Whatever the thematic material, Chanticleer's approach is the most erudite; indeed, their analysis of each song's history and composition meets the highest critical standard. It is this absolute musical integrity that then informs the quality of the performance. On "Wondrous Love," a cache of international folk songs, sung a cappella, is the basis for this meticulous study. Folk songs, by definition, are "for the people"; Chanticleer maintains this focus while also seizing the opportunity to enrich the original arrangements with new complexity and depth, as heard on "Arirang," a Korean song utilizing the pentatonic scale with elements of western harmony, or "La Petenera," which begins with a soloist and then gradually incorporates twelve voices into an ever-expanding confluence of countermelody. A Robert Shaw/Alice Parker arrangement graces the fifteenth-century French tune, "L'Amour De Moy."

Chor Greek for choir, Leoni, (Italian for Lions) was formed in 1992 by director Diane Loomer to give skilled male singers an opportunity to gather and sing challenging repertoire. Quality a cappella singing, strong arrangements and a willingness to "try anything once" have led these 46 men to the upper echelons of the Canadian choral world. This CD is a treat for us fans of folk music, 20 better- and lesser-known Canadian folk songs, from "Fogarty's Cove" ("She cries when I'm away to sea, nags me when I'm with her, She'd rather I'd a government job or maybe go on the dole"), "Vive L'Amour," and "Away From The Roll of the Sea" to the Nova Scotia folk song "The Carrion Crow," "Northwest Passage," "Wood River," the British Columbia tune "Grand Hotel" and "Make and Break Harbor," this is all great stuff. Some light accompaniment here and there by piano, clarinet, bass, harmonica, guitar and spoons, but make no mistake?the focus is one of the best male choruses we've heard, and folk music is their meat. From the deep bass harmonies to sweet, soaring tenor solos, "Safari" is cut after cut of achingly lovely, heartstrings-tugging stuff!

Goin' Home is Chor Leoni's sixth CD - each one we rave about, and each one is better than the last! Internationally acclaimed conductor Diane Loomer's flawless direction and song selection keep the Vancouver, BC-based all-male choir going in the right direction. As Canada is composed of citizens from every corner of the world, the object of "Goin'" was to collect and present folk songs from many of these countries, in the hope that CL's audience would experience "the bittersweet tightness in the throat and tear in the eye that only comes when you are goin' home." 18 richly textured a cappella songs, beginning with 3 dramatic Ainu folk tunes, "Bear Festival," "Piraka" and "Whale Festival," and continuing with "Fenyang Ge" and "Minoi, Minoi," Anhui and Samoan folk songs, respectively. Following are the Lapp folk song, "Dalvi duoddar luohti," and one of the best covers of the Zulu tune "The Lion Sleeps Tonight" we've heard. German, English, Irish, Estonian, and Welsh folk songs delight the crowd (this is a live performance, although the audience is almost edited out). A couple of nice American songs, the Appalachian folk song "Bright Morning Star" and "Shenandoah," precede the title tune by Antonin Dvorak, the Scottish tune "Loch Lomond" and "Christmas Angel." Sweet harmonies and what we can only call "personality" pour forth from CL like water from a Canadian stream. Recommended!

Listen to "Fengyang Ge" in Real Audio.

This fifth release from Vancouver's pride of lions features a mostly sacred and deeply moving program of works ranging from the 12th to the 20th centuries. Canadian baritone Bret Polegato guests on one of the few non-sacred pieces, Schubert's beautiful Stnchen for soloist and men's choir. Other highlights include 12th century organum by Pérotin, Beata Viscera, excerpts from Caplet's Messe û trois voix, a beautiful and seamless performance of Faure's Cantique de Jean Racine transcribed for men's voices, and Michael Head's stunning How Sweet the Moonlight Sleeps.

The Flemish-born Giaches de Wert was one of many foreigners to dominate the Italian music scene in the mid to late sixteenth century, therefore to this day his music is largely unknown to many. It is the second of three books of Motets which appears on this disc, written when his skill as a madrigalist had reached its height. As part of the Kings College Choir, the choral scholars of Collegium Regale perform independently of the choir, singing a repertoire that encompasses 15th Century sacred music, jazz, folksongs and pop. Directed by Kings College's and the BBC Singer‚s renowned director Stephen Cleobury.

Carry me home is an assortment of folk songs arranged for male voices including "Londonderry Air" and "O Waly Waly". Collegium Regale, which is composed of the choral scholars from the King's College Choir, explores the traditional songs of Britain, America, France and Hungary. Many of these familiar tunes, such as "Molly Malone" and "Shenandoah" were arranged by Keith Roberts who serves as the group's artistic consultant. The spirituals arranged by Robert Rice stray from the traditional style. His versions lean toward the lighter sounds of doo-wop and barbershop, particularly in "Sometimes I feel like a motherless child." Though, all pieces and especially the solos are sung beautifully.

