M.​ Hengelbrock in KLASSIK heute: "Es ist dieser Facettenreichtum, den Hermann Max in jeder seiner Tele- mann-Einspielungen gut herausarbeitet.​ Seine Inter- pretationen meiden jedwede Plakativität, ohne undeut- lich oder gar indifferent zu sein.​"

Nikolaus Harnoncourt The Complete Sony Recordings brings together for the first time Harnoncourt s complete recordings from 2002-2015 with his Concentus Musicus Wien, the Wiener Philharmonike, the Chamber Orchestra of Europe and the Symphonieorchester des Bayrischen Rundfunks. The Sony Classical edition features his famous symphony recordings of Mozart, Haydn, Beethoven and Bruckner, alongside his celebrated performances of great choral works such as the Verdi, Brahms and Mozart Requiems and Haydn's Die Schöpfung, as well as Mozart's opera Zaide, Haydn's Orlando paladino and Gershwin's Porgy and Bess. Also included are previously authorized but unreleased recordings of J. S. Bach s Cantatas Nos. 26 & 36, Beethoven's Christus am Ölberge and Dvorák's Stabat Mater.

For all the lovely recordings of the Mozart Requiem, KV 626 - and there are many fine ones that run the gamut of 'authoritative/authentic' performances to richly robust and romantic versions that ring the halls with operatic grandeur - this 1995 recording with William Christie conducting Les Arts Florissantes is one that is so richly rewarding to return to for its delicate yet soulful sincerity. The instruments are in keeping with the instruments of Mozart's time, and the choral technique is more straight toned than other more modern choruses. The soloists - Anna Maria Panzarella, soprano, Nathalie Stutzmann, alto, Christoph Pregardien, tenor, and Nathan Berg, bass - are all excellent, both as individuals and in quartet and combinations.

This knockout CD of Vivaldi motets is a thrilling ride. They are scored for soprano and strings and show the wonderful variety of effects Vivaldi had at his disposal (faster, more dramatic arias use the metaphor of a ship in storm-tossed seas, searching for calm winds and safety): in other words, the same stuff he uses in his operas. But here, because these motets are religious in nature, it is the soul in flux that is wishing for God, or a saint, to guide it. Vivaldi will use the lower strings to give the feeling of menacing weather while the singer navigates through outlandishly difficult coloratura (fast runs, octave leaps, high stacatto effects); conversely, each motet also contains a slow, introspective aria which requires a long, soft vocal line.

White’s Lamentations are not as famous as Tallis’s, but their plangent harmonies and clashing lines have an equal intensity. This impressive debut disc by Gallicantus (an all-male group from the Tenebrae choir) includes White’s motets and hymns, emphasising his response to the texts and his eloquent way with the single Hebrew letters that begin each Lamentation. The vocal balance is slightly bass-heavy, but the sound is beautifully recorded.

Meditation, mezzo-soprano Elina Garanca's 2014 release on Deutsche Grammophon, is an album of serene vocal and choral works that express religious feelings with an operatic touch and showcase the Latvian singer's warm and radiant voice. Choosing pieces from the early Baroque era to contemporary works, Garanca presents a soothing program that is consistent in its comforting tone and gentle treatment, though as a purely musical consideration, it tends to flow a bit too evenly and predictably. Insofar as the selections represent the Christian tradition, including settings of the Ave Maria, the Salve Regina, the Sanctus, the Agnus Dei, and the Regina Coeli, the character of the collection admits little variety, except for the general alternation between penitential and quietly ecstatic moods.

Nikolaus Harnoncourt The Complete Sony Recordings brings together for the first time Harnoncourt s complete recordings from 2002-2015 with his Concentus Musicus Wien, the Wiener Philharmonike, the Chamber Orchestra of Europe and the Symphonieorchester des Bayrischen Rundfunks. The Sony Classical edition features his famous symphony recordings of Mozart, Haydn, Beethoven and Bruckner, alongside his celebrated performances of great choral works such as the Verdi, Brahms and Mozart Requiems and Haydn's Die Schöpfung, as well as Mozart's opera Zaide, Haydn's Orlando paladino and Gershwin's Porgy and Bess. Also included are previously authorized but unreleased recordings of J. S. Bach s Cantatas Nos. 26 & 36, Beethoven's Christus am Ölberge and Dvorák's Stabat Mater.

