čes | eng | fra | deu
 
Google Translate of English 
 
 
 
 
 
 
 
 
 

Russian and World music CD DVD shop and Classic distribution

 
 

Sacred Music, page 17

   Found CDs: 277
 

An English Choral Tradition

An English Choral Tradition
ID: GCCD4043
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

Choral works inspired by The Three Choirs Festival. Worcester Cathedral Choir / Donald Hunt.
15.00 eur Buy

In Passione Domini - Jan Valkestijn - Rabaskadol - Fritz Heller - William Byrd Vocal Ensemble - Nico van der Meel

In Passione Domini - Jan Valkestijn - Rabaskadol - Fritz Heller - William Byrd Vocal Ensemble - Nico van der Meel
ID: ACDHJ044-2
CDs: 1
Type: SACD
Collection: Sacred Music
Subcollection: Voices and Chamber Ensemble

THE SUNG PASSION STORY
The passion story according to the four evangelists was already recited in early Christendom in the liturgy of Holy Week. One of the earliest reports dates from the fourth century. Pope Leo the Great (+461) reserved Good Friday for the passion according to St John ( Joh.18.1 - 19.42). Specifi c melodic formulas for the recitation of the passion were introduced at a very early stage. Until the thirteenth century, the passion pericope was read by a single person. In order to maintain the dramatic effect, the various personages were indicated by special letters and signs in the text.
Many settings of the passion story survive from the polyphonic age; written for the Catholic liturgy and largely in the responsorial form, they originate particularly from Venice and Rome, and were composed by Ruffo, Asola, Soriano and others. The turbae are usually written in a simple polyphonic style. The four musically more elaborate passions by Orlando di Lasso (written around 1580) and da Vittoria (1585) served as models until the seventeenth century. In the sixteenth century, the so-called Lied-passion arose in the Lutheran liturgy, employing either Latin or German. The prototypes were the St. John and St. Matthew passions by Johann Walter, a friend of Luther. Walter’s example was followed in the seventeenth century by Heinrich Schütz, who cultivated and developed both forms, paving the way from about 1650 for the oratorio-passion, with its interpolated musical refl ections and contemplative episodes, both vocal and instrumental. The eighteenth century witnessed the climax of this development in the oratorio passion, with its commenting da capo arias. The grand masters of this genre were Johann Sebastian Bach and Georg Philip Telemann.

In the nineteenth and twentieth centuries, passion composition fell into decline. Independent oratorios focused on particular parts of the text, such as Christus am Ölberg by Ludwig van Beethoven (1803). In The Crucifixion by John Stainer (1887), a modest return is evident - in romantic guise - to the responsorial passion, but the achievements of a bygone age were hardly equalled. In his Choral-Passion (1933), Hugo Distler sought to connect with the polyphonic technique of the Renaissance and early Baroque.
Examples of more recent passion compositions include Proeve van een Passie in de volkstaal volgens Johannes by Bernard Huijbers (in Dutch, 1959), Passio secundum Lucam by Krzystof Penderecki (in Latin, 1965), Mattheus-Passie by Willem Vogel (in Dutch, 1994) and St.John Passion by John MacMillan (in English, 2007).

Passion Motets
The polyphonic style is characteristic of Netherlands composers of the Renaissance, and to some extent of the Baroque, particularly with regard to vocal music. Contrapuntal techniques such as motivic and melodic imitation were employed, including various canonic forms. At the same time, increasing attention was paid to text depiction and the expression of sentiments, as is convincingly demonstrated by the mostly six-part motets on this recording.
Although new techniques and styles arose, the polyphonic style held ground, again predominantly in vocal music. German choral repertoire of the second half of the twentieth century is hardly conceivable without polyphonic writing, as in the music of Hugo Distler mentioned above.
This style was embraced in Holland, particularly in church music. The choral passages or turbae in the passion story on this recording owe their origins to this movement. Contrapuntal technique is clearly manifest in the canonic treatment of several strophic verses of this passion story, as also in the organ work by Bernard Bartelink (*1929) and the instrumental In Passione Domini by
Jan Valkestijn (*1928). Both compositions correspond to the opening hymn of the St. John passion recorded here. Most of the motet texts are taken from the Office chants for Holy Week. Alexander Utendal
Alexander Utendal, born in the Netherlands between 1530-1540, probably began his career as a member of the Brussels court chapel of Queen Mary of Hungary. In 1564, he sung countertenor in the choir of Archduke Ferdinand of Prague. When Ferdinand moved to Innsbruck in 1566, Utendal followed, dying there in 1581. The polyphonic texture of his music is rich and sonorous, and sometimes features chromaticism, as in the six-part passion motet Plangent eum.

