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Harmonia Mundi Sacred Music Box [30-CD Set]


Release Date: 11/10/2009 
Label:  Harmonia Mundi   Catalog #: 2908304   Spars Code: DDD 
Composer:  AnonymousMarc-Antoine CharpentierNicolaus BruhnsAntonio Vivaldi,   ... 
Performer:  Andreas SchollAgnès MellonKenneth WeissDorothea Röschmann,   ... 
Conductor:  Alfred DellerWilliam ChristieKonrad JunghänelChiara Banchini,   ... 
Orchestra/Ensemble:  Deller ConsortLes Arts FlorissantsCantus Cölln,   ... 
Number of Discs: 30 
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Notes and Editorial Reviews

A quintessential selection of the best western sacred music through the ages and continents that will please one and all, from an inquisitive novice to the discerning connoisseur. 90 complete works of essential repertoire [on 30 CDs]. Harmonia Mundi offers you the finest selection of 111 cornerstone works of western sacred music. From the earliest Christian chants to Bernstein's mass, from the gems of the Baroque to beloved Lutheran hymns, this vital collection has been created by today's finest artists at the peak of their talents. harmonia mundi is offering it in this extremely Limited Box Edition. A gift beyond compare.

SELECT REVIEWS OF INDIVIDUAL RECORDINGS:

BACH CHRISTMAS ORATORIO

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This is simply one of the great Christmas Oratorio recordings, an ideal combination of soloists, chorus, orchestra, and conductor joining in what could be described as the consummate musical embodiment of the joy and miraculousness of the Christmas story. In any event, this six-part cantata cycle is a major Bach masterpiece (among many masterpieces!), and René Jacobs manages to fuse the score's multifarious elements into a unified whole that transcends any one individual effort.


Yes, the soloists are without peer among recorded Christmas Oratorios--has anyone sung the alto arias "Schlafe, mein Liebster..." or "Schließe, mein Herze..." with more tenderness or passion or more lovely tone than Andreas Scholl? And then there's tenor Werner Güra's dazzling "Ich will nur dir zu Ehren leben" and Dorothea Röschmann's (and chorus') compelling "echo" aria "Flößt, mein Heiland..." But then, there's the extraordinary RIAS-Kammerchor, which sings with heartfelt reverence and commits the appropriate energy to each chorus, delivered with crisp articulation and an enthusiasm that ideally conveys the sense of the text and the spirit of the occasion. The orchestra upholds and complements the interpretive work of the singers, adding up to an unbeatable performance of music that tends to inspire great efforts.


For this reissue of its 1997 production, Harmonia Mundi has repackaged the two CDs in a beautifully designed hardbound book, complete with an article on the history of Christmas music accompanied by gorgeous color photographs, texts, translations, musician bios, and pertinent discographical and bibliographical information. The sound is first-rate. Now offered at a special price, this classic Christmas Oratorio is an irresistible bargain, an essential part of any Bach-lover's library. Don't miss it. [10/8/2004]
--David Vernier, ClassicsToday.com

DURUFLE REQUIEM

Maurice Duruflé's Requiem is the Pelléas et Mélisande of its genre. Like Debussy's opera, this music exists in a kind of otherworld, removed from standard form and transcending the usual bonds of melodic structure and harmonic movement. The irregular phrasing and modal, largely scalewise melodies characteristic of the plainchant on which the work is based, are ideal vehicles for creating a kind of rhythmic and harmonic ambiguity that certainly owes something to Debussy but would never be confused with his music. This recording, which uses Duruflé's 1961 version for choir, small orchestra, and organ, is authoritatively and affectingly sung, with some super solo work in the Pie Jesu from countertenor Magid El-Bushra, exquisite tenor sound and singing throughout, and sublime trebles, especially at the opening of the In Paradisum. And the appropriate atmosphere--contemplation, exaltation, prayer, and reassurance--is enhanced by the perfect balance of all the performing forces (not an easy task!) in a spacious, vibrant acoustic. It all adds up to one of the best Duruflé Requiems on disc.

