For more than forty years, Lalande was the French court's favorite composer, cultivating the most elevated and touching aspects of the spirit of the Grand Siecle. Sebastien Dauce and the Ensemble Correspondances offer us some remarkable examples of his output here: with the imposing Miserere, ample and sombre, the Dies irae and the rarely heard Veni Creator, this 'Latin Lully' brought the art of the grand motet to it's zenith.
• In it's latest project, the Chorus sine nomine, one of Austria's leading choirs, under it's founder and director Johannes Hiemetsberger has turned to a very special work: the Miserere by Gregorio Allegri in an arrangement for saxophone and three choirs a cappella by Vladimir Ivanoff. • The setting of the 51st Psalm from the 1630s, which is uniquely captivating due to it's simplicity, was a fixed component of the liturgy of Easter week in the Sixtine Chapel in Rome for over 250 years and soon achieved cult status because of the high penalties on it's 'pirate copy'. • Here, the three-choir ensemble is in a subtle equilibrium with the young saxophonist Michael Krenn and meets any trace of sentimental mush with the respect due. • Recorded in the splendid Viennese acoustic of the Otto Wagner designed Church am Steinhof, built in the first decade of the 20th c. on the grounds of the then Lower Austrian State Asylum.
An absolute highlight of Salzburg's Mozart Week with ''highest art of sound and riding'': the French equine artist and theatrical genius Bartabas presents Wolfgang Amadeus Mozart's Requime. Horses and riders from the formidable Academie Equestre de Versailles join forces with the Musiciens du Louvre, conducted by Marc Minkowski, the Salzburger Bachchor and ''an excellent quartet of soloists'', namely Genia Kuhmeier, Elisabeth Kulman, Julien Behr and Charles Dekeyser, to place the Requiem into a new theatrical context. Restoring the Felsenreitschule's original purpose - a riding school - and at the same time including its impressive architecture of arcades into the musical dramaturgy, the production is a breathtaking synthesis of the arts. By meticulously refining the skillfully regulated interactions between humans, animals, and music. Bartabas and his horsemen have created a production which is much more than a great show riding choreography: it's a moving exploration of the interconnectedness of existence. A piece of art with an ''exceptional power of attraction'', ''a requime for all senses''.
Monti: Miserere & Nelle ore desolate di Maria SS.ma
Tactus
CD
$21.99May 13, 2016
Little is known about the life of Italian composer Niccola Monti, and unfortunately, much of his catalogue has been lost. This recording is the world premiere of all of his work that has stood the test of time. His high level of ability is seen in these works. Both of these works are connected to the Holy week, especially the “Miserere” which has been passed down orally from choir to choir, and is a unique heirloom of the community of Penne.
I was delighted to find John Ireland’s fresh and gently ecstatic Passiontide motet had been included. The ladies of Tenebrae sing it with a marvellous sense of open-eyed wonder. The two Russian items are also most successful although I did wonder why the Rachmaninov piece was sung in English. It’s given a beautiful performance even if these English singers lack the sheer amplitude of sound that a Slavic choir would have at its disposal. The offering by Sheremetiev was completely new to me – indeed, I can’t recall hearing any music by this composer before. Now ye heavenly powers, which is sung in Russian, is for male voices. It’s described in the notes as “quietly powerful” and that’s a very apt description. The music is mainly subdued in tone and the piece has a grave beauty that’s most attractive. Even more affecting is the other Eastern European piece, Kodály’s Esti Dal. This setting of a Northern Hungarian song is a little gem. It is sung in the original language and features a lovely soprano solo, one of several solos during the course of the programme, all of which are taken excellently from within the choir’s ranks.
Britten’s Hymn to St. Cecilia is a terrifically inventive piece of music in which the composer shows real flair in his writing for unaccompanied choir, even if Auden’s text seems rather high-flown in its imagery and somewhat verbose. Tenebrae not only rise to its manifold challenges but also surmount them with ease. They are excellent too in Holst’s splendid setting of Psalm 148, receiving marvellous support from Jeremy Filsell at the organ.
But in many ways the best is saved for last. Sir William Harris’s sumptuous setting for double choir of words by Edmund Spenser is, for me, one of the glories of English church music. It moves from the rarefied celestial atmosphere of the quiet opening to the blazing conviction and excitement of the passage at “And those eternall burning Seraphims” – Tenebrae are marvellous here – before the pacific mood returns at the close. The performance of this miniature masterpiece is thrilling in every respect. Indeed, I feel that here Nigel Short and his singers come close to realising the “endlesse perfectnesse” of which Spenser speaks.
