Sgambati: Messa da Requiem

“Through the fine performance in this production, a work unjustly forgotten becomes a lasting experience“.

Da pacem, Domine

Messa da Requiem : Bass

Messa da Requiem : Tenor

Messa da Requiem : Alto

Messa da Requiem : Soprano

Alle Vögel Sind Schon Da : C Major

Wohl denen, die da wandeln : G major

Messa Da Requiem : Arrangement for chamber orchestra

Froschrap : from: Sternenzauber. Wir sind für dich da!

Missa Sine Nomine

Giovanni Pierluigi da Palestrina's 'Missa Sine Nomine' set of parts.In the course of his life, Johann Sebastian Bach assembled an extensive musical library that today can only be reconstructed in fragments. It reflects Bach's curiosity, starting in his youth and continuing into old age, to get to know compositions from different epochs and styles. The two complete Masses and six individual Palestrina metrics testify to Bach's interest in 16th-century compositions. In his Weimar years, Bach first used the works for a theoretical examination of the stile antico, his idiosyncrasies of vocal conduct and modal harmony. In his last years in Leipzig Bach plannedperformances of at least two of the fairs. In this context, he supplemented the works with instrumental parts and a Basso Continuo. The Masses by Giovanni Pierluigi da Palestrina, created by Bach, form an important document on the performance practice of works of the austere style in the eighteenth century.

Sonate e Concerti / Güttler

The chamber music of the 18th century is impressive, due to its stylistic and formal variety. Ludwig Güttler’s recording Sonate e Concerti, featuring works from Bach to Vivaldi, offers insight into this fascinating diversity. Such a wide-ranging repertoire calls for an outstanding artist such as Ludwig Güttler, who for many years has immersed himself intensely in this music. With this CD together with the Leipzig Bach-Collegium he once again underscores his outstanding reputation as a virtuoso soloist on the trumpet and corno da caccia.

Chorbuch a Tre

Today an increasing number church choirs are lamenting the lack of male voices. The present Chorbuch a tre (choir book a tre), anticipated by many, addresses this situation. It contains 160 three-part settings for two female voices and one male voice (some with accompaniment). The collection, designed for ecumenical use, offers a broad selection of choral settings for the church year, times of the day, praise and thanks, the Ordinary, etc. It includes works from from the 17th century to the present, and presents a range of various styles (including gospel and sacred pop). About 50 settings were written for this choir book by renowned composers and church musicians. Choirmasterscan now enjoy having a current, comprehensive collection of three-part choral settings with a variety of ideas for singing and making music in worship services.

Vivaldi: Salmi a due cori [Kaljuste]

“The high standard of the Estonian musicians … is demonstrated most impressively with Vivaldi’s Psalms for double choir: a homogeneous sound, surety of intonation, an intense musicmaking which makes listening to these four vesper psalms [in form resembling a cantata] … a musical pleasure of a very special kind.”

Der Fromme stirbt : Johannespassion

The oratorio Passions by Homilius were among the last compositions of their kind in the 18th century. In an oratorio Passion the chorus is restricted mainly to singing the chorales and the interjections of the crowd; only the conclusion of a Passion provides an opportunity for an extensive choral movement. In the St. John Passion the final chorus emphasizes the supreme importance of the Crucifixion as the climax of St. John's Gospel. The free elements of the composition take the forms customary at the time: da capo arias are predominant.

Homilius: Johannespassion [Kreile] : Johannespassion

The oratorio Passions by Homilius were among the last compositions of their kind in the 18th century. In an oratorio Passion the chorus is restricted mainly to singing the chorales and the interjections of the crowd; only the conclusion of a Passion provides an opportunity for an extensive choral movement. In the St. John Passion the final chorus emphasizes the supreme importance of the Crucifixion as the climax of St. John's Gospel. The free elements of the composition take the forms customary at the time: da capo arias are predominant.

a cappella

For 40 years Frieder Bernius and the Kammerchor Stuttgart have set standards in the historic performance practice of choral works. Many international awards bear witness to the high quality and the worldwide recognition of the choir and itsconductor. This CD presents a selection of their musical achievements, which include the impressive rediscovery of long forgotten works.

