-1896; conducted by Matthew Best; produced by Mark Brown, 1962-; performed by Graham Chambers, Jeremy Gough, Martin Kelly, Thomas Trotter, Philip Salmon and Christopher Stearn, Corydon Singers (Hyperion), 47 mins
This may not be the first Bruckner disc to hear. Surely one of the massive and monumental symphonies is more appropriate. This may not even be the first Bruckner sacred disc to hear. Surely one of the mighty and moving masses is more apposite. But if you really love Bruckner -- and how could anyone resist his form...
Sample
composed by Anton Bruckner, 1824-1896; conducted by Matthew Best; produced by Mark Brown, 1962-; performed by Graham Chambers, Jeremy Gough, Martin Kelly, Thomas Trotter, Philip Salmon and Christopher Stearn, Corydon Singers (Hyperion), 47 mins
Description
This may not be the first Bruckner disc to hear. Surely one of the massive and monumental symphonies is more appropriate. This may not even be the first Bruckner sacred disc to hear. Surely one of the mighty and moving masses is more apposite. But if you really love Bruckner -- and how could anyone resist his formal integrity, his contrapuntal ecstasy, and his spiritual intensity? -- sooner or later you're going to want to check out his Motets. B...
This may not be the first Bruckner disc to hear. Surely one of the massive and monumental symphonies is more appropriate. This may not even be the first Bruckner sacred disc to hear. Surely one of the mighty and moving masses is more apposite. But if you really love Bruckner -- and how could anyone resist his formal integrity, his contrapuntal ecstasy, and his spiritual intensity? -- sooner or later you're going to want to check out his Motets. But which of his Motets: there are dozens of them ranging from a Pange Lingua from 1843 to a Vexilla regis from 1892, and while some of them are nearly on the same level of inspiration as the masses and symphonies, many of them are more mundane than memorable, less Te Deum than tedium.
This disc with Petr Fiala leading the Czech Philharmonic Choir Brno presents a representative selection of the better-known motets -- the stupendous Christus factus est from 1884 and the awe-inspiring Virga Jesse from 1885 -- along with some of the lesser-known works -- the five settings of the Tantum ergo from 1846 and the Ecce sacerdos magnus with trombones and organ from 1885 -- in superb performances -- under the leadership of their founder, the Moravian singers are skillful, soulful, and deeply dedicated to the music -- and fabulous sound -- Musikproduktion Dabringhaus und Grimm's sound puts the listener right there in Brno next to them. Whether it's the one and only recording of Bruckner's Motets one ought to hear is debatable, but it's a fine place to start. ~ James Leonard, All Music Guide Show more Show less
This disc with Petr Fiala leading the Czech Philharmonic Choir Brno presents a representative selection of the better-known motets -- the stupendous Christus factus est from 1884 and the awe-inspiring Virga Jesse from 1885 -- along with some of the lesser-known works -- the five settings of the Tantum ergo from 1846 and the Ecce sacerdos magnus with trombones and organ from 1885 -- in superb performances -- under the leadership of their founder, the Moravian singers are skillful, soulful, and deeply dedicated to the music -- and fabulous sound -- Musikproduktion Dabringhaus und Grimm's sound puts the listener right there in Brno next to them. Whether it's the one and only recording of Bruckner's Motets one ought to hear is debatable, but it's a fine place to start. ~ James Leonard, All Music Guide Show more Show less
Date Written / Recorded
1982-05-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Corydon Singers, Graham Chambers, Jeremy Gough, Martin Kelly, Thomas Trotter, Philip Salmon, Christopher Stearn
Contributor
Matthew Best, Anthony Howell, Mark Brown, 1962-
Author / Creator
Anton Bruckner, 1824-1896, Corydon Singers, Graham Chambers, Jeremy Gough, Martin Kelly, Thomas Trotter, Philip Salmon, Christopher Stearn
Publisher
Hyperion
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'Cantate Mass' and other sacred choral music (CD 1)
composed by John Sheppard, 1515-1558; conducted by Harry Christophers, 1953-; produced by Mark Brown, 1962-; performed by The Sixteen (Hyperion, 1997), 56 mins
Sample
composed by John Sheppard, 1515-1558; conducted by Harry Christophers, 1953-; produced by Mark Brown, 1962-; performed by The Sixteen (Hyperion, 1997), 56 mins
Date Written / Recorded
1990
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Sixteen
Contributor
Harry Christophers, 1953-, Anthony Howell, Mark Brown, 1962-
Author / Creator
John Sheppard, 1515-1558, The Sixteen
Date Published / Released
1997
Publisher
Hyperion
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Puer natus in Bethlehem 'Ein Kind geborn'
composed by Michael Praetorius, 1571-1621; conducted by David Hill, 1957-; performed by Westminster Cathedral Choir and The Parley of Instruments; in Christmas Music (Hyperion, 2011), 6 mins
Sample
composed by Michael Praetorius, 1571-1621; conducted by David Hill, 1957-; performed by Westminster Cathedral Choir and The Parley of Instruments; in Christmas Music (Hyperion, 2011), 6 mins
Date Written / Recorded
1986-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Westminster Cathedral Choir, The Parley of Instruments
Contributor
David Hill, 1957-
Author / Creator
Michael Praetorius, 1571-1621, Westminster Cathedral Choir, The Parley of Instruments
Date Published / Released
2011
Publisher
Hyperion