The four motets are slightly less successful, especially the Ubi caritas, presented a bit too squarely, taking the "plain" in plainchant too literally, missing expressive opportunity in the phrasing. But again, these are sung with lovely choral tone and balance and well-executed ensemble--not shabby at all, just not quite as compelling as performances by the Corydon Singers (Hyperion) or Trinity College, Cambridge (Conifer). Similarly, the Messe "Cum jubilo", sung here by 13 baritone voices, features first-rate ensemble singing, much of it quite impressive in its power, and, but for a few strained upper-register notes in the Gloria-movement solo, it too is a top choice for this work. The four works for solo organ, in exemplary performances by Martin Ford (Prélude sur l'Introit de l'Épiphanie; Fugue on a theme by Henri Rabaud; Chant donné en hommage à Jean Gallon; Méditation pour orgue), complement the choral selections nicely and further distinguish this program from several other recommendable recordings with otherwise identical repertoire. Highly recommended!

--David Vernier, ClassicsToday.com

LASSUS


The Huelgas-Ensemble presents another superbly sung, thoughtfully programmed recording that offers for our consideration what conductor Paul Van Nevel describes as "the three major styles of the Renaissance", represented by Roman, Franco-Flemish, and English Late Gothic masses. It's easy to understand the choice of Palestrina (Roman) and Lassus (Franco-Flemish)--but with Thomas Ashewell we truly have a horse of a different color, stylistically for sure, but also one with the most meager catalog (only two extant complete works, according to Van Nevel). The term "late Gothic" as applied to musical style also is not a common one, but Van Nevel obviously has carefully--and probably cleverly--chosen to demonstrate its aspects with Ashewell rather than with a more familiar yet more commonly heard contemporary composer such as Cornysh, Fayrfax, or Carver.

All of this aside, what we have here is a very engrossing concert during which you really can hear the distinct differences Van Nevel talks about in his informative notes, and where you can thoroughly revel in sonorities (especially in the Lassus) that resonate so fully and deeply that you suspect some electronic trickery must be involved. But no, we learn that the "trick" is in having found an ideal performing space--the Museum of Water in the Convento dos Barbadinhos in Lisbon (there are several color pictures of this), a high-ceilinged, open-storied architectural marvel whose primary materials seem to be wood and glass and stone. Combine this setting with Huelgas-Ensemble's absolutely dead-on intonation and focused, dynamic collective sound (not to mention some fine musical material) and you have one incredible vocal-performance event.

You know you're in for something special right from that first soul-satisfying cadence in the Lassus Kyrie. I was further intrigued at how Lassus preserved elements of his original model (Gombert's "Tous les regretz" chanson)--for example, Gombert's typical close-layered imitation technique using very short melodic bits (apparent in the Sanctus)--while still reconstituting the work as his own, and as a functional, formidable, affecting liturgical entity. Although Palestrina's "Ut re mi fa sol la" Mass is not among his most illustrious in the genre, listeners can easily appreciate its distinctive cantus firmus and the composer's facility and varied treatment of it throughout. Again, Van Nevel has chosen a worthy yet rarely recorded work--another of this program's benefits.

As mentioned, Ashewell's Ave Maria Mass is an adventure unto itself, characterized by long melismas, high treble parts, liberal use of cross relations, and above all, very complex rhythms within and between parts, reminiscent of 15th-century Northern European music from an era even before Ashewell (who was born around 1480, a generation before Lassus and Palestrina). There's nothing left to say, except if you're a fan of Renaissance choral music, don't hesitate.

