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Choral Classics - Mendelssohn


Release Date: 11/15/2011 
Label:  Brilliant Classics   Catalog #: 94263  
Composer:  Felix Mendelssohn
Performer:  Jens Wollenschläger
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of EuropeWürttemberg Philharmonie Reutlingen
Number of Discs: 8 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

A welcome overview of Mendelssohn’s sacred music in lively and engaging performances.

Mendelssohn wrote a significant amount of sacred music during his life, covering a time span from 1821 - when he was 12 - to the year of his death. This boxed set covers just about all of it in 8 CDs, all recorded by the Chamber Choir of Europe under Nicol Matt.
 
Listening to these discs I was struck by how certain influences seem to recur in the music: renaissance polyphony, the chorale and J.S. Bach. Though the music covers a wide variety of sacred genres, it is the chorale that predominates and Latin church music is relatively sparse; Mendelssohn wrote no full blown Latin mass.
 
He was writing
Read more sacred music at a time of great change, when the role of music within the Latin liturgy was being questioned. Mendelssohn was dismissive of the neo-Palestrinian music written by the Cecilian movement and seems to have been most comfortable within the world of the Lutheran liturgy where Bach was the major influence. That is not to say that there are not some Latin gems as well.
 
Disc 1 opens with some of the most vivid music here, the five psalm cantatas. These works for choir and orchestra were written between 1830 and 1843 with many receiving performances in Leipzig. The influence of Mendelssohn’s oratorio Elijah lies heavy over these, and they do sound rather like sketches for the oratorio. Simply, I can’t understand why these pieces are not better known and in use by choral societies.
 
CD 2 contains the 8 chorale cantatas, written between 1828 and 1832 - and thus mostly earlier than the psalm cantatas - though Mendelssohn actually only published one. These are seriously Bach-inspired pieces, mixing chorales with arias and solo moments. There are some well wrought, vigorous fugues but much of the choral writing is far more homophonically chorale-based with vigorous orchestral accompaniment. I have to confess that, though these pieces are nicely constructed, I did rather tire of the chorale.
 
We begin the third CD with a rather curious piece, Hymn, 3 Sacred Songs and Fugue, Op. 96, though in fact the first three movements had a separate life. By the last movement the hymn/song structure is beginning to pall. The final movement provides welcome relief as it turns out to be Hear my prayer (here Hor mein Bitten) with a nice soprano solo from Lydia Allert.
 
This is followed by an early Kyrie, first performed in Berlin in 1825; an interesting relief from the chorales with fully worked out polyphony and dramatic structure. I rather wished that we could have heard the rest of the mass. With this movement, we virtually say goodbye to any orchestral accompaniment, nearly all the remaining pieces in the set being unaccompanied or having organ accompaniment - or in one case, cello and double bass.
 
With Lauda Sion we get to one of Mendelssohn’s mature masterpieces, a rare Latin setting. A finely structured multi-movement work with a mixture of choral, solo soprano and solo quartet movements. This disc concludes with the early Latin motet Tu es Petrus.
 
CD 4 opens with another early work, the Magnificat from 1822. It is rather grand with orchestral accompaniment. It’s attractively melodic but it does sound rather early and reliant on earlier models. The 1822 Gloria is similarly creditable but I couldn’t really work up too much enthusiasm - though bear in mind that Mendelssohn was only 13 when this was written – a stupendous achievement.
 
With the 6 Anthems Op. 79 for double choir we get the real deal: one of Mendelssohn’s late choral masterpieces. These six anthems are a cycle around the church’s year, written separately and first performed together in Berlin in 1846. These mix Mendelssohn’s interest in Bachian motet structures with a later Romantic sensibility to create something quite distinctive.
 
Mendelssohn’s youthful study in the manner of Venetian multi-choir pieces, Hora Est, starts the fifth disc. This work for four choirs is a brilliant tour-de-force. Mendelssohn’s writing is more sober, with less élan than his models, but the piece works superbly, and I can testify, from personal experience, that it is great to sing and works well in live performance.
 
The four-part Te Deum from 1832 was first performed in London, one of a group of works on these discs which have British origins and could reasonably have been performed in English. The brilliant Ave Maria for eight-part choir was published with two other German language pieces as Op. 23 though on these discs the works are separated. The Ave Maria was first performed in Bonn in 1830.
 
Another Te Deum, this time in eight parts, was written a few years earlier than the four-part one; it is a substantial work with a lot of solo writing and some substantial fugal choruses.
 