The incomparable sound of the men of King¹s College is unleashed on everything from chant to Rudolph, the Red-nosed Reindeer. Close harmonies, impeccable tuning, and perfect programming make this a "must-have" CD for connoisseurs of the very best in choral singing. 22 songs: Handl¹s "Ante luciferum gentus," Byrd¹s "O magnum mysterium," "Puer natus est," "Ecce advenit," "The Coventry Carol," "Es ist ein Ros¹ entsprungen," "There is no rose of such virtue," "Beata es, Virgo Maria," "Quem vidistis, pastores?," "Hodie Christus natus est"... the Scholars make each song a lovely gem.

Founded as the Copenhagen Boys' Choir in 1924, the Choir was permanently connected with the Christiansborg Slotskirke (Chapel of Christiansborg Castle) in 1959. With a repertoire ranging from commissioned works by the leading composers of our time to the earliest polyphony, the choir has earned a reputation over the years of being one of the finest of its type, giving concerts all over the world. Here are 14 sacred songs and hymns, favorites are Carl Nielsen's "Benedictus," Lewkowitch's "Salve Regina" and "Alma redemptoris," Norgard's "Agnus Dei II," and Ruders' "I sne star urt." Sublime, soaring, magnificent music from one of Denmark's oldest and most respected men's choirs.

The Cwmbach Male Choir was formed in 1921, and has survived to the present day even though it was severely tested by periods of hardship, depression and World War 2. During its 83 years it has flourished and built up an enviable record of success in competitions and concert performances. The musical repertoire of the Choir is wide and varied. It includes music for all tastes, ranging from operatic choruses, spirituals, hymns, folk music and popular ballads. The Choir, from the Cynon Valley, maintains the great Welsh tradition of male singing and this recording of holiday favourites is a treat.

The six German men who call themselves Die Singphoniker are virtuosos who specialize in very difficult pieces, from Gregorian chant to the Avantgarde, in this case bringing us some rarely-heard works of Romantic European music, partsongs by Richard Strauss and Max Reger. New interpreters of vocal chamber music of the 19th century, the group's success is measured in many awards and rave reviews: its last five CDs have received prizes. Included are 20 pieces, favorites are "Frohlich im Maien," "Hut du dich!," "Liebe op. 42,1," and Der Brauttanz op. 45,3" by Strauss; and "Liebchens Bote," Frohsinn op. 38,5," "Hochsommernacht op. 83,5" and "Minnelied op. 83,7" by Reger. Difficult, eclectic choral music, effortlessly and beautifully performed.

Their repertoire ranges from Gregorian chant to contemporary music – all the way to easy listening. After 25 years in the limelight, the six-voice vocal ensemble can look back on over 1000 concerts throughout the world. For the first time, however, the Singphoniker are releasing a CD with German folksongs. Their program consists of works by Silcher, Brahms and Reger, each of whom had a completely different approach to handling old tunes. Their common goal, however, was a desire to reacquaint their contemporar-ies with the vast treasures in the folk repertoire. The Singphoniker’s CD will contribute to making known as well as unknown folksongs – which are not very at-home in the concert hall – resound again in the private environment: singing or humming along is expressly desired!

Former choristers from Bach's own church make up this German version of The King's Singers. This contemporary a cappella program ranges from Billy Joel to Supertramp to a Cuban love song, and a superb cover of Sinéad O'Connor's "In This Heart". These are great male choral interpretations of popular songs that are sure to delight.

Veljo Tormis is best known for his preservation of folk songs and folklore in his music. On Vision of Estonia, his concern for the oppression of the Estonian people is mixed with this aspect. These pieces for male choir are fantastic. The title piece "Vision of Estonia" was written during the fall of the Soviet Union and finished when Estonian independence was declared. Tormis is also known for his orchestral choral sounds. In "Incantation for the Sea" and "Litany to Thunder" he translates the dramatic images depicted in the poetry into massive choral sounds. "Incantation for the Sea" comes from the epic poem Kalevala. Due to international interest in his music, Tormis uses a Latin translation to make his piece widely accessible to non-Estonian speaking choirs. The Estonian National Male Choir, led by Ants Soots, is dynamic in this music which honors their country.

