Tracklista:1. Music of Heaven2. The Mystery of Your Gift3. Still Dream4. Almeno Tu Nell'universo5. Why6. En Aranjuez Con Tu Amor (Feat. José Carreras)7. Ave Maria8. After Loving You9. Il Mio Miracolo (Feat. Alessandro Safina)10. Se Tu Fossi (Cinema Paradiso)11. One Bright Star12. A Time for Mercy13. Where Or When14. Memory of You
Tracklista:1 - Auf meinen lieben Gott2 - Den Tod...3 - Allemanda4 - Christ lag in Tobesbanden5 - Corrente6 - Den Tod niemand zwingen kunnt7 - Sarabanda8 - Wo soll ich fliehen hin9 - Den Tod...10 - Ciaccona11 - Christ lag in Tobesbanden12 - Dein Will gescheh'13 - Befiehl Du Deine Wege14 - Jesu meine Freude15 - Auf meinen lieben Gott16 - Jesu Deine Passion17 - In meines Herzens Grunde18 - Nun lob', mein Seel', den Herren19 - Den Tod...20 - Ciaccona fur Violine solo und vier Stimmen nach einer Analyse von Helga Thoene21 - Den Tod...
Chór Kings College, pracujący blisko z londyńską LSO, prezentuje tym razem "ulubione kolędy króla", fantastyczną kolekcję utworów świątecznych, wpisujących się doskonale w nadchodzący okres. Możemy być pewni wyszukanej selekcji w jednym z najciekawszych chóralnych wykonań, w wysokiej jakości nagraniu, zapewnionym przez format SACD.
Tracklista: Tarquinio Merula 1. Folle e ben che si crede Juan Hidalgo 2. De las Luzes que en el Mar 3. Esperar, Sentir, Morir 4. Ay, Que Si, Ay, Que No 5. La Noche Tenebrosa 6. Tened, Parad, Suspended 7. Peynandose Estaba un Olmo J. H. Kapsberger 8. Gia Risi del Mio Mal Giovanni Felice Sances 9. Cantata "Non Sia Chi Mi Riprenda" Lucas Ruiz de Ribayaz 10. Marionas John Dowland 11. Time Stands Still 12. Can She Excuse My Wrongs 13. Sir John Such Galliard 14. Come Again, Sweet Love Doth Now Invite 15. Dowland's Galliard 16. If My Complaints Could Passions Move Claudio Monteverdi 17. Si Dolce e'l Tormento 18. Ecco di Dolci Raggi il Sol Armato 19. Pur ti Miro
The 1604 Royal May Day celebrations – the ‘Proms in the Park’ of their day – headlined with a madrigal by Martin Peerson. His career can be traced through posts at Westminster Abbey and St Paul’s Cathedral, and his powerful patrons enabled a considerable quantity of music to be printed and published. Today little remains. These fifteen Latin motets survive in a single, incomplete source. Their performance here – the first for some three hundred years – is possible thanks to a pioneering reconstruction (by Richard Rastall of Antico Edition) of the missing voice part. Despite their pre-Reformation Latin texts (at a time where few institutions were permitted such Popery) and Peerson’s 1606 conviction for recusancy, the composer’s evident position at the heart of the new Anglican establishment confirms the overall esteem in which he was held. And the music more than lives up to this reputation – harmonies of sustained intensity and an intricate understanding of the contemporary imitative technique lend the collection a rare cohesion and give testimony to a man of immense compassion and faith. The Ex Cathedra Consort – the twelve-voice ‘soloistic’ ensemble from Ex Cathedra – gives performances every bit as good as the group’s enviable reputation would predict.'The performances are shapely and expressive, leaving nothing to be desired in technical polish. Connoisseurs will rejoice to have this rare music brought to life for all to hear' (American Record Guide)'Jeffrey Skidmore's reading pushes the unique structure of Peerson's paragraphs into the foreground: large-scale dynamic contouring, leisurely tempos and subtle shifts in balance create a spacious framework in which the composer's large structures emerge. The Ex Cathedra Consort triumphs beautifully over the vocal challenges of this music with its pellucid upper voices, restrained yet robust basses, and attention to textual detail … this reconstruction of Peerson, enhanced by excellent sound engineering, manages to reveal a master at work' (BBC Music Magazine) 'this recording is definitely worth listening to. It affords us what we may assume is a good overview of the works of a skilled composer, who clearly absorbed a range of influences but was not afraid to put his own personal mark on his music, and as such is an uncommon treat' (International Record Review) 'For all their comparative youthfulness, these are mature voices in the ECC, complemented by agile and well-controlled technique. As is typical with Skidmore-directed performances, the Latin is shaded with pronunciation coloured with the country's local accent … just one example of these performers' thoughtful preparation and response' (Birmingham Post) 'This recording is one of the most exciting discs of Renaissance sacred music to have appeared in recent years … These fine motets show that he was a highly accomplished composer of choral polyphony with a strongly individual flavour, which uses imaginatively understated means to pack a considerable emotional punch' (The Daily Telegraph)'Tuning, balance, and ensemble are all excellent, and Peerson's often complex, even convoluted polyphony emerges with a commendable clarity that is a tribute to both director and singers. Add to that Hyperion's customary outstanding engineering, and you have a splendid disc of unusual repertoire that fully deserves widespread attention and success' (Fanfare, USA)
Tracklista:
Tracklista: 1. Psalm/Psaume 108 (Verse 2) Psalm 100 (Complete) Maestoso Ma Energico 2. Psalm 23 (Complete); Psalm 2 (Verses 1 - 4) Andante Con Moto, Ma Tranquillo 3. Psalm 131 (Complete); Psalm 133 (Verse 1) Prelude - Peacefully Flowing 4. Agnus Dei 5. In The Beginning 6. Help Us, O Lord 7. Have Mercy On Us, O My Lord 8. Sing Ye Praises To Our King
Wybitna artystka pochodząca z Argentyny Bernarda Fink, urodzona w 1955 roku w Buenos Aires i jest pochodzenia słowiańskiego. Śpiewaczka ma niebywały mezzosopranowy głos. Nauki pobierała w Instituto Superior De Arte Del Teatro Colon.
Tracklista: 1. Salve Regina 2. Ave Maria, Mater Dei 3. Gaude Virgo Mater Christi 4. Magnificat 5. Ah, Robin 6. Adieu, Adieu, My Heartes Lust 7. Adieu, Courage 8. Woefully Arrayed 9. Stabat Mater
Utwory wokalne na głos i orkiestrę francuskiego kompozytora XX wieku Francisa Poulenca w wykonaniu śpiewaczki Felicity Lott i zespołu Orchestre de la Suisse Romande pod dyrekcją Armina Jordana.