Tracklista: 1. Lageos 2. Momentum 3. Galya Beat 4. Chasing Numbers 5. Chaos Rain 6. Surfer's Hymn 7. N.E.W. 8. Audio Track 5 9. Voodoo Posse, Chronic Illusion 10. Hubble
Tracklista:1. Hymn: Sing, my tongue, the glorious battle (Chorus) 00:04:572. First Gospel: And the first day of unleavened bread (Evangelist, Jesus, Chorus) 00:07:473. Hymn: The Heavenly Word proceeding forth (Chorus) 00:02:534. Second Gospel: And they came to a place which was named Gethsemane (Evangelist, Jesus, Chorus, Judas) 00:08:515. Hymn: Lord, when we bow before Thy Throne (Chorus) 00:01:576. Third Gospel: And they led Jesus away to the high priests (Evangelist, High Priest, Jesus, Chorus, First maid, Peter, Second maid, Servants) 00:07:227. Hymn: My God, I love Thee (Soprano, Chorus) 00:04:138. Fourth Gospel: And straightway in the morning (Evangelist, Pilate, Jesus, Chorus) 00:07:599. Hymn: Faithful Cross! Above all other (Chorus) 00:01:4110. Fifth Gospel: And they bring Him into the place Golgotha (Evangelist, Chorus, Jesus, Bystander) 00:07:3211. Hymn: Bend thy boughs, O Tree of Glory! (Chorus) 00:02:5812. Toccata - Prelude on Pange Lingua 00:03:36
Tracklista: 1. Crowley & Me2. The Pentagram3. Clouds Without Water4. The Mantra5. The Tent6. The Logos7. Hymn to Pan8. Kathleen Divine9. The Buddhist10. The Gypsy11. Grave Grey Eyes12. Lament for Al13. Why Do You Wait
Tracklista: CD 1 1. Mam 2. Mam 3. Sister 4. Brother 5. Headmaster 6. Vicar 7. Doctor 8. Chorale 9. Transition and Surgeons' Introduction to the Act 10. Abbot, Minister, Croesus, Comrade Serbsky 11. Political Rally 12. Revivalist Rally CD 2 1. Sex History 2. Hymn of Satisfaction 3. Song of the New Resurrection
Album został wydany w 1989 roku i jest kompilacją oper z piosenkami Philipa Glassa składa się na niego takie kompozycje jak: „Einstein on the Beach”, „Satyagraha” i „Akhnaten”. Wydanie winylowe 180 g. Tracklista: Side A 1. Protest 2. Evening Song 3. Hymn To The Sun 4. Trial/Prison 5. Akhnaten & Nefertiti 6. Kuru Field Of Justice Side B 1. Knee 1 2. Tolstoy Farm 3. Window Of Appearance 4. Bed 5. Epiloge 6. Knee 5
Pięciopłytowy, ekskluzywnie wydany przez Polskie Radio album zawierający: • Pieśni Powstania Listopadowego • Pieśni Powstania Styczniowego • Pieśni Legionowe i Ułańskie • Pieśni Powstania Warszawskiego • Mazurka Dąbrowskiego w historycznych nagraniach z Archiwum Polskiego Radia Album zawiera 60 najpiękniejszych i najbardziej popularnych pieśni powstałych podczas polskich powstań narodowych, w pięknym opracowaniu znakomitego kompozytora i aranżera Włodzimierza Korcza. Wykonawcami wszystkich utworów na czterech pierwszych płytach jest Filharmonia im. Romualda Traugutta – zespół założony w 1983 roku przez muzykologa śp. Tadeusza Kaczyńskiego, stawiający za cel upowszechnianie i kultywowanie polskich pieśni patriotycznych. Pieśni zaaranżowane są na zespół instrumentalny, chór i głosy solowe. Wśród solistów znajdują się zarówno wybitni śpiewacy operowi tacy jak między innymi: Olga Pasiecznik, Robert Gierlach, Anna Lubańska, Andrzej Lampert, Dorota Lachowicz, Witold Żołądkiewicz, jak również znane piosenkarki: Alicja Majewska i Dorota Osińska. Piąta płyta albumu zawiera kilkadziesiąt wersji Mazurka Dąbrowskiego w historycznych nagraniach pochodzących z Archiwum Polskiego Radia. Album „Pieśni polskich powstań narodowych” wydany przez Polskie Radio pod Patronatem Biura Programu Niepodległa, to kanon polskich pieśni patriotycznych, które powinien znać każdy Polak. Polskie Radio włącza się w ten sposób w obchody 100 Rocznicy odzyskania przez Polskę Niepodległości. Tracklista: CD 1 Pieśni Powstania Listopadowego w nowych opracowaniach Włodzimierza Korcza Filharmonia im. Romualda Traugutta 1. Warszawianka (Oto dziś dzień krwi i chwały) 1831 2. Ułan i dziewczyna (Tam na błoniu) 1830–1831 3. Mazur chłopickiego (Nasz Chłopicki wojak) 1830 4. Rozłączenie (Za Niemen hen precz!) ok.1838 5. Pożegnanie (Bywaj, dziewczę, zdrowa) 1830–1831 6. Wojak op.74 nr 10 (Rży mój gniady) 1830 7. Modlitwa o zwycięstwo (Wszechmocny Boże) 1830 8. Wara z granic (Wara z granic) 25 lutego 1831 9. Marsz obozowy (Bracia