Jubilate Domino (Sacred Songs)

1. Salve mi, Jesu, cantata for voice & 5 strings
Composed by Franz Tunder
with Axel Kohler , Lautten Compagney

2. Jubilate Domino, Omnis Terra, for alto, viola da gamba & continuo, BuxWV 64
Composed by Dietrich [composer] Buxtehude
with Axel Kohler , Lautten Compagney

3. Sonata No.8
Composed by Johann Heinrich Schmelzer
with Lautten Compagney

4. Was betrübst du dich, meine Seele
Composed by Christoph Bernhard
with Axel Kohler , Lautten Compagney

5. Sonate o Partite Aria solo
Composed by August Kuhnel
with Lautten Compagney

6. Ecce, Ecce, Nunc (Psalm 134)
Composed by Johann Rosenmuller
with Axel Kohler , Lautten Compagney

7. Auf, lasst uns den Herren loben, aria, for alto, strings & continuo
Composed by Johann Michael Bach
with Axel Kohler , Lautten Compagney

8. Sonata No 9
Composed by Johann Heinrich Schmelzer
with Lautten Compagney

9. Weil, Jesu, ich in meinen Sinn
Composed by Johann Wolfgang Franck
with Axel Kohler , Lautten Compagney

Jubilate Domino (Sacred Songs),Axel Kohler,Johann Michael Bach,Christoph Bernhard,Dietrich Buxtehude,Johann Wolfgang Franck,August Kuhnel,Johann Rosenmuller,Johann Heinrich Schmelzer,Franz Tunder,Lautten Compagney,Capriccio,Cantata,Chamber,Chamber Music,Choral,Classical,Classical Collections-Artist Desc.,Classical Music,Keyboard,Miscellaneous,Miscellaneous Music,Music for Keyboard,Psalm Setting,Solo Voice(s) and Small Ensemble,Unknown Genre/Unspecified Instrumentation,Vocal

Heinrich Schütz: Symphoniae Sacrae, 1629
Average customer rating:

Sublime!

Faultless performances

Sublime music and perfect interpretations

As with others by Concerto Palatino, First Rate

Heinrich Schütz: Symphoniae Sacrae, 1629

Manufacturer: Accent Records
ProductGroup: Music
Binding: Audio CD

General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Concerto Palatino | ( C ) | Featured Performers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Schütz: Symphoniæ Sacræ III

Schutz: Motets & Concertos (Ger)

Schütz: German Requiem: The Seven Words of Jesus Christ on the Cross

Schütz: Psalmen Davids

Heinrich Schütz: Kleine geistliche Konzerte

ASIN: B000004433
Release Date: 1999-01-01

Tracks:

Domine, Labia Mea Aperies (SWV 271) - Barbara Borden/Douglas Nasrawi
Cantabo Domino In Vita Mea (SWV 260) - John Potter
Fili Mi, Absolon (SWV 269) - Harry Van Der Kamp
Paratum Cor Meum, Deus (SWV 257) - Barbara Borden
Anima Mea Liquifacta Est (Prima Pars-SWV 263) - John Potter/Douglas Nasrawi
Adjuro Vos, Filiae Jerusalem (Secunda Pars-SWV 264) - John Potter/Douglas Nasrawi
Jubilate Deo Omnis Terra (SWV 262) - Harry Van Der Kamp
In Lectulo Per Noctes (Prima Pars-SWV 272) - Barbara Borden/Rogers Covey-Crump
In Venerunt Me Custodes Civitatis (Secunda Pars-SWV 273) - Barbara Borden/Rogers Covey-Crump
O Quam Tu Pulchra Es, Amica Mea (Prima Pars-SWV 265) - John Potter/Douglas Nasrawi
Veni De Libano, Amica Mea (Secunda Pars-SWV 266) - John Potter/Douglas Nasrawi
In Te, Domine, Speravi (SWV 259) - Rogers Covey-Crump

Tracks:

Benedicam Dominum In Omni Tempore (Prima Pars-SWV 267) - Barbara Borden/John Potter/Harry Van Der Kamp
Exquisivi Dominum (Secunda Pars-SWV 268) - Barbara Borden/John Potter/Harry Van Der Kamp
Attendite, Popule Meus (SWV 270) - Harry Van Der Kamp
Venite Ad Me Omnes Qui Laboratis (SWV 261) - Douglas Nasrawi
Veni, Dilecte Mi (SWV 274) - Barbara Borden/Nele Gramss/Douglas Nasrawi
Exultavit Cor Meum In Domino (SWV 258) - Barbara Borden
Buccinate In Neomenia Tuba (Prima Pars-SWV 275) - John Potter/Douglas Nasrawi/Harry Van Der Kamp
Jubilate Deo (Seconda Pars-SWV 276) - Barbara Borden/Nele Gramss/Rogers Covey-Crump/John Potter/Douglass Nasrawi/Harry Van Der Kamp

Customer Reviews:

Sublime!.......2006-04-27

The composer: Heinrich Schutz, contemporary of Montiverdi, student of Giovanni Gabrielli, devout Catholic, and expat in Venice. Famous in his day and remains well-known. Fled to Venice to escape the 30 Years' War in his native Germany.

The Work: Symphoni? Sacr? I was written after Schutz returned to Venice. It was, in format and title, an homage to Gabrielli. A sublime piece of semi-ecclesiastical work, it is a setting for voice and instruments of many of Schutz' favorite verses from scripture, heavy on Song of Solomon, so expect a love theme. The whole work is superb but track 5- Anima Mea Liquifacta Est, Track 10- O, Quam Tu Pulchram Est, and 11- Veni di Libanon, are particularly beautiful. You can almost hear the mingling of divine and human love in the Symphoni? Sacr? I.