Michel Du Buisson
Buisson, probably born in Lille, was active between 1560-1573. Like Utendal, he served at the Viennese court of Archduke Ferdinand, later emperor, between 1559-1564. In the latter year he followed the dukal chapel of Ferdinand II to Prague, and in 1566 to Innsbruck.

Johannes Flamingus
Johannes Flamingus is known to us through 32 works that he wrote down in the Leiden choirbooks between 1565-1567. He left Leiden before the Alteration, and in 1571 he became chapelmaster to the court of Duke Johann Albrecht I at Schwerin, where he served until 1573. If the name Johannes Flamingus is synonymous with Johan Vlamincx, he was employed in 1592 at the Onze Lieve Vrouwekerk in Mechlin, where he died around 1598.

Orlando di Lasso
Orlando di Lasso [Lassus] (1532-1594), born in Bergen in Henegouwen, was a choirboy in Sicily and Milan. He held various posts in Napels, Rome and Antwerp, before his appointment in 1560 as court chapelmaster in Munich. Lassus is the last and greatest representative of the composers of the Netherlands Renaissance. His oeuvre of sacred and secular music comprises more than 2000 compositions. His genius is manifest primarily in the expressivity and architecture of his compositions. The text of the motet O crux splendidior is taken from the Office of the feast of Holy Rood.
Fritz Heller & Jan Valkestijn
15.00 eur Buy

Brussels - Masses by Frye and Plummer from the Brussels

Brussels - Masses by Frye and Plummer from the Brussels
ID: SIGCD015
CDs: 1
Type: CD
Collection: Vocal Collection

15.00 eur Buy

Guillaume Dufay - Fragmenta missarum - Cantica Symphonia - Kees Boeke & Giuseppe Maletto

Guillaume Dufay - Fragmenta missarum - Cantica Symphonia - Kees Boeke & Giuseppe Maletto
ID: STR33440
CDs: 1
Type: CD
Collection: Sacred Music

15.00 eur Temporarily out of stock

ALLEGRI MISERERE - Tenebrae - Nigel Short

ALLEGRI MISERERE - Tenebrae - Nigel Short
ID: SIGCD085
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

Few can argue with Tenebrae's international stature as one of the most competent, versatile, exciting and passionate vocal ensembles in the world today.

The beauty of Tenebrae's perfectly blended sound coupled with near-flawless technique is showcased in this recording, featuring a selection of their favourite concert repertoire to create a performance worthy of anyone's collection.


Allegri's haunting Miserere is the central point in a journey through music of longing and entreaty, hope and faith. These works spanning the centuries are chosen from the heart of Tenebrae's concert repertoire.
15.00 eur Buy

Czech Masses - Suk - Foerster - Fibich: Prague Youth Chamber Ensemble

Czech Masses - Suk -  Foerster - Fibich: Prague Youth Chamber Ensemble
ID: UP0117
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Voice and Choir

15.00 eur Buy

J. Ch. Bach - Sacred Songs of Sorrow

J. Ch. Bach - Sacred Songs of Sorrow
ID: SIGCD018
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Sacred Songs of Sorrow

Sacred songs from Protestant Germany of the late 16th and early 17th century

In Lutheran music the viol became particularly associated with the affect of lamento. This finds its roots in the string accompaniments to Italian operatic laments-a genre which had become much in vogue after Monteverdi’s second opera Arianna.

On this disc of music from Protestant Germany Charivari Agréable is joined by the distinguished tenor, Rodrigo del Pozo.
15.00 eur Buy

Royal Composers - Children & Gentlemen of the HM Chapels Royal.

Royal Composers - Children & Gentlemen of the HM Chapels Royal.
ID: GCCD4011
CDs: 1
Type: CD
Collection: Choral Collection

Children & Gentlemen of the HM Chapels Royal. Choral music specially written over centuries

Sacred Music from the 16th and 17th centuries, by three of England’s most illustrious Royal Composers: William Byrd, Henry Purcell, and Orlando Gibbons. First ever recording of the choir from St.James’ Palace.
15.00 eur Temporarily out of stock

Pray For Your Concelebrants - The choir of the church of. st. Nicholas in Tallinn

Pray For Your Concelebrants - The choir of the church of. st. Nicholas in Tallinn
ID: VOL.153.0
CDs: 1
Type: CD
Collection: Sacred Music
Subcollection: Choir

For 180 years a church has stood on Vene St. in Tallinn - one of oldest monuments to Orthodoxy in the land of Estonia, and throughout this time the grace of God, through the prayers of St. Nicholas the Wonderworker, archbishop of Myra in Lycia, has preserved it.