do bitwy) 2 lutego 1831 10. Śpiew Krakusów (Dalej chłopcy) 1830–1831 11. Orzeł biały (Ciężko ranny w boju chwały) 1830 12. Chorągiewka (Widzisz dziewczę) lipiec 1832 13. Pułk czwarty (Walecznych tysiąc) 1831 14. Czarna sukienka (Schowaj matko suknie) 1832 15. Śpiew z mogiły op. 74 nr 17 (Leci liście z drzewa) 1836 16. Przy sadzeniu róż /Sadźmy róże/ (Sadźmy, przyjacielu, róże) 1832 CD 2 Pieśni Powstania Styczniowego w nowych opracowaniach Włodzimierza Korcza Filharmonia im. Romualda Traugutta 1. A kto chce rozkoszy użyć (A kto chce rozkoszy użyć) 2. Piosnka oddziału Różyckiego roku 1863 (Rozproszone po wszem świecie) 3. Śpiew oddziałów Langiewicza z roku 1863 (Co to za gwar?) 4. Marsz strzelców (Hej, strzelcy wraz) 5. Marsz Żuawów (Nie masz to wiary) 6. Sygnał (W krwawem polu srebrne ptaszę) 7. Z dymem pożarów (Z dymem pożarów ) 8. Co nam marzyć o kochaniu (Co nam marzyć o kochaniu) 9. Pieśń katorżników (Nie dbam, jak spadnie kara) 10. Śpiew Anny (Siwy orle z gór) 11. Hej Polaku, hej rodaku (Hej Polaku! Hej rodaku!) 12. Boże, coś Polskę (Boże, coś Polskę) CD 3 Pieśni Legionowe i Ułańskie w nowych opracowaniach Włodzimierza Korcza Filharmonia im. Romualda Traugutta 1. Hymn strzelecki (Naprzód, drużyno strzelecka) 2. Piechota (Nie noszą lampasów) 3. Ułani, ułani (Ułani, ułani ) 4. Białe róże (Rozkwitają pąki białych róż ) 5. Hymn Pierwszej Brygady (Legiony to żebracza nuta) 6. Przybyli ułani pod okienko (Przybyli ułani pod okienko) 7. Rozmaryn (O mój rozmarynie) 8. Marsz Sokołów (Ospały i gnuśny) 9. Wojenko, wojenko (Wojenko, wojenko) 10. Hej, Orle Biały (Hej, orle biały ) 11. Pierwsza Kadrowa (Raduje się serce) 12. Leguny w niebie (Siedział święty Piotr przy bramie) 13. Maki (Ej, dziewczyno) 14. Ułan i dziewczyna (Tam na błoniu) 15. Pieśń o wodzu miłym (Jedzie, jedzie na kasztance) 16. I tak sobie śwista (Nie masz nad leguna) 17. Warczą karabiny (Warczą karabiny) 18. Przed oczy Twoje Panie (Przed oczy Twoje – Panie!) CD 4 Pieśni Powstania Warszawskiego w nowych opracowaniach Włodzimierza Korcza Filharmonia im. Romualda Traugutta 1. Hej, chłopcy, bagnet na broń (Hej, chłopcy, bagnet na broń) /1942 lub 1943/ 2. Walcząca Warszawa /Marsz śródmieścia/ (I znów walczy dzielna stolica) 4 sierpnia 1944/ 3. Warszawskie Dzieci (Nie złamie wolnych żadna klęska) /1944/ 4. Naprzód do boju żołnierze (Naprzód do boju żołnierze) (Hymn Polski Podziemnej / Hymn Armii Krajowej) /październik 1944/ 5. Sanitariuszka „Małgorzatka” (Przed akcją była skromną panną) /wrzesień 1944/ 6. Marsz Mokotowa (Nie grają nam surmy bojowe) /15 lub 20 sierpnia 1944/ 7. Dorota (Kiedy drogą szła piechota) /1944/ 8. Marsz Żoliborza (W bój przeciw nam) /początek sierpnia 1944/ 9. Pałacyk Michla (Pałacyk Michla ) (Hymn harcerskiego batalionu „Parasol”) /sierpień 1944/ 10. Siekiera, motyka (Siekera, motyka) /wrzesień 1942/ 11. O, Barbaro (O, Barbaro) /1943/ 12. Zośka (Szare hełmy błyszczą z dala) /wrzesień 1944/ 13. Szare szeregi (I iść będziemy w Polskę ) (Hymn Szarych Szeregów)/1 sierpnia 1943/ 14. Modlitwa obozowa (O Panie, któryś jest na niebie) (Modlitwa AK / Modlitwa partyzancka) /październik 1939/ 15. Armio Krajowa (Byłaś dla nas radością i dumą) CD 5 Mazurek Dąbrowskiego – Hymn Narodowy Polski W historycznych nagraniach z archiwum Polskiego Radia Melodia tradycyjna, słowa: Józef Wybicki 1. Chór Reprezentacyjnego Zespołu Artystycznego Wojska Polskiego, Chór Żeński Filharmonii Narodowej, Polska Orkiestra Radiowa, Orkiestra Reprezentacyjnego Zespołu Artystycznego Wojska Polskiego, Bolesław Szulia – dyrygent, przygotowanie chóru: Andrzej Banasiewicz (4 zwrotki, nagranie w opracowaniu Kazimierza Sikorskiego – harmonizacja i Jana Adama Maklakiewicza – instrumentacja) Polskie Radio S.A., 2002 2. Wielka Orkiestra Symfoniczna Polskiego Radia i Telewizji w Katowicach (WOSPRiTV) Jerzy Maksymiuk – dyrygent Polskie Radio, 1977 3. Ignacy Dygas (artysta Opery Warszawskiej) – śpiew z towarzyszeniem fortepianu 4. Orkiestra Odeon, Józef Holzer – dyrygent (fragment poloneza Adama Wrońskiego na motywach „Mazurka Dąbrowskiego”) Płyta International Talking Machine, ok. 1907 r. 5. Eugeniusz