The performance: Period instruments are wonderful and the performance is flawless. As with their other recordings, Concerto Palatino does a wonderful job.

The Product: 2 CD's, both fine quality. Copious notes and full libretto with translations.

Flaws: Translations of the Latin are abominable in places, only fair in others. Translations to the English are generally only so-so, to German are consistently inept.

Faultless performances.......2005-12-03

I must agree with my Australian friend, as I have also owned this recording for years and regularly come back to it. The motets from Symphoniae Sacrae I are small in scale, but are all extremely beautiful. Apart from his Psalmen Davids (1619), this collection is my favorite of Schutz's published output.

The music is unfailingly expressive and innovative, plus the performances given are perfectly judged and do great justice to these fantastic works. There is constant variety of voices and instrumentation such that no two motets share the same scoring. I especially like In lectio per noctes which employs three curtals under soprano and alto voices. It's an exquisite texure.

This is a recording any fan of Schutz should not be without.

Sublime music and perfect interpretations.......2005-11-03

This recording is a 'desert island disc' of mine. I have played it over and over again since I bought it in 1992.

There are many masterpieces here.
Fili me, Absalon and Attendite, popule meus - each featuring four trombones, solo bass voice and basso continuo. Anima mea liquifacta est/Adjuro vos filiæ Jerusalem - for two mute cornetts, two tenors and basso continuo (perhaps the best work in the set?) and the extroverted Buccinate in neomenia tuba/Jubilate Deo - both parts for two tenors and bass singers, trumpet, cornett, dulcian and basso continuo.
The two works for three dulcians and alto and soprano voices are very atmospheric and sensual.
Some of the works feature a pair of violins accompanying the singers and these are also very beautiful works.

The Symphoniæ Sacræ I of Heinrich Schütz is one of the greatest collections of works in the entire 17th century. Schütz explores a range of human emotions and moods in these works and does so with great clarity and sophistication.

The performances on these two CDs are beyond reproach. I cannot recommend this recording too highly to you - it is a great recordings of great music.
Believe me!

As with others by Concerto Palatino, First Rate.......2000-06-14

These concertos are grander and more expansive than the Kleine Geistliche Konzerte of a few years later, and show Schutz at his most expressive and emotionally intense form.

The performances are excellent and the sound quality very fine.

Tracks:

The Three Ravens - Andreas Scholl/Andreas Martin
Barbara Allen - Andreas Scholl/Andreas Martin
Messiah: Air 'But Who May Abide The Day Of His Coming?' - Andreas Scholl
Serse: Sinf - Andreas Scholl
Serse. Recitativo: Frondi Tenere - Andreas Scholl
Serse: Atto I, Scena 1. Aria: Ombra Mai Fu - Andreas Scholl
Cantate, RV 684 'Cessate, Omai Cessate': Largo E Sciolto: Cessate, Omai Cessate - Andreas Scholl/Ens 415/Chiara Banchini
Cantate, RV 684 'Cessate, Omai Cessate': Larghetto & Andante Molto: Ah Ch'infelice Sempre - Andreas Scholl/Ens 415/Chiara Banchini
Cantate, RV 684 'Cessate, Omai Cessate': Andante: A Voi Dunque Ricorro - Andreas Scholl/Ens 415/Chiara Banchini
Cantate, RV 684 'Cessate, Omai Cessate': Allegro: Nell'orrido Albergo Ricetto Di Pene - Andreas Scholl/Ens 415/Chiara Banchini
Messe in b: Agnus Dei - Andreas Scholl/Collegium Vocale/Philippe Herreweghe
Stabat Mater (Exc): Eja Mater, Fons Amoris - Andreas Scholl/Ens 415/Chiara Banchini
Stabat Mater (Exc): Fac Ut Ardeat - Andreas Scholl/Ens 415/Chiara Banchini
Stabat Mater (Exc): Amen - Andreas Scholl/Ens 415/Chiara Banchini
Maddalena Ai Piedi Di Cristo. Recitativo Amor Celeste: Di Miei Dardi Possenti - Andreas Scholl
Maddalena Ai Piedi Di Cristo. Aria Amor Celeste: Da Quel Strale Che Stilla Veleno - Andreas Scholl
Cantate 'Jubilate Domino' - Andreas Scholl/Friederike Heumann/Brigitte Gasser/Markus Markl/Karl-Ernst Schroder
Ach Liebste, Lass Uns Eilen - Andreas Scholl/Markus Markl/Karl-Ernst Schroder/ALix Verzier
Kunst Des Kussens - Andreas Scholl/Markus Markl/Karl-Ernst Schroder/ALix Verzier
Cantate Profane 'Hercules Auf Dem Scheidewege'. Aria Hercules: Treues Echo - Andreas Scholl
Matthaus-Passion. Aria: Erbarme Dich - Andreas Scholl/Collegium Vocale/Philippe Herreweghe

Customer Reviews:

Excellent introduction to this countertenor and well-rounded compilation of his work.......2007-04-02

If you're new to Andreas Scholl and want to dip a toe in the water of his recordings I think this would be an excellent choice - not only because it is mid-priced and because it has a generous 21 tracks. This countertenor singer has an unsurpassed voice, pure and beautiful but also strong and yet not overblown. Unlike many singers he doesn't (for me) ruin it by being excessively warbly but adds just the required variety to the tone.

