Here's a Symphony of Psalms that successfully captures the spirit and letter of the work–reverence, jubilation, and celebration, as well as specifics of orchestral color and texture. Boys' voices–supposedly Stravinsky's original choice–contribute their share to the bright choral timbre, an effect that works very well. We also get first-rate performances of the Mass and the rarely recorded Canticum sacrum.
Brought together here in four special volumes the Celibidache series celebrates the extraordinary legacy of his collaboration with the Müncher Philharmoniker portraying the excitement and atmosphere of their live performances. These recordings are unique to EMI Classics and were painstakingly mastered to retain and recreate the vibrancy and impact of Celibidache and the Müncher Philharmoniker’s live performances.
What you have here is a well-performed sampling of music from England in the early 16th century. Because of the way the program is organized, the listener's mind may try to organize it into something more coherent than that, but it may not succeed. The centerpiece is the Western Wind Mass of John Taverner, which is broken up with secular pieces and then followed by music that might have been heard at the court of Henry VIII.
Levon Abrahamyan celebrated the 50th Anniversary of his organist carrier by recording this album with music from Armenian Divine Liturgy arranged for organ only.
Levon Abrahamyan was born in a family of Armenian emigrants in the city of Cairo, Egypt in 1941. He grew up in a family of musicians, where he learned about the beauty of music. He was surrounded by Sunday home concerts of classical music performed by family members and their friends. This environment influenced him to love music and start playing piano at the age of five. At the age of 15, he was hired as a principal organist, at Mother Cathedral of Holy Etchmiadzin, Armenia, and continued his dedicated work at St. Karapet Church in Hollywood, United States…
Known for having elevated the symphony and the opera to popular levels in his lamentably short life, Mozart was also substantially involved in sacred music. Among many smaller works for solo chorus and for combined choral/orchestral forces, he composed an enormous seventeen settings of the Latin Mass, of which this is his last. But this C Minor mass, which is said he composed in 1782 and 1783, was never really completed in a way Mozart found satisfactory, and thus it has been up to others to put this work into coherent form. The recording here is based on the reconstruction done by Salzburg composer and musicologist Helmut Eder; he worked on the "Et Incanatus Est" section of the Credo, as well as the concluding Sanctus and Benedictus sections. The work is still Mozart's, and is scored for a fairly substantial orchestra: one flute; pairs of oboes, bassoons, horns, and trumpets; three trombones; timpani; organ; and the full string compliment, plus four soloists and chorus.
When Richard Maunder's editions get together with Christopher Hogwood and co, you know instantly that the result will be spot on. The sound of the boy treble line (singing alto as well) is earthy yet in tune, and well complemented by the strong lower parts. The orchestra is supportive yet unobtrusive. The dynamics and phrasing are all well chosen and executed. The choice of soloists is inspired, especially Arleen Auger - such a beautiful voice. It is just a pity that there is not more on the disc - some have argued in the 'Dona ut Kyrie' tradition that an Agnus Dei could be tacked on at the end using the music of the Kyrie. An excellent recording.
As his starting point for a brand new recording of the music from the polychoral Renaissance and the “monumental Baroque”, with Alessandro Striggio’s 40 and 60-part Missa sopra Ecco sì beato giorno leading the way, Hervé Niquet turns to the musical celebrations for a feast day occasion in the cathedral of Santa Maria del Fiore in Florence in honour of St John the Baptist, adding a trio of works by Orazio Benevoli, another specialist in multi-parted choral works, and Striggio’s motet Ecce beatem lucem, also scored for 40 voices.