A Jazzy Dozen -Arrangements for Jazz and Pop Choir

Exciting new compositions and arrangements for Jazz and Pop choirs. In "A Jazzy Dozen" eight established arrangers have presented a diversity of styles in vocal jazz and jazz- related music. A cappella ballads, Latin groove, swing and writing in close harmony appear alongside popular songs, gospel and new compositions. Not only the stylistic variety, but also the cooperation between internationally renowned arrangers make this a very special collection.

Chorbuch Kirchenjahr : A-cappella-Repertoire für den Gottesdienst

The just-published Chorbuch Kirchenjahr [Choral collection for the church year] comprises a basic repertoire of sacred a cappella church music. 158 motets are presented in a volume of 184 pages. The selected choral pieces, motets, spirituals and new sacred songs range in difficulty from easy to medium levels so that most of the them require little rehearsal time. The repertoire is designed for practical use and includes works from the Renaissance to the 20th century. With an order of Chorbuch Kirchenjahr in choral quantity, a choir will be well-prepared for worship services throughout the church year as well for sacred concerts.

Weltliche Chormusik a cappella und mit Klavier

In addition to his more famous sacred vocal works, Heinrich von Herzogenberg also composed numerous works in the field of secular choral music which were highly regarded by Joseph Joachim and Philipp Spitta, among others. For the first time, these works for a cappella choir or with piano accompaniment are made available here in a collection for practical choral performance.

Missa Stylo a cappella

Along with his work as an opera composer, Salieri also wrote church music, almost exclusively for the Imperial Court Chapel in Vienna. The “Missa Stylo a cappela” written in 1767 is one of Salieri’s early works. Respite his youth, Salieri proved that he had completely mastered strict contrapuntal construction and the old vocal style. This Mass is also suitable for concert performances, especially during Advent and Lent.

Lukaspassion & Die Sieben Worte : Complete recordings, Vol 6

A seventeenth century Passion “Radio Drama,” the sixth installment of the recording of Schütz’s complete works by the Dresdner Kammerchor and Hans-Christoph Rademann presents three powerful works for Passion. The St. Luke Passion SWV 480 unfolds a panorama inviting us to experience an intense, inward-looking pictorial reflection on Jesus’s Passion. The words of Luke the Evangelist are sung without accompaniment, the musical means skillfully reduced to a minimum. This narrative is interrupted by the choruses, creating dynamic emotional scenarios, clamoring, pleading, querying and raging: in this way, Schütz creates a form of Passion, a “radio drama” with a deeply movingintensification of events. The well-known “Sieben Worte Jesu am Kreuz” [The Seven Last Words of Jesus on the Cross] SWV 478 is the first contribution of the viola da gamba player Hille Perl and her ensemble "The Sirius Viols" to the complete Schütz recording. The sophisticated structure of the work, the intense sensuality of the individual sections and the beauty of the musical message make the “Seven Last Words” a masterpiece. The third work on this CD, “Erbarm dich mein, o Herre Gott” [Have Mercy on me, O Lord God] SWV 447 for solo soprano accompanied by a consort of viols a composition for the Good Friday service represents a charming and appropriate complement to the “Seven Last Words”.

Magnificat a 4 : Warb E 22

At less than 20 years of age, the youngest son of the Leipzig cantor of St. Thomas, Johann Sebastian Bach, withdrew from the Lutheran musical tradition of his family: Johann Christian Bach went to Italy, converted to Catholicism there and composed mainly Latin church music between 1757 and 1760. His great successes with operas for Turin, Milan and Naples from 1761 onwards led him all the way to London. Bach’s church music comprises a number of vespers compositions, some of them large-scale, including this Magnificat a 4 (1760) for soloists, choir and orchestra. The very diversified work gets its additional attraction from distinctively led oboes and horns.