This album contains a selection of tracks from several of his albums for the Harmonia Mundi label (he then switched to Decca and is now back with HM) which include a variety of styles and accompaniments. The first two tracks, for example, are English folksongs, then we have an Air from Handel's Messiah and three tracks (one instrumental) from Handel's Serse opera, some lively Vivaldi cantatas, there are a couple of German baroque songs, a JS Bach opera Aria from Hercules and finally the big guns (in my opinion), "Agnus Dei" from J S Bach's Mass In B Minor, Vivaldi's "Stabat Mater," a Buxtehude cantata "Jubilate Domino" and the incomparable recording of "Erbarme Dich" from the St Matthew Passion by Bach. That last track is so good I tend to feel I have to lie down afterwards and contemplate the world whilst waiting for the hairs on the back of my neck to settle down. The album price is worth it just for that one track.

The accompaniment on this album varies from just lute (in the folk songs), organ lute and cello on the German baroque songs, the Ensemble 415 with Chiara Banchini and several full orchestras. There's something here for everyone and none of the tracks is in any way disappointing (although I have my favourites, of course). The album was produced in 2000 and of course Andreas Scholl has done many more recordings and probably become an even better singer since this album but it's still an excellent album which can be played and enjoyed over and over again.

heavenly.......2006-12-10

andreas scholl does it again. the beauty of this "voice" is expressed in this lovely selection. so far my favorite scholl cd, with his pergolosi stabat mater as a close second. the highlight of this cd i felt was "da quel strale che stilla veleno" from the caldara work madalena ai pieda di christo. with the orchestra directed by his famous teacher rene jacobs this piece is a gem. absolutely heavenly is how i describe the heavenly side of the voice scholl portrays in this sacred opera. other highlights are bach's "agnus dei" from the mass in b minor, which scholl himself has referred to as the most beautiful piece for the countertenor voice. bach's "erbarme dich" from St. Matthews Passion, which he sings in his mother tongue, and his "ombra mai fu" which is the version i favor as opposed that that which appears on his "best of" cd, of which i also recommend. his version of "ah ch'infelice sempre" by vivaldi will give you chills. it is one of my favorites to sing as i am a countertenor as well. a must buy.

a voice teacher and early music fan.......2006-10-13

Andreas Scholl is regarded as one of the finest countertenors of our generation and has appeared throughout the world under the direction of many notable conductors. I personally think that the most important contribution he as has made is to the rediscovery of the German Baroque repertoire. There are two examples on this disc from his album :German Baroque Songs,which I think is one of his finest discs. He is also very interested in pop music and sound techniques. One can only hope that he doesn't decide to make an album of pop songs. He came close to it in that miserable disc: The Three Countertenors. However, I do think this is a very excellent collection of songs from his various recordings. I expecially liked the Vivaldi 'Cessate, omai cessate' and the 2 German Baroque songs: "Ach Liebste, lass uns eilen" by Johann Nauwach and "Kunst des Kussen" by Andreas Hammerschmidt.

Baroque My Heart.......2002-09-13

For a relatively young singer, Andreas Scholl has a surprising number of recordings. This attests to his amazing talent and the increasing popularity of music for countertenors. This CD is a sampler of Scholl's repertoire.

The English folksongs are interesting and pleasant, but for me, it is the Baroque works that truly shine. Scholl's voice is remarkably pure; his versatility and fluidity lend themselves perfectly to the currents of Baroque music. His take on Handel's Xerxes is incredible-this is music at its finest: pure joy, pure passion, raw emotion. It is heart-wrenching and soul-shaking. In "But who may abide the day of His coming?" from the Messiah, Scholl masters the balance between structured discipline and bravura "riffs" that demonstrate a singer's range and talent. Vivaldi's Sabat Mater, one of my favorite pieces of music, gets glorious treatment.

I'm glad that our civilized world had abolished the practice that creates a castrato, and I'm glad that there are rare talents like Scholl who can give us a sense of this musical genre.

The only downside to purchasing this CD is that you will immediately want to run out and purchase the complete version of each sample presented here!

If you enjoy listening to the magic of countertenors, I highly recommend Yoshikazu Mera, an amazing young Japanese artist. Start with his "Baroque Arias" CD, and I'm sure you will try more.

Sublime compliation of Scholl's Harmonia Mundi recordings.......2002-01-23

Andreas Scholl is the countertenor, nay, the *VOICE* of all time. None can match him for clarity, diction, tone, precise phrasing, or *passion* that he puts into every song that he performs. For me, Scholl's voice is the voice of a divine being, at once something mysterious, holy, achingly beautiful and otherworldly.

If you believe me to exaggerate, so be it. To each his own. Countertenors are not to everyone's tastes even though they are more visible and mainstream than thirty years ago. Yes, there is perhaps some novelty to be found for the uninitiated at the sound of a man singing falsetto. I did not say "singing like a woman" because I do not believe that to be the purpose. "Singing like a woman" in my book defines Brian Asawa and David Daniels, two popular American countertenors who, to my delicate ears, sound exactly like mezzo sopranos and not the otherworldly, decidedly masculine sound of a countertenor (with the exception of Dominique Visse, whose voice is extremely androgynous, especially in the higher registers). This is only my humble opinion.

I discovered Andreas Scholl three years ago and have collected many of his works since. My first Scholl song was "Ombra Mai Fu," a song that is present on this collection. I was in awe, in heaven even, at the first sound of his pure voice, that first gentle crescendo that hinted of sensuality, vocal purity, a past era of Bach, Handel, Hasse. Scholl's phrasing is lush, his singing is effortless, he makes sparing use of vibrato, spinning track after track of an unmatched vocal tapestry. At times Scholl and the orchestra match each other note for note, at other times his voice soars above into the heavens ("Cessate, omai cessate").