On this disc some of the strains of recording such a huge amount of material on a tight budget rather show. The solo performances are a little variable and some passages seem uncertain and smudged.
 
The Deutsche Liturgie, comprising a Kyrie, Gloria and Sanctus, was suitable for use in the Lutheran church; it is a late work, compact but stirring and striking.
 
CD 6 opens with the two German language pieces from Op. 23 - companions to the Ave Maria. These manage to transcend their rather schematic construction. Aus tiefer Not is a multi-movement work with a flexible sequence of chorale, fugue and arias whereas Mitten wir im Leben is a substantial single movement work. Mitten wir im Leben feels like mature Mendelssohn - he was 19 when he wrote it - with a flexible structure full of Bachian polyphony.
 
With Jesus meini Zuversicht (from 1824) we are back to the chorale, aria, fugue structure and there were some smudgy passages in both the choral and solo work. Thankfully the disc closes with two masterpieces from Mendelssohn’s late maturity, the Three Motets Op. 69 and the Three Psalms Op. 78. The Three Motets are in fact Mendelssohn’s Evening Service (Magnificat, Nunc Dimittis and Jubilate) written for the UK but published with a German text. These are the real thing, as are the Three Psalms, Op. 78. These latter pieces are some of Mendelssohn’s final sacred music - and amongst his final works altogether. They show his mastery of the form, in his own distinctive manner.
 
The performances from Matt and the Chamber Choir of Europe are lyrical and flexible; perhaps tone is a little thin at times but they are more than creditable.
 
After the joys of late Mendelssohn, on CD 7 we are back into the world of the chorale; with the exception of the Kyrie in C and Jube Domine the remaining works on this disc ( Choralharmonisierungen, Cantique pour l’Eglise Wallone, 2 English Psalms, 7 Psalms and 13 Psalm Motets) are harmonised chorales and, apart from some of the 13 Psalm motets, harmonised homophonically. This is a disc for completists only and not one I shall return to quickly.
 
With the final disc we move to works for female voices and for male voices. The disc starts with Mendelssohn’s Three Motets Op. 39 for women’s choir and organ ( Veni Domine, Laudate Pueri, Suffexit pastor bonus). They were written in Rome about the same time as he wrote the Op. 23 motets. They are pleasantly melodic pieces with interesting textures which flow nicely, certainly not overtly chorale based. This is followed by another piece for women’s voices, Hebe deine Augen auf which is the trio from Elijah.
 
The final work for female voices, O beata et benedicta for three-part women’s choir and organ, is a bit stiffer and more strictly homophonic; it was in fact originally intended as the second of the Op. 39 motets.
 
The Vespers responsory Adspice domine is written for the unusual combination of men’s choir, cello and double bass; this results in some wonderful dark textures allied to nicely fluid Bachian structure.
 
The two sacred male voice choruses Op. 115 ( Beati mortui, Perti autem) are not complex. They are mainly homophonic, but nonetheless are little gems.
 
Trauergesang and jauchszet dem Herrn alle Welt are both late pieces. They are nice enough but seem very much gebrauchsmusik. They are followed by the octet from Elijah, in its choral version, showing what the mature Mendelssohn could really do. The disc finishes with another little gem from the evening service, Herr sei gnadig.
 
As I have said, inevitably with such a project, there are pieces here where you feel that a little more time in the studio would have been welcome. That said, the standard of performance from the Chamber Choir of Europe is remarkably high and you can listen to these discs with great pleasure. They are well supported in the early discs by the Wurttembergische Philharmonie Reutlingen.
 
This set comes in a slimline box with a CD containing PDFs of a substantial article about Mendelssohn’s sacred music alongside full texts and translations.
 
Whilst a lot of the music on this disc is creditable but hardly in the realm of the masterpiece, the sheer variety shows that there was far more to Mendelssohn’s sacred choral writing than his oratorios. In the mature masterpieces for unaccompanied choir there are some gems which everyone will want to have in their collection.
 
Granted, you will certainly want to have these mature masterpieces such as the Op. 69 and the Op. 78 motets recorded by one of the major choral ensembles. On the other hand this disc provides a welcome overview of Mendelssohn’s sacred music in some lively and engaging performances.
 
One should also be aware of the largely complementary Mendelssohn Die großen Chorwerke box on EMI Classics 50999 09646421 and Brilliant’s own 4CD set of the two major oratorios.
 