--David Vernier, ClassicsToday.com

TALLIS

"It's not easy to conceive and successfully impose a concert-performance dynamic on the formal, square structures of Tallis' Psalm-tune settings, bringing an air of excitement to these essentially functional church pieces. In most circumstances these works merely sound, well, like formal and square hymns, albeit very well crafted with strong, sturdy melodies and occasionally interesting harmony. But if you've been paying attention to the choral music scene lately, you know to expect that Stile Antico--a conductorless British ensemble of 13 (or so) young singers--is more than capable of giving exciting new life to old music, and that's exactly what we get here. There's energy and vitality in the singing that gives unusual substance and power to these very short (most around one minute or less), text-centered settings." -- -- David Vernier, ClassicsToday.com

BERNSTEIN MASS

"Nagano has offered a persuasive performance (perhaps even more persuasive than Bernstein’s) of a piece well worth a fresh evaluation... this performance is more polished than its predecessor, and it offers more clarity, more color, more variety of nuance... Nagano seems less desperate to make a case for the piece than Bernstein did, and it consequently emerges even more effectively... What remains unchanged is the sheer prodigality of the musical imagination at work—the ingenuity of its structure, the vigor of its rhythmic momentum, and the catchiness of its tunes. Listen to this recording once, and you’ll be singing it to yourself for days... the sound, especially on the SACD, is exceptional in its clarity, impressive in its sense of space (plenty of depth to the SACD image), and thrilling in its sheer visceral impact. A triumph." -- FANFARE

BRAHMS REQUIEM

"Performance: *****/Sound: ***** Though Philippe Herreweghe made his reputation in early music, his recent discography has crept ever forwards, with oratorios by Mendelssohn, and works by Schumann and Berlioz featuring prominently. So Brahms is a natural progression, and since the composer’s own deep interest in older masters suffuses the Requiem, an early-music background comes in handy. The singing of his combined choirs is a joy: finely schooled and immaculately balanced, yet with feeling in the tone. It took me only a few bars to get used to the vibrato-free string sound, and both conductor and sound engineers enable us to hear a maximum of orchestral detail. The soloists, too, prove well suited to their tasks." -- George Hall, BBC Music

"Herreweghe leads a deeply involved performance, into which he lets a great deal of light ... Chorus and orchestra are magnificent throughout." -- Fanfare

MENDELSSOHN MOTETS

"This disc is an impressive achievement because it takes these more or less predictable indulgences and turns them into very appetizing morsels... Creed and his singers make real music out of this, neither backing away from some of the more overly emphatic moments nor ploughing the textural surface too deeply. They give a concentrated effort to meld disjointed sections and clarify mushy part writing. ... anyone who truly does love this music--and I know you're in the majority--will just enjoy the program." --David Vernier, ClassicsToday.com
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Works on This Recording