This is an outstanding disc, which I have enjoyed greatly. The sheer quality of singing has always impressed me on the previous discs I’ve heard from this choir and, indeed, when I’ve heard them live. This new release is as good as any I’ve heard from them. The engineering is excellent and the disc comes with a good booklet including full texts. Another winner from Tenebrae!
In its latest project, the Chorus sine nomine, one of Austria’s leading choirs, under its director Johannes Hiemetsberger, has turned to a very special work: the Miserere by Gregorio Allegri in an arrangement for saxophone and three choirs a cappella by Vladimir Ivanoff. + The setting of the 51st Psalm from the 1630s, which is uniquely captivating due to its simplicity, was a fixed component of the liturgy of Easter week in the Sixtine Chapel in Rome for over 250 years and soon achieved cult status because of the high penalties on its ‘pirate copy’.
Les Arts Florissants, one of the world's most renowned Baroque ensembles, joins forces with legendary founder and artistic director William Christie for a landmark release: the first complete recording of Andre Campra's Requiem, paired with his profoundly moving Miserere. These works, filled with clarity, grace, and emotional power, offer a deeply personal and spiritual listening experience. Campra's music speaks straight to the soul, with harmonies that are subtle, expressive, and timeless. Performed on period instruments at original French pitch and shaped by authentic ensemble forces, this recording is a masterclass in historically informed performance, true to Campra's era, and brought vividly to life by musicians at the top of their craft. With it's unmistakably rich and nuanced sound, Les Arts Florissants infuses every phrase with the elegance of French musical heritage, even in Latin texts shaped by the unique French pronunciation of the time. This is more than a recording, it's a rediscovery of one of sacred music's most refined voices. Though Campra's genius has long been underappreciated, this release brings his spiritual artistry to the forefront for a new generation. A powerful listening experience and a milestone debut for Les Arts Florissants and William Christie on PENTATONE, this album is an essential addition to any collection of great sacred choral works.
For the 60-year-old Franz Xaver Richter, a composer of Moravian origin living and working in France, the spring of 1769 was a true watershed in his career. When, two years previously, he joined a competition held by Concert Spirituel, a major French music institution, he evidently had in mind being employed as a musician in Paris. The contestants' task was to compose a "motet à grand chœur", encompassing a sequence of arias, ensembles and choruses, set to the Latin text of Psalm 136, Super flumina Babylonis. Although Richter failed to win the competition, his work arouse great interest and on 28 March 1769 it premiered within the Concert Spirituel series at the Tuileries Palace, at the largest music venue in Paris at the time. Less than a month later, Richter was appointed the Maitre de Chapelle de Notre Dame de Strasbourg. The motet Super flumina Babylonis undoubtedly played a significant role in his being named to the prestigious post. Over the first years he spent in Strasbourg (1770-73), Richter wrote three settings of Psalm 50, Miserere mei Deus, intended for the night liturgy of Tenebrae, a religious service held during the three days preceding Easter. In addition to Super flumina Babylonis, the present album features the third setting of the Miserere, in F minor, in a premiere recording. In their fourth album of Richter's music, Czech Ensemble Baroque discover the yet to be mapped legacy of the distinguished 18th-century composer.
Mozart: Serenades K 239 & 525, Divertimento K 287 / Les Folies Françoises
Alpha
CD
$8.99Sep 01, 2007
MOZART Serenades: in D, K 239, “Serenata notturna”; in G, K 525, “Eine kleine Nachtmusik.” Divertimento in B, K 287 • Patrick Cohën-Akenine (vn), cond; Les Folies Francaises • ALPHA 092 (71:10)
Les Folies Francaises is a group of 18 musicians here led by violinist Patrick Cohën-Akenine in three occasional works, two very famous, and one relatively neglected. Perhaps neglected is not the ideal word for the Divertimento in B, yet it has received infinitely fewer recordings than the “Serenata notturna” and the ever-popular “Eine kleine Nachtmusik.” I have all three in lovely recordings by the Academy of St. Martin in the Fields, several in distinguished recordings by Colin Davis, Eugen Jochum, and there are more modern recordings, equally charming, by the Orpheus Chamber Orchestra. In fact, the choices are vast.
Les Folies Francaises offers early-music balances and transparency. The timpani are prominent in the opening march of the “Serenata notturna,” which was recorded in a resonant space that lets the drum sound unfold. The engineers were also alert to the conversational quality of this Serenade and of the other two pieces. We hear the solos strings separated, though not excessively, from the larger group in a way I find effective and even illuminating. The echo effects, or something like them, in “Eine kleine Nachtmusik” are especially well done. The performances are perky, clear, dance-like, and meant to charm rather than overwhelm. I never yearn for a larger group, or a more imposing sound. Without knowing for sure, one begins to believe that this was the way Mozart intended these pieces to be played.