The Leçons de Ténèbres (Lessons of Darkness) became a favourite theme for musical compositions in the middle of the 17th century. Michel Lambert was the first French musician to compose a cycle in 1662, quickly followed by Charpentier and Lalande. But the most famous - and the first to have attracted the public of today and to be recorded - are those of François Couperin, dated 1714.

Barthold Heinrich Brockes’ text for the passion oratorio, later named after him, is among the best-known Passion librettos of the early 18th century. This version is the first recording on CD of the work based on the copy made by J S Bach himself. It is distinguished from the better-known version by a different text for the opening chorus.

Cardinal Wolsey – a flamboyant patron of the arts – founded Cardinal College, Oxford, in 1525, establishing a choir that was both larger and more accomplished than King Henry VIII’s own. Following Wolsey’s notorious fall from grace in 1529, Cardinal College was renamed Christ Church and the present-day Cathedral choristers pay tribute to its first master of music, Richard Pygott.

The Patriarch Tikhon Russian-American Music Institute strives to present Russian Orthodox choral music in its highest possible form, uniting deep spirituality, a profound love for the rich traditions of Orthodox Christian singing, and an uncompromising standard of musical professionalism rooted in the great traditions of Russian choral composers.

Handel’s English oratorios, though unstaged, generally remain vividly theatrical. Samson is less operatic, opening with the hero already defeated, blinded and in chains, long after Dalila’s seduction and subsequent treachery. The drama is of the mind rather than of action, with virtually no incidents in Act I, and Act II limited to two encounters, Dalila offering remorse and the giant Harapha mocking the captive.

The delightful scenario of L'Apothéose de Lully imagines the composer Lully, one of François Couperin s forebears at the court of Louis XIV, being wafted up to Mount Parnassus by Apollo. There, he meets the Italian muses, and the music becomes that synthesis of the French and Italian styles which Couperin so admired. All of this is captured with grace in Arcangelo's playing under its founder, Jonathan Cohen. The other work on the disc is the sacred Leçons de ténèbres, sung with purity by sopranos Katherine Watson and Anna Dennis and revealing another side to Couperin's art.

In this new recording, Missa Credo for soprano, saxophone and piano is conducted by the composer, Ulrich Zeitler. The work combines Gregorian melodies from the medieval church with contemporary jazz to make a fascinating fusion of styles on this hybrid SACD. For Ulrich Zeitler the Credo is a program: this deeply felt, very personal profession of faith forms the foundation in this composition. Very much in the tradition of the earliest church music, Zeitler avails himself of the “perfect division”: each metrical unit can be divided into three subunits, as a symbol of the perfection of God, of unity in three persons. The ever-present pedal point d underscores this unity,and, whether intentionally or not, the whole Credo attains a length of 333 measures!

Mozart's Requiem is one of the truly iconic works in the history of music. A prime reason for this is of course its musical qualities; but even before that, legends had begun to form around the work - that it was written to fulfill an anonymous commission received through 'an unknown, grey stranger' - is the stuff of mystery novels, while the fact that Mozart fell ill and died while composing it has been exploited to great melodramatic effect. One thing that we know for certain is that its first performance took place at a memorial service for Mozart only days after his death. The performers used the composer's incomplete autograph, but very soon attempts to complete the work were set in motion by Mozart's widow. In 1800 the Requiem, in Franz Xaver Süssmayr's completion, appeared in print; it is this version that is still by far the most widely performed. Many have tried to improve on it, however, or make their own versions based on the autograph. For this recording, Masaaki Suzuki and the Bach Collegium Japan commissioned a new performing edition.