In the Revelation of James, an apocryphal gospel that was not included in the Bible, events and details surrounding the birth of Christ are reported that do not appear in the better-known versions of the Christmas story from the gospels of Matthew and Luke. In particular, it portrays very real people, full of emotions and conflicting feelings. Mary, not Jesus, is the focus of the narrative.

The version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on Süßmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's Requiem is followed by Neukomm's Respond Libera me, Domine - and for musical, liturgical and chronological reasons, the programme begins with Mozart's Vesperae solennes de Confessore KV 339 (1780), composed of psalms from the Old Testament as well as the Magnificat from the Gospel of St Luke and composed for the liturgical festival of a holy confessor.

In a follow-up to her acclaimed album of Mahler songs, Christiane Karg takes us on a Christmas tour, in the select company of fellow music-makers. Revisiting holiday memories through the eyes of a child, but with the benefit of her superb artistry as a lieder specialist, the German soprano shines a light on some enchanting rarities of German and French repertoire, along with examples of Spanish, Basque, and Scandinavian traditions… A treasure trove of hidden gems!

Schubert sits at the piano in a bourgeois salon in Vienna, surrounded by around 30 ladies and gentlemen applauding him. The painting by Julius Schmidt dating from 1897 captures one of those convivial musical gatherings known even during the composer’s lifetime as Schubertiades. The term was probably coined by Schubert’s friend Franz von Schober, and the first of these gatherings took place in January 1821 in Schober’s Vienna apartment. From then on, until the composer’s death in 1828, the Schubertiades were held on a regular basis with different hosts from Schubert’s circle, and always proceeded in a similar manner: Schubert played either piano solos or accompanied a singer, and usually presented new works; the guests read poetry and fiction to each other and exchanged ideas; a snack was then served, and this was frequently followed by an evening of dancing or even joint gymnastic exercises. The ritual also included Schubert going out on the town with his inner circle at the end of the evening.

On the occasion of the 85th birthday of Arvo Pärt (September 2020) and the 75th anniversary of the Bavarian Radio Chorus (May 2021). The Estonian composer Arvo Pärt, born in 1935, has succeeded in bringing sacred music back to a broader audience, and away from the confines of the church service, more than almost any other contemporary composer. The meditative character of his works, and his return to the simplest and most basic musical forms, convey moments of intense spirituality. Before his emigration from the Soviet Union, Pärt had already invented what he termed the tintinnabuli style of composition (from the Latin word for a bell). He produced an early and important example of this expressive style in 1977 with his “Cantus in Memory of Benjamin Britten”, scored for string orchestra and bell.

On the occasion of the 85th birthday of Arvo Pärt (September 2020) and the 75th anniversary of the Bavarian Radio Chorus (May 2021). The Estonian composer Arvo Pärt, born in 1935, has succeeded in bringing sacred music back to a broader audience, and away from the confines of the church service, more than almost any other contemporary composer. The meditative character of his works, and his return to the simplest and most basic musical forms, convey moments of intense spirituality. Before his emigration from the Soviet Union, Pärt had already invented what he termed the tintinnabuli style of composition (from the Latin word for a bell). He produced an early and important example of this expressive style in 1977 with his “Cantus in Memory of Benjamin Britten”, scored for string orchestra and bell. It is also a key feature of the choral and instrumental works presented by BR-KLASSIK on this new CD: five works for choir as well as two for instrumental ensemble, covering all of the composer’s creative epochs between 1986 and 2019.