G. Wallace Woodworth (1902-1969) is renowned as a choral and orchestral conductor, organist and music educator. At Harvard he studied history and music from 1924-26, and accompanied the Harvard Glee Club. This collection of recordings from his tenure as conductor of the Harvard Glee Club (from 1933) is performed by the HGC with the Radcliffe Choral Society. Included here are 22 Classical works, mostly a cappella pieces performed by both groups, but a handful performed by the groups individually. Favorites are three songs by Claude Debussy, "Dieu! Qu'il la Fait Bon Regarder," "Quant J'ai Ouy le Tabourin" and "Yver, Vous N'estes qu'un Villian;" several tunes by Palestrina, "Benedictus," "Confitemini Domini," "Stabat Mater Dolorosa," "Adoramus Te," "Sanctus and Osanna" and "Benedictus and Osanna." Jacob Regnart's "Petite Nymfe Folatre," Orlandus Lassus' "Mon Coeur se Recommande a Vous" and "Bonjour Mon Couer," Mozart's "Ave Verum Corpus" and Leo Preger's "Four Motets" are also some of our favorites. This material is difficult, powerful and not something that your average college glee clubs would consider learning and adding to their repertoire. A remarkable, beautiful collection from a pair of America's best women's and men's choral groups!

Favorite HMC selections from our spring 2002 concert and pieces from past years, not previously released on CD. The recording includes a diverse variety of men’s repertoire, some a cappella, some with piano accompaniment, and some with full orchestra.

Listen to "Sing Me To Heaven" in Real Audio.

Towards the end of the 14th century, England saw the rise of a pleasingly consonant musical style that was admired abroad as the "English manner." Paul Hillier and the Hilliard Ensemble are heard in a selection of the most beautiful polyphonic songs and carols from this rich period. "The performances? match the beauty of the music? a sound of remarkable purity. Their ensemble singing is perfection itself, and each part is exquisitely phrased." - Stereo Review

Of all the north European composers who made their careers writing beautiful secular madrigals in sixteenth-century Italy, Josquin Desprez is regarded as the greatest. Fusing learned polyphony with rhythmic gaity, the madrigal was hugely popular in Italy and England. The brilliant British male octet The Hilliard Ensemble, sounding very much like angels, are one of few groups who can do justice to this difficult, soaring material. From the sacred "Ave Maria? Virgo serena," "Veni Sancti Spiritus," and "De profundis clamavi" to the secular "Petite camusette," "Je me complains" and "Je ne me puis tenir d'aimer," this is wonderful music. 13 songs. Extensive liner notes give lyrics and translations.

The talented Hungarian choral group Honved Ensemble Male Choir" brings us a rare treat, choral works written for male voices by Ferenc Liszt (1811-1886). First of the 7 movements are the dramatic "Les Quatre Elemens," written for the poems by Joseph Autran, and first performed in 1844 with piano accompaniment by Liszt, "Titan," written in Berlin in 1842 and based on the Franz von Schober poem, the politically controversial "Arbeitercho/A Munka Himnusza," and the heroic "Le Forgeron," (the Blacksmith) based on the Lamennais's poem. This is moving, all accompanied, passionately-sung music that stirs and touches us still, across the centuries!

If you like The King's Singers, you'll love this CD! Gesualdo: Tenebrae Responsories for Maundy Thursday offers a small slice from the liturgy used for Holy Week. All tracks are superbly performed. The voices weave together to form a solid fabric of stunning polyphony. The responsories, here, are divided into three sets beginning with lessons from the Lamentations of Jeremiah. Gesualdo, an eccentric Italian prince and one of the Renaissance's more innovative composers, is best remembered for killing his wife and her lover while they were in bed together. His guilt over this shocking and passionate act is said to be mirrored in his music with its chromatic and often indulgent lines. The music is liturgical in nature, but this recording can be appreciated inside and out of the sanctuary.

If you enjoy this kind of music - that is, hymns rooted in the Anglican church tradition - you will find much pleasure here, whether it be meditative or openly exuberant. The Choir of King's College has been singing congregational music for centuries, and the tradition, impeccably articulated and warmly expressed by the choir, remains truly and firmly preserved to this day. John Rutter had more than a casual hand in this program. He offers new arrangements/harmonizations for verses of some hymns and the choir sings his oft-performed setting of “Morning has broken”. And for those who think all hymns recordings are basically the same, virtually all of the best-known tunes among these 18 selections are given fresh settings, several with descants and a few with brass accompaniments. Among the not-so-common hymns are some of the most beautiful-“Dear Lord” and “Father of mankind” (Repton), “My song is love unknown” and a hymn-anthem by William Harris, “O what their joy and their glory must be”. One of the highlights of the program is a relatively new work, a hymn-anthem by British conductor/composer Stephen Jackson based on the familiar text and tune “Let all mortal flesh keep silence”. Jackson ingeniously uses choir and organ and music full of rich colors, lush dissonances, and bold strokes and clashes of melody to capture the magic and mystery of the ancient text.