1. Requiem Mass by Anonymous
Conductor:  Alfred Deller
Orchestra/Ensemble:  Deller Consort
Period: Medieval 
2. Te Deum in D major, H 146 by Marc-Antoine Charpentier
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: circa ?1690; France 
3. Hemmt eure Tränenflut by Nicolaus Bruhns
Conductor:  Konrad Junghänel
Orchestra/Ensemble:  Cantus Cölln
Period: Baroque 
Written: 17th Century; Germany 
4. Stabat Mater in F minor, RV 621 by Antonio Vivaldi
Performer:  Andreas Scholl (Countertenor)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Baroque 
Written: Venice, Italy 
5. Stabat mater in G minor, Op. 61/G 532 by Luigi Boccherini
Performer:  Agnès Mellon (Soprano)
Conductor:  Chiara Banchini
Orchestra/Ensemble:  Ensemble 415
Period: Classical 
Written: 1781; Spain 
6. Messe de Nostre Dame by Guillaume de Machaut
Conductor:  Paul Hillier
Orchestra/Ensemble:  Orlando Consort,  Estonian Philharmonic Chamber Choir
Period: Medieval 
Written: 14th Century; France 
7. Missa "Tous les regretz" by Orlando de Lassus
Conductor:  Paul van Nevel
Orchestra/Ensemble:  Huelgas Ensemble
Period: Renaissance 
Written: by 1577 
8. Ecce homo by Guillaume Bouzignac
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants,  Les Pages de la Chapelle
Period: Baroque 
Written: 17th Century; France 
9. Ha, plange by Guillaume Bouzignac
Performer:  Kenneth Weiss (Organ)
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: 17th Century; France 
10. Missa "Viri Galilaei" by Giovanni Palestrina
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ensemble Organum,  Royal Chapel European Vocal
Period: Renaissance 
Written: after 1569; Italy 
11. Mass for 4 Voices by William Byrd
Conductor:  Paul Hillier
Orchestra/Ensemble:  Hilliard Ensemble
Period: Renaissance 
Written: circa 1592-1593; England 
12. Missa brevis in F major, BWV 233 by Johann Sebastian Bach
Conductor:  Konrad Junghänel
Orchestra/Ensemble:  Cantus Cölln
Period: Baroque 
Written: after 1735; Leipzig, Germany 
13. Leçons de ténèbres (9): Second lesson for Thursday, H 103 by Marc-Antoine Charpentier
Conductor:  René Jacobs
Orchestra/Ensemble:  Concerto Vocale
Period: Baroque 
Written: circa ?1675; France 
14. Leçons de tenébres: Troisième leçon by François Couperin
Conductor:  René Jacobs
Orchestra/Ensemble:  Concerto Vocale
Period: Baroque 
Written: by 1713; France 
15. Psalm Tunes (9) for Mister Parker by Thomas Tallis
Orchestra/Ensemble:  Stile Antico
Period: Renaissance 
Written: by 1567; England 
16. Musicalische Exequien, Op. 7: Nacket bin ich..., SWV 279 by Heinrich Schütz
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris
Period: Baroque 
Written: 1636; Germany 
17. Tant que vivray en aage florissant by Claude de Sermisy
Conductor:  Dominique Visse
Orchestra/Ensemble:  Clément Janequin Ensemble
Period: Renaissance 
Written: 16th Century; France 
18. Christmas Oratorio, BWV 248 by Johann Sebastian Bach
Performer:  Dorothea Röschmann (Soprano), Andreas Scholl (Countertenor), Werner Güra (Baritone),
Klaus Häger (Bass)
Conductor:  René Jacobs
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus,  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1734-1735; Leipzig, Germany 
Date of Recording: 1997 
Language: German 
19. Messiah, HWV 56 by George Frideric Handel
Performer:  Sandrine Piau (Soprano), Mark Padmore (Tenor), Andreas Scholl (Countertenor),
Barbara Schlick (Soprano), Nathan Berg (Bass Baritone)
Conductor:  William Christie
Orchestra/Ensemble:  Les Arts Florissants
Period: Baroque 
Written: 1741; London, England 
Date of Recording: 12/1993 
Length: 142 Minutes 40 Secs. 
Language: English 
20. Vespro della Beata Vergine by Claudio Monteverdi
Performer:  Peter Kooy (Bass), David Thomas (Bass), Guillemette Laurens (Soprano),
William Kendall (Tenor), Agnès Mellon (Soprano), Vincent Darras (Counter Tenor),
Howard Crook (Tenor), Gerard O'Byrne (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris,  Les Sacqueboutiers du Toulouse
