The Swedish choral tradition enjoys a very high reputation, with music lovers often claiming to be able to recognize a uniquely Swedish choral sound. Exactly what this sound consists of is difficult to pinpoint, but often mentioned are keywords such as melancholy, the Scandinavian countryside, folk music and traditional ballads. The selection of works on this disc exemplifies all of these, and the performance of them has been entrusted to one of the choirs that have shaped Swedish choral music: Allmäanna Sangen, an Uppsala student choir with a history going back for more than 175 years. The choir's position in Swedish cultural life was demonstrated in 2005 by an invitation to sing at the Nobel Banquet. That performance was televised throughout the world, and in fact included three of the works on this disc - Biegga Luothe, Glaspolskan and Byss-Kalles slangpolska. Great traditions notwithstanding, this disc offers a new perspective on its subject, as the choir brings out new resonances in the often well-known music. A collaboration with Swedish jazz pianist Anders Widmark lends unusual colours to settings of ancient folk chorales (I Himmelen) and traditional harvest songs (Slåttervisa), as well as to classics from the treasure of Swedish choral music such as Stenhammar‚s Three Choral Songs and Alfvén‚s Evening (ŒAftonen‚). Both Allmänna Sangen and Anders Widmark have made a number of successful recordings, and now that they join forces for the first time, it is an occasion not to be missed.

Telarc Records delves into its vault of treasured Robert Shaw recordings to re-release music that is cherished by choral enthusiasts worldwide. The Shaw catalog is near and dear to the heart of Robert Woods, president of Telarc, who handles the late conductor’s legacy with great reverence. "Sacred" brings together works performed by not only Shaw and the amazing Atlanta Symphony Orchestra Chorus, but also the legendary Mormon Tabernacle Choir. Both choral entities have garnered numerous GRAMMY Awards for Telarc.

There are almost a hundred years between the dates of birth of Charles Ives, 1874, and Eric Whitacre, born 1970, the youngest composer in this Kaleidoscope of American choral music. If someone takes a look at the standard works in music literature, there is hardly any American choral music to be found. The American works that can be perceived as approaching the traditions of western music do not appear to interest the specialist world in Europe. The story in concert halls and churches ˆ as well as in recording studios ˆ is quite different, however. Through the founding of many choirs, gospels and spirituals are more popular than ever and, on the programs of classical a cappella choirs, the works of Morten Lauridsen or Samuel Barber have already become classics. The Amadeus Choir is an ensemble of some 50 singers and was founded by Karl-Friedrich Beringer, conductor of the Windsbacher Knabenchor since 1978.

Alongside a rich choral tradition, Eastern Orthodox liturgical services feature a number of solo chants, duets, and trios, which often stand out as the musical highlights of the particular service in which they appear. This landmark CD, the first by Archangel Voices, focuses upon these soloistic elements Orthodox services, drawing upon both the Byzantine and Slavic traditions, but sung entirely in English. The 20 tracks include some of the most spiritual and moving hymns from Annunciation, Great Lent, Holy Week, Pascha (Easter), Ascension, Pentecost, and the feast of SS Peter and Paul.

When Sir Michael Tippett first worked with the BBC Singers in 1944, the experience was such that he recalled nearly 50 years later that “It was to be the first of many such occasions when a composer’s dreams were brought to fulfillment.” Tippett's relationship with the BBC Singers went back to almost the beginning of his career, and he often expressed intense admiration for them. His faith is rewarded here. Now under the Conductor Laureate, Stephen Cleobury, the present-day BBC Singers return the compliment with this program of his works for choir, both unaccompanied and with organ. The plaintive high solo of the Nunc Dimittis, floating above strange middle-range harmonies, soars worlds away from cosy Anglican convention. The 'sprung' rhythms of Dance Clarion Air and The Windhover have a muscular freedom unlike anything in contemporary English music. The strangely irregular figures Tipett waves around the tune in Over the Sea to Skye may seem over-ingenious at first, but by the end their quite hypnotic, at the same time challenging the ear to re-examine a very familiar melody.

A 1983 Mayoral proclamation from his adopted city of Denver, Colorado, best describes the life and work of Jean Berger. The proclamation reads: "Jean Berger Day: scholar, linguist, distinguished choral conductor, musicologist and composer.' The State of Colorado futher honored the composer by conferring the Governor's Award for Excellence in the Arts in 1985. Belmont Chorale does an excellent job with eight of Berger's finest choral works.

Founded in Minnesota in 1937, the 39-strong mixed-voice Bemidji Choir has been directed since 1998 by the renowned Dr. P. Bradley Logan, who also directs the BSU Chamber Singers, a 14-voice ensemble chosen by audition from the Choir. On "Beneath" we hear 6 songs by the full choir, 8 by the Chamber Singers and then 7 more by the choir. Sacred music like Peter Phillips' "Surgens Jesus," Johann Michael Bach's "Sei, lieber Tag, wilkommen," "The Lamb" and "The Tiger" by Eric Barnum, "Come, Love We God," and "Hark, Hark What News the Angels Bring" coexist nicely with traditional and folk music like Edwin Fissinger's "Nelly Bly," "This Endris Night" and "Black is the Color of My True Love's Hair," Bob Chilcott's "The Gift to be Simple" and Jonathan Quick's "Loch Lomond." Sweet, beautiful music that touches the heart, sung with feeling by the wonderfully-led Bemidji Choir!

From the 5000 students enrolled at Bemidji State University, on 76 acres of wooded campus on the shore of Lake Bemidji, MN, comes one of the best student choirs we've heard, The Bemidji Choir, founded in 1937. "almost Acappella" is a best-of CD, including 22 songs, from Palestrina's "Exultate Deo" and a group of 5 rose-related songs (Wm. Billings' "The Rose of Sharon," Howells' "A Spotless Rose," Leighton's "Of A Rose is All My Song," John Paynter's "The Rose" and the English Carol "TheRose"), Poulenc's 4 "Motets for the Season of Lent," Benjamin Britten's ''Five Flower Songs," the spiritual "Done Made My Vow to the Lord," and finishing with a pair of piano-accompanied tunes by Gioacchino Rossini, "I Gondolieri" and "La Passaggiata." Spirited, wonderful music, from one of the best in the world!

Founded in 1937 by Carl O. Thompson, the 41-strong, mixed-voice Choir, comprised of undergraduate students at Bemidji (MN) State University, has earned an international reputation for excellence. Touring internationally every three years, representing the US in international choral festivals like "The Europa Cantat," the Choir regularly appears at local and national ACDA conventions. Included on "Love like Spring" are 16 cuts by the whole Choir, and 5 by the Choir's elite Chamber Singers. Particularly nice are Palestrina's "Alma Redemptoris Mater," Robert Kreutz' powerful, surprising "Spring Grass," "Silent, O Moyle," and four "Songs of Innocence" by Earl George, "Piping Down the Valleys Wild," "The Shepherd," "Infant Joy" and "Laughing Song." By the Chamber Singers, we really liked Thomas Morley's "Shoot False Love, I Care Not" and "April Is In My Mistress' Face," and the harmonious "Of the Father's Love Begotten." "Love like Spring" is a joy from start to finish!

When most people think of early music, European composers first spring to mind. European musical traditions have always been considered superior to those of America. Joel Cohen and the Boston Camerata have been proving that early American traditions are worth knowing. Trav'ling Home features American spiritual songs from 1770-1870. This unrefined style of song was discarded for the more genteel hymns that are standard today. Thankfully, we are being treated to a resurrection of this music. The selections on this recording come from Southern shapenote songbooks, hymnals from the North, early manuscripts and the oral tradition. In addition, these songs are brilliantly programmed by Cohen who varies the number of singers and use of accompaniment, showing the flexibility of the music. The opening piece, "Hatfield," performed a cappella by women's voices is extraordinarily striking. If you have any interest in early American music, you must have this recording.

Golden Harvest is an assortment of Shaker songs collected from their many communities. This wonderful music consists of thousands of songs on various religious topics. This is quite miraculous considering that the entire Shaker religion had no more than one thousand members at a time in its two hundred year existence. Nearly extinct, the Shakers and their inspiring music, fortunately, will be forever remembered as a result of this great recording. As a bonus this CD features a conversation between Joel Cohen and the members of the Sabbathday Lake community. Golden Harvest is an assortment of Shaker songs collected from their many communities. This wonderful music consists of thousands of songs on various religious topics. This is quite miraculous considering that the entire Shaker religion had no more than one thousand members at a time in its two hundred year existence. Nearly extinct, the Shakers and their inspiring music, fortunately, will be forever remembered as a result of this great recording. As a bonus this CD features a conversation between Joel Cohen and the members of the Sabbathday Lake community.

Little Birds
A Boy And A Girl
This Marriage
Her Sacred Spirit Soars
Tmuna
Larov
Eyze sheleg
Rakut
She Weeps Over Rahoon
Little Tree
The Panther
The Cow
The Firefly

A big seller at the recent ACDA Convention, "Eric Whitacre" is a stunning collection of songs composed in the classical style of Monteverdi, Debussy and Prokofiev, but with inspiration from such groups as the Beatles, Sting, Queen, Madonna and Peter Gabriel. His choice of texts also reflects a broad range of poets - Octavio Paz, Ogden Nash, James Joyce, e.e. cummings and Emily Dickenson, religious poets being conspicuous in their absence, although "three songs of faith" are included here. The mixed-voice Brigham Young U. Singers do justice to Whitacre's difficult, eclectic, wonderful, soaring compositions. 12 songs, "Water Night," the three songs of faith: "I Will Wade Out," "Hope, Faith, Life, Love," "I Thank You God for most this Amazing Day," "Cloudburst", "Sleep," "I Hide Myself," "With a Lily in Your Hand," "Go Lovely Rose," "When David Heard," "Lux aurumque" and "Leonardo Dreams of His Flying Machine." "Beautiful" is an inadequate word to describe Whitacre's work and the BYU Singers' interpretation of it. "Amazing" works much better! Recommended.