Voices of Praise is a spiritually uplifting collection drawing from the rich catalog of King's College Choir. Programmed to the church calendar it is an album for all seasons. Known world over for their recordings of church music the Choir of King's College, Cambridge has a rich catalog of recordings on EMI Classics dating back more than 30 years. This new collection Voices of Praise offers the most popular church music from that catalog. Among the great church works included on this recording are the hymns " A Mighty Fortress Is Our God", " Morning Has Broken" and " All People That On Earth Do Dwell" (The Old Hundredth). This is a double CD release.

Listen to "If Ye Love Me" in Real Audio.

The Konevets Quartet was founded by graduates and students of the St. Petersburg Music Conservatoire in July 1992. The Quartet takes its name from the Konevets Island and Monastery, some 160 kilometers northeast of St. Petersburg, on Lake Ladoga. It was there, over 600 years ago, that St. Arseny Konevsky founded a cloister in the honour of the birth of Mary, Mother of God. The repertoire on this, their sixth recording is comprised of Russian folk songs based on ballads, dances and regimental songs and marches of the Tsarist armies, and from the old military academies, forbidden during Communist times. If you have ever been moved by the glorious, robust singing of the Russian peoples, this is a chance to experience the same music polished to perfection by a concert trained quartet. Wonderful! Songlist

Lionheart is one of Americas leading ensembles in vocal chamber music. Acclaimed for its smoothly blended and impeccably balanced sound. They are best known for thei interpretation of medieval and renaissance a cappella music, with Georgian Charnt as the keystone ofits repertoire. The ensemble also collaborates with instrumental ensembles, dance companies, and contemporary composers, and was recently selected for inclusion on the Star Spangled Touring Roster, the first year of an initiative by Early Music America.

This musical homage to the fairer sex is performed by the all male sextet "Lionheart," whose member's impeccable credentials include past association with Anonymous 4. The group's foundation, and the cornerstone of it's sound, is Gregorian Chant, a style that is epitomized here. In medieval times, the church was the locus of existence, and expressions of devotion were central in music and art. Therefore, it is understandable that the role of woman in culture would be regarded similarly, and that songs of praise to her would take on a religious connotation, as to the Virgin Mother Mary. Predominant on this recording is the Sarum Chant, a plainsong used in rituals at Salisbury Cathedral in England. The melodies are simple and unembellished, the mood subdued.

This is the second recording from the six-member Lionheart, dedicated to the performance of Gregorian chant. The group has appeared at venues such as Carnegie Hall and Lincoln Center, and has been featured in the New York and Los Angeles ìTimes.<eth> ìParis 1200<eth> collects twelfth-century polyphony from France, composed by Perotin and Leonin, both men considered masters of the period; Notre Dame Cathedral, founded in 1163, provided an outlet for these new works. The primary forms used were organum, motet and conductus. Though harmonically fundamental, the beauty of chant lies in its very simplicity, and in the quality of the performance, at which Lionheart excel.

Boston's Alice Parker, composer, conductor and teacher was first known for her arrangements and collaboration with the late Robert Shaw. She has built an international reputation composing, researching folk music and performing. In 1985 she formed Melodious Accord, a 16-voice professional chorus. "My Love and I" features the men of this group, singing 24 traditional folk songs from America, England and Scotland, France, Czech Republic, Germany, Spain, Ireland and Sea Shanties. Some favorites: "Darling Nellie Gray," "Aura Lee," "When Love is Kind," "A-Roving," "Stodole Pumpa," "Al Olivo," "Has Sorrow Thy Young Days Shaded," "A Ballynure Ballad" and "To Ladies' Eyes." This is well-chosen music from another era, sometimes poignant and heart-tugging, sometimes rousing; always powerful. A generous collection, sung with tremendous feeling by Alice Parker's hand-picked men! All a cappella, nice liner notes with the complete lyrics.

