Browse Titles - 644 results
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Ave Maria
composed by Johannes Brahms, 1833-1897 (1858); conducted by Gerd Albrecht; produced by Chris Hazell; performed by Danish National Symphony Choir and Danish National Symphony Orchestra (DRSO, DNSO); in Brahms: Ave Maria| Schicksalslied |Triumphlied|Nänie (Chandos, 2004), 4 mins
Sample
composed by Johannes Brahms, 1833-1897 (1858); conducted by Gerd Albrecht; produced by Chris Hazell; performed by Danish National Symphony Choir and Danish National Symphony Orchestra (DRSO, DNSO); in Brahms: Ave Maria| Schicksalslied |Triumphlied|Nänie (Chandos, 2004), 4 mins
Date Written / Recorded
1858, 2003
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Danish National Symphony Choir, Danish National Symphony Orchestra (DRSO, DNSO)
Contributor
Gerd Albrecht, Jorn Jacobsen, Chris Hazell
Author / Creator
Johannes Brahms, 1833-1897, Danish National Symphony Choir, Danish National Symphony Orchestra (DRSO, DNSO)
Date Published / Released
2004
Publisher
Chandos
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Brahms / Mendelssohn - Rhapsodies
conducted by Karl-Friedrich Beringer, 1948- (Hänssler Classic), 38 mins
Sample
conducted by Karl-Friedrich Beringer, 1948- (Hänssler Classic), 38 mins
Field of Study
Classical Music
Content Type
Music recording
Contributor
Karl-Friedrich Beringer, 1948-
Publisher
Hänssler Classic
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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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Ave verum corpus
composed by Wolfgang Amadeus Mozart, 1756-1791 (1791); conducted by Brian Kay; produced by Brian Pidgeon, fl. 1992; performed by BBC Philharmonic and Huddersfield Choral Society; in Brian Kay's Sunday Morning: A Selection of Choral and Orchestral Favourites (Chandos, 1995), 4 mins
Sample
composed by Wolfgang Amadeus Mozart, 1756-1791 (1791); conducted by Brian Kay; produced by Brian Pidgeon, fl. 1992; performed by BBC Philharmonic and Huddersfield Choral Society; in Brian Kay's Sunday Morning: A Selection of Choral and Orchestral Favourites (Chandos, 1995), 4 mins
Date Written / Recorded
1791, 1995
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
BBC Philharmonic, Huddersfield Choral Society
Contributor
Brian Kay, Don Hartridge, Brian Pidgeon, fl. 1992
Author / Creator
Wolfgang Amadeus Mozart, 1756-1791, BBC Philharmonic, Huddersfield Choral Society
Date Published / Released
1995
Publisher
Chandos
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O bone Jesu
composed by James MacMillan, 1959- (2002); conducted by Harry Christophers, 1953-; produced by Raphael Mouterde, 1974-; performed by The Sixteen; in Bright Orb of Harmony (Coro, 2009), 10 mins
Sample
composed by James MacMillan, 1959- (2002); conducted by Harry Christophers, 1953-; produced by Raphael Mouterde, 1974-; performed by The Sixteen; in Bright Orb of Harmony (Coro, 2009), 10 mins
Date Written / Recorded
2002, 2009-02-27
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
The Sixteen
Contributor
Harry Christophers, 1953-, Raphael Mouterde, 1974-
Author / Creator
James MacMillan, 1959-, The Sixteen
Date Published / Released
2009
Publisher
Coro
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Bruckner: Grosse Messe Nr.3; drei Motetten