In 2003 the veteran, prolific BYU Singers were preparing for a concert tour of Ukraine when war in the Middle East caused its cancellation. They shifted their energies to this new recording, their 4th on the Tantara label, which includes two Ukrainian choral treasures, Dimitri Bortnyansky's "Cherubic Hymn" and Konstantin Shvedov's "To Thee We Sing (Tebe Poyem)." Some other favorites are the title tune, "His Eye Is on the Sparrow," Robert Starer's soaring "Give Thanks unto the Lord," the energetic "Praise the Name of the Lord (Laudate Nomen)," the hymn "Nearer My God to Thee," and Hofford/Millard's sweet "Abide with Me; 'Tis Eventide." Some light piano accompaniment. A beautiful, deeply-felt collection!

Founder/arranger Ronald Staheli directs his 47-strong mixed choir in some lovely, rarely-performed Christian choral pieces by such master composers as Eric Whitacre (the 14 _-minute "When David Heard That Absalom Was Slain," and "Water Night"), Morten Lauridsen ("O nata lux,"), Edward Elgar ("Light Eternal (Lux aeterna)"), and John Tanner/Jean Sibelius' ("I Love The Lord"). 13 songs, with some light piano and organ accompaniment. A couple of other favorites: Reynolds/Greene/Belafonte's inspirational "Turn Around," Mary Ann Morton/Alfred Durham's "Sweet Is The Peace," and the final cut, "Give Me Jesus." Another winning recording from this veteran choir.

First formed in 1984 by conductor and arranger Ronald Staheli, the BYU Singers are a small, select choir of singer/musicians. "We Sing Of Christ" is a wonderful collection of traditional English and Christian hymns and folk songs. 16 Songs, some favorites are "More Holiness Give Me," "Come, We That Love The Lord," "The Morning Breaks," the inspirational "How Great Thou Art," "Awake, Ye Saints of God, Awake," "How Can I Keep From Singing," the rousing "The Promised Land" and the sweet "Come Unto Him." There is some light to heavy accompaniment.

Organized in 1984 under the direction of Mack Wilberg, the 90-voice BYUCC is one of two highly select mixed choral ensembles that continue a long choral singing tradition at the University. The group has appeared in concert at national ACDA and MTNA conventions and with the Utah Symphony. On "All Creatures" the group's full, rich, flawless sound is featured on a collection of 12 symphonically accompanied, mostly traditional Christian hymns and songs of praise. The title tune, "The Lord Is My Shepherd," John Gardner's "Brightest and Best of the Sons of the Morning," "Be Still My Soul" and "Jesus, Once of Humble Birth" are particularly fine. Mack Wilberg's skills as an arranger are evident on four songs, and his own compositions, "Jesu, the Very Thought Is Sweet," and "Fantasia on Early Latter-day Saint Hymns," are wonderful. Extensive liner notes with all lyrics. An impressive, inspirational CD!

Aaron Copland is best remembered for creating a truly American style of music which is full of folk influences, and melodic and harmonic simplicity. The Old American Songs incorporate folk melodies ranging from minstrel songs (The Boatmen's Dance) to hymns (Simple Gifts) to political satire (The Dodger). Originating as songs for voice and piano, these arrangements by Irving Fine for chorus were authorized by the composer, who himself further expanded the songs for voice and orchestra. "The House on the Hill" and "An Immortality" were both arranged by the recently departed Daniel Pinkham, who was a student of Copland's at Harvard.

The Stony Brook (NY) Camerata Singers have sung at prestigious music festivals such as the Utrecht Early Music Festival and the San Luis Obispo Mozart Festival in California. Their 30 mixed voices represent a cross-section of Stony Brook University, and they sing music from all periods, early to modern. While the major works of Randall Thompson (1899-1984) and Libby Larsen (b. 1950) are well-known, this CD offers a unique opportunity to hear some of their smaller works for unaccompanied chorus, and to compare these two American composers separated by half a century. 16 songs: first Thompson's "Antiphon" (1970), then 7 movements of "Mass of the Holy Spirit" (1955), followed by three striking "Sweet and Sour Nursery Rhymes" by Larsen, "There Was a Little Girl", "Little Boy Blue" and "Try, Try Again" (all 3 accompanied by French Horn). Then two by Thompson, "Glory to God in the Highest" (1958) and "Fare Well" (1973) are followed by the complex, dissonant "Bind Me, I Can Still Sing" and "Adrift! A Little Boat Adrift!" by Larsen, and the final cut is Thompson's "The Lark in the Morn" (1938). An interesting contrast of two composers, both brilliant, each with a totally different focus.

Formed in 1965, award-winning mixed choir Camerata has been one of the most prolific chamber choirs in Denmark. Apart from traditional a cappella concerts of several works by Danish composers, the Choir has performed such symphonic works as Mozart's "Requiem" and Handel's "Messiah." Contemporary (b. 1949) composer Poul Ruders includes in his musical universe medieval, renaissance and baroque eras, rock music, American minimalism and modernism in a direct, vibrant, almost music-video-like style. The first movement, 24 minutes long, "Stabat Mater," is a dramatic, surprising piece that combines 10-part harmony with some samples of "out-of-tune piano, organ and percussion." Then we have 3 motets, done mostly in the sacred medieval and renaissance styles: "Preghiera semplice," "Caritas nunquam exidit" and "Psalm 86." The last piece, 17 minutes long, the Medieval Danish folksong "Queen Dagmar's Death," is a somber-toned requiem with some unbelievable soprano solos from Choir members. "Poul Ruders" is an impressive, very different choral CD of works by a brilliant composer.

Most well-known as a composer of symphonic works and numerous songs, Danish composer Carl Nielsen (1865-1931) also wrote an impressive smaller body of works for a cappella choir, which is presented in its entirety here, in chronological order; most recorded here for the first time. The liner notes are actually a booklet containing all the words and even an original score. Directed by Frans Rasmussen, mixed choir Canzone Zoret performs these wonderful songs beautifully, but the liner notes are so focused on Nielsen and his history that nothing is said about the excellent group or its director. 38 songs, including songs for male choir like "A moment of pleasure, an age of pain" and "Earlier I dreamt every single night," patriotic songs like "Protect Your Land, Oh Danish Man," popular songs like "The Daffodil," Christian songs like "Come, Angel of God, Tranquil Death," Christmas songs like "Oh, Christmas Snow From Bethlehem" and even songs written to be sung in schools, like "The Grasshopper" and "The Spider's Song" from 1899, which were so popular his two daughters were nicknamed "the grasshoppers" at school. These songs are a joy, richly harmonic with sweet soprano solos dancing above, by a master composer and performed by a master choir.

Considered to be one of America's foremost contemporary composers Morten Lauridsen is a master of writing choral music that is harmonically lush, contrapuntally interesting, melodically memorable, and gratifying to sing. This disc brings together four of his most popular works, which include three cycles -- Les Chansons des Roses, Lux Aeterna, Madrigali -- as well as his setting of O Magnum Mysterium. The Chamber Choir of Europe, conducted by Nicol Matt, sings with warmth and a secure tone. Matt conducts with sensitivity, giving the music plenty of room to breathe, with tempos generally on the relaxed side. The choir is particularly effective in the moving and densely chromatic a cappella O Magnum Mysterium. Lux Aeterna is heard in its version with organ, played by Jörg Halubek, rather than with instrumental accompaniment. The composer provides sensitive accompaniment on the piano in "Dirait-on," the final (and only accompanied) song in Les Chansons des Roses. The sound is warm and intimate. While the performances fall short of being sublime, this CD would be a good introduction to the variety of Lauridsen's work for anyone interested in accessible and gratifying new choral music.

Famous as a great symphonist and fine chamber music and a number of large-scale works for chorus and orchestra, Johannes Brahms is often overlooked for his sacred and secular works for choirs of more modest proportions. His romanticism and love of early music and folk song make these choral works so easy to sing and hear. This CD features 12 cuts, 4 movements of the accompanied "Gesange fur Fravenchor, 2 Horner und Harfe op. 17," 7 movements of the a cappella "Sechs Lieder und Romanzen op. 93a," 3 movements of the lovely a cappella "Marienlieder op.22," the beautiful a cappella "Ach, arme Welt, du trugest mich op. 110, Nr. 2," and the 2 soaring, harmonic a cappella movements of "Zwei Motetten op. 74." Conductor Matt directs the international Choir superbly, and our appreciation of this group, and for Brahms' "blue collar" choral works, couldn't be higher!

Felix Mendelssohn Bartholdy (b. 1809) received a classical music education during a period of stylistic upheaval at the beginning of the Romantic Era. Influenced by the late works of Beethoven and Schubert, Mendelssohn set out to strike a balance between the burgeoning romanticism and his own, more classically-oriented, outlook. That he succeeded in this is clear in secular works such as the Italian Symphony and the Hebrides overture. Greatly affected by the work of Bach, his purpose in the area of sacred music grew to essentially redefine the function and liturgical role of church music. Here we have 19 examples of Mendelssohn's dynamic, revolutionary sacred music, beginning with the dramatic "Kyrie in d fur gimischten Chor, Soli un Orchester," and then the 18 movements of "Der 42. Psalm "Wie der Hirsch schreit" op. 42." These range from the haunting oboe and soprano solos of "Aria" and "Recitativo/Arie" to the triumphant horns and orchestra of "Schlusschor;" the sweet soprano a cappella strains of "Hebe deine Augen auf fur dreistimmigen Fravenchor" to the Gregorian chant-like "Beati mortui/Seliq sind die Toten, aus: Zwei geistliche Mannerchore op. 115 fur vier Stimmen" and "Zum Abendsegen "Herr, sei gnadig" fur vierstimmigen gemischten Chor." This is beautiful, powerful sacred music, penned by a master composer and sung by one of the finest chamber choirs in the world

A stunning program of contemplative sacred texts set to some of the most beautiful singing we've heard. Slow, focussed intensity creates a strong emotional response from many listeners, including us. The Martin piece alone is worth the price of admission. With première recordings of new anthems by Craig Phillips and Roland Martin, this CD is also the first recording of the widely admired Choir of All Saints, Beverly Hills, under its new director, Dale Adelmann.