"The Voice" covers various styles from nine different Andreas Scholl Harmonia Mundi recordings (Deutsche Barocklieder, English Folksongs and Lute Songs, Kantate, St. Matthew Passion, Cantates Profanes, Maddalena ai piedi di Cristo, Ombra mai fu, Messiah, Stabat Mater). Andreas quit Harmonia Mundi in 1999 and signed a recording contract with Decca Classics, on which he has released five additional recordings (Nisi Dominus, Pergolesi's Stabat Mater, Heroes, A Musicall Banquet, and Wayfaring Stranger).

It is my opinion that the best of Scholl's works up to the present were with Harmonia Mundi, as these 21 selections show. We have the pleasure of hearing Andreas sing English lute songs ("The Three Ravens," "Barbara Allen"), Baroque religious works by Bach, Handel, Caldara and Buxtehude ("Erbarme Dich," "Agnus Dei," "But Who May Abide," and "Jubilate Domino"), German Baroque songs, and other Baroque cantatas by Vivaldi and Bach.

At present (including several upcoming projects) Scholl's discography is over 75 recordings large. This is an excellent and affordable introduction to the voice of a most remarkable man.

Psalms of David Complete
Average customer rating:

Brilliant Recordings

A- for effort

What can you say?

Psalms of David Complete
Choir of St Paul's Cathedral , and Scott
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
Classical | Imports | Stores | Music
Similar Items:

The Psalms of David from Kings Choir of Kings College, Cambridge, Vol. 1

Psalms For The Soul

Treasures of English Church Music

The Oxford Guide to The Book of Common Prayer: A Worldwide Survey

Praise to the Lord - Hymns From St. Paul's Cathedral

ASIN: B00006GO6J
Release Date: 2002-10-08

Amazon.com

This complete 12-disc survey of The Psalms of David from St. Paul's Cathedral is both a remarkable historical record of Anglican chant at its finest and an astonishing musical experience. Contained here are all 150 psalms in their traditional English garb from the 1549 Book of Common Prayer, with revised or entirely new musical settings as published in The New St. Paul's Cathedral Psalter, edited by the choir's musical director John Scott, itself a revision of the 1875 Cathedral Psalter. As such, these recordings represent the very backbone of the Anglican liturgy, but even a casual listener will be in no doubt that they also offer music that is both contemplative and richly varied when removed from its liturgical context.

The art of "pointing"--or setting--psalm texts has been essayed by many English composers, from William Croft through the Wesleys and William Boyce in earlier times to the great flowering in the late 19th century under Stainer and Barnby, with further contributions from Parry, Stanford, Elgar, Howells, and a host of choirmasters and organists, including Sir David Willcocks and John Scott himself. All are represented here. Recorded throughout in the vast acoustic of their cathedral, the St. Paul's choristers enunciate the words precisely, backed by inventive though unobtrusive organ accompaniment. Taken individually, it's possible to isolate moments when the choir seem to drag their feet or fail to give due weight to the words (Psalm 125, "They that put their trust in the Lord," seems far too subdued, for example), and the massive Psalm 119 is awkwardly split across discs 10 and 11, but overall this set is nothing less than a document of invaluable cultural and musical significance. --Mark Walker

Customer Reviews:

Brilliant Recordings.......2007-06-11

In our view the changes in pointing, and excellent selection of chants, give deeper meanings to the Psalms than those achieved in the "standard?" Parish Psalter.

We found great Spirituality and a wonderful sense of Worship whilst listening to this set. This is often sacrificed for brilliance of musical performance in other recordings.

Unfortunately the "St.Paul's Psalter" is not available (June 2007) but we are told that a new print run may happen within 12 months. This would be a most valuable companion to the recordings when and if it becomes available.

A- for effort.......2006-02-23

This grand undertaking deserves high praise, and I'm struck, listening to chant after chant, how much Anglican chant as it used to be until the changes of the 70s was one of the great Victorian contributions to English life and art. For anyone who wants to hear almost the entire repertoire of Anglican chant deployed in singing the whole book of Psalms, this is an unrivalled source. It is wonderful, too, to hear the Coverdale translation: you realize what the churches have lost by abandoning the proper & regular singing of the Psalms. So one is immensely grateful to Hyperion for putting out this recording. It's not perfect, though.

The rhythmic pacing, though a little slow for my taste, is steady and sensitive, the diction clear, and the organ accompaniment superb (Providing an expressive accompaniment to a choir singing in 4-part free rhythm, and improvising descants to the melody at the same time, isn't easy). And of course there's the cavernous acoustic of St. Paul's, very impressive in the more thunderous psalms. Unfortunately, though, the "forward" style favored for the St. Paul's boys produces a sound that's unpleasantly chesty in the lower registers and reedy in the higher ones. The poorly integrated choral sound caused by this kind of voice-production can be downright unpleasant for anyone used to, or trained in, the classic English choral style. In fact, one has to wonder why this choir was chosen for such a huge project: even allowing for the near-universal decline in standards of vocal training for boys in England, better sounds than this can still be heard.

What can you say?.......2003-01-03

I almost hate to criticize this terrific thing. After all, where else can you get all 150 Psalms in a single collection sung by one of the world's great choirs?