Period: Baroque 
Written: by 1610; Mantua, Italy 
Length: 89 Minutes 27 Secs. 
Language: Latin 
21. Cain overo Il primo omicidio by Alessandro Scarlatti
Performer:  Antonio Abete (Bass), Bernarda Fink (Mezzo Soprano), Graciela Oddone (Mezzo Soprano),
Dorothea Röschmann (Soprano), Richard Croft (Tenor), René Jacobs (Alto)
Conductor:  René Jacobs
Orchestra/Ensemble:  Academy for Ancient Music Berlin
Period: Baroque 
Written: 1707; Venice, Italy 
22. Saint Paul, Op. 36 by Felix Mendelssohn
Performer:  Melanie Diener (Soprano), Annette Markert (Mezzo Soprano), Matthias Goerne (Baritone),
James Taylor (Tenor)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Chorus Paris,  Champs-Élysées Orchestra
Period: Romantic 
Written: 1836; Germany 
Date of Recording: 10/1995 
Venue:  Live  Auditorium Stravinsky, Montreux, France 
Length: 128 Minutes 0 Secs. 
Language: German 
23. Mass by Leonard Bernstein
Performer:  Jerry Hadley (Tenor), Sigurd Brauns (Organ), Tobias Lehmann (Percussion)
Conductor:  Kent Nagano
Orchestra/Ensemble:  Berlin Cathedral Chorus,  Berlin Radio Chorus,  Deutsches Symphonie-Orchester Berlin  ... 
Period: 20th Century 
Written: 1971; USA 
Length: 105 Minutes 42 Secs. 
24. Missa solemnis in D major, Op. 123 by Ludwig van Beethoven
Performer:  Rosa Mannion (Soprano), Birgit Remmert (Mezzo Soprano), Cornelius Hauptmann (Bass),
James Taylor (Tenor), Alessandro Moccia (Violin)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Chorus Paris,  Champs-Élysées Orchestra
Period: Classical 
Written: 1823; Vienna, Austria 
Date of Recording: 02/1995 
Venue:  L'Auditorium Stravinski, Montreux 
Length: 77 Minutes 23 Secs. 
Language: Latin 
25. Requiem in D minor, K 626 by Wolfgang Amadeus Mozart
Performer:  Sibylla Rubens (Soprano), Annette Markert (Alto), Ian Bostridge (Tenor),
Hanno Müller-Brachmann (Bass Baritone)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris,  Collegium Vocale,  Champs-Élysées Orchestra
Period: Classical 
Written: 1791; Vienna, Austria 
Language: Latin 
26. German Requiem, Op. 45 by Johannes Brahms
Performer:  Christiane Oelze (Soprano), Gerald Finley (Baritone)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Collegium Vocale,  Champs-Élysées Orchestra,  La Chapelle Royale Paris
Period: Romantic 
Written: 1854-1868; Austria 
Date of Recording: 1/1996 
Venue:  Live Montreux, Switzerland 
27. Requiem, Op. 48 by Gabriel Fauré
Performer:  Agnès Mellon (Soprano), Peter Kooy (Bass)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Chorus Paris,  Musique Oblique
Period: Romantic 
Written: 1887-1890; France 
28. Requiem, Op. 9 by Maurice Duruflé
Performer:  Richard Pinel (Organ), Peter Harvey (Bass), Magid El-Bushra (Alto),
Mark Chaundy (Tenor), Martin Ford (Organ)
Conductor:  Bill Grayston Ives
Orchestra/Ensemble:  English Sinfonia,  Magdalen College Choir Oxford
Period: 20th Century 
Written: 1947; Paris, France 
Length: 33 Minutes 19 Secs. 
29. Stabat Mater by Giovanni Battista Pergolesi
Performer:  René Jacobs (Countertenor), Sebastian Hennig (Boy Soprano)
Conductor:  René Jacobs
Orchestra/Ensemble:  Concerto Vocale
Period: Baroque 
Written: 1736; Pozzuoli, Italy 
Language: Latin 
30. Stabat mater by Gioachino Rossini
Performer:  Bruce Fowler (Tenor), Krassimira Stoyanova (Soprano), Petra Lang (Mezzo Soprano),
Daniel Borowski (Bass)
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus,  Academy for Ancient Music Berlin,  Berlin RIAS Chamber Orchestra
Period: Romantic 
Written: 1832/1842; Italy 
31. Vespers, Op. 37 by Sergei Rachmaninov
Performer:  Iris Oja (Alto), Mati Turi (Tenor)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: 20th Century 
Written: 1915; Russia 
Venue:  Dome Church, Haapsalu, Estonia 
Length: 53 Minutes 56 Secs. 
Language: Russian 
32. Missa super "La bataille" by Clément Janequin
Conductor:  Dominique Visse