-- Robert Hugill, MusicWeb International
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Works on This Recording

1.
Psalm 42, Op. 42 "Wie der Hirsch schreit" by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1837; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 20 Minutes 41 Secs. 
Language: German 
2.
Psalm 95, Op. 46 "Kommt, lasst uns anbeten" by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1838-1841; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 22 Minutes 31 Secs. 
Language: German 
3.
Psalm 98, Op. 91 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 7 Minutes 10 Secs. 
Language: German 
4.
Psalm 114, Op. 51 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1839; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 12 Minutes 38 Secs. 
Language: German 
5.
Psalm 115, Op. 31 "Nicht unserm Namen, Herr" by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 16 Minutes 27 Secs. 
Language: Latin 
6.
Ach Gott, vom Himmel sieh' darein by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1832; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 11 Minutes 44 Secs. 
Language: German 
7.
Christe, du Lamm Gottes by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1827; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 6 Minutes 24 Secs. 
Language: German 
8.
Jesu, meine Freude by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1828; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 6 Minutes 25 Secs. 
Language: German 
9.
O Haupt voll Blut und Wunden by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 13 Minutes 16 Secs. 
Language: German 
10.
Verleih uns Frieden by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1831; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 4 Minutes 18 Secs. 
Language: German 
11.
Vom Himmel hoch, da komm' ich her by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1831; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 14 Minutes 14 Secs. 
Language: German 
12.
Wer nur den lieben Gott lässt walten by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1829; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 9 Minutes 44 Secs. 
Language: German 
13.
Wir glauben all' an einen Gott by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1831; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 12 Minutes 56 Secs. 
Language: German 
14.
Hymn, Op. 96 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1840-1843; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 13 Minutes 30 Secs. 
Language: German 
15.
Hör mein Bitten, Herr, neige dich zu mir by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 10 Minutes 42 Secs. 
Language: German 
16.
Kyrie for Chorus and Orchestra in D minor by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1825; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 10 Minutes 24 Secs. 
Language: German 
17.
Lauda Sion, Op. 73 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1846; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 29 Minutes 24 Secs. 
Language: Latin 
18.
Tu es Petrus, Op. 111 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1827; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 6 Minutes 27 Secs. 
Language: Latin 
19.
Magnificat in D major by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1822; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 29 Minutes 49 Secs. 
Language: Latin 
20.
Gloria by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1822; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 31 Minutes 24 Secs. 
Language: Latin 
21.
Anthems (6), Op. 79 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843-1846; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 11 Minutes 20 Secs. 
Language: German 
22.
Hora est by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1828; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 8 Minutes 46 Secs. 
Language: Latin 
23.
Te Deum in A major by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1832; London, England 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 8 Minutes 38 Secs. 
Language: Latin 
24.
Sacred Pieces (3), Op. 23: no 2, Ave Maria by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1830; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 7 Minutes 58 Secs. 
Language: Latin 
25.
Te Deum in D major by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1826; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 34 Minutes 53 Secs. 
Language: Latin 
26.
Die deutsche Liturgie by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1846; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 7 Minutes 1 Secs. 
Language: German 
27.
Sacred Pieces (3), Op. 23: no 1, Aus tiefer Not by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1830; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 12 Minutes 42 Secs. 
Language: German 
28.
Sacred Pieces (3), Op. 23: no 3, Mitten wir im Leben sind by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1830; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 7 Minutes 39 Secs. 
Language: German 
29.
Jesus, meine Zuversicht by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1824; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 10 Minutes 17 Secs. 
Language: German 
30.
English Church Pieces (3), Op. 69 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1847; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 21 Minutes 50 Secs. 
Language: German 
31.
Psalms (3), Op. 78 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843-1844; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 19 Minutes 44 Secs. 
Language: German 
32.
Kyrie for Chorus in C minor by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1823; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 12 Minutes 18 Secs. 