Setting texts for chorus or solo songs occupied Samuel Barber throughout his creative life. In particular he sought out English and Irish writers, many of whose melancholic and nostalgic texts aptly matched his own musically romantic persuasion. A Stopwatch and an Ordnance Map is a disturbing setting of a poem by Stephen Spender describing the death of a soldier in the Spanish Civil War, during which the poet had spent time in Spain. The elegiac and now extraordinarily popular Adagio for Strings is heard in the composer’s own choral version, Agnus Dei, to words from the Latin Mass. God’s Grandeur is one of Barber’s most ambitious and advanced unaccompanied settings

Dave Brubeck is one of the most well-known jazz pianists of all time yet he has also composed several large-scale works including two ballets, a musical, an oratorio, four cantatas, a mass, works for jazz combo and orchestra, and many solo piano pieces. This is a collection of this jazz legend's choral compositions and arrangements recorded over two evenings with Brubeck playing piano on six tracks with the Chattanooga Choral Artists, who he specifically requested to make this recording with, and the others tracks being his a cappella choral works. The emphasis is on Brubeck as composer, not pianist, and is an example of Brubeck's passion, fueled no doubt by his belief that music is the definitive vehicle for emotional expression, transcending generations, musical genres and geographic and cultural borders.

Listen to "We Three Kings" in RealAudio.

A rousing collection of patriotic songs from the times of the Civil War with an emphasis on songs from the south. Philip Rice directs the Chorus with great verve and panache as they sing the songs of Stephen Foster among others with stellar arrangements by Robert Shaw and John Rutter. This recording's historical aspects adds to its charm and will be sure to stir the hearts of true sons and daughters of the great southern states.

Listen to "My Old Kentucky Home" in RealAudio.

Choral Cross-Ties, a mixed 24-singer chorus directed by Bruce Browne who founded the group in 1985, bring us 3 choral cycles by composer Morten Lauridsen, "Mid-Winter Songs," on poems by Robert Graves; "Madrigali: Six Fire-Songs," on Italian Renaissance poems; and "Les Chansons Des Roses," on poems by Rainer Maria Rilke. Reading the beautiful poetry which inspired Lauridsen in the extensive liner notes, the Graves in English, the Madrigali in Italian and the Chansons in French (all with translations), adds to our appreciation and feeling for the music. Lightly accompanied on piano, "The Complete Choral Cycles" is an extensive, demanding work made to look easy by a wonderfully versatile chorus.

Founded in 1996, the 40-strong, mixed-voice Choral Project, ably led by Artistic Director and Conductor Daniel Hughes, has performed throughout California in concerts, interfaith services and choral festivals, as well as nationally and internationally in Costa Rica and Mexico. Included here are seven selections by master composer Eric Whitacre, "Five Hebrew Love Songs," "Cloudburst," "I thank you God for most this amazing day," "She Weeps Over Rahoon," "Little Birds," "Water Night" and "Sleep." Then we have "Agnus Dei" by Edward Elgar/David Giardiniere, Tavener's "Hymn to the Mother of God," Ticheli's "There will be rest," "Ave Maria" by Giancarlo Aquilanti, Rene Clausen's "Tonight Eternity Alone" and Lauridsen's "O magnum mysterium." Some light accompaniment with strings, piano and percussion. Difficult, intricate harmonies, effortlessly performed by this talented ensemble.

Sub-titled "Music Of The Soul's Journey," this second recording by the Clare College Choir uses heaven as its theme. With three sections, described in the foreword by John Rutter (who also produced), as "mourning and remembrance," "the departed soul's destination" and "heaven itself," the sound of this mixed ensemble is ever graceful, though solid. Director Timothy Brown shows versatility in his choice of arrangements, some of which are for men only, some for women, and some for mixed (and variations thereof). For example, the four-part SATB arrangement of Tschaikovsky's "Blessed Are They" in contrast to the double choir SATB "Faire Is The Heaven" by William Harris, of the SSAA "Audivi Vocem De Caelo" by John Sheppard versus "Domine Jesu Christe," Gregorian Chant for men's voices. Recorded at the Lady Chapel of Ely Cathedral, which adds its own pleasing natural resonance, "Blessed Spirit" is luxuriously tranquil.

The Clare College Choir is a mixed choir of approximately two dozen voices, based at Cambridge, England. Directed by Timothy Brown, who succeeded John Rutter, the scope of the works on this recording comprise over four centuries, from Tallis and Byrd, to that of the Transylvanian-born Gyorgy Ligeti ("Lux Aeterna," 1966). The common element is that of light - hence, "Illumina" - and therefore, each composition directly or indirectly reflects this theme. Several settings of "Hail, Gladdening Light," including that of Charles Wood (1912), part of that great post-Edwardian resurgence of English classical music, are represented, as is Holst, a Wood contemporary, the Romantic Russian Tschaikovsky, and his countryman Rachmaninov. No matter the era of the work, the Choir has a transparent sound, emphasizing controlled dynamics, precise phrasing, and timing that is never impatient or harried.

Give Unto the Lord
Ave vernum
Ave Maria
Ave maris stella
Light out of darkness
Intende voci orationis meae
Good Morrow
Te Deum
Benedictus
I sing the Birth
Doubt not
Fear not
Light of the world
They are at rest
Great is the Lord (Psalm 48)

Conspirare's second studio recording, Requiem, was recorded at The Bank Music Hall in Troy, New York in October 2005, and the CD has already received rave reviews most recently the 2005 Margaret Hillis Award for Choral Excellence, presented by Chorus America. The album includes Howells' and Pizzetti's Requiems and some lovely, forlorn songs. Also a requiem from Austin's Eliza Gilkyson. "This is simply gorgeous choral singing…The Choir achieves near-perfect interpretive consensus and vocal enaemble, with stiletto-sharp intonation and unearthly tonal beauty….” – American Rocoed Guide. "Sublime. Conspirare's "Requiem: We are so lightly here" flies on the wings of perfection.

The Coro del Nuevo Mundo del Teatro Argentino de La Plata is a professional choir of sixteen singers and a pianist, percussionist and guitarist that tours extensively through Argentina, North and South America from their base in Buenos Aires, conducted by founder, composer and arranger Oscar Escalada. "Choral Music" features 11 works by South American composers. "Hanacpachap," 17th century Peruvian, is thought to be the first polyphonic music to be composed in the Americas. "Estrellita del Sur" is a lovely Peruvian waltz, "Manchai Puito" is a haunting folk song from Argentina, "Tonada y Cueca" and "La Doble" are joyful dances, and we enjoyed the upbeat "Pueblito Mi Pueblo," a warm and elegant piece for women written by Carlos Guastavino, one of Argentina's finest composers. "La Chaparrita" is a bright Venezuelan folk melody, "Se Equivoco La Paloma" tells of a dove that loses its way, "Santafecino de Veras" is a joyful Argentinian dance and "Milonguera" is an exuberant and challenging work written by Oscar. A lovely, bright, surprising collection of South American music we rarely get a chance to hear! Some light accompaniment.

Acclaimed Argentine composer and conductor Oscar Escalada leads the Coral del Nuevo Mundo (Chorale of the New World) in this bright collection of 12 songs, some accompanied, by South American composers and arrangers. Particularly wonderful are the opening cut, "El ultimo café," a tango from Argentina, the upbeat "El Pinteo" from Argentina, " "O pato," a jazzy, manic bossa nova from Brasil, "Crece desde el pie" from Uruguay, and the dramatic 5-part title cut, by Ariel Ramirez of Argentina. "Misa Criolla" is an excellent, complex recording of the best in Contemporary South American choral music!

"There is nothing like entering a church on a Saturday, standing in the semi-darkness with the scent of incense wafting through the air, lost in deep contemplation searching for an answer to those perennial questions, wherefore, when, whither and why?" These words, from one of Tchaikovsky's own letters, sum up the spirit behind the glorious Liturgy of St John Chrysostom, Op 41. The work is steeped in the Orthodox tradition, the choral writing provides that sense of transparency and simplicity demanded by the text, and the resulting ambience is rich in the manner familiar to Western listeners from works such as Rachmaninov's Vespers. This recording also includes ten choruses to texts many of which are taken from the Liturgy. The first nine were published together in 1885, while the tenth, An angel crying, was lost shortly after its first performance in 1887 and only rediscovered thirteen years after the composer's death.

This recording features choral works by some of the great American composers. The Corydon Singers, led by Matthew Best sing Leonard Bernstein's "Chichester Psalms," Aaron Copland's "In the Beginning" and three motets and Samuel Barber's "Agnus Dei." The "Chichester Psalms," originally orchestrated, are accompanied by organ, harp and percussion with boy soprano Dominic Martelli. Copland's "In the Beginning" for soprano solo and unaccompanied chorus features mezzo-soprano Catherine Denley. Barber's "Agnus Dei" is a choral arrangement of his much loved "Adagio for Strings." The music on this recording is beautifully sung by a great choir.