Mossakowski – śpiew, Chór Wacława Lachmana, Orkiestra, Bronisław Szulc – dyrygent Płyta Ministerstwa Spraw Wojskowych, Wydziału Propagandy i Oświaty, Paryż, ok. 1939/40 (matryca: M3-100410, nr katalogowy: Part.1550), do tłoczenia wykorzystano nagranie przedwojenne z płyty Syrena-Electro z 1931 – ze zbiorów Archiwum Polskiego Radia 6. Narodowa Orkiestra z Bierzanowa Płyta International Talking Machine, 1911-1912 7. Jan Stern – śpiew z towarzyszeniem orkiestry dętej Płyta Columbia, 1908r. 8. Orkiestra Bohumira Kryla („Mazurek Dąbrowskiego” w formie poloneza – fragment z wiązanki melodii „Orły Polskie”) Wałek Edison Blue Amberol (nr 9862), 1911r. 9. Stanisław Bolewski – śpiew z towarzyszeniem pianina Wałek Edisona (nr 12704), 1901r. 10. Orkiestra Symfoniczna, Grzegorz Fitelberg – dyrygent Płyta wydana przez Związek Patriotów Polskich w ZSRR w 1944, Komitet ds. Sztuki przy KRL, do tłoczenia wykorzystano nagranie przedwojenne z płyty Columbia WJ 95, nr katalogowy DM 1219 b) z 1930 r. 11. Chór polskich uchodźców w Algierze, Stanisław Haczkiewicz – dyrygent Nagranie Radia Algier, 1943 - audycja słowno-muzyczna nadana na falach Radia Algier do okupowanego kraju, dar Ligii Hayto - ze zbiorów Archiwum Polskiego Radia 12. Orkiestra wojskowa w czasie uroczystości pogrzebowych generała Władysława Sikorskiego w Londynie Kopia płyty z kolekcji Sekcji Polskiej BBC, 1943 r. 13. Zegary gabinetowe z pozytywką II poł. XIX Nagranie ze zbiorów Muzeum Hymnu Narodowego w Będominie 14. Chór Polskiego Radia i Orkiestra Polskiego Radia w Warszawie, Jerzy Kołaczkowski – dyrygent Polskie Radio, 1951 15. Wielka Orkiestra Symfoniczna Polskiego Radia w Katowicach (WOSPR) (obecnie: Narodowa Orkiestra Symfoniczna Polskiego Radia w Katowicach), Grzegorz Fitelberg – dyrygent Polskie Radio, 1953 16. Chór Polskiego Radia w Warszawie, Jerzy Kołaczkowski – dyrygent Polskie Radio, 1953 17. Reprezentacyjna Orkiestra Wojska Polskiego, mjr Leon Zawodny – dyrygent Polskie Radio, 1958 18. Zespół wokalny (męski) Polskiego Radia i Zespół instrumentalny Polskiego Radia w Warszawie, Jerzy Kołaczkowski – dyrygent Polskie Radio, 1959 19. Dresdner Kreuzchor (Drezdeński Chór Chłopięcy), Rudolf Mauersberger – chórmistrz Polskie Radio, koncert w Sali Teatru Roma w Warszawie, 1954 20. Orkiestra Symfoniczna Filharmonii Czeskiej, Karel Ančerl – dyrygent Polskie Radio, koncert w Filharmonii Narodowej w Warszawie w ramach 4. Międzynarodowego Festiwalu Muzyki Współczesnej Warszawska Jesień, 1960 21. Chór dziecięcy z Korei Nagranie Radia Koreańskiego, 1952 – ze zbiorów Archiwum Polskiego Radia 22. Kapliczka ludowa z pozytywką II poł. XIX w. Nagranie ze zbiorów Muzeum Hymnu Narodowego w Będominie 23. Chór Polskiego Radia i Telewizji we Wrocławiu, Edmund Kajdasz – dyrygent Polskie Radio, 1982 24. Chór Politechniki Warszawskiej, Andrzej Rogowski – chórmistrz, Orkiestra pod dyrekcją Marka Sewena – autora opracowania muzyki i tekstu wg zapisu z 1800 roku Nagranie ze zbiorów Muzeum Hymnu Narodowego w Będominie, 1987 25. Anna Broda – cymbały: Koncert Jankiela – wg treści wiersza Adama Mickiewicza (fragment z Mazurkiem Dąbrowskiego) Polskie Radio S.A., koncert w Teatrze Polskim, 2011 26. Chór Polskiego Radia w Krakowie, Marek Kluza – dyrygent Polskie Radio S.A., 2002 27. Tobias Koch – fortepian (fortepian historyczny Broadwood, 1843, z kolekcji Narodowego Instytutu Fryderyka Chopin) Harmonizacja refrenu „Mazurka Dąbrowskiego” w opracowaniu Fryderyka Chopina Koncert z Domu Urodzenia Fryderyka Chopina, Żelazowa Wola, 11 listopada 2015 28. Bernard Ładysz – bas, Andrzej Płonczyński – fortepian, z towarzyszeniem publiczności Polskie Radio S.A., Koncert w Studiu Polskiego Radia im. Agnieszki Osieckiej, 1999 29. Dorota Jasińska – sopran, Małgorzata Urbaniak – sopran, Piotr Rafałko – tenor, Tomasz Piętak – baryton, Orkiestra Koncertowa Reprezentacyjnego Zespołu Artystycznego Wojska Polskiego, płk. Adam Czajkowski – dyrygent Polskie Radio S.A., Poranek Muzyczny w Programie 1 Polskiego Radia, 2008 30. Tadeusz Kaszowski – cymbały (wykonanie ludowe) Polskie Radio, 1961 31. Boltieniki - zespół śpiewaczy: Irena Adamowicz, Janina Palkowska, Maria Poplewkowa, Genowefa Rychlewicz, Apolonia Siebiankowa, Janina Sokołowska (wykonanie ludowe) Polskie Radio, nagranie z wyprawy etnograficznej na Grodzieńszczyznę, 1995 32. Chór Politechniki Warszawskiej, Andrzej Rogowski – chórmistrz, Orkiestra pod dyrekcją Marka Sewena – autora opracowania muzycznego Nagranie ze zbiorów ze zbiorów Muzeum Hymnu Narodowego w Będominie, 1987 33. Chór Reprezentacyjnego Zespołu Artystycznego Wojska Polskiego, Chór Żeński Filharmonii Narodowej, Polska Orkiestra Radiowa, Orkiestra Reprezentacyjnego Zespołu Artystycznego Wojska Polskiego, Bolesław Szulia – dyrygent, przygotowanie chóru: Andrzej Banasiewicz (1 zwrotka, nagranie w opracowaniu Kazimierza Sikorskiego – harmonizacja i Jana Adama Maklakiewicza – instrumentacja) Polskie Radio S.A., 2002
W zeszłym roku rockowi giganci świętowali pięćdziesięciolecie swojego istnienia. Potomstwo Les Holroyda obchodzi w tym roku 20-lecia, sam pan Holroyd 12 marca 2018 r. osiągnął wiek 70 lat. To chyba dość powodów do wydania tej ekskluzywnej retrospektywy. Pudło zawiera świetny, nagrany z Praską Orkiestrą Filharmoniczną, koncertowy album. Materiał wydano w trzech formatach, na winylu, na podwójnej płycie kompaktowej oraz jako zapis video koncertu na płycie DVD. Ponadto pudło mieści dwupłytowy album, który dał nazwę temu kolekcjonerskiemu wydawnictwu oraz zestaw pamiątek. Poniżej szczegółowa lista inwentaryzacyjna pudła: 1LP & Classic Meets Rock 2CD & Classic Meets Rock 1DVD & Classic Meets Rock 2CD & Retrospective T-Shirt & Retrospective (wyłącznie w tym boksie!) rozmiar L breloczek & Barclay James Harvest znaczek Barclay James Harvest Tracklista: CD 1 1. Jold On 2. Life Is For Living 3. Hymn 4. Love On The Line 5. The Song (They Love To Sing) 6. Crazy City 7. Shadows On The Sky CD 2 1. The Song (They Love To Sing) 2. Crazy City 3. Prelude 4. January Morning 5. Back In The Game 6. Yesterday Heroes 7. Rock & Roll Star 8. Mockingbird 9. Hold On 10. Berlin CD 3 1. Ring Of Changes 2. Play To The World 3. That Was Then... This Is Now 4. Life Is For Living 5. Hymn 6. Love On The Line 7. Shadows On The Sky CD 4 1. Intro 2. Who Do We Think We Are 3. Time Of Our Lives 4. Victims Of Circumstance 5. Sip Of Wine 6. Ring Of Changes CD 5 1. Welcome To The Show 2. Crazy City 3. Poor Boy Blues 4. Friend Of Mine 5. Fly Away 6. Love On The Line 7. That Was Then...this Is Now 8. Tonight Gonna Be The Night 9. Hymn 10. Life Is For Living
Tomás Luis de Victoria was the greatest composer of the Spanish sixteenth-century ‘golden age’ of polyphonic music. This recording is of the six-voice Missa Dum complerentur, the five-part motet on which the Mass is based, and six further hymns and sequences including the great Popule meus, a setting of the Improperia (Reproaches) which form the heart of the liturgy for Good Friday. This is music of compelling beauty, which illustrates well Victoria’s extraordinary capacity to create through simple homophony extremely moving music of great expressiveness. CLASSIC CD 100 GREATEST DISCS OF THE DECADE ‘The greatest Spanish Renaissance composer is in the blood of this splendid choir—it’s hard to imagine any group doing him greater justice. A very welcome addition to the catalogue’ (Classic CD) ‘Maravillémonos de este nuevo monográfico de Victoria del mejor coro con niños del mundo’ (CD Compact, Spain) ‘If your opportunity of hearing a first-rate choir sing this music in its liturgical context is limited, then listening to these splendid performances is the next best thing, and this is certainly a disc to treasure. It would be worth it for the soaring ‘Amens’ of the Credo alone!’ (Organists' Review) ‘Once again, this is a superb and compelling disc that adds to our knowledge and appreciation of Victoria’s art’ (Gramophone)Tomás Luis de Victoria, the greatest composer of the Spanish sixteenth-century ‘golden age’ of polyphonic music, was born in Avila in 1548 and in about 1558 became a choirboy in Avila Cathedral, where he received his earliest musical training. When his voice broke he was sent to the Collegium Germanicum at Rome where he was enrolled as a student in 1565. He was to spend the next twenty years in Rome and he occupied a number of posts there of which the most important were at S. Maria di Monserrato, the Collegium Germanicum, the Roman Seminary (where he succeeded Palestrina as Maestro di Cappella in 1571) and S. Apollinare. In 1575 he took holy orders and three years later was admitted to the chaplaincy at S. Girolamo della Carità. Around 1587 he left Italy and in that year took up an appointment as chaplain to the dowager Empress María at the Royal Convent for Barefoot Clarist Nuns, where he acted as maestro to the choir of priests and boys.Victoria’s musical output was relatively small compared with other major Renaissance composers such as Palestrina (who published five times as much music) and Lassus (who published even more), and he published no secular music. The music he did publish, however, generally shows a very high level of inspiration and musical craftsmanship and it is clear, from the constant revisions he made to successive editions of his works that appeared during his lifetime and from some of his comments in prefaces to his works, that he adopted a highly critical attitude to what he wrote. In the dedication to Pope Gregory XIII of his 1581 volume of Hymni totius anni, he speaks of music being an art to which he was instinctively drawn, and to the perfection of which he had devoted long years of study, with the help and encouragement of others of critical judgment: ‘ad quae naturali quodam feror instinctu, multos iam annos, et quidem, ut ex aliorum iudicio mihi videor intelligere, non infeliciter, versor, et elaboraro’.Victoria’s style shows the influence of earlier masters in the Spanish school and also that of his long stay in Rome, where it is likely that he had considerable contact with Palestrina. From 1566 to 1571, during the period when Victoria was studying at the Collegium Germanicum, Palestrina’s sons, Angelo and Rudolfo, were students at the neighbouring Roman Seminary. Casimiri has suggested that this may have resulted in Victoria having direct contacts with the older Roman master, at that time acting as Maestro di Cappella of the Roman Seminary, even before Victoria took over that post from him in 1571. Be that as it may, Victoria certainly shares with Palestrina a liking for smooth conjoint melodic lines and carefully worked double counterpoint, but his music contains (even after making allowances for changing conventions about the use of musica ficta) more accidentals and a subtle use of harmonic coloration which sets it apart from that of any of his near contemporaries and gives it that quality of passionate intensity for which it is so justly renowned.Veni Sancte Spiritus is the sequence at Mass on Whit Sunday. The sequence originated as a form of chant, usually fairly extensive in length as well as range, which was interpolated into the liturgy after the Gradual and the Alleluia. Although the earliest versions were in prose (hence, perhaps, the alternative name of ‘prosa’), it later developed as a type of rhyming verse. Special melodies, outside the scope of the traditional plainsong, were composed for them and the texts were often associated with particular events in the church year so that in medieval times they became in effect an addition to the proper of the Mass. There was a great literary and musical flowering of the form in the period from about 850 to 1000. The tradition of polyphonic setting of sequences began in this period with simple organum versions and continued through to the Renaissance period. After the Council of Trent (1545–1563), which abolished nearly all the body of sequences that had by then grown up, only five sequences, none of them from the early repertory, were retained in the liturgy: the ‘Dies irae’ for the Mass of the Dead; ‘Lauda Sion’ for Corpus Christi; the ‘Stabat mater’ for the Feast of the Seven Dolours; ‘Veni Sancte Spiritus’ for Whit Sunday and Whitsun Week; and ‘Victimae Paschali’ for Easter and Easter Week.Victoria’s double-choir setting of ‘Veni Sancte