How much do I like it? I bought it *twice*. I originally bought all the CDs separately, before they came out with a single boxed set. They were stolen from my car (and, God willing, maybe they converted some poor thief to Anglican Cathedral Music and got him into church). After they were stolen, I immediately bought them again.

One of the great pleasures of life is listening to the Morning and Evening Psalms while driving to and from work, and making listening a regular feature of Morning and Evening Prayer.

So what's the criticism? The sound is a bit muddy, so the words can be rather difficult to understand without reading along (which is a real problem when driving), and personally, I prefer the Psalter from the 1979 BCP instead of the old one, from the Great Bible. But that's unreasonable. They ARE a British choir after all. Those are the only criticisms.

Tracks:

O Jesu, nomen dulce, SWV 308
Ach, Herr, lass deine lieben Engelein
Lamento 'Ach, dass ich Wassers g'nug hatte
Salve mi Jesu
Sonata Quinta a quattro, viole da gamba o come piace aus 'La Cetra', 1673
Klag-Lied 'Muss der Tod denn auch entbinden' aus 'Fried - und freudenreiche Hinfahrt', BuxWV 76
Wer sich dem Himmel ubergeben
Herzlich lieb hab ich dich, o Herr, SWV 348
Jubilate Domino
Sonata lV pour violon et basse continue en ut mineur - C Minor
Was hast du verwirket, SWV 307

Amazon.com

Sublime is the only word for it. We're talking about the voice of countertenor Andreas Scholl--and you will be talking about it too, between many repeat plays of this outstanding disc, which deserves to win whatever awards are given this year for vocal performance. Although this magnificent program of German Baroque cantatas for solo voice and various accompaniments (including viols, lute, and harpsichord) has much to offer purely on the strength of its astonishingly beautiful music, it's the voice of Scholl, served by faultless musical instincts and unequalled technical facility, that elevates these mortal scores to the most rarefied realm of high art. Scholl's voice--which has no discernible register break--and his interpretive delivery have been accurately described as "seductive," "alluring," and "potent." You'll certainly find your own descriptive terms, but one thing is certain to be shared by all who listen to this disc: your CD library will grow in direct proportion to the number of Scholl discs in the catalog. --David Vernier

Customer Reviews:

simply wonderful.......2000-12-21

This is an outstanding recording that does full justice to the beauty of German pre-Bach song. Scholl is unparalleled in the subtle way he treats every single song. The listener gets carried away by the different moods the tunes carry: once brooding and sad, other times very exuberant and full of joy. Having grown up with the music of Schutz and Buxtehude in a northern German medieval town, I have heard many weak renderings of this music that do not do justice to its inherent pious beauty. Scholl lets it sparkle and shine the way it deserves to be sung.

Hypnotizing.......2000-08-29

This was my first Andreas Scholl CD, I purchased it immediately after hearing it played in a store. From the first listen over a year ago until now it still profoundly affects me. Alternatingly slow and brooding to more uptempo, the beautiful music and haunting voice are the perfect accompaniment to those moments of pensive introspection.

Sublime truly is the word........2000-07-06

I loved Heroes, but this is my favorite Scholl collection so far. Alternatingly exuberant, forceful, and delicate, his enchanting voice is refined and controlled yet emotive. Countertenor fans will not be disappointed.

Sold out in the shops.......1998-12-28

This is a beautiful collection of pre-Bach German sacred music, which probably has the distinction of being the first such to break into Classical charts. Clever programming and marketing by Harmonia Mundi obviously hasn't hurt any there, but this still remains a great disc.

Most of the tracks are well known and oft recorded, notably by Scholl's teacher Rene Jacobs. Schutz features three times (SWV307,308,348), Buxtehude twice (BuxWV76, Jubilate), along with two standards of the genre: JC Bach's Ach dass ich Wasser's g'nug, and Tunder's Ach Herr lass deine lieben Engelein. The only discoveries are Philipp Heinrich Erlebach 1657-1714: Wer sich dem Himmel ubergehen, and a protestant reworking of Rovetta's Salve Regina into Salve mi Jesu. The disc also features two short instrumental pieces by Legrenzi and Albertini.

The only weak point of the package is exactly that - the packaging. The CD comes in a transparent plastic sleeve and then has a trendy (Made in Italy) 3-leave card case with the booklet (as illustrated above.. the cover has Herr Scholl looking dapper in a white tie) hidden in an envelope at the back. Novelty apart this is no improvement on the usual CD case. Also the sleeve and booklet err in getting Rovetta (original composer of Salve mi Jesu) and Tunder (as above) mixed up.

Buxtehude: Sacred Cantatas
Average customer rating:

Exquisite CD

Excellent and promising recording

Buxtehude Cantatas in Sparkling Performances

Buxtehude: Sacred Cantatas

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Passacaglias | Variations | Forms & Genres | Classical | Styles | Music
General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
General | Opera & Vocal | Styles | Music
Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Similar Items:

Buxtehude: Seven Sonatas, Op. 1

Buxtehude: Seven Trio Sonatas, Op. 2

Buxtehude: Geistliche Kantaten

Buxtehude: Harpsichord Works

Buxtehude: Sacred Cantatas, Vol 1 /Kirkby * Leblanc * Harvey * Purcell Quartet

ASIN: B0002TXT3E
Release Date: 2004-10-19

Tracks:

Was Frag' Ich Nach Der Welt, BuxWV 104
Jesu, Meine Freud Und Lust, BuxWV 59
Sicut Moses, BuxWV 97
Passacaglia, BuxWV 161
Wenn Ich, Herr Jesu, Habe Dich, BuxWV 107
In Te, Domine, Speravi, BuxWV 53
Jubilate Domino, BuxWV 64
Wie Schmeckt Es So Lieblich Und Wohl, BuxWV 108

Album Description

The works recorded here illustrate Buxtehude's masterful command of the huge variety of styles that characterized the sacred cantata in Germany during the seventeenth century. Each begins with an instrumental passage, and sung text is interspersed with instrumental responses, sometimes in strophic form. In the larger cantatas for all three voices, the music allows for the maximum of contrast, whereas the four solo cantatas give a more intimate expression of Buxtehude's craft. Into the latter category falls the extremely virtuosic Jubilate Domino, one of Buxtehude's best-known cantatas.