The Moravian Teachers Choir is one of the best-known Czech ensembles, established by graduates of Kromeriz Teachers College in 1903. Their repertoire includes works by distinguished Czech composers from the turn of the century, focusing in this recording on Choruses for Male Voices by master composer Leos Janacek (1854-1928). Written in the intensely creative last decade of his life, after his opera "Jenufa's" long-overdue success. "Choruses," which is comprised of four groups, primarily based on Moravian folk songs, was written for unaccompanied male chorus, of which the MTC is recognized as one of the finest in the world. These are 21 powerful, romantic songs with wonderful harmonies, all in the Moravian language, but the short translation gives us their flavor: "Ploughing," "Our Birch Tree," "The Quilt," "Warning," "O Love," "Oh, to be a soldier," "Your Wondrous Eyes," "The Gnat's Wedding," "The Evening Ghost," "Seventy Thousand" (about the revolt of the Silesian miners), "The Wandering Madman," "Parting," "The Dove," "The Jealous Man," and "True Love." "Choruses" is a rich time capsule of rarely-heard folk melodies from one of the oldest and best all-male choruses.

These songs date from various periods, yet their very popularity makes them timeless. They were sung at feasts and celebrations, in chorus or solo, simply for the pleasure of making music. They were also sung at work or in prison, and they were used to glorify the revolution. These songs reflect the very soul of the Russian people. The Moscow Male Voice Choir, under the direction of Anatoly Grindenko, is one of the nation's finest.

New York Polyphony is rapidly gaining a reputation as one of the finest new classical vocal ensembles. Fusing elegant vocalism with expert ensemble singing, its four male voices consistently deliver dynamic performances of music spanning nearly a millennium in a range of styles, combining historically-informed interpretive style with their own unique artistry. From the simplicity of plainchant to the dense chromaticism of contemporary works, the New York Polyphony sound is unified, energized and distinctive. The musical landscape traversed on this disc of music for the Advent and Christmas season is broad, from 12th century conductus to a 21st century carol, though the musical center is firmly polyphonic and rooted in the late Medieval world. The group is joined by a women's trio in several works written for more than four parts. The sound is clean and present, with appropriate resonance for this material. For the listener looking for a collection of contemplative Christmas music that steers clear of the most obvious selections and introduces intriguing new repertoire, as well as for the fan of early music vocal ensembles, this album has much to offer.

The male choir of the Optina Pustyn Monastery in St. Petersburg was established in 1996 and consists of 6–9 professional singers with impressive voices. Their main goal is the cultivation of the heritage of the old Russian Church polyphony in its different styles, such as: Znamenny, Bulgarian, Greek, Byzantine chants, etc. This recording is an impressive example of orthodox chants and shows the beauty of Russia’s religious songs. Information in 4 languages.

In Food, Wine and Song, the Orlando Consort serves up a variety of music from the late Medieval through Renaissance periods, each song featuring texts about food and drink. The CD begins in late medieval France and England and moves chronologically through Italy, Burgundy, Spain, Portugal, ending in late Renaissance Germany. The sound of the quartet is always outstanding and this CD is no exception. The doleful ?Adieu ces bons vins de Lannoys? (track 15), by Guillaume Dufay is particularly beautiful with its sorrowful melody and haunting harmonies. As an added bonus, included with this CD is an accompanying cookbook. Prepared by world renowned chefs, these tasty recipes correspond with ingredients found in the songs. A number even come from medieval sources. For a real treat, try the Orange Omelette for Pimps and Harlots! For a true feast, try Food, Wine and Song. It will surely please the palate.

The Orlando Consort sings rare and exquisite church music from 15th Century England, including motets, antiphons and psalm settings by Dunstaple, Frye, Plummer and others. This program spans some seventy years of English sacred music, dating from the reigns of Henry V, Henry VI and Edward IV, and the period of unrest known as the Wars of the Roses. It illustrates the rise of the so-called contenance angloise (English manner)‹valued especially for its suave melody, fluid rhythms and prevailing consonance‹from its beginnings around 1420 to the repertory of the Eton Choirbook at the end of the 15th century. Sadly only a tiny proportion of the music that must have been written in this period has survived, but the pieces included in this anthology provide vivid testimony to this astonishingly rich and varied repertoire.

An encounter between two powerful dynasties. The Orlando Consort revisits a fascinating meeting between two musical cultures. During his 1502 ceremonial visit to Toledo (Spain), Philip the Fair of Burgundy, and his Royal hosts, Ferdinand and Isabella, vied to display the artistic achievements of their respective realms. Music was central to all the festivities: solemn celebrations, worship, courtly banquets, dances and chivalric entertainments. "Immaculate tuning, rhythmic concision and clear articulation of the text." - BBC Music Magazine

The popularity of the male-voice choir has dwindled during the past century. More common in the Romantic era, repertoire written specifically for men's choruses is significantly less as well. On the CD Diamonds, Orphei Drangar, led by Robert Sund and Folke Alin, sings 20th century a cappella pieces written specifically for male choir. The pieces chosen are certainly gems in the repertoire. Many are by French composers such as Francis Poulenc, Darius Milhaud and Camille Saint-Saens, who's Saltarelle is quite fun. The group reaches far to the east in Michio Mamiya's "Composition for Chorus No.6" which is based on Japanese folk music. The Anders Hillborg piece, was originally written for a mixed choir, but was commissioned to write a version for Eric Ericcson and the Orphei Dranger. This phenomenal group sparkles on this recording.