Spiritus’ is included in a mixed collection of his Masses, Magnificats, Psalms and other pieces published in Madrid by Ioannes Flandrum in 1600. The setting leaves out verses 4, 6 and 8 and the final Alleluia of the full text of the sequence and the way the music is written precludes the insertion of these verses as plainsong interpolations into the polyphony. The music begins slowly, with solemn imitative entries of a theme loosely based on the opening phrase of the plainsong, but soon blossoms into more homophonic antiphonal exchanges between the two choirs and breaks into triple time at the words ‘Consolator optime’. After a brief passage in full eight-part harmony, the music returns to antiphonal exchanges between the two choirs until, at the words ‘Da perenne gaudium’, both choirs join in a final eight-part section of impressive beauty and sonority.The Feast of Pentecost (in Greek, ‘the fiftieth day’) was originally a Jewish feast, falling on the fiftieth day after the Passover, when the first fruits of the corn harvest were presented. With the descent of the Holy Ghost onto the Apostles on this day the Christian Church adopted this feast, now popularly known as Whitsun, for a celebration of that event. The text Dum complerentur comes from the First Responsory at Matins on Whit Sunday and is based on the account in Acts 2: 1–2 of the descent of the Holy Ghost. Victoria’s five-part setting was included in his first book of motets, published in Venice in 1572, and was subsequently reissued in a number of other editions by various publishers. The motet opens with a rich web of imitative entries, breaking suddenly into homophony at the words ‘omnes pariter’ (‘all with one accord’). This is followed by a short set of Alleluias, cut short by several repetitions of the words ‘Et subito’. Another, faster moving Alleluia follows, with two strongly homophonic triple-rhythm statements of the phrase ‘Tamquam spiritus vehementis’, and the first part of the motet concludes with a wonderful set of pealing polyphonic Alleluias. The second half opens with a series of finely wrought imitative entries in double counterpoint but soon breaks into homophony at the words ‘unum discipuli’; following this is a set of running entries representing the ‘sound from heaven as of a mighty rushing wind’. The motet concludes with a restatement of the second half of the first part, ending with the same exhilarating set of Alleluias, this time with the soprano parts exchanged.Victoria’s Missa Dum complerentur is a six-part parody Mass based on his five-part motet of the same title. It was published in his first book of Masses in Venice in 1576 by Angelo Gardane and later in Rome in 1583 by Angelo’s brother Alessandro in a second book of Masses. The Mass contains much new material but makes considerable use of the opening counterpoints of the motet, and the pealing Alleluias which conclude the motet appear and are elaborated upon in the Amens of the Gloria and Credo. The Mass text does not present the same opportunities for word-painting that Victoria seizes on so effectively in the homophonic passages of the motet, but he uses the extra voice to create a six-part texture of great richness and harmonic variety and also adds an extra part, as was often done in Masses of the period, for the second Agnus Dei, enabling him to bring the work to a close with music of great spaciousness and sonority perfectly fitting the final appeal, ‘dona nobis pacem’.Among the more striking and moving parts of the extensive Roman liturgy for Holy Week are the Improperia, or Reproaches. These come from the liturgy for Good Friday and are the words addressed by the crucified Saviour to his people. They are chanted by two choirs during the Veneration of the Cross and comprise twelve verses which contrast Divine compassion towards the chosen people with the sufferings inflicted on Christ during his Passion. In the full rite the first verse is preceded by the refrain Popule meus and each of the three verses is followed by the Trisagion (in Greek, ‘thrice holy’), a refrain chanted