In his book The Orthodox Church in Estonia His Holiness Patriarch Alexy II of Moscow and All Russia writes that «the history of Orthodoxy in Estonia is an integral part of the history of the Russian Orthodox Church. Orthodoxy has never been here the dominant religion, yet its importance goes way beyond meaningless statistics. It was not the number of believers that has become the determining factor but the remarkable effect that Orthodoxy had on the spiritual life of Estonians, no matter what their confessional allegiance now. Orthodoxy has a special place in the historical destinies of the entire Baltic region where it came into direct contact and conflict with Catholicism and Protestantism and where the three Christian confessions manifested themselves in one and the same circumstances and in relations with each other. Here throughout several centuries many tasks were solved which nowadays have become particularly relevant and acute, now on a universal level…»

History has not retained any information of how and when Christianity was engendered in the Baltic region. However, it is known that the shores of the severe Baltic Sea were taken over by merchants from Novgorod and Pskov. Since the time of Prince Yaroslavl the Wise the churches built on the trade routes to Scandinavia and Europe were an integral part of Russian spiritual culture. The oldest Orthodox parish in Tallinn of St. Nicholas of Myra in Lycia also has its roots in an ancient trading court set up by Novgorod merchants. The first written mention of an Orthodox church in Tallinn goes back to 1371.

After the end of the Northern War and the annexation of the former Swedish province to the Russian Empire, the Russian population of Revel increased greatly, and the old wooden church on Vene St. became too small for the growing number of parishioners. In 1822 there was laid the foundation for the stone church of St. Nicholas, and on 14 August 1827 the solemn consecration of the altar took place.

According to tradition, the relics of Metropolitan Arseny (Matskevich, 1696-1772) of Rostov are located underneath the ambo of the main sanctuary of the Church of St. Nicholas. Metropolitan Arseny had been exiled to Revel by Empress Catherine II for his resistance to the transfer of monastery property into the state treasury. The bishop spent his last days in a prison cell in one of the fortress towers and went to the Lord on 28 February 1772. The same evening he was buried by the north wall of the wooden Church of St. Nicholas. When the stone church was built, the grave of the metropolitan was to be found inside the church under the sanctuary. The holy hierarch Arseny is numbered among the saints of Rostov and the saints of the Land of Estonia. His memory is kept on 13 March.

The Church of St. Nicholas on Vene St. was the first building in the city with a cupola built in strict accordance with classicism. The majority of the icons of the iconostasis of the main sanctuary have survived from the nineteenth century. Also worthy of attention is the church bell tower, the oldest bell of which was cast in 1642.

At present the rector of the church is Archpriest Oleg Vrona. One of the special features of worship in the church is the unusually beautiful singing of the choir, the director of which since 1989 has been Igor Vrona, who graduated from the Voronezh Conservatoire. The second choir director is Nina Kolosova, who graduated from the musical teacher-training institute in Kazakhstan.

The choir has participated in competitions in various European countries. One of the most noticeable testimonies of its success was its winning first prize at an international competition in Italy in 1998. Worthy preparation for this event were constant choral events in Estonia, as well as performances in Sweden, Germany and Switzerland. The choir took first place at the XIII International Festival of Orthodox Music in Bialystok, Poland, in May 2004. Two music discs have been issued. At the parish"s initiative and under the direction of the choirmaster Igor Vrona international Christmas and Paschal festivals of music take place in Estonia.

The listener"s attention is drawn to the third disc recorded by the choir of the Church of St. Nicholas in Tallinn. The disc offers selected hymns of worship - both authorial works of religious music and Znamenny chant, astounding in its beauty and originality, Georgian and

Kievan chants, as well as melodies of Valaam Monastery, Optina Hermitage and Byzantine melody of the fifteen century.
15.00 eur Buy

Regal Fanfares - Andrew Arthur - organ and trumpet combination in Royal Court baroque

Regal Fanfares - Andrew Arthur - organ and trumpet combination in Royal Court baroque
ID: GCCD4012
CDs: 1
Type: CD
Collection: Baroque

Anthony Aarons / Andrew Arthur - organ and trumpet combination in Royal Court baroque
15.00 eur Buy

 
Customer: not signed in

CD DVD SACD
Thematic search:
  • Titles
  • Composers
  • Interprets 
  • Ensembles
  • Conductors
  • Instruments
  • Genre
  • Labels
  • Collections
  • Numerical listing
 
We accept PayPal
facebook
With the purchase of more
than 5 CD - your discount
will be 10%. If more than 10 CD - 15%
© 2004 - 2017

RCD - Russian Compact Disk - Russian and World music CD shop and Classic distribution.

All rights reserved.