composed by Anton Bruckner, 1824-1896; conducted by Eugen Jochum, 1902-1987; performed by Maria Stader, 1911-1999, Claudia Hellmann, Ernst Haefliger, Kim Borg and Eugen Jochum, 1902-1987, Bavarian Radio Symphony Orchestra (Orchester des Bayerischen Rundfunks), Munich and Bavarian Radio Chorus (Chor der Bayerischen Rundfunks), Munich (Deutsche Grammophon, 2009), 1 hour 10 mins
Sample
composed by Anton Bruckner, 1824-1896; conducted by Eugen Jochum, 1902-1987; performed by Maria Stader, 1911-1999, Claudia Hellmann, Ernst Haefliger, Kim Borg and Eugen Jochum, 1902-1987, Bavarian Radio Symphony Orchestra (Orchester des Bayerischen Rundfunks), Munich and Bavarian Radio Chorus (Chor der Bayerischen Rundfunks), Munich (Deutsche Grammophon, 2009), 1 hour 10 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Bavarian Radio Symphony Orchestra (Orchester des Bayerischen Rundfunks), Munich, Bavarian Radio Chorus (Chor der Bayerischen Rundfunks), Munich, Maria Stader, 1911-1999, Claudia Hellmann, Ernst Haefliger, Kim Borg, Eugen Jochum, 1902-1987
Contributor
Eugen Jochum, 1902-1987
Author / Creator
Anton Bruckner, 1824-1896, Bavarian Radio Symphony Orchestra (Orchester des Bayerischen Rundfunks), Munich, Bavarian Radio Chorus (Chor der Bayerischen Rundfunks), Munich, Maria Stader, 1911-1999, Claudia Hellmann, Ernst Haefliger, Kim Borg, Eugen Jochum, 1902-1987
Date Published / Released
2009-02-05
Publisher
Deutsche Grammophon
Copyright Message
(C) 2003 Universal Music Classics & Jazz, a division of Universal Music GmbH
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Bruckner: Mass in E minor; Motets
composed by Anton Bruckner, 1824-1896; conducted by Marcus Creed; performed by SWR Vocal Ensemble Stuttgart (Südwestrundfunk (SWR), 2007), 1 hour 6 mins
Sample
composed by Anton Bruckner, 1824-1896; conducted by Marcus Creed; performed by SWR Vocal Ensemble Stuttgart (Südwestrundfunk (SWR), 2007), 1 hour 6 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
SWR Vocal Ensemble Stuttgart
Contributor
Marcus Creed
Author / Creator
Anton Bruckner, 1824-1896, SWR Vocal Ensemble Stuttgart
Date Published / Released
2007
Publisher
Südwestrundfunk (SWR)
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Mottetto per San Paolino
composed by Giacomo Puccini, 1858-1924 (1878); conducted by Helmuth Rilling, 1933-; performed by Verena Schweizer, Elisabeth Glauser and Uwe Heilmann, Gächinger Kantorei Stuttgart and Radio-Sinfonieorchester Stuttgart des SWR; in Bruckner: Mass No. 3 in F Minor, Wab 28 / Puccini: Mottetto Per San Paolino (Haenssler Classic, 2000), 12 mins
Sample
composed by Giacomo Puccini, 1858-1924 (1878); conducted by Helmuth Rilling, 1933-; performed by Verena Schweizer, Elisabeth Glauser and Uwe Heilmann, Gächinger Kantorei Stuttgart and Radio-Sinfonieorchester Stuttgart des SWR; in Bruckner: Mass No. 3 in F Minor, Wab 28 / Puccini: Mottetto Per San Paolino (Haenssler Classic, 2000), 12 mins
Date Written / Recorded
1878
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Gächinger Kantorei Stuttgart, Radio-Sinfonieorchester Stuttgart des SWR, Verena Schweizer, Elisabeth Glauser, Uwe Heilmann
Contributor
Helmuth Rilling, 1933-
Author / Creator
Giacomo Puccini, 1858-1924, Gächinger Kantorei Stuttgart, Radio-Sinfonieorchester Stuttgart des SWR, Verena Schweizer, Elisabeth Glauser, Uwe Heilmann
Date Published / Released
2000
Publisher
Haenssler Classic
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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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