This disc presents an international selection of music from Orphei Drangar's concert repertoire as well as two opera choruses in collaboration with the Swedish Radio Symphony Orchestra. Folk songs from Sweden open the recording followed by many twentieth century works for men's voice chorus. From Eastern Europe there are "Four Old Folk Songs" by Bela Bartok and two of "The Songs of Hamlet" by Estonian composer Veijo Tormis. From America, "A Stopwatch" by Samuel Barber captures a scene from the Spanish Civil War in which he and poet Stephen Spender volunteered. Two of the most beloved opera choruses end the program: the chorus of Gypsy's (Anvil Chorus) from Verdi's Il Trovatore and the chorus of Soldiers from Gounod's Faust. This inspired recording of Highlights comes from the choir's work with the incomparable Eric Ericson.

The world renowned Orphei Drangar, treats us to a variety of Christmas songs from around the world, including Scandinavia, Germany, England and France. Selections include Gustaf Nordqvist's sweet lullaby "Jul, jul stralande jul," "Ave Maria" by Franz Biebl and "Es ist ein Ros' entsprungen." Conducted by Robert Sund, this wonderful choir is joined by soprano Christina Hogman and baritone Peter Mattei with Bengt Forsberg on organ. This is a simply beautiful recording.

New College Choir brings the ideal combination of vocal freshness and consummate experience to this music, with commendable individual standout solos exemplifying the standard of the ensemble as a whole. The recording has admirable atmosphere and transparency. If you associate Poulenc with frivolity, lightness and superficiality, track 20 on the first CD here is the antidote. Austere, dramatic, deeply serious, the eight-minute Litanies à la Vierge noire is as far removed from the image of Poulenc the playboy boulevardier as possible. The Mass is an excellent performance of Poulenc’s a cappella masterpiece, the edgy rhythmic detailing of the Kyrie and Gloria pluckily projected. A special mention is due to Sasha Ockenden, soaring confidently in the fearfully exposed treble solos of the beautiful Agnus Dei.

Throughout the disc Higginbottom draws exemplary clarity of texture from his New College choristers; the tantalizing, almost acidic harmonies of all these pieces are laid out like jewels ready for the closest of inspections. Moments of beauty (and they come thick and fast) are deliciously understated . . . for performances which are full of musical and artistic integrity and a real sense of involvement with the music, these from New College, Oxford are in a class of their own.

This recording of North American music of the last fifty or so years includes music by a Russian, Igor Stravinsky. His origins notwithstanding, he is one of the ‘grand old men’ of twentieth-century American music, having become an American citizen in the early 1940s, shortly before writing his Mass for choir and double wind quintet. The recording ends with a spiritual, arranged by one of Britain’s most eminent twentieth-century composers - a sort of compliment to the American tradition from the other side of the pond. The rest of the music speaks for itself, with an inimitable American accent from beginning to end. "Copland's In the beginning is a stern test for any choir in a live performance...This recording is an amazing tour de force—intonation spot-on, effortless high As from the boys and finally a B flat, all superbly delivered. This CD is well worth having for this refreshingly affirmative evocation of the Creation alone." Gramophone Magazine

The Choir produces a fine balance, with an overall tone quality which proclaims their expertise in singing services, the boys especially being able to produce thin polished brass as well as peach-blossom tone as required. Directed by Edward Higgenbottom.

This is a splendid sampling of some of the world's finest choral music, sung by one of the world's outstanding choirs. This "anthology of sacred choral music" spans 400 years and includes such masterpieces as Allegri's Miserere, Bach's "Jesu, joy of man's desiring," and Barber's exquisite Agnus Dei, which is the composer's choral setting of his famous Adagio for Strings. Along the way we also hear Mozart's sublime "Ave verum corpus," Elgar's "Lux aeterna," and the Kyrie from Palestrina's Missa Papae Marcelli. There has been a choir at England's New College, Oxford, since the year 1379, and this impressive line of experience shows in the intelligent, unfaltering, and finely polished performances by today's ensemble of 16 boys and 12 adults.