Creative Voices is a 18-strong, mixed-voice a cappella ensemble, conducted by Argentinian maestro Eduardo Mendelievich, dedicated to studying and performing rarely-performed musical repertoire, providing vibrant and innovative performances that introduce audiences to the healing and transformative properties of vocal music. "Café" is a treat, presenting Latin-flavored masterworks we've never had the pleasure of hearing before. Calling it "vocal tango music" they start with Castillo-Stampones' "El Ultimo Café," Mariano Mores' dramatic "Taquito Militar" and Cadicamo-Cobain's romantic "Niebla del Riachuelo," and closing with Astor Piazzolla's lovely 4-part "Angel" series ("Introduccion al Angel," "Milonga del Angel," "La Muerta del Angel" and "Resurreccion del Angel," these 14 songs form a striking, touching collection. Other favorites are Piazzolla's" "Calambre" and "Decarissimo," Jose Mores' sweet "Gricel" and Homero Esposito's romantic "Naranjo en Flor." Creative Voices is off to a strong, memorable start with "Café Buenos Aires!"

Listen to Soledad in Real Audio.

"Classics" is a collection of 14 songs related to movies from classic films, beginning with the powerful, moody "O Fortuna" from "Excalibur," "Prelude & Birth of Christ," from "Jesus of Nazareth," and "Agnus Dei" from "The Scarlet Letter." We have the suite from The Lion in Winter, "Ave Maria: Guarini" from "The Mission," "Funeral and Finale" from the Kirk Douglas film "The Vikings," the dramatic "Never Surrender" from "First Knight," and the ethereal ''The Abyss." "The Lord's Prayer" from "King of Kings" segues into "Riders of Doom" from "Conan the Barbarian," and the suite from "The Omen" segues into "Non Nobis Domine" from "Henry V." A surprising, eclectic, all-accompanied collection from the collaboration of London's renowned Crouch End Festival Chorus and the talented City of Prague Philharmonic.

Stefan Parkman, who has conducted most of Sweden's symphony orchestras and those of other Scandinavian countries and numerous other choirs, directs the 75-strong DNRC in the work of German composer Max Reger (1873-1916). The work has two parts, "Sechsstimmige Chore, Op. 39, which has 3 movements, "Schweigen" (Silence)," the premier recordings of "Abendlied" (Evening Song), and "Fruhlingsblick" (a glimpse of Spring); and Funfstimmige Motetten, Op. 110, which also has 3 movements, "Mein Odem ist schwach," (My breath is corrupt), "Ach, Herr, strafe mich nicht" (O Lord, rebuke me not), and "O Tod, wie bitter bist du" (O death, how bitter is the remembrance). Although Reger was never a popular composer, his craftsmanship and colossal output have earned him abiding respect in the musical world--this is beautiful music, perfectly performed! Comprehensive liner notes with all lyrics and history.

Enkeli - Ville Matveinen
Kuka Nukkuu Tuutussasi - Anna-Mari Kahara
Erlkonig - Tapani Lansio
Vaggvisa - Lauri Kilpio
Mina nostan Vedesta Lotta Wennakoski
maailma Jonne Mina Tulin - Lotta Wennakoski
Muistan Minne Paiva Painui - Lotta Wennakoski
Mika Kannattaa Maailmassa - Lotta Wennakoski
Ennen Vetta - Lotta Wennakoski
Merenkavijat - Jarmo Saari
Kyss min Mun - Esa-Pekka Salonen
Djupt I Rummet - Esa-Pekka Salonen
Jabberwocky - Sade Rissanen
Ilo - Jukka Linkola

Texture and dynamics are among Eric Ericson’s main tools for this Volume 2 of contemporary Swedish choral music. Sven-Erik Bäck, Lars Edlund, Miklos Maros and Arne Mellnäs are presented - that is to say, some of our most eminent composers, represented by works of which several are classics already. “A superb presentation of the current high standard of Swedish choral music” was one reviewer’s verdict.

The countries of the Baltic region have been influencing each other for centuries. Estonia was occupied by both Sweden and Russia and the coast was also a popular vacation spot. Artists and composers like Tchaikovsky often spent summers there. Whether through art, religion or music, this area has a rich cultural history. On the second CD in the series, Baltic Voices, Paul Hillier chose to focus on sacred music from the three branches of Christianity found in the area: Orthodox, Catholic and Protestant. Per Norgard's "Winter Hymn," representing Protestantism is a choral arrangement by Gunnar Erikkson. The version heard here is an English translation for greater accessibility. The final two pieces come from the Russian Orthodox tradition. Alfred Schnittke, the most known of the group, composed the "Three Sacred Hymns" in 1983, but created an a cappella version at the request of conductor Valery Polyansky. "On Leaving," by Galina Grigorjeva and "And then in silence there with me be only you," by Tovio Tulev are world premiere recordings. These extremely difficult and amazing pieces are performed flawlessly by the Estonian Philharmonic Chamber Choir. Every second on this CD is riveting and should not be missed.

Paul Hillier leads the Estonian Philharmonic Chamber Choir in Volume 1 of Baltic Voices ã a three-year project to explore the choral riches of the Baltic Sea countries. With a special attention to the choir's native Estonia, these recordings will highlight the mainstream tradition of the past hundred years, complemented with music of earlier periods and commissions from younger composers. Volume 1 features secular and sacred works by 20th-century composers from Sweden, Finland, Latvia, and Estonia.

For their second recording together, Paul Hillier leads the Estonian Philharmonic Chamber Choir in a selection of deeply moving sacred choral masterworks from the Slavic tradition of "Divine worship." Dmitry Bortniansky's sublime setting of The Cherubic Hymn represents one of the supreme summits of Orthodox liturgy.

Posle pervovo antifona - Peter Tchaikovsky
Heruvimskaya pesn - Peter Tchaikovsky
Molitva Ghospodnia - Peter Tchaikovsky
Prichastniy Stih - Peter Tchaikovsky
Priidite, poklonismsia - Sergei Rachmaninoff
Blagoslovi, dushe moya - Sergei Rachmaninoff
Nine otpushchayeshi - Sergei Rachmaninoff
Blagosloven yesi - Sergei Rachmaninoff
Slava v vishnih Bogu, i na zemli mir - Sergei Rachmaninoff
Ghospodi spasi Blagochestiviye - Georgy Sviridov
Svyati Bozhe - Georgy Sviridov
Dostoyno yest - Georgy Sviridov
Rodestvenskaya pesn - Georgy Sviridov
Slava i Alliluya - Georgy Sviridov
Niezrechennoe Chudo - Georgy Sviridov

Christ's passion, the ultimate sacrifice, is the subject of the third disc, I Am With You. This release includes one of two recordings of the chanted passion narrative according to the Gospel of John, featuring three cantors who assume the characters in the story of the passion. Part of a new series in Gregorian Chant, "A Celebration of Faith in His Name," this stirring music evokes the passion, mystery, and beauty of the life of Christ.

For nearly thirty years, Gloriæ Dei Cantores has traveled extensively, performing in the world's finest concert halls—from London to Moscow, Belgium to Venice, and all over the United States—stirring the hearts of thousands of listeners, delighting classical music fans, and astounding critics with their versatility and interpretive sensitivity. In Eternal Light, Gloriæ Dei Cantores presents a "collector's edition" of some of their most beloved choral works. Ideal for playing at home, on a commute, at the office, or any place that would be enhanced by the lush choral melodies of Palestrina, Rachmaninoff, Brahms, Argento, and others.

Seventeen of Gloriæ Dei Cantores' finest recordings make their way onto Paths of Grace, the final companion volume to earlier anthologies Eternal Light and Joy and Gladness. The recording features works of Palestrina, Tchaikovsky, Brahms, Mathias, and many others. The pieces capture a reflective, peaceful spirit with music of graceful melody and flow. Gloriæ Dei Cantores' expert renditions of these pieces have had critics reaching for superlatives for nearly two decades now. Their absorption of each composer's style produces interpretations of richness and depth. Experience the special sound of Gloriæ Dei Cantores through this wonderful spectrum of choral music.

Prism features a diverse selection of works handpicked by the artists for the spirit of authenticity that Gloriæ Dei Cantores imparts: whether in modern American styles, sacred Russian music, or the magnificence of Palestrina. An anthology of some of the choir's finest recordings with works of Palestrina, Brahms, Mathias, Argento, and others.

A great two CD collection from the acclaimed French ensemble as directed by John Alldis.

Fredrik Malmberg, conductor and artistic director of the ensemble, is one of the most sought-after of choral conductors in Sweden today. Harmony Of Voices was formed in the autumn of 2003 and rapidly established itself as one of the most exciting vocal ensembles in Sweden. The repertoire of this album is concentrated on Early Music and the ensemble’s capacity to combine historical authenticity with creative interpretation has won it considerable renown. This disc is an ideal demonstration of the superior clarity, detail and coherence of the SACD Medium.

Under the leadership of grant Llewellyn and conductor laureate Christopher Hogwood, the Society, in its 189th season, has maintained its long tradition of musical excellence. Handel and Haydn gave the American premieres of Handel's "Messiah" in 1818, Haydn's "The Creation (1819)," Verdi's "Requiem (1878)," and Bach's "St. Matthew Passion (1889); and the Society won a 2002 Grammy for its recording of Sir John Tavener's "Lamentations and Praises." The 32 mixed-voice Chorus bring us 10 songs on the appropriately named "Peace:" de Victoria's "O magnum mysterium," Randall Thompson's lovely "Alleluia," Rachmaninov's "Blazen muzh, Op.37," Lauridsen's "O magnum mysterium," Samuel Barber's "Agnus Dei," Tavener's "Song for Athene," Schoenberg's "Friede auf Erden Op.13," Gorecki's "Tous Tuus," Frederick Delius' "To be sung of a summer night on the water," and Edward Elgar's "Lux Aeterna" (Nimrod). These are songs of great depth and beauty, as befitting songs sung with the intention of bringing peace to a world desperately in need of it.