first in Greek and then in Latin, and the remaining nine by the refrain ‘Popule meus, quid feci tibi?’, etc. This rite has an ancient history, parts of it being traceable back to the seventh century. As part of his sumptuous volume of Holy Week music, the Officium Hebdomadae Sanctae published in Rome by Alessandro Gardane in 1585, Victoria provides a simple four-part setting of these two refrains in music of compelling beauty, which illustrates well his extraordinary capacity to create through simple homophony extremely moving music of great expressiveness. In this recording the choir performs the first section of this extremely extended rite up to the second statement of the Trisagion refrain.Vexilla regis is a hymn written by Venantius Fortunatus (c530–c610), a Latin poet and later Bishop of Poitiers, which celebrates the mystery of Christ triumphant on the Cross. In the Liber Usualis (the book codifying the modern Roman Rite up to the major revisions introduced after the Second Vatican Council in 1962–1965) it is prescribed to be sung at Vespers on Passion Sunday and, in the Antiphonale Monasticum (a similar book codifying some of the rather fuller monastic rite), also at Vespers on the Finding of the Holy Cross (3 May) and at Vespers on the Exaltation of the Holy Cross (14 September). It also appears in the English Hymnal as the Passiontide hymn ‘The royal banners forward go’. Victoria provided, in the Officium Hebdomadae Sanctae at the end of his music for Matins on Holy Saturday, an alternatim setting of the hymn, but both the words and the chant of this setting of the hymn differ from those found in the Liber Usualis and the English Hymnal. In the original print the hymn is described as ‘Vexilla Regis, More Hispano’, indicating that it is based on Spanish plainsong; and the words, with one small difference are those found in the Antiphonale Monasticum. One other singularity of Victoria’s setting is that, although it provides written-out chant for all the other odd-numbered verses, it does not do so for verse five: whether this omission was deliberate or accidental is not clear. In Victoria’s setting the plainsong is used as a cantus firmus in the tenor part at first and later in the soprano, where it soars above the polyphonic texture created by the other voices. The final verse is set for six voices to music of sublime serenity which strongly recalls the style of writing in his last musical utterance, the six-part Requiem of 1605. It is perhaps significant that the words of the last verse of the hymn (‘Te summa Deus Trinitas, Collaudat omnis spiritus: Quos per crucis mysterium, Salvas rege per saecula. Amen’) are printed after the word ‘Finis’ at the end of the print of the Officium Hebdomadae Sanctae.Veni Creator Spiritus is a hymn prescribed for second Vespers on Whit Sunday, but often used apart from this at the ordination of priests and bishops. The hymn is of considerable antiquity and is thought to have been composed in the ninth century, probably by Rabanus Maurus, Abbot of Fulda and Archbishop of Mainz. It was included in a comprehensive collection of Victoria’s hymn settings covering the whole church year which was published in Rome in 1581 by Francisco Zanetti. Victoria’s four-part alternatim setting begins with the plainsong melody, which will be familiar to those who know the Whitsun Hymn ‘Come, Holy Ghost, our souls inspire’ from the English Hymnal. Victoria uses all seven verses of the hymn and, once again, the plainsong is employed in the polyphonic sections as a cantus firmus moving from part to part and sometimes augmented or lightly ornamented.Pange lingua gloriosi is a Corpus Christi hymn written by St Thomas Aquinas who died in 1274. In the Liber Usualis it is prescribed as a processional hymn at Mass on the Feast of Corpus Christi and it appears in the English Hymnal as a communion hymn. Victoria’s four-part alternatim setting, also part of the 1581 collection, makes use of all six verses of the hymn, with the plainsong again being utilized as a cantus firmus in the tenor and then the soprano parts. The