Orchestra/Ensemble:  Clément Janequin Ensemble,  Les Sacqueboutiers du Toulouse
Period: Renaissance 
Written: 1532; France 
Date of Recording: 12/1994 
Length: 22 Minutes 13 Secs. 
Language: Latin 
33. Motets (4) pour un temps de pénitence: no 1, Timor et tremor by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1938-1939; France 
Date of Recording: 1995 
Length: 3 Minutes 17 Secs. 
Language: Latin 
34. Motets (4) pour un temps de pénitence: no 2, Vinea mea electa by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1938-1939; France 
Date of Recording: 1995 
Length: 3 Minutes 36 Secs. 
Language: Latin 
35. Motets (4) pour un temps de pénitence: no 3, Tenebrae factae sunt by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1938-1939; France 
Date of Recording: 1995 
Length: 4 Minutes 37 Secs. 
Language: Latin 
36. Motets (4) pour un temps de pénitence: no 4, Tristis est anima mea by Francis Poulenc
Performer:  Stephanie Moller (Soprano)
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1938-1939; France 
Date of Recording: 1995 
Length: 3 Minutes 32 Secs. 
Language: Latin 
37. Motets (4) pour le temps de Noël: no 1, O magnum mysterium by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1951-1952; France 
Date of Recording: 1995 
Length: 3 Minutes 4 Secs. 
Language: Latin 
38. Motets (4) pour le temps de Noël: no 2, Quem vidistis pastores by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1951; France 
Date of Recording: 1995 
Length: 2 Minutes 41 Secs. 
Language: Latin 
39. Motets (4) pour le temps de Noël: no 3, Videntes stellam by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1951; France 
Date of Recording: 1995 
Length: 3 Minutes 27 Secs. 
Language: Latin 
40. Motets (4) pour le temps de Noël: no 4, Hodie Christus natus est by Francis Poulenc
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1952; France 
Date of Recording: 1995 
Length: 2 Minutes 23 Secs. 
Language: Latin 
41. Mass in G major by Francis Poulenc
Performer:  Stephanie Moller (Soprano)
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1937; France 
Date of Recording: 1995 
Length: 18 Minutes 11 Secs. 
Language: Latin 
42. Sacred Pieces (3), Op. 23: no 3, Mitten wir im Leben sind by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1830; Germany 
Language: German 
43. English Church Pieces (3), Op. 69 by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1847; Germany 
Language: German 
44. Psalms (3), Op. 78 by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1843-1844; Germany 
Language: German 
45. Psalm 100 "Jauchzet dem Herrn" by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1844; Germany 
Language: German 
46. Die deutsche Liturgie: Kyrie by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1846; Germany 
Language: German 
47. Die deutsche Liturgie: Ehre sei Gott in der Höhe by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 1846; Germany 
Language: German 
48. Zum Abendsegen by Felix Mendelssohn
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: Romantic 
Written: 19th Century; Germany 
Language: German 
49. Vêpres ventiennes pour la naissance de Louis XIV by Giovanni Rovetta
Conductor:  Konrad Junghänel
Orchestra/Ensemble:  Cantus Cölln
Period: Baroque 
Written: 1638; Venice, Italy 
Language: Latin 
50. Cherubic Song no 7 by Dimitri Bortniansky
Performer:  Vladimir Miller (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Russia 
Length: 4 Minutes 0 Secs. 
51. In the Flesh Thou Didst Fall Asleep by Baldassare Galuppi
Performer:  Vladimir Miller (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: 1765-1768; Russia 
Length: 2 Minutes 52 Secs. 
52. O Most Holy Maiden Mary by Anonymous
Performer:  Vladimir Miller (Bass), Toomas Tohert (Tenor), Uku Joller (Bass),
Risto Joost (Alto), Tiit Kogermann (Tenor)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Written: Russia 
Length: 11 Minutes 9 Secs. 