Language: Greek 
33.
Chorale harmonizations (3) by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 10 Minutes 25 Secs. 
Language: German 
34.
Jube, Domine by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1822; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 6 Minutes 20 Secs. 
Language: Latin 
35.
Cantique pour l'Eglise wallone de Francfort by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1846; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 34 Secs. 
Language: French 
36.
Lord, hear the voice by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1839; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 53 Secs. 
Language: English 
37.
Defend me, Lord by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1839; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 31 Secs. 
Language: English 
38.
Psalms (7) for Chorus: Worauf ist doch der Heiden Tun gestellt by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 17 Secs. 
Language: German 
39.
Psalms (7) for Chorus: Dem Herrn der Erdkreis zusteht by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 0 Minutes 47 Secs. 
Language: German 
40.
Psalms (7) for Chorus: Auf dich setz ich, Herr, mein Vertrauen by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 0 Minutes 52 Secs. 
Language: German 
41.
Psalms (7) for Chorus: Wer in des Allerhöchsten Hut by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 5 Secs. 
Language: German 
42.
Psalms (7) for Chorus: Gott als ein König gewaltiglich regiert by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 0 Minutes 41 Secs. 
Language: German 
43.
Psalms (7) for Chorus: Nun singt ein neues Lied dem Herrn by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 2 Secs. 
Language: German 
44.
Psalms (7) for Chorus: Ihr Völker auf der Erde by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1843; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 9 Secs. 
Language: German 
45.
Ich weiche nicht von deinen Rechten by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: ?1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 35 Secs. 
Language: German 
46.
Deine Rede präge ich meinem Herzen ein by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: ?1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 52 Secs. 
Language: German 
47.
Ich will den Herrn nach seiner Gerechtigikeit preisen by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 40 Secs. 
Language: German 
48.
Tag für Tag sei Gott gepreisen by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 51 Secs. 
Language: German 
49.
Gott, du bist unsere Zuversicht by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 4 Minutes 15 Secs. 
Language: German 
50.
Die Himmel erzählen die Ehre Gottes by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 4 Minutes 10 Secs. 
Language: German 
51.
Ein Tag sagt's dem andern by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 3 Minutes 13 Secs. 
Language: German 
52.
Er hat der Sonne eine Hütte gemacht by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 5 Minutes 33 Secs. 
Language: German 
53.
Das Gesetz des Herrn ist ohne Wandel by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1821; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 40 Secs. 
Language: German 
54.
Psalm 66: Jauchzet Gott, alle Lande by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1822; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 3 Minutes 55 Secs. 
Language: German 
55.
Psalm 66: Gelobet sei Gott by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1822; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 1 Minutes 40 Secs. 
Language: German 
56.
Motets (3) for Chorus and Organ, Op. 39 by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1830/1838; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 17 Minutes 8 Secs. 
Language: Latin 
57.
Elijah, Op. 70: Lift thine eyes to the mountains by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1846-1847; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 1 Minutes 48 Secs. 
Language: German 
58.
O beata et benedicta by Felix Mendelssohn
Performer:  Jens Wollenschläger (Organ)
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1830; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 3 Minutes 0 Secs. 
Language: Latin 
59.
Responsorium et Hymnus, Op. 121 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe,  Württemberg Philharmonie Reutlingen
Period: Romantic 
Written: 1833; Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 11 Minutes 22 Secs. 
60.
Sacred Choruses (2), Op. 115 by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: Germany 
Date of Recording: 2002 
Venue:  Württemburgische Philharmonie, Reutlinge 
Length: 5 Minutes 45 Secs. 
Language: Latin 
61.
Trauer-Gesang, Op. 116 "Sahst du ihn herniederschweben in der Morgen" by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1845; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 3 Minutes 56 Secs. 
Language: German 
62.
Psalm 100 "Jauchzet dem Herrn" by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1844; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 4 Minutes 20 Secs. 
Language: German 
63.
Denn er hat seinen Engeln befohlen über dir by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 1844; Soden, Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 3 Minutes 14 Secs. 
Language: German 
64.
Zum Abendsegen by Felix Mendelssohn
Conductor:  Nicol Matt
Orchestra/Ensemble:  Chamber Choir of Europe
Period: Romantic 
Written: 19th Century; Germany 
Date of Recording: 2002 
Venue:  Bronnbach Abbey, Wertheim, Germany 
Length: 2 Minutes 27 Secs. 
Language: German 