The Red Star Red Army Chorus and Dance Ensemble was created in 1978 in Moscow, mostly to raise the cultural level and maintain the battle-readiness of the strategic rocket forces and other elements of the Red Army. A Russian proverb says "A fairy tale is a lie, but a song tells the truth." Fairy tales have become rare in present-day Russia, but folk tunes still form an integral part of daily life. Accompanied by the balalaika and the bayan (a large button-key accordion), these songs tell of love and loss, of sadness and solace, of brave deeds and everyday problems. Humor and dance can be found here, as well as melancholic longing and heroic pathos. Some favorites of the 18 songs: "Regimental Polka," "Kalinka," "Volga Boat Song," "The Swallow," "The Brave Don Cossacks," "Wait For Your Soldier," "Ochi Chornye-Dark Eyes," "In The Sunny Meadow," "The Cliff," and "On The March." All accompanied. "Kalinka" beautifully captures the brash power and deep emotions of the Red Star Red Army Chorus.

The Red Army Choir was formed out of Moscow's Central Army Club in 1928. Under the name Red Army Song Ensemble, twelve soldier-performers - a vocal octet, a bayan player, 2 dancers, and a reciter - officially performed for the first time on October 12, 1928, at the Frunze Club under the direction of their conductor, Alexander Vasilyevich Alexandrov, a young music professor at the Moscow Conservatory. The ensemble grew to serve as the official army choir of the former Soviet Union's Red Army. The choir consists of a male choir, an orchestra, and a dance ensemble. The songs here range from Russian folk tunes to Church hymns, operatic arias popular music and patriotic songs.

For over thirty years The Rustavi Ensemble, under the artistic direction of Anzor Erkomaishvili, have been painstaking in collecting and sometimes recreating the songs, instrumental music and dance of all the regions of Georgia which were the domains of separate tribes and therefore unique musical traditions. The songs on this recording were chosen from an anthology entitled "100 Georgian Folk Songs" which had been commissioned by Melodiya, the Soviet recording company, in the mid 1980's. The compiler was Ted Levin who, with Anzor, picked a wide stylistic representation of the three part polyphony which is unique to the area. The music sounds Eastern and Western, religious and secular, modern and archaic all at the same time. Among the singing techniques on this disc you'll find a unique, high-register, sustained yodel called krimanchuli to be a completely original sound found nowhere else in the world. It is amazing!

Recorded in 1960, under the direction of one of the foremost conductors of the modern age - Shaw's resume includes collaborations with Arturo Toscanini - "Sea Shanties" is not merely a period piece. The 16 shanties, arranged by Robert Shaw and his frequent associate, Alice Parker, are stirring and invigorating, as was indeed their purpose, as many of them supplied the rhythmic accompaniment for hard manual labor. Slower tasks required a commensurate meter: "Shenandoah" and "Lowlands" are typical examples. Finally, in their down time, sailors would sing for entertainment, often recalling exotic ports-of-call, and romanticizing their adventures ("Swansea Town," "Santy Anna"). Four songs have acoustic guitar. Songlist

Folk, composed and orthodox church music from Georgia, Armenia, Macedonia and Bulgaria are heard on this recording by Slavyanka. Selections include, "Vo Tsarstvii Tvoyem" by Dmitri Khristov with an especially lovely tenor solo and "Milost' Mira/Tyebe Poyem" by Nikolai Kompaneyski with its very warm bass lines. The recording also includes brief introductions explaining the meanings and sources of each song. Led by Gregory Smirnov deep bass voices and high tenors lift you with their expression of the Slavic soul in song.

This third album by the Northern California chorus, Slavyanka, is an assortment of Russian sacred, secular, classical and folk music. It is intended to be a journey through Russian history to explore where soul and spirit have taken shape in music. The music draws on the traditions of the Orthodox Church and Byzantine chant and the often suppressed folk songs and includes compositions of the Russian nationalist composers like Musorgsky and Shostakovich. Led by founder Paul Andrews, this group is helping to bring the religious and secular choral traditions of Russia and other regions of Eastern Europe to the rest of the world.

As one of England's oldest and most respected male choirs one expects great recordings and this collection of the favourites of director Christopher Robinson is a real treat. Recorded in the Chapel this recording demonstrates the Choir's remarkable repertoire stretching from the 15th century until the present day.

Conductor Christopher Robinson directs this historic and highly regarded choir as they perform a thoughtful collection of popular choral music of many of the great composers including Haydn, Fauré, Wesley, Brahms, Mozart, Elgar, Bruckner, Rachmaninov, Byrd, Rossini, Grieg, Mendelssohn, Franck, Stanford and Duruflé.