53. Let my prayer arise by Dimitri Bortniansky
Performer:  Vladimir Miller (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Russia 
Length: 7 Minutes 0 Secs. 
54. Liturgy of the Presanctified Gifts: Now the powers of heaven by Giuseppe Sarti
Performer:  Vladimir Miller (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: 18th Century; Russia 
Length: 5 Minutes 41 Secs. 
55. I raise my eyes toward the mountains by Dimitri Bortniansky
Performer:  Vladimir Miller (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Russia 
Length: 6 Minutes 16 Secs. 
56. Praise the Name of the Lord by Nikolai Diletsky
Performer:  Vladimir Miller (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Renaissance 
Written: Ukraine 
Length: 2 Minutes 6 Secs. 
57. Sacred Concerto for Chorus no 27 "With my voice unto the Lord have I cried" by Dimitri Bortniansky
Performer:  Allan Vurma (Bass), Kaia Galina Urb (Soprano), Mati Turi (Tenor),
Aarne Talvik (Bass), Juta Roopalu-Malk (Alto), Iris Oja (Alto),
Vladimir Miller (Bass), Tiit Kogermann (Tenor), Uku Joller (Bass),
Vilve Hepner (Soprano)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Russia 
Length: 9 Minutes 10 Secs. 
58. By the rivers of Babylon by Artemi Lukyanovich Vedel
Performer:  Allan Vurma (Bass), Kaia Galina Urb (Soprano), Mati Turi (Tenor),
Juta Roopalu-Malk (Alto), Iris Oja (Alto), Tiit Kogermann (Tenor),
Vladimir Miller (Bass), Uku Joller (Bass), Vilve Hepner (Soprano),
Külli Erimäe (Alto)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Ukraine 
Length: 10 Minutes 18 Secs. 
59. Sacred Concerto for Chorus no 32 "O Lord, make me to know mine end" by Dimitri Bortniansky
Performer:  Kaia Galina Urb (Soprano), Iris Oja (Alto), Mati Turi (Tenor),
Vladimir Miller (Bass), Allan Vurma (Bass)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Russia 
Length: 8 Minutes 15 Secs. 
60. Glory - Only Begotten Son by Vasily Polikarp Titov
Performer:  Aarne Talvik (Bass), Kaia Galina Urb (Soprano), Iris Oja (Alto),
Vladimir Miller (Bass), Juta Roopalu-Malk (Alto), Tiit Kogermann (Tenor),
Uku Joller (Bass), Vilve Hepner (Soprano), Mati Turi (Tenor)
Conductor:  Paul Hillier
Orchestra/Ensemble:  Estonian Philharmonic Chamber Choir
Period: Classical 
Written: Russia 
Length: 3 Minutes 22 Secs. 
61. Ave Maria for 7 a cappella Voices in F major, WAB 6 by Anton Bruckner
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Romantic 
Written: 1861; Linz, Austria 
62. Locus iste in C major, WAB 23 by Anton Bruckner
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Romantic 
Written: 1869; Vienna, Austria 
Language: Latin 
63. Os justi meditabitur sapientiam, WAB 30 by Anton Bruckner
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Romantic 
Written: 1879; Linz, Austria 
Language: Latin 
64. Christus factus est in D minor, WAB 10 by Anton Bruckner
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Romantic 
Written: 1879; Vienna, Austria 
Language: Latin 
65. Vexilla regis, WAB 51 by Anton Bruckner
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale,  La Chapelle Royale Paris
Period: Romantic 
Written: 1892; Vienna, Austria 
Language: Latin 
66. Super flumina Babylonis by Henri Du Mont
Performer:  Guillemette Laurens (Mezzo Soprano), Howard Crook (Tenor), Henri Ledroit (Countertenor),
Peter Kooy (Bass), Ulrich Studer (Baritone)
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  La Chapelle Royale Paris
Period: Baroque 
Written: 17th Century; France 
67. Lamentatio Jeremiae prophetae, Op. 93: Excerpt(s) by Ernst Krenek
Conductor:  Marcus Creed
Orchestra/Ensemble:  Berlin RIAS Chamber Chorus
Period: 20th Century 
Written: 1941-1942; USA 
68. Remember not, Lord, our offences, Z 50 by Henry Purcell
Conductor:  Philippe Herreweghe
Orchestra/Ensemble:  Ghent Collegium Vocale
Period: Baroque 
Written: circa 1680-1682; England 

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