Customer Reviews:

Exquisite CD.......2006-04-28

The two previous reviewers did a wonderful job which I won't even attempt topping as it would be impossible. But I must say that I agreed completely that Matthew White is superb, particularly on this disk. He shines on "Jesu meine Freud und Lust", I play it over and over... its just a masterpiece and I never really remember what it means in English and it doesn't matter, I love it.

Excellent and promising recording.......2005-08-07

Just a short review from me.
This recording is superb and the singing is very fine, indeed. The countertenor, Matthew White, is new to me and he has a very powerful and rich voice. I look forward to hearing more from him in the future. The cantatas presented here features voices, strings and basso continuo. None of the larger scaled cantatas with clarini, timpani, cornetti, tromboni and fagotti by Buxtehude are featured. However, we have a very beautiful collection of cantatas for voice(s) and small string instrumental groups. The works are sublime.

Many may already know the Jubilate Domino, BuxWV 64 from other recordings. Matthew White's interpretation is a very contender.

The Aradia Ensemble goes from strength to strength - last year they gave us a fine rendition of Rameau's Castor et Pollux and more recently they have made one of the most delightful CDs of 2005 - the 8 Symphonies of William Boyce (also on NAXOS). This Buxtehude CD will reinforce their reputation as one of the Baroque music groups that is really making entertaining, expressive, stylish, colourful and wonderful recordings these days.

Impressive? You betcha!

Buxtehude Cantatas in Sparkling Performances.......2004-12-22

The Aradia Ensemble has become one of Canada's, and the world's, best baroque groups. They have now recorded more than a dozen CDs on the Naxos label. This is, as far as I know, their first go at the music of Dietrich Buxtehude (ca. 1637-1707) but one hopes it won't be their last. This CD contains six sacred cantatas, all for solo singers or small vocal ensembles accompanied by small instrumental group (including at times baroque violins, viola, cello, viola da gamba, violone, theorbo and positif organ) all led by Kevin Mallon. The styles vary according to the forces called for. All have instrumental introductions, the complexity of which is determined by the form of the subsequent text and its treatment for voices and instruments. Most familiar is 'Jubilate Domino' sung with laserlike intonation and sweet tone by countertenor Matthew White. This 9-minute hymn of praise begins with a long string/organ introduction that gives us materials that are then used in the florid sung line. The form is semi-strophic, with solo instrumental intermezzi between the verses. White's solo singing is also heard in 'Jesu, meine Freud und Lust,' and 'Wenn ich, Herr Jesu, habe dich' as well as in the three cantatas that call for the singing of all three soloists. He is clearly the star of this issue and one predicts a big career for him.

Katherine Hill, a clear-voiced soprano of the Emma Kirkby stripe, is heard in another solo cantata, 'Sicut Moses' ('As Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up'). The three soloists (including bass Paul Grindlay) are heard together in three other cantatas, 'Was frag' ich nach der Welt, 'In te, Domine, speravi,' and the dramatic 9-minute 'Wie schmeckt es so lieblich und wohl' ('How lovely and good the saviour') with its introduction and instrumental ritornelli, passages for combined voices as well as those for each of the soloists. This is a virtuoso work, calling for exciting (and expertly done) fioriture from the singers and solo playing from the instrumentalists.

The CD also contains the familiar Passacaglia in D minor, BuxWV 161 (originally for organ) arranged by Mallon for strings. I prefer it on the organ, but it is nonetheless an effective transcription. (It might be added that pitch on this CD seems to be pretty close to modern concert A=440, not radically lowered as it so often is in baroque recordings.) Sound is clean and lifelike.

Scott Morrison

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Moving
Recording problems not quite solved/more rehearsal?
'Welcome home' to an old friend
Heavenly music performed as in heaven
Old Favorite re-released on CD

Gabrieli in San Marco

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Glory of Gabrieli
The Antiphonal Music of Gabrieli
Giovanni Gabrieli: Music For San Rocco
Glorious Sound of Brass
The Glory of Venice: Music of Andrea & Giovanni Gabrieli [Australia]

ASIN: B0000029QR
Release Date: 1996-04-16

Tracks:

Deus, in nomine tuo
Beata es, virgo Maria
Jubilemus singuli
Deus, Deus meus, ad te de luce vigilo
O quam suavis est
Kyrie
Sanctus
Benedictus
Cantate Domino
Domine, exaudi orationem meam
Hodie completi sunt
Magnificat
Surrexit Christus
Nunc dimittis
Jubilate Deo a 10
Intonatio - Jubilate Deo a 8

Customer Reviews:

Moving.......2007-01-14

Of the two disks recorded at San Marco, I find this one the more enjoyable for its variety in pieces and arrangement of choral and instumental works; although it's been a while since original recording, I found the sound reproduction exceptional on a good system: Gabrieli's ephemeral sounds on his stage-moving!