Sound Samples

Psalm 42, Op. 42, MWV A15: Wie der Hirsch schreit (Chorus)
Psalm 42, Op. 42, MWV A15: Aria: Meine Seele durstet nach Gott (Soprano)
Psalm 42, Op. 42, MWV A15: Recitative and Aria: Meine Tranen sind meine Speise Tag und Nacht (Soprano)
Psalm 42, Op. 42, MWV A15: Was betrubst du dich, meine Seele (Chorus)
Psalm 42, Op. 42, MWV A15: Recitative: Mein Gott, betrubt ist (Soprano)
Psalm 42, Op. 42, MWV A15: Quintetto: Der Herr hat des Tages verheissen seine Gute (Soprano, Tenor 1, Tenor 2, Bass 1, Bass 2)
Psalm 42, Op. 42, MWV A15: Schulsschor: Was betrubst du dich, meine Seele
Kommt, lasst uns anbeten, Op. 46, "Psalm 95": Kommt, lasst uns anbeten und knien vor dem Herrn (Tenor, Chorus)
Kommt, lasst uns anbeten, Op. 46, "Psalm 95": Kommet herzu, lasst uns dem Herrn frohlocken! (Soprano, Chorus)
Kommt, lasst uns anbeten, Op. 46, "Psalm 95": Duet: Denn in seiner Hand ist (Soprano 1, Soprano 2)
Kommt, lasst uns anbeten, Op. 46, "Psalm 95": Denn sein ist das Meer (Tenor, Chorus)
Kommt, lasst uns anbeten, Op. 46, "Psalm 95": Huet, so ihr seine Stimme horet (Tenor, Chorus)
Singet dem Herrn, Op. 91, "Psalm 98": Singet dem Herrn ein neues Lied (Chorus)
Singet dem Herrn, Op. 91, "Psalm 98": Der Herr lasst sein Heil verkundigen (Chorus)
Singet dem Herrn, Op. 91, "Psalm 98": Jauchzet dem Herrn alle Weit (Chorus)
Singet dem Herrn, Op. 91, "Psalm 98": Er wird den Erdkreis richten mit Gerechtigkeit (Chorus)
Psalm 114, Op. 51: Da Israel aus Agypten zog (Chorus)
Psalm 114, Op. 51: Das Meer sah und floh (Chorus)
Psalm 114, Op. 51: Was war dir, du Meer (Chorus)
Psalm 114, Op. 51: Vor dem Herm bebte die Erde (Chorus)
Psalm 115, Op. 31: Nicht unserm Namen, Herr, nur deinem geheilligten (Chorus)
Psalm 115, Op. 31: Duet: Israel hofft auf dich, du wirst sie beschutzen in Not (Tenor, Soprano)
Psalm 115, Op. 31: Aria: Er segne euch je mehr und mehr (Bass)
Psalm 115, Op. 31: Die Toten werden dich nicht loben (Chorus)
Ach Gott, vom Himmel sieh' darein: Ach Gott, von Himmel sieh darein (Chorus)
Ach Gott, vom Himmel sieh' darein: Recitative: Barmherzig und gnadig ist der Herr (Bass)
Ach Gott, vom Himmel sieh' darein: Aria: Das Silber durchs Feur siebenmal (Bass)
Ach Gott, vom Himmel sieh' darein: Chorale: Das wollst du, Gott, bewahren rein (Chorus)
Christe, du Lamm Gottes
Jesu, meine Freude
O Haupt voll Blut und Wunden: (Chorus)
O Haupt voll Blut und Wunden: Aria: Du, dessen Todeswunden die sundge Welt versohnt (Bass)
O Haupt voll Blut und Wunden: Ich will hier bei dir stehen, verachte mich doch nicht (Chorus)
Verleih' uns Frieden
Vom Himmel hoch: da komm ich her (Chorus)
Vom Himmel hoch: Aria: Es ist der Herr Christ, unser Gott (Baritone)
Vom Himmel hoch: Er bring euch alle Seligkeit (Choral)
Vom Himmel hoch: Aria: Sei willekomm', du edler Gast (Soprano)
Vom Himmel hoch: Arioso: Das also hat gefallen dir (Baritone)
Vom Himmel hoch: Lob, Ehr sei Gott im hochsten Thron (Choral)
Wer nur den lieben Gott lasst walten: Mein Gott, du weisst am allerbesten das (Chorus)
Wer nur den lieben Gott lasst walten: Wer nur den Lieben Gott lasst walten (Choral)
Wer nur den lieben Gott lasst walten: Aria: Er kennt die rechten Freudenstunden (Soprano)
Wer nur den lieben Gott lasst walten: Sing, bet und geh auf Gottes Wegen (Chorus)
Wir glauben all' an einen Gott: Wir glauben all an einen Gott
Wir glauben all' an einen Gott: Wir glauben auch an Jesum Christ
Wir glauben all' an einen Gott: Wir glauben an den Heilgen Geist
Wir glauben all' an einen Gott: Herr Gott, dich loben wir

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