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Couperin: Leçons de Ténèbres
composed by François Couperin, 1668-1733; produced by Ben Turner; performed by Michael Chance, 1955-, James Bowman, 1941-, Robert King, 1960- and Mark Caudle (Hyperion), 1 hour 3 mins
Sample
composed by François Couperin, 1668-1733; produced by Ben Turner; performed by Michael Chance, 1955-, James Bowman, 1941-, Robert King, 1960- and Mark Caudle (Hyperion), 1 hour 3 mins
Date Written / Recorded
1990-12-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Michael Chance, 1955-, James Bowman, 1941-, Robert King, 1960-, Mark Caudle
Contributor
Anthony Howell, Ben Turner
Author / Creator
François Couperin, 1668-1733, Michael Chance, 1955-, James Bowman, 1941-, Robert King, 1960-, Mark Caudle
Publisher
Hyperion
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Domenico Scarlatti: Stabat Mater
composed by Domenico Scarlatti, 1685-1757; conducted by Francis Grier; produced by Mark Brown, 1962-; performed by Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris and Nicholas Clapton, Choir of Christ Church Cathedral, Oxford (Hyperion), 53 mins
The choral music of Domenico Scarlatti is almost unknown, a mere footnote to the hundreds of concise yet radically innovative keyboard sonatas that were among the first works of the late Baroque/early Classical period to receive frequent performances. This disc from Belgium's Ricercar label, with a truly pan-Europ...
Sample
composed by Domenico Scarlatti, 1685-1757; conducted by Francis Grier; produced by Mark Brown, 1962-; performed by Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris and Nicholas Clapton, Choir of Christ Church Cathedral, Oxford (Hyperion), 53 mins
Description
The choral music of Domenico Scarlatti is almost unknown, a mere footnote to the hundreds of concise yet radically innovative keyboard sonatas that were among the first works of the late Baroque/early Classical period to receive frequent performances. This disc from Belgium's Ricercar label, with a truly pan-European group of singers called Vox Luminis, is labeled as a performance of the Scarlatti Stabat Mater (less familiar even than that of his...
The choral music of Domenico Scarlatti is almost unknown, a mere footnote to the hundreds of concise yet radically innovative keyboard sonatas that were among the first works of the late Baroque/early Classical period to receive frequent performances. This disc from Belgium's Ricercar label, with a truly pan-European group of singers called Vox Luminis, is labeled as a performance of the Scarlatti Stabat Mater (less familiar even than that of his father, Alessandro Scarlatti), but it actually includes four choral works of various kinds, plus two keyboard sonatas played on the organ. All, except for the opening Te Deum laudamus, are as conservative as the keyboard sonatas are radical -- polyphonic, rarely operatic, and drawing on aspects of Renaissance music and styles of the early Baroque. They may have been early works, written in Rome before Scarlatti's departure for the Iberian peninsula, but this is not certain. What's most striking is that, although conservative, the music shows a good deal of Scarlatti's characteristic imagination. Consider the Stabat Mater itself, specified as a setting for 10 voices and continuo. That would lead the listener to expect two choirs of five voices each, or some other subdivision, but that's not the case; it's an actual 10-part polyphonic setting of the text, with constantly shifting configurations of the 10 voices, a moving setting of "Juxta crucem" in which onlookers seem to add their voices in mourning, and a slam-bang finale in which all spring into action to depict the soul "inflamed and burning" at the day of judgment and its ascent into the "glory of Paradise." Vox Luminis has a rather dry sound with one voice per part -- normally undesirable in music where choirs were available, and destructive of the contrasts in the four-voice Miserere that closes the program, with its alternation among choral, solo, and chant sections. In the Stabat Mater, however, it works quite well in clarifying the complex textures of the work. Recommended for those enamored of Domenico Scarlatti's peculiar genius, especially those tolerant of one-voice-per-part approaches. ~ James Manheim, All Music Guide
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Date Written / Recorded
1985-07-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Choir of Christ Church Cathedral, Oxford, Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris, Nicholas Clapton
Contributor
Francis Grier, Anthony Howell, Mark Brown, 1962-
Author / Creator
Domenico Scarlatti, 1685-1757, Choir of Christ Church Cathedral, Oxford, Anthony Pleeth, Chi-Chi Nwanoku, Timothy Bryam-Wigfield, Francis Grier, Charles Harris, Nicholas Clapton
Publisher
Hyperion
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Dufay: Missa Puisque je vis
composed by Guillaume Du Fay, 1397-1474; conducted by Andrew Kirkman; produced by Mark Brown, 1962-; performed by Binchois Consort (Hyperion), 1 hour 8 mins
Sample
composed by Guillaume Du Fay, 1397-1474; conducted by Andrew Kirkman; produced by Mark Brown, 1962-; performed by Binchois Consort (Hyperion), 1 hour 8 mins
Date Written / Recorded
2002-07-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Binchois Consort
Contributor
Andrew Kirkman, Julian Millard, Mark Brown, 1962-
Author / Creator
Guillaume Du Fay, 1397-1474, Binchois Consort
Publisher
Hyperion
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