Browse Titles - 4 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
×
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
×
Monteverdi: The Sacred Music - 2
composed by Claudio Monteverdi, 1567-1643; conducted by Robert King, 1960-; produced by Ben Turner; performed by Rogers Covey-Crump, Charles Daniels, Peter Harvey, Carolyn Sampson, Rebecca Outram, James Gilchrist and Gary Cooper, King's Consort and Choir of The King's Consort (Hyperion), 1 hour 6 mins
Sample
composed by Claudio Monteverdi, 1567-1643; conducted by Robert King, 1960-; produced by Ben Turner; performed by Rogers Covey-Crump, Charles Daniels, Peter Harvey, Carolyn Sampson, Rebecca Outram, James Gilchrist and Gary Cooper, King's Consort and Choir of The King's Consort (Hyperion), 1 hour 6 mins
Date Written / Recorded
2003-02-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
King's Consort, Choir of The King's Consort, Rogers Covey-Crump, Charles Daniels, Peter Harvey, Carolyn Sampson, Rebecca Outram, James Gilchrist, Gary Cooper
Contributor
Robert King, 1960-, Philip Hobbs, Ben Turner
Author / Creator
Claudio Monteverdi, 1567-1643, King's Consort, Choir of The King's Consort, Rogers Covey-Crump, Charles Daniels, Peter Harvey, Carolyn Sampson, Rebecca Outram, James Gilchrist, Gary Cooper
Publisher
Hyperion
×
Robert Simpson: Complete Choral and Organ Music
composed by Robert Wilfred Levick Simpson, 1921-1997; conducted by Matthew Best; produced by Arthur Johnson; performed by Iain Quinn, Corydon Brass Ensemble and Corydon Singers (Hyperion), 1 hour 8 mins
Sample
composed by Robert Wilfred Levick Simpson, 1921-1997; conducted by Matthew Best; produced by Arthur Johnson; performed by Iain Quinn, Corydon Brass Ensemble and Corydon Singers (Hyperion), 1 hour 8 mins
Date Written / Recorded
1997-10-01
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Corydon Brass Ensemble, Corydon Singers, Iain Quinn
Contributor
Matthew Best, Arthur Johnson
Author / Creator
Robert Wilfred Levick Simpson, 1921-1997, Corydon Brass Ensemble, Corydon Singers, Iain Quinn
Publisher
Hyperion
×