Northfield, MN's St. Olaf College boasts many fine vocal and instrumental ensembles. The Viking Chorus, founded in 1935, is a group of 60 first-year student men who perform motets, cantatas and anthems, as well as contemporary choral pieces, spirituals, and folksongs. The 26 songs of "When Love is Found" are largely classical sacred music such as Hovland's "The Glory of the Father," Pitoni's "Adoramus te" (We Adore Thee), Byrd's "Agnus Dei," Petrich's "First Born of Creation," Biebl's "Ave Maria" (Angelus Domini), and Gretchaninoff's "Only Begotten Son," the title tune and "Our Father." The beautiful folk song "Down by the Sally Gardens," the sea shanty "What Shall We Do With the Drunken Sailor," the Irish anthem "Danny Boy," the driving Israeli tune "El Yivneh Hagalil," and the spirituals "Were You There" and "Ain'-a That Good News" bring this very strong collection to a close. Some light accompaniment. A touching blend of sacred and secular music from this renowned ensemble.

Listen to "If Ye Love Me" in Real Audio.

Elzéar Genet (c. 1470-1548) sang in the papal chapel under Pope Julius II, and thereafter in the court of the French king Louis XII. On November 5, 1513, he became the first composer to be named Master of the Papal Chapel. Working for Pope Leo X, who, in the Medici tradition, was a lavish patron of the arts, Genet's musical output became exclusively sacred. Although Genet was the first composer to publish his collected works, his music has unjustly fallen into near-oblivion. By the late 16th century, Genet's works had been replaced with newer settings by Palestrina and other composers. Sadly, there are no documented performances of his music again until the early 19th century.

The rich blend of Tenors, Baritones and Basses in the male voice choir has an appealing homogeneity and power, one that has flourished in Wales hymn-singing festivals for centuries. 15 memorable tunes: "God Bless the Prince of Wales," written in 1862 gets the CD off to a rousing start, and the two best-loved Welsh hymns "Cvm Rhondda" (Guide me, O Thou Great Jehovah"), and "The Lord Is My Shepherd," now known as the tune "Crimond" are well done here. "Fantasia on Famous Welsh Airs," the dramatic "The Lost Chord," "See, The Conquering Hero Comes," "The Ash Grove," the exciting "Hunting the Hare," and two spirituals, "Swing Low, Sweet Chariot" and "Nobody Knows The Trouble I See Lord," are particularly wonderful. Some organ, harp and piano accompaniment. The Tredegar Orpheus Male Voice Choir, directed by Ieuan Davies, and the Rhos Orpheus Male Voice Choir are as good as they come, with a visceral, ancient wall of sound that hits us where we live. "Voice of Wales" is powerful and wonderful!

The sound of Georgian polyphony is sure to please those who enjoy sacred choral traditions. Multiple unaccompanied voices blend together, weaving counter-melodies to create an awe-inspiring sound of sacred tradition. Georgian vocal polyphony is unlike any other vocal/choral music, Eastern or Western. There are many genres, both sacred and secular, and different styles in different regions. The selections of this CD are from the Kahetia region and are drawn from a large repertoire of ritual songs, carols, and traditional songs that abound in Georgia.

Table songs are the musical expression of the Georgian cult of wine, and the Tsinandali Choir are famous for their stirring and powerful renditions of this music. Different occasions and events bring Georgians together around their large wooden tables to drink, eat and sing - a birth, a death, a marriage or a holiday. Singing is as natural a part of everyday life as breathing! The Tsinandali Choir is carrying on this ancient tradition in the deep, sonorous polyphonic style of Georgian music.

Thomas Beveridge and the Washington Men's Camerata give glorious and joyful performances on this Christmas recording. The triumphant title piece "Masters in this Hall" begins with the chorus and a soft drum beat that eventually grows to include organ and virtuosic piano. This and most of the other pieces are arranged by Beveridge, who is very accomplished in writing for men's voices. Juxtaposing the male sound are several soprano solos sung by Rosa Lamoreaux including "The First Mercy" by Peter Warlock. Other highlights include Beveridge's arrangement of "The Shepherds' Farewell" from Berlioz's L'Enfance du Christ and Biebl's peaceful "Ave Maria."

Wales is famous for its choirs and SAIN is Wales' foremost recording company, and over the years, it has built up the most comprehensive catalogue ever of Welsh choral singing, including all the leading male voice choirs. This compilation has been carefully selected from the Sain catalogue of recent years to reflect the best of Welsh male choral singing. All the tracks were recorded digitally, ensuring a consistently high standard of sound quality throughout.