last verse, unusually, breaks into a lively triple time and ends with a beautifully ornamented Amen.Lauda Sion salvatorem is the sequence, composed by St Thomas Aquinas, for the Feast of Corpus Christi. As explained above, it is one of only five sequences which survived the weeding out of the Council of Trent. In the Roman liturgy it is sung at Mass on this Feast Day and survives in the Anglican liturgy as a communion hymn. Victoria’s brilliant eight-part setting was published first in 1585 in Rome by Alessandro Gardane and subsequently in 1600 in Madrid by Ioannes Flandrum. Victoria sets verses 1, 2, 5, 12 and 23 of Aquinas’s twenty-four-verse poem in constant antiphonal exchanges between two equal-voiced choirs. The music begins quietly with the first choir presenting the opening phrase of the plainsong in the soprano line, but soon the second choir intervenes with a lovely falling third in the top part at the words ‘Lauda ducem’, and there follows a rapid series of exchanges illustrating the words ‘In hymnis et canticis’. The second verse of the hymn is set to the same music as the first. The next section, beginning with the words ‘Sit laus plena’, sets verses 5 and 12 of the text to music of almost madrigalian lightness and vivacity with much exciting rapid movement and syncopation. This leads to a setting of verse 23 of the poem, which opens in a gentle swinging triple time and concludes, at the words ‘In terra viventium’, with an extended final section in full eight-part harmony of great energy and sonorousness.Jon Dixon © 1996
The three cantatas on this recording come from the first half of the 1730s, by which time J.S. Bach was no longer writing a new cantata every week. In these later works, Bach’s affinity for instrumental colour is coming more clearly to the fore, as are elements of the new ‘empfindsamer Stil’ with its tendency towards expressive melodies rich in syncopations and suspensions, and towards homophonic writing. The three cantatas are also linked in that they are all chorale cantatas, harking back to Bach’s second year in Leipzig (1724–25), when the cantatas that he wrote were each based in their entirety on a well-known hymn. The opening cantata, In allen meinen Taten BWV 97, is a setting of nine strophes from a poem by Paul Fleming, one of the great German baroque poets, and begins with a splendid French overture, in which the orchestra intones a solemn, slow introduction with the typical dotted rhythms, followed by a lively fugal section during which the choir makes its entry. This is followed by BWV 177, Ich ruf zu dir, Herr Jesu Christ, which at its centre has the aria Verleih, dass ich aus Herzensgrund… a heartfelt prayer from the soprano and oboe da caccia for the capacity to forgive one’s enemies. The hymn Es ist das Heil uns kommen her, on which the closing BWV 9 is based, remains an important hymn in the German Evangelical Church. The text – and Bach’s setting of it – eloquently conveys the message that it is through faith rather than deeds that mankind may achieve salvation.
Tracklista: CD 1 1. Andante 2. Allegro Moderato 3. The Banjo (Fantaisie Grotesque), Op. 15 4. The Dying Poet - A Meditation, Op. 110 5. Souvenir De Porto Rico - Marche Des Gibaros, Op. 31 6. Le Bananier - Chanson Nègre, Op. 5 7. Ojos Criollos (Danse Cubaine), Op. 37 8. Bamboula - Danse Des Nègres, Op. 2 9. The Maiden's Blush, Op. 106 10. The Last Hope, Op. 16 11. Suis Moi - Caprice, Op. 45 12. Pasquinade - Caprice, Op. 59 13. La Savane - Ballade Créole, Op. 3 14. Tournament Galop CD 2 1. A Montevideo 2. Grand Tarantelle, Op. 67 3. Marche Solennelle, RO154 4. Variations On the Portuguese National Hymn, Op. 91 5. Escenas Campestres, RO77 6. Marcha Triunfal Y Final De Opera, RO157 CD 3 1. Grande Fantaisie Sur L'hymne National Bresilien, Op. 69 2. La Jota Aragonesa, Op. 14 3. Souvenirs D'andalousie, Op. 22 4. La Gallina, Op. 53 5. Orfa, Op. 71 6. Marche De Nuit, Op. 17 7. Printemps D'amour, Op. 40 8. Radieuse, Op. 72 9. Responds-moi, Op. 50 10. Tremolo, Op. 58 11. L'etincelle, Op. 21 12. Ses Yeux, Op. 66 13. The Union, Op. 48