Composer Frank Ferko's majestic new Stabat Mater (The Mother Stood) broadens the embrace of this profound medieval hymn depicting Mary at the Crucifixion. Ferko supplements the original Latin text on the theme of premature death with passages from classical Greek drama and modern verse. Ferko (b. 1950) composed his Stabat Mater in 1998 for the a capella mixed choir His Majestie's Clerkes. The Chicago Tribune pronounced their concert premiere of Ferko's Stabat Mater a classical highlight of 1999: "a marvelously intricate and sincerely devout tour de force that showed off the Clerke's disciplined, sensitive, and uncommonly nuanced singing." Writer Ted Shen asked rhetorically, "When will Frank Ferko be recognized for what he is, a talented and erudite innovator of old vocal genres?" With his fugal writing, Ferko "plays" the choir like an organ. Not surprisingly, Ferko is a veteran church organist and choral director as well as composer. He holds a doctorate in music composition from Northwestern University, where he studied with Alan Stout. The work consists of 25 miniature pieces (20 Latin stanzas and five English interpolations) "that fit together much like a mosaic," Ferko writes in the CD booklet. Musically, the composition employs "old-fashioned" concepts: tonal centers, church modes, major and minor keys, counterpoint, and melody. The music digresses occasionally, "but there is a basic tonal framework for the entire composition," Ferko writes. He describes the tonal center as progressing through two "arches," from E to B-flat and from B-flat back to E --"and beyond, in the final chorale."

The Holst Singers are acclaimed as one of England’s greatest non-professional choirs. The talent and commitment of the individual members and the leadership of their mercurial conductor, Stephen Layton, ensure that their performances are always of the very highest standards. Veljo Tormis (born 1930) is - along with Arvo Pärt - Estonia’s most famous living composer, holding an almost mystic status in his home country. He is also the passionate and practical torch-bearer for folk-singing revival, and the integration of an ancient cultural inheritance into thoroughly modern, post-Soviet lives. Interestingly, he trained at the Moscow Conservatory and was steeped in Soviet instruction during his early musical life. His music is almost all written for choirs; few other composers have been so committed to one genre. Tormis’s choral specialization marks him out from Bartók, Kodály, Vaughan Williams and Grainger, whose pioneering interest in folksong was ultimately limited to the use of textless tunes in instrumental or orchestral works. For Tormis, the words and the music are inseparable. The Holst Singers have recently been invited to Estonia to perform Tormis’s music - a great honor, and a mark of their mastery of this repertoire.

In Armenian, Hover (Hoh-vér) evokes the image on song soaring on the wind, and it's also the name of one of the most beautiful Armenian folk songs by Komitas vardapet, a revered name in Armenian folk and sacred music, also part of Hover's repertoire. The 24-strong mixed-voice Choir came together in Yerevan in 1992 as a volunteer performing arts group, mostly students and graduates of the Komitas National Conservatory; led by founder and artistic director Sona Hovhannisyan. There are 21 folk and sacred songs here, particularly nice are Kodaly's "Esti Dal" (Evening Song), Britten's "Carol" and "Ye that Pasen By," Poulenc's "Timor et Tremor," Ravel's "Nicolette," and a number of wonderful tunes by Armenia's Komitas: "Ode," "Threshing Song," "Ploughing Song of Lori," "A Pumpkin Grows on the Garden Wall," and "Greeting The Morning," Gershwin's "Swing Low, Sweet Chariot" and Lennon/McCartney's "Michelle." A joyful, well-chosen mix, beautifully performed by this fine mixed Choir. The extensive, colorful liner notes tell us about the music and lyrics.

Astrid Riska founded Jubilate as a children's choir in 1967; it has since grown to a mixed-voice 35-strong adult choir, performing a repertoire from the sacred to the avant-garde. The group has been particularly interested in performing works by Finnish composers, both at home and internationally, and Jean Sibelius (1865-1957), was one of the best. Included are 24 songs, beginning with "Rakastava, Op. 14," the world premiere recording of "Soitapas, soria likka;" and two school songs from the mid-1920s, "Koulutie" and "Skolsang;" to the beautiful, familiar "Finlandia Hymn," finishing with the lovely "Six Songs from Op. 18." Perfectly performed, wonderfully composed choral music from one of Finland's best! Extensive liner notes with all lyrics translated.

Jubilate was founded as a children's choir by its conductor Astrid Riska in 1967. Developing rapidly, it is now a chamber choir of some 35 mixed adult voices, with a repertoire ranging from Gregorian chant to the avant-garde. It has always striven to perform Finnish music to both domestic and international audiences. Nils-Eric Fougstedt (1910-61), founded the Finnish Radio Choir in 1940 and conducted the Finnish Radio Symphony Orchestra. Here are 32 of Fougstedt's works, from "Bjorkarnas Valv" and "Three Songs to texts by Nils Ferlin," to "Two Traditional Songs" and "Silmien laulu." Lovely, soaring music, beautifully sung by one of Finland's finest choirs. Extensive liner notes with translated lyrics.

A gloriously beautiful choral offering for the Poulenc Centenary year; the perfect introduction to his music and one that truly celebrates the human voice. While no other CD duplicates the programme exactly, all the music is justly familiar. The earliest works are the Sept Chansons of 1936, hailed as comparable to the finest madrigals of Monteverdi. His masterpiece is perhaps the wartime Figure Humaine, written in preparation of when liberation could be celebrated with the majestic climax of the final Liberté. Contemporary with this is the chamber cantata Un Soir de Neige, contrasting the bleak coldness with the peace of Christmas. Among the many delights of this beautiful programme are Poulenc's most popular choral pieces, the four Christmas Motets, tranquil and joyful by turn, and the Four Little Prayers of St. Francis of Assisi, written for monks to sing. His last motet, for female voices, was the exquisite Ave verum corpus of 1952.

This collection opens with a group of four songs scored for three-part women's chorus and the unusual combination of two horns and harp. They are settings of an interesting spread of poems including one by Ossian and the Clown's song from the thrid act of Twelfth Night. Other items include Three Songs Op. 42, Two Motets, Op. 29 and, to finish with, one of the songs from Brahms much loved "Neue Liebeslieder Waltzes", Op. 65.
Songlist

In this their fifth recording for Nimbus, the Kansas City Chorale are very much on their home turf, with a programme of American sacred music, which includes Randall Thompson's famous Alleluia.
Songlist

Pillars of Light is a collection of pieces by Rene Clausen, Morten Lauridsen and Eric Whitacre. Lauridsen's "Ave Maria" is absolutely gorgeous with its indulgent harmonies. "Veni" was written by Clausen for Kantorei and is premiered here. Whitacre's "i thank you god for most this amazing day" is a very tranquil setting of the e.e. cummings poem. All of these pieces are great examples of the beauty that can come from modern choral compositions. The warm rich often dissonant sounds envelop the listener.

In Dreams is a collection of recordings from Kantorei concerts. It is a mixture of early and modern compositions. Alberto Ginastera's "Lamentations of Jerehiah" are intense pieces. The emotions of the texts, which describe the destruction of Jerusalem by the Babylonians, are captured in this music which expresses shock, sorrow and despair in the three movements. This newest pieces on this recording are those of Eric Whitacre. "Cloudburst" which is a setting of the Octavio Paz poem, "El cantaro roto" celebrates nature and ends with a thunderstorm of percussion and voices. "Water Night," where water is used as a metaphor for nighttime dreams, has lush dissonant harmonies which create a very soothing sound. All of the pieces on this CD will spark the imagination.

This all a cappella recording featuring some most interesting and talented composers. Gavin Bryars’s numerous recordings have been among the bestselling CDs by any contemporary composer. Two of his albums, The Sinking of the Titanic and Jesus’ Blood Never Failed Me Yet, have sold more than 250,000 copies. This recording is notable for the extraordinary beauty of its choral sound, the precision of its ensemble, the perfection of its intonation, the subtlety of its phrasing, and the striking individuality of its soloists.

Terry Edwards conducts the London Sinfonietta Voices in 37 striking a cappella choral works by noted Hungarian composer Gyorgy Ligeti. Influenced by Bartok and Kodaly, and by Hungarian and Romanian folk music, Ligeti experienced censorship of his work by the Soviets, finally fleeing with his wife to Austria after the crushing of the Hungarian uprising in 1956. Since then his work has found a much wider audience in Germany, Sweden and California. All songs are a cappella and sung in Hungarian, but the extensive liner notes have English translations of all the lyrics. Some of our favorites are the folk tunes "Haj, Ifjusag!" (Heigh, Youth!) which sings lustily of the battle of the sexes, "Hortobagy," which sings of life on the farm, and "Kallai Kettos," (Double Dance from Kallo), which sings of love in Autumn, and the fact that all the singers' relatives and in-laws are still alive and kicking. "Choral Works" is a complex, powerful, poetic choral work by a gifted composer and a wonderful choral group.

Over the past few years, listeners have been treated to a number of excellent recordings of the music of Juan Gutiérrez de Padilla (c.1590-1664)... As many now know, Padilla was maestro de capilla at Cádiz Cathedral before sailing for the New World, where he became the musical chief at Puebla Cathedral in Mexico. This recording by the Los Angeles Chamber Singers’ Cappella (their second Padilla disc) features the composer’s sacred works for double choir. As on their earlier Padilla disc, the Los Angeles Chamber Singers’ Cappella show themselves to be a precision instrument, and they sing this music with big-voiced power, rhythmic security, and tonal beauty. There are some terrific works on this recording. While Padilla’s Missa Ave Regina is the largest-scale work on the disc, it’s the motets that leave the biggest impression. His Dixit Dominus is wonderfully sonorous, the Exsultate iusti features voices imitating the sounds of instruments, and the Ave Regina shifts harmonies in a challenging manner. Perhaps the out-and- out masterpiece is his Salve Regina, characterized by beautiful long phrases that give way to rhythmic fireworks, a piece that features, as well, some interesting word painting. In sum, this is a terrific recording by a top-notch ensemble.

