Masterpiece that shows the immense talent of a musician who is fundamental to understanding the evolution of German music throughout the 17th century and, very particularly, that of religious music. Music of spiritual edification, music of mystical inspiration -almost an exercise in contemplation or adoration- that, following the words that the composer himself writes on the cover of the manuscript of the score, must be sung with the humblest devotion, wholeheartedly. (“humble Totius Cordis Devotione decantata”).

On this album, the Choir of St John’s College, Cambridge performs alongside four soloists and the period instrument ensemble St John’s Sinfonia. The tenor Sam Furness and bass George Humphreys both started their careers as Choral Scholars with this very choir.

A composition as brilliant as it is protean – the earliest sections date back to 1724, others were written in 1733 in the hope of obtaining a post in Dresden – the Mass in B minor occupied Bach until the end of his life. The work, which is more ecumenical than strictly Catholic, offers a digest of his art at its expressive peak: a world in itself. It is an understatement to say that the performers on this recording were eager to revisit it, following their acclaimed interpretations of the two Passions and the Christmas Oratorio.

Here is the first re-issue from the Astrée-Naive catalogue for Alia Vox Heritage. One of Jordi Savall's legendary recordings, the Monteverdi Vespers was recorded in the Santa Barbara chapel in Mantova, Italy, the site of the premiere in 1610.

With Lux laetitiae , La Reverdie continues its discographical journey after the success of its most recent production devoted to Francesco Landini: from the Florence of the great blind composer of the fourteenth century, to the splendour of the Este court in fifteenth-century Ferrara!

O início é dos mais bonitos para apresentar o primeiro ato da peça. O início épico dá o tom de como será contada a história de Orfeu da Conceição e o drama amoroso que envolve toda história do mito transformado em um homem morador de uma favela no Rio de Janeiro. A única participação vocal de Vinicius de Moraes no disco é em "Monólogo de Orfeu", embalado por uma flauta bem leve ao fundo enquanto declama um poema de amor de Orfeu para Eurídice.

Few news are available about Antonio Nola. Even research manuals and encyclopedic dictionaries make no mention of the author.According to the news reported by Hanns-Berthold Dietz, Antonio Nola was born in 1642 from Tommaso Nola and Laura Rossa and at the age of 10, in 1652, he became a pupil of Giovanni Salvatore at the Conservatorio dei Turchini in Naples.

With a disc entitled Stabat Mater and featuring Pergolesi among the composers, it would be natural to expect his setting of this heartfelt meditation on the grief of the Virgin Mary to be included in the programme. Well, it isn’t – and it is! Only a few years after Pergolesi in 1736 had composed his Stabat Mater, JS Bach made an adaptation of it using a contemporary German version of the biblical Psalm 51. To suit the requirements of the new text Bach made certain alterations to Pergolesi’s vocal parts, but retained the scheme of solo arias and duets between a soprano and an alto voice. He also added a new, independent viola part to the score and rewrote the basso continuo, giving the work a new harmonic vitality.

José Monserrate Feliciano García (Lares; September 10, 1945), better known as José Feliciano, is a Puerto Rican-American singer-songwriter and musician.

In the wake of the beloved Russian baritone Dmitri Hvorostovsky’s untimely passing in November 2017, tributes, memorials and musical event dedications have flowed non-stop. But none thus far has matched the sheer scope, power and sonic splendor of this all-Russian performance of Verdi’s blockbuster Requiem Mass…

The Dunedin Consort's recording of Bach's "Mass in B Minor" revisits the spectacular individual virtuosity that made the Messiah recording so successful. This is the premiere recording of the work in the new Breitkopf edition, edited by Joshua Rifkin in 2006, a leading thinker in authentic period performance, who fully endorses John Butt's interpretation. This is undoubtedly his most spectacular choral work and the Dunedin Consort's soloist-led performance enables a level of clarity and expression that is not traditionally a feature of modern choral performance.

The laus perennis that the monks every day in their psalmody offer to the Lord, is adorned with hymns, antiphons and responsories; all chants drawn from the ancient gregorian repertory. With this daily practice and custom, the monks become almost the only custodians and specialists of this patrimony of the highest religious, cultural and artistic merit that is gregorian chant.

Singer/Pianist Eliane Elias to Release New Album “Mirror Mirror” with Chick Corea And Chucho Valdés on Sept. 10th, 2021

'Adorna': ethereal Gregorian plainchant for the feast of Candlemas meets with unique, spontaneous piano improvisations in this striking collaboration between Opus Anglicanum and jazz pianist Jason Rebello. Candlemas is the winter day that all the Church’s candles for the year were blessed, and a festival of the first stirring of spring. In ‘Adorna’, the ancient monastic chants, as sung annually over the centuries in cathedrals and abbeys to mark Candlemas, blend with Jason’s piano - a magical new interpretation of light dispelling darkness.

This duo of trombonist, singer, and songwriter Natalie Cressman and guitarist, composer, and vocalist Ian Faquini is relatively rare in terms of instrumental pairings, but Auburn Whisper is their second, following 2019’s successful Setting Rays of Summer.