Recording problems not quite solved/more rehearsal?.......2007-01-12

These are some of the antiphonal pieces that Giovanni Gabrieli wrote for the two balconies of San Marco in Venice. The recording problems there must have been many, and in reality, were not quite solved. The antiphonal effects are there, but there is a lot of muddy sound, with the whole thing sounding as if through a veil. The performance is "old" style, but I could accept that from 1967. What bothers me is shaky ensemble, with performers unable to overcome the space. They never seem to have understood "watch, don't listen", which is crucial in strange spaces like San Marco. Maybe they couldn't get enough recording time in the space, but there is some terribly ragged ensemble. AND screaming tenors, who aren't quite tuned into the style (although I don't know who was, in those days). BUT, these are good examples of attainable performances of these pieces, and unless you are experienced in early music, and are performing these pieces (with large college forces, maybe), this is probably what your performaces will sound like. Cleaner, I hope.

'Welcome home' to an old friend.......2007-01-09

I got a pleasant surprise when I put this CD on my music system. I recognized it immediately as the CD re-release of a marvelous album that I had thought was long out of print, "The Glory of Gabrieli, Vol. III." In the late 1960s and early '70s, organist E. Power Biggs joined forces with Gregg Smith, the Texas Boy's Choir and a host of others to produce a series of albums spotlighting the music of Giovanni Gabrieli. The albums were all recorded in the basilica of San Marco in Venice, taking advantage of its wonderful acoustics. The first two albums in the series featured a combination of organ, voices and orchestral forces. But in this third volume, Biggs and the orchestra removed themselves to the wings, so to speak, and an a cappella album was released featuring only the voices of the Gregg Smith singers and the Texas Boy's Choir, unaccompanied.

I had an old-fashioned cassette tape pirate copy of this album for many years, but as cassettes would, it ultimately wore out. I then found that, despite my searches, the album was no longer available. I finally caught up with it one day, in a used-record cardboard box at the public library's used book store. I was glad to have it back, but of course it was an old LP, rather beat up and scratched. Now I'm glad to have it once gain, pristine and unscratched on a digitally-remastered CD.

For 35 years I've been collecting music, and this has always been one of my favorite albums. I'm very glad to welcome it back again.

Heavenly music performed as in heaven.......2002-05-17

This is an extraordinary find for the connoisseur of baroque and early church music. Tracks 9 and 14 are some of the most beautiful music I have ever heard. As the jacket quotes from an English visitor of the time (1600), "Nevere in may life hast I heareth such celestial strains as these. Truly, these be the tones that the Almighty himself doth heare."

Old Favorite re-released on CD.......2000-01-23

I had bought this as an LP in "quadrophonic" sound and thoroughly enjoyed it. Yes, it may not be up to modern day recording standards but it is a worthwhile recording nonetheless. I highly recommend it as an intro to Giovanni Gabrieli.

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a voice teacher and early music fan

Klaglied: German Sacred Concertos

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00005J71B
Release Date: 2001-06-26

Tracks:

Ach, Dass Ich Wassers Gnug Hatte: Lamento, Adagio Con Discrezione - Michael Chance/The Purcell Qt/Clare Salaman/Rachel Byrt
Vater Unser, Der Du Bist Im Himmel: Sinf - [ ] - Sinf - [ ] - Sinf - [ ] - Allegro - Michael Chance/The Purcell Qt
Wenn Ich, Herr Jesu, Habe Dich, BuxWV 107: Sonatina - [ ] - Michael Chance/The Purcell Qt
Son, BuxWV 266 in C: Adagio - Allegro - Adagio - Solo - Allegro - Adagio - Allegro - Adagio -... - Michael Chance/The Purcell Qt
Jesu, Meine Freud Und Lust, BuxWV 59: [ ] - Largo - Allegro - Michael Chance/The Purcell Qt/Clare Salaman
Erbarm Dich Mein, O Herre Gott, SWV 447: Sinf - Solo - Michael Chance/The Purcell Qt/Rachel Byrt/Clare Salaman
Auf, Lasst Uns Den Herren Loben: Sinf - [ ] - Michael Chance/The Purcell Qt/Clare Salaman/Rachel Byrt
Jubilate Domino, BuxWV 64: Son. Allegro - [ ] - Adagio - Vivace - Michael Chance/The Purcell Qt
Son, BuxWV 271 in G: Allegro - Solo. Adagio - Allegro - Adagio - Adagio A 3 - Allegro - Solo.... - The Purcell Qt
Klaglied, BuxWV 76/2 - Michael Chance/The Purcell Qt/Susanna Pell/William Hunt

Customer Reviews:

a voice teacher and early music fan.......2005-12-22

Klaglied (Lament) sets the tone for this excellent disc by Chandos. The "aria" both sacred and secular was utilized by several mid-17th century composers such as Geist and Buxtehude whose music can be heard on this recording.By the 1660's devotion had become more subjective centered on the individual's emotional experience of God.The affective and accessible style of the aria was perfect for conveying the sweetness of personal communion with God, as well as humility before his might. Man's relationship with God makes for "heavy" text and emotional music. But Michael Chance and the Purcell Quartet are up to the challenge. On this disc are 4 vocal works by Dietrich Buxtehude (1637-1707). They are: 'Jesu, meine Freud und Lust'Bux WV59 (Jesu, My Joy and My Desiring) in which we hear an ecstatic, almost mystical poem, senuously tasting Jesus' 'kiss' and 'nectar'. This is performed in a dance meter, the voice alternating with the strings.'Wenn ich, Herr Jesu, habe dich,'BuxWV107 (If I have you, Lord Jesus) again stresses the believer's personal relationship with Jesus, this time in a simple strophic song with string ritornello.
'Klaglied, BuxWV76/2'(Lament) in which the emotion intensifies as Buxtehude sets his own elegy on the death of his father in 1674. The 'Klaglied' has a simple but plaintive tune with many heartfelt descending leaps and has a contrapuntal string accompaniment.
'Jubilate Domino,BuxWV64' is a big contrast to the previous works; in fact it is a virtuoso showpiece,perhaps written for an Italian castrato. It uses the concerted style, with the singer chasing a virtuostic viola di gamba part through the musical texture.
Christian Geist(1650?-1711) in his work 'Vater unser, der du bist im Himmel' (The Lord's Prayer) did not use the aria style, but rather sets the Lutheran chorale that paraphrases 'the Lord's Prayer'.
The three remaining vocal pieces on this disc are by central German composers: 'Erbarm dich mein, o Herre Gott'SWV447(Have pity on me, O Lord)by Heinrich Schutz is one of his few settings of a Chorale. He accompanies it with a rich, dissonant string texture.
'Auf,Last uns den Herren loben'(come let us praise the Lord)Johann Michael Bach composed this morning hymn in the fashionable, tuneful aria style, thanking God for deliverance from perils of life and war.
'Ach, dafs ich Wassers gnug, hatte'(Oh that I had tears enough) Johann Christoph Bach sets a deeply penitential text drawn from the psalms and the Lamentations of Jeremiah.

Of the many recordings of these arias, and I have 2 others, this is the BEST!!!!!!. The main reason is, of course,Michael Chance. His vast experience singing all genre of music come through in a big way when he sings this very difficult and demanding music. He is a master at conveying the vast and varied emotional content that this music demands. Combine this with his flawless diction and his UNIQUE tone quality, an you know that you are getting the perfect performance. Of course, he has a marvelous group on this disc with him : the Purcell Quartet. They are top-notch in every way, able to read every nuance of the music, not only when accompanying, but also in soloing. What a wonderful treat for the early music lover!!!!!!!

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Gregorian Chants for All Seasons

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music

Lost in Meditation: Meditative Gregorian Chants, Vol. 1
Chant
Gregorian Chants: The Best of the Benedictine Monks of St. Michael's
Gregorian Christmas: Chants & Motets
Lost in Meditation: Meditative Gregorian Chants

ASIN: B000001K22
Release Date: 1992-11-04

Tracks:

Introit For The 1st Sunday In Advent (Mode 8)
Introit For The 4th Sunday In Advent (Mode 4)
Communion 3rd Sunday In Advent (Mode 7)
Introit For The 3rd Sunday In Advent (Mode 1)
Offertory For The 4th Sunday In Advent (Mode 8)
Hymn For Christmas Vespers (Mode 1)
Introit For The 3rd Christmas Mass (Mode 7)
Alleluia Of The 3rd Christmas Mass (Mode 8)
Communion For The Feast Of The Holy Confessor (Mode 8)
Gradual For The Feast Of The Holy Confessor (Mode 2)
Offertory For The 2nd Sunday After Epiphany (Mode 6)
Communion For The 2nd Sunday After Epiphany (Mode 6)
Introit For Sexagesima Sunday (Mode 1)
Tract Of Sexagesima Sunday (Mode 8)
Communion For The 2nd Sunday In Lent (Mode 5)
Offertory For Palm Sunday (Mode 8)
Gradual For Maundy Thursday (Mode 5)
Offertory For Maundy Thursday (Mode 2)

Tracks:

Introit For Easter Sunday (Mode 4)
Gradual For Easter Sunday (Mode 2)
Alleleuia For Easter Sunday (Mode 7)
Sequence For Easter Sunday (Mode 1)
Offertory For Easter Sunday (Mode 4)
Communion For Easter Sunday (Mode 6)
Antiphon For Easter Sunday In Praise Of Mary (Mode 6)
Introit For Ascension (Mode 7)
Offertory For Ascension (Mode 1)
Introit For Pentecost Sunday (Mode 8)
Sequence For Pentecost Sunday (Mode 1)
Communion For Corpus Christi Day (Mode 7)
Introit For The Feast Of The Immaculate Conception (Mode 3)
Introit For The Feast Of Christ The King (Mode 3)
Communion For The Feast Of Christ The King (Mode 6)
Introit For All Saints Day (Mode 1)
Offertory For All Saints Day (Mode 1)
Communion For All Saints Day (Mode 1)
Introit For All Souls Day (Mode 6)
Antiphon For Burial Service (Mode 7)

Average customer rating:

great, great!!!
ALL THE MUSIC YOU EVER NEED!!

Sacred Music Complete
Purcell , King , and Kings Consort
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Complete Odes and Welcome Songs of Henry Purcell / King's Consort
Complete Secular Songs (3cd)

ASIN: B00006RHQJ
Release Date: 2002-12-10

Customer Reviews:

great, great!!!.......2006-12-05

This is the way ,I think, Purcell should sound. No pomp and surcomstance but only great music.

ALL THE MUSIC YOU EVER NEED!!.......2003-05-23

This boxed set is by far one of the best purchases I have ever made. As a Purcell freak, this hits every button I have. The cast of characters include the inequitable Robert King, New College Choir, Bowman, and a host of other venerable persons. Likewise the attention to period performance of these works makes it an essential addition to the library of any serious anglophile/Musicologist etc. Now if only the Britten Realizations of all Purcell's songs could be recorded alongside the originals! You will Love this set!