Los Angeles Chamber Singers' Cappella was founded by director Peter Rutenberg in 1993 and performs a cappella musical literature from the 15th, 16th and early 17th centuries, in period vocal style. Many of the 19 mixed-voice singers are accomplished soloists, studio musicians, composers and choral directors in their own right. In addition to standard masterworks of the period by Lassus, Palestrina, Byrd, Victoria, Tallis, Josquin and others, the ensemble enjoys seeking out and performing significant but rarely heard, or recently rediscovered works. There are 13 pieces here by Juan Gutierrez de Padilla (1590-1664), who is rightly remembered as a master polychoralist, intense contrapuntalist and richly colorful harmonist. His work is seen as the first flowerings of Mexico's Golden Age, which reached full bloom with the music of Zumaya and Jerusalem 100 years later. "Deus in adiutorium meum intende," the five wonderfully harmonic movements ("Kyrie," "Gloria," "Credo," "Sanctus" and "Agnus Dei") of "Missa Ego flos campi," "Versa est in luctum," "Lamentations for Maundy Thursday," "Velum templi scissum est" and "Mirabilia testimonia tua"… these are soaring harmonic poems, designed to be sung in a cathedral's vast acoustics, to allow the worshippers to close their eyes and hear the sounds of angels. Extensive liner notes translate the lyrics and include a comprehensive history of the composer. Stunningly beautiful!

Maestro Salamunovich conducts the Master Chorale and Sinfonia Orchestra in two true masterworks of the late 20th century choral literature. Of his work "Te Deum, (Verba Domini cum verbis populi)" Minnesota based composer Dominick Argento has written that the words are, as the subtitle implies, written in a manner which associates six sections of Middle English lyrics with the six Latin texts. It was composed thus to present a sense of the learned "church style" justaposed with more musical elements found in the populace of the day. Maurice Durufl?'s Messe (Mass) "Cum Jublio" written in 1966 was scored for a unison choir of men's voices and organ or orchestra. While having five movements they are not usual and throughout there permeates plainchant melodies from the Gregorian Mass IX, "Cum Jubilo." Glorious!

Morton Lauridsen is Composer-in-Residence for the Master Chorale and Chair of the Dept. of Composition at USC. These original works are performed by the Chorale under the direction of Paul Salamunovich. Accompanied by the Sinfonia Orchestra, this recording was Grammy nominated, and has been in high demand since its release. Containing works written in the past decade as well as three world premiere recordings (seventeen tracks in all) it begins with the self-titled "Lux Aeterna," a five movement work that draws upon Latin texts, each containing references to Light. Next are the exquisite "Chansons Des Roses," set to poems of Rainier Maria Rilke. "Ave Maria" is an a cappella motet, and "Mid-Winter Songs" is a choral cycle using winter as its unifying motif. The result is ethereal, inspiring and above all, flawless.

Listen to "De Ton Reve Trop Plein" , "O Magnum Mysterium" and "Introitus" in Real Audio.

The acclaimed Los Angeles Master Chorale, conducted by Grant Gershon, brings us the music of Phillip Glass and Esa-Pekka Salonen. Featured is Itaipu by Glass, an ecstatic piece framing the ancient folklore of South America's Guarani Indians against a massive hydroelectric dam at Itaipu on the Brazil/Paraguay border. "Itaipu" is divided into four parts, "Mato Grosso," "The Lake," "The Dam" and "To The Sea." Also featured is the world premiere recording of Salonen's "Two Songs to Poems of Ann Jaderlund." The composer's vision of love as described in these poems is dynamic, richly romantic and enthralling - a tour de force of the sonic capabilities of the 111-strong chorus. Cutting-edge choral music, orchestrally accompanied, stunning and magnificent.

Two great LPs on one CD, Norman Luboff's "Songs of the South" and "Songs of the Sea," both issued in 1956, bring us the NLC in their popular prime. All songs feature the patented Luboff satin-smooth arrangements and rich harmonies, and this one has lots of great a cappella on it! "My Old Kentucky Home," "Nobody Knows The Trouble I've Seen," "Deep River," Carry Me Back to Old Virginny," "Swing Low, Sweet Chariot," "Dixie" and "Eternal Father" are all sans accompaniment, and the lovely "Shenandoah" and "Lowlands" are only minimally accompanied. These tunes clearly show that the NLC was one of the best a cappella bands of any era. A total of 29 nostalgic winners--just listen to "I Must Walk That Lonesome Valley," "Un Deux Trois," "The Ballad of the Boll Weevil," "Homeward Bound," "A Roving"--these songs were passed on from generation to generation because people loved them and sang them a lot, not because they got a lot of radio play. A tremendous value and recommended!

Here are 19 songs, all from the movies, all arranged and conducted by Norman Luboff, A true musical eclectic, Luboff was driven to render every piece with a painstaking exactitude and an arrangement that immediately defined it as a Luboff performance. His choir toured annually from from 1963 until Luboff's death in 1987, and recorded more than 75 albums. This perfectionism is clear on every cut of every Luboff album, of which four, from 1961-65, are represented here. "All the Things You Are," "It Had to Be You," "As Time Goes By" (which Sam played again in "Casablanca," but actually was from the 1931 musical "Everybody's Welcome"), the title tunes from "My Foolish Heart," "Days of Wine and Roses," "High Noon," "On Green Dolphin Street," "An Affair to Remember," "Ruby" (from "Ruby Gentry") and "Laura," the lovely "Unchained Melody," "I'll Get By," "The Song from Moulin Rouge" ("Where is Your Heart"), and Irving Berlin's wonderful "Remember." Luboff is an American master, and his choir is one of the most powerful vocal groups of all time. Sure, all songs are gently accompanied, but the focus is on the smooth-as-maple syrup harmonies. These songs unabashedly tug at our heartstrings and push every romantic and sentimental button, and all we can say is, "highly recommended!"

From Latin classics of Jacobus Gallus and Cesar Franck to the Russian a cappella romanticism of Pavel Chenokov, to Handel, Duruflé and Wilby as well as fresh and original pop choral a cappella arrangements of "Ave Maria" and "Danny Boy", the Choir of the National Shrine of Mary, Queen of the Universe in Orlando sets a new standard for musical diversity in Catholic Church liturgical repertoire. The Shrine Choir is the resident professional choir-in-residence at Mary, Queen of the Universe Shrine and was formed to minister to the many thousands of tourists who travel to Central Florida's Walt Disney World, Universal Studios, Sea World, and other attractions. The Choir’s members come from all parts of the United States, and all have extensive choral experience. Dr. William Picher, director of the Shrine Choir, is an accomplished organist, trumpeter, conductor, composer and arranger. Three of his compositions appear of this CD, displaying a fresh harmonic approach to vocal writing.

Paul McCartney has released his long awaited fourth classical album Ecce Cor Meum (Behold My Heart), an Oratorio in four movements. The idealistic texts, also by McCartney, are meditations on goodness, spirituality, peace, and love, and are well served by the pretty, Romantic melodies; the long choral and orchestral sections flow one into the next. The Interlude (composed after the death of his wife, Linda) is simple and moving. The music builds throughout to an emotional climax and the entrance of the organ later in the work--beautifully played and handsomely recorded--is quite remarkable. This is a far more advanced work than 1991's Liverpool Oratorio: more through-composed and has many beautiful moments.

Alice Parker and Melodious Accord dig deep into the rich history of the black tradition. This recording contains a cantata, two suites and eight spirituals in choral settings by Parker. Interspersed between the suites and cantata are sets of spiritual arrangements. "I want Jesus to walk with me" is especially beautiful. The title piece "Listen Lord," a cantata for solo contralto, chorus and jazz combo, uses the text of the opening prayer in James Weldon Johnson's God's Trombones in combination with two spirituals. This jazzy-blues set features contralto Pamela Warrick-Smith. The first suite, "Dem Bells," was composed for choir and handbells. The first and last movements are light almost-rags with a slow somber movement in the middle. The performance on the recording uses piano. The last set, "Street Corner Spirituals," is a suite combining fragments of spirituals for chorus, and an informal street corner band of trumpet, drums and keyboard. These catchy tunes and varied rhythms make a fun toe-tapping piece. This CD is a great example of Alice Parker's unique view on the black spiritual as a melodic resource.

The 17 varied early American songs of praise found in songbooks published between 1790 and 1830 in "Sweet Manna" give us a glimpse of the musical life of the early settlers and the changing modes of Christian worship as the country developed. The rich variety of lyrics and tunes include cheerful gathering songs like "My God, the Spring of All My Joy;" slow, reflective moods as in "Deep Distress and Troubled Thoughts;" sprightly dances: "When Some Kind Shepherd from His Fold;" and joyous marches: "My Soul, Triumphant in the Lord." Fuguing tunes like "How Pleased and Blessed Was I" and "Through Every Age, Eternal God" release their energies; while more modal melodies like "Return, O God of Love, Return" shed a quiet grace. The mixed a cappella voices of MMA are strong and soaring, and these powerful songs are sung with spirit and feeling, and it is easy to imagine being in the congregations where they were first sung, joining in wonderful choruses of praise.

Listen to "From Deep Distress and Troubled Thoughts" in Real Audio.

