Respighi: Lauda per la Natività del Signore

In 1930 Ottorino Respighi composed his Lauda per la Nativit del ­Signore, the only sacred choral work among his entire opus. In this hymn of praise to the miracle of Christmas, majestic sounding choral passages alternate with the soloistic roles of Maria, the Angel and the shepherd, accompanied by the sound of pastoral instruments. The music is varied, containing stylistic elements ranging from the late romantic to neo baroque, as well as echoes of Gregorian chant. In this recording by the Rundfunkchor Berlin, under the direction of Nicolas Fink and Maris Sirmais, Respighi’s composition is presented together with beautiful Christmas pieces by Poulenc, Sandström, Kaminskyand Raphael. Like Respighi, in their compositions they employed various techniques and harmonies from previous musical eras.

Quintetti d'archi e Partite per due liuti [FBO]

” … a very beautiful, very refined ensemble playing, a rhythmically pointed, structurally clear, very expressive recording.“

Modo bibite : from: Perpetuum mobile - Songs from the Codex Buranus

Puccini: Canti per voce e pianoforte

The present collection of 16 smaller vocal compositions is doubly a novelty: On the one hand, among these are three works presented here which were either lost for more than a century [Dios y Patria], or they were never published in their definitive form [Salve Regina and Ad una morta!]. On the other hand, they appear here in the first critical edition of these vocal works ever published; through the consistent consultation of the original sources numerous false readings which had been handed down over the years could be corrected.

C. P. E. Bach: Concerti per il Cembalo

“Between the energetic tutti and the soft passages an exciting range is revealed without having to sacrifice a cultivated sound and tonal beauty. Rather, the string ensemble is unified, without sounding stiff, and in the slow movements … it is capable of playing in soft, if restrained song.”

Octo toni ecclesiastici per Organo

6 Sonate per Violino e Cembalo BWV 1014-1019 : Johannsen

These important works within Bach’s chamber music opus are played by C. Busch and K. Johannsen on period instruments in an extraordinarily lively and finely differentiated style. The slow movements are rendered in an intimate, almost contemplative manner. In doing without the basso continuo Bach divided the three voices of a traditional trio sonata between two instruments by making the harpsichord an equal partner with the violin.

Peyer: Preambuli e Fughe per Organo Teil II

Peyer: Preambuli e Fughe per Organo Teil I

La Grandezza della Musica Imperiale : Composizioni per orchestra

Johann Josef Fux, who was highly respected and the longtime Music Director of the Viennese Imperial Court, is gradually being rediscovered. This recording presents little-known works from Fux's instrumental opus. The focus of this recording are the stylized baroque dances: movements of the suite in which all the virtuoso possibilities of solo and tutti playing in the manner of Italian gusto are relished and explored. An especial charm lies in the pictorial-programmatic works, as in the bird call imitations in the Ouverture in d Minor, or the serenade-like concerto entitled "gentleness and bitterness of the night" music full of surprises and contrasts.

Cleofide -Dramma per musica von Johann Adolf Hasse : Untersuchung der Entstehungsgeschichte

Johann Adolf Hasse [1699 1783] is considered the most successful composer from the middle third of the 18th century. He spent the most important and longest portion of his professional musical career as Music Director at the Dresden Court of Friedrich August II. The fact that Hasse was offered this prestigious position was due to the success of his opera Cleofide, which was performed in Dresden in September 1731 still during the reign of August the Strong with his wife, Faustina [née Bordoni], singing the female lead. In connection with the first edition of Cleofide [Johann Adolf Hasse, Werke, Vol. I/1, Stuttgart, 2008] the editor, Zenon Mojzysz, undertook extensiveresearch of the cultural-historical environment surrounding this opera. With reference to numerous original sources, in the present volume the circumstances which led to the composer’s appointment at the Dresden Court and to the performance there of Cleofide will be brought to light.

Composizioni per pianoforte : Edizione Nazionale delle Opere di Giacomo Puccini, II/2.2

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.”

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.

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.

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.

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.

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.

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.