Moses Hogan is probably the most well-known name in the Gospel/Choral genre, and rightfully so. A gifted arranger of African-American traditional spirituals, and the leader of acclaimed singing groups like the Moses Hogan Chorale, and here, the Moses Hogan Singers. "This Little Light" features eight new Hogan arrangements that are sure to become staples in the repertoires of choirs the world over. In addition, there are 7 more excerpts from the Oxford Book of Spirituals, edition by Moses Hogan. There are 15 wonderful (mostly piano accompanied) tunes here: "This Little Light of Mine," "Hold On!," "Daniel, Daniel, Servant of the Lord," "Little Innocent Lamb," "Here's One," "Let Us Break Bread Together," "I Want God's Heaven To Be Mine," "Were You There?," "Cert'nly Lawd," "Lily of the Valley," "I Surrender All," "Amen," "Witness" and "Only What You Do for Christ Will Last." Another long-awaited winner from Mr. Hogan!

Moses Hogan is of course a pianist, conductor and arranger of international renown, and this is a CD for lovers of America. Moses plays piano with the Singers, which is the only accompaniment, except for Kelvin Harrison's saxophone on the final cut, "Let America Be America Again," for the '95 PBS documentary "The American Promise." The strong composing hand of Moses is evident on all 16 songs, from the title tune, "Shenandoah," "Like A Mighty Stream," "America The Beautiful" and "The Star-Spangled Banner" to "Amazing Grace," "Common Dust," the spirituals "Keep Your Lamps," "All My Trials," "If You Come Softly," "Grass Roots" and "This Is My Country." Interspersed are inspiring words and poems. A work of rare beauty and power!

Listen to "Keep Your Lamps!" or "Shenandoah"

In the early 1960's there arrived a recording of the Congolese Mass, Missa Luba which amazed and delighted western audiences. The Muungano National Choir is the latest to bring us a beautiful version of this work. Additionally we are the recipients of another ten Kenyan folk melodies all of which have spiritual messages. Boniface Mganga conducts this internationally acclaimed choir in one of the most beautiful and moving recordings of the Missa Luba ever to come to our shores.You will find that the arrangement of these African melodies came about because of the desire to praise the Lord with heart and soul in a familiar musical style. Drums are an integrated part of the songs and the strong rhythm they provide support the dancing of the singers while performing, allowing an outpouring of body, mind, and spirit...a complete form of worship. Thus it is that you will find most of this recording to be accompanied by percussive elements which merely enhances the real flavor of a fabulous performance. Songlist

During the past 12 years since its founding by Music Director Bruce Rogers, the 52-strong, mixed-voice Mt. Sac Chamber Singers has been extremely active, winning a variety of awards, accepting invitations to appear at numbers ACDA conventions, a special guest appearance at Carnegie Hall, and winning numerous first place honors throughout Europe at International choral competitions. "Horizons" features 16 songs, with some drum and piano accompaniment. Favorites are the powerful, rhythmic "Annua gaudia," Wm. Byrd's lovely a cappella "Laudibus in sanctis," Maurice Hauptmann's lively "Zigeunerlied," Peter Louis Van Dijk's dramatic, rhythmic, surprising title tune, Z. Randall Stroope's manic, driving "The Conversion of Saul," Jan Magne Forde's delicate "Bruremarsj," Brahms' soaring "Waldesnacht, du Wunderkuhle," and Jiri Laburda's ringing "Isli tri panenky." These are eclectic, often difficult tunes to perform, usually only selected if your ensemble has the vocal chops to actually handle them. The Mt. Sac Chamber Singers is one of those rare groups, which is why they are beloved by audiences and judges alike!

Jan Pieterszoon Sweelinck a famous organist and teacher and one of the great Renaissance composers from the Netherlands achieved international acclaim. Though he rarely left his home, his reputation spread throughout Europe and attracted many students some of whom later founded the north German style. Though he was an organist, the majority of his output was vocal. The Netherlands Chamber Choir gives a small sampling of his work. The CD includes five pieces from his collection of psalm settings and other Latin motets as well as a setting of the Lord's Prayer in French. Though he was Dutch, Sweelinck never set texts in his native language. In addition to fantastic singing, this CD features three of the great conductors of Early Music: Ton Koopman founder of The Amsterdam Baroque Orchestra, William Christie founder of Les Arts Florissants and Peter Phillips founder of the Tallis Scholars. All involved give great performances of great music.

Rudolf Escher was a teacher and writer of music, a painter and poet as well as a composer. As a result he was very aware of the connection between text and music, which also came from his love of Renaissance choral music. His writing style was such that it defied classification with his use of polymelody, antimetric rhythm and chromatic harmonies. The pieces presented on this CD are the complete a cappella choral works by Escher. In the set "Songs of Love and Eternity" with poems by Emily Dickinson, Escher brings out the very dramatic images of nature in the text. Escher's music is considered extremely difficult. The first performance of "Songs of Love?" was postponed twelve years after its completion. Under the direction of Ed Spanjaard, the Netherlands Chamber Choir makes it seem and sound easy. Much of the revered music from the Netherlands comes from the Renaissance period. Escher should, as well, be put on this list.

This CD is a compilation of performances by Nordic Choir throughout the Midwest, including their own Center For Faith and Life at Luther, Chicago’s renowned Orchestra Hal, director Craig Arnold's hometown of Brainerd, Minn., the birthplace of Lutheranism in Wittenberg, Germany; and the regional concert landmark, Orchestra Hall in Minneapolis. The repertoire is a great selection of some of the 20th century's finest choral composers including Randal Thompson, Stephen Paulus and Ralph Vaughn Williams. This great choir with it's long and accomplished history releases yet another quality recording that's bound to please.

Listen to Why, Oh Why? in Real Audio

Not surprisingly, on most of their excellent CDs the Nordic Choir focuses on selections of Christian sacred and spiritual music. In a dramatic change of direction that highlights the Choir's versatility, "Horses" is a collection of World music, beginning with the thundering drums of David Fanshawe's "African Sanctus" and the gentle guitar riffs of "A La Nanita Nana" by Roger Folstrom, the CD continually surprises us. The powerful "Betelehemu" is a "bring the house down" piece in concert, "Prayer of the Children," brings tears remembering children caught in bloodshed and ethnic conflict in the former Yugoslavia in the 1970, and the Chinese "Usuli Boat Song," celebrates finding ways to be happy. The final cut, the title tune, a Mongolian song actually called "Naiman Sharag," gives the feeling of horses running, the song ends quietly, as if the horses are in the far distance. Some strong percussion and light accompaniment. A wonderful, powerful CD!

Westin Noble, director of music activities at Luther College, is an internationally known conductor and clinician. He has served as guest conductor for more than 775 music festivals in the U.S. and abroad. The 68-strong, mixed voice Nordic Choir tours annually through the US in such venues as the Lincoln Center in New York, Kennedy Center, Washington DC, and the Mormon Tabernacle. "I Will Sing" is a joyous collection of Christian sacred music (with the exception of "Eight Chestnut Horses," a Mongolian song). 13 songs, all dramatically and beautifully performed: "Song of Praise," "Sicut Cervus," "Lobet Den Herrn, Alle Heiden," "Christus Natus Est," "Our Father," "Lullaby On Christmas Eve," "Why Rage Fiercely the Heathen," "Dona Nobis Pacem, "Song for Athene,""Done Written Down My Name," "O Lord God" and "When I Survey the Wondrous Cross." Inspirational, powerful and lovely.

Listen to "Lobet den Herrn, Alle Heiden" in Real Audio.

The third compilation of the Liturgical Choir's music, Exultate Deo, features mostly a cappella music, with sets by DuruflŽ, Palestrina, Mendelssohn, and Stanford. Highlights include Faure's tranquil "Cantique de Jean Racine"; Hoiby's contemporary organ exposition, "Let This Mind Be In You"; Palestrina's ageless "Sicut Cervus"; Mendelssohn's eight-voice German Mass segments; and Stanford's jubilant Easter anthem, "Ye Choirs of New Jerusalem."

The release, Cantate Domino, is a combined effort of the University of Notre Dame Basilica choirs. It features a few of the contemporary pieces the Liturgical Choir prepared for their summer tour in Paris, including twentieth-century French composers Francis Poulenc and Pierre Villette. The thirteen voiced Basilica Schola sings Renaissance pieces by Hans Leo Hassler, Heinrich Isaac, Thomas Tallis and William Byrd. The Women's Litrugical Choir performs motets by Gabriel Faur?, Franz Schubert and Charles Stanford.

With a Lily in Your Hand
This Marriage
Sleep
Animal Crackers
Lux Aurumque
She Weeps Over Rahoon
Five Hebrew Love Songs
Ghost Train
Cloudburst

Seattle-based, 24-strong, mixed vocal ensemble Opus 7 was formed by Loren Ponten in 1992 as a professional vocal ensemble specializing in 19th- and 20th-century a cappella music. The group is known for its imaginative programs, singing unusual or rarely performed works as well as standard choral masterworks. Carols are the jewels of the Christmas music, but the texts of the Magnificat and the Advent antiphons have also inspired composers since the Middle Ages. Here are 21 impressive, lesser-known works, like PeterWishart's "Alleluya, a new work is come on hand," Hugo Distler's "Lo, how a Rose e'er blooming" and "This Flower whose fragrance tender," and Kodaly's "Veni, veni Emmanuel," which show off Opus 7's tremendous range and feeling for the music. There is some small organ accompaniment on a couple of tracks, and excellent, extensive liner notes. We particularly like 7 works from composer John Muehleisen's "The Great "O" Antiphons" ("O Sapientia/O Wisdom," etc.) which was commissioned for and given first performances by the group. John Tavener's "The Lamb," Herbert Howells' "Sing Lullaby," Britten's "Theme-'A Boy Was Born'" and Gerald Finzi's "All This Night"Ñall are wonderfully done. "Dawn" is rare sacred music, perfectly performed!

'Feel the Spirit' is a set of seven arrangements of well-known spirituals, first performed in 2001. It is performed on this recording by the acclaimed jazz singer Jacqueline Dankworth in its chamber-ensemble arrangement. Harvey Brough's 'Walled Garden Suite' for soloist, choir and instrumental quartet was written for Dankworth and first performed on the occasion of the opening of the walled garden at Wingfield Arts in Suffolk. Of the two collections by Bob Chilcott on this CD, 'Fragments from his Dish' is a group of five light-hearted part-songs on the themes of food and drink. The programme concludes with 'The Making of the Drum', settings of words by Barbadian poet Edward Kamau Braithwaite, commissioned from Bob Chilcott by OPMS on the occasion of the choir's twentieth anniversary in 1997. It tells the story of the making of a traditional African drum and is heavily influenced by the style of African tribal music.

The Patriarchal Choir, Moscow was formed in 1983, and consists of professional singers, both men and women. The choir take part in the services of the Moscow Church of the Resurrection, basing its work on old Russian choral tradition, from the 17th century to works of bortnyansky, Rachmaninov and others. The Choir began touring abroad in 1987. "Folk Songs" features 17 a cappella songs; some of our favorites are "Down the River Mother Volga," "In The dark forest," "The bell tolls," "O, the sweet night," "Do not reproach me, do not blame," "The troika-mail is running," "Along the river" and "Dark Eyes." There is tremendous depth of feeling here; wonderful solos supported by solid background harmonies. A powerful and moving CD!

Founded in 1958 as the Bach and Madrigal Society, the Choir originally focused on Renaissance and baroque period music, but today is equally dedicated to the creation and performance of new music. They are conducted by Charles Bruffy, one of the most highly respected choral conductors in the US. The CD features 23 songs, beginning with 7 cuts from Matthew Harris' "Shakespeare Songs," and 5 "Songs of Ariel from Shakespeare's 'The Tempest.' Steven Sametz' lovely "When He Shall Die," Jaakko Mantyjarvi's "Four Shakespeare Songs," Nils Lindberg's minor-key "Shall I Compare Thee to a Summer's Day," Dominick Argento's "Sonnet No. LXIV," Alan Murray's "O mistress mine," and the CD finishes strong with Ralph Vaughan Williams' "Three Shakespeare Songs." The Choir beautifully takes us into the drama, moodiness, pathos, romance and celebration of these songs, most of which are new to our ears. A worthy project, and a winning CD for Bruffy and his talented Phoenix Bach Choir! Extensive, colorful liner notes.

To Morning
Song (I gaze upon you)
Cecilia Virgo
Orbis patrator optime
Ave Maria
Hymn to the Trinity (Honor, virtus et potestas)
Not no faceless Angel
O sacrum convivium
Lux mortuorum
Salve regina
Salve regina 2

The a cappella motets of Anton Bruckner (1824- 1896) are miniature masterpieces, containing intensely expressive harmonic writing and a feeling of private devotion within a generously scaled framework. Here the selection includes Ave Maria, Locus iste, Christus factus est, Vexilla Regis, Os iusti, Virga Jesse floruit and Pange lingua. At the other end of the spectrum, the sensuous Mass No. 2 in E minor inhabits the world of Bruckner’s monumental symphonies. Stephen Layton leads the GRAMMY®-nominated choir Polyphony (and the Britten Sinfonia, in the Mass) in these gloriously passionate performances.

At the age of only 35, Eric Whitacre has already gained a reputation in the United States that many composers strive for a lifetime to achieve. The American Record Guide named his first recording one of the top ten classical albums in 1997, and the Los Angeles Times described his music as having ‘electric, chilling harmonies; works of unearthly beauty and imagination’. His Water Night (included on this new recording) has become one of the most popular choral works of the last decade, and is one of the top-selling choral publications of all time. Whitacre’s published works have sold well over 350,000 copies worldwide. And who better to represent an innovative young choral composer than Stephen Layton and Polyphony, award-winning exponents of twentieth-century choral music? Under Layton’s directorship, Polyphony handles Whitacre’s evocative and soulful music with consummate artistry; from the quiet intensity of Sleep to the breathtaking exuberance of With a lily in your hand, by way of the tender innocence of This Marriage (one of three premiere recordings on the disc), this new recording is a stunning showcase both for an up-and-coming young composer and also for the awesome talents of one of the UK’s leading choirs.

Listen to With A Lily in Your Hand in Real Audio

Every recording has a story behind its genesis. In 2003 Estonian Composer Veljo Tormis heard the Portland State Chamber Choir while they were on tour in his country. Tormis was so taken with the brilliant artistry and expressive power of the ensemble he requested that Bruce Browne and his singers do a recording of his music sung in English. For almost two years the Singers, their conductor and the composer worked together on this project. Tormis was very prominent in the interpretation. He supervised the learning of the music in preparation for the Chamber Choir's appearance at the Northwest Convention of the American Choral Director's Association 2006. Veljo Tormis, On American Shores is a recording with a significance of strong integrity by both Composer and Artist. Bruce Browne is emeritus Professor of Music and Choir of the Vocal and Choral area at Portland State University. He is also Conductor Emeritus of the Portland Symphonic Choir and founder and director of the professional choir, Choral Cross-Ties. The Portland State Chamber Choir is recognized as one of the top University Chamber ensembles in the United States.

The music on this recording is a juxtaposition of joyous and somber. The album begins and ends with music by Gerald Finzi and features two Requiem settings by Henry Walford Davies and Herbert Howells. The setting by Davies, which is "in memory of those fallen in the war," begins with a beautiful soprano solo. The Requiems are set using texts from the Book of Common Prayer. The majority of the music on this recording is by twentieth century British composers, which is the focus of this group. The notable exception is Samuel Barber's Reincarnations. This superb choir is conducted by founder John Bertalot.

Reincarnations was recorded during the choir's first season under the direction of Steven Sametz. The repertoire explores a series of connections between the old and the new. It opens with Samuel Barber's Reincarnations, with texts by James Stephens which focus on different facets of love. Sametz has three pieces showcased on this recording: "On the Death of a Friend," "Magnificat" and "in time of ." Sametz's "Magnificat" is juxtaposed by that if Villiers Stanford, both featuring the resident choir of the American Boychoir School. Other pairings are two very different settings of the joyful text "Exultate Deo" by Palestrina and Poulenc. This is a very nice recording marking the beginning of a new era for this wonderful choir.

"It is an art to conceal art" : Mendelssohn had never presented a more perfect illustration of this maxim than in his Motets, Op.69. Composed in the year of his death, they are probably the finest works of religious music by this composer whom Berlioz had accused of being "a little too fond of the dead". But the most romantic of Bach's votaries had more than one trick up his sleeve and it would be a mistake to underestimate these extraodinary psalms and motets that Mendelssohn went on producing throughout his life, in spite of his rather strained relationship with the eccelsiastic authorities. Tradition and inventiveness are the leading principles of an artistic credo based on the skilful and beguiling mixture of counterpoint and melody, of harmony and brilliant orchestration. After having devoted three universally acclaimed recordings to the choral music of Brahms, the RIAS-Kammerchor is here on familiar ground

The two extremes in sacred music are lamenting and praising. In their take on the subjects, the Rockefeller Chapel Choir, led by Randi Von Ellefson, chose pieces from the Renaissance and the 20th century. There are several settings of the Lamentations of Jeremiah including that of Palestrina and di Lasso. There is a lovely Easter Anthem by William Billings as well as beautiful psalm settings by Stanley Hoffman. On this CD the choir alternates lamentation with exultation. Daniel Pinkham's striking "Here Repose, O Broken Body" provides quiet and thoughtful ending to an emotionally varied recording.

German church music goes back to Martin Luther and the Protestant Reformation. Luther's love of music has influenced German composers for centuries. In the 20th century, this was no exception. The composers chosen for this recording all use Luther's chorale melodies, though with newer harmonies which lend themselves to fresher musical and textual expression. This recording includes motets by Hugo Distler and Johann Nepomuk David. All of the works are beautifully sung by the Rockefeller Chapel Choir.

Rarely heard works by English composer/conductor John Rutter are highlighted on this highly acclaimed disc by the St. Charles Singers. Fancies is a cycle of choral settings with small orchestra which uses texts from the 15th and 16th centuries including Shakespeare and Thomas Campion. This performance is only the second recording of this charming piece. Other Rutter pieces include, "The Keel Row," "Black Sheep," "Down By the Sally Garden" and "I Know Where I'm Goin'." All of the Rutter arrangements are accompanied by soloists from the Metropolis Chamber Orchestra. The remainder of the recording is an assortment of American and British folk song arrangements. "Flower of Beauty," is especially beautiful. This recording includes some great singing from a fine American choir.

The Celestial Country was composed sometime before 1900, probably when Ives was organist at the fashionable First Presbyterian Church in Bloomfield, New Jersey, and it was scored for choir, strings and organ. This dramatic, symphonic work uses choruses, an a cappella chorus and instrumental interludes, and bold unresolved dissonances. Ives strives for a modern, more streamlined expression, though indulging in a Wagnerian finale, as much Wagner as he would ever display in a lifetime of composing. The veteran 75 mixed-voice St. Olaf Choir brings a fresh, immediate feel to this material, as if we are present for the first performance of this work in April, 1902 at Central Presbyterian Church in NYC. First we have the 12 movements of "Celestial Country," then 9 movements of "Silence Accompanied," written in the final years of Ives' creative life, the aftermath of WWI and the defeat of Wilson's plan for the League of Nations. "Aria for Baritone, "Chorus A Cappella," "Double Chorus A Cappella," "Aria for Tenor" and "Chorale & Finale" are particularly fine from "Celestial Country;" "Afterglow," "The Collection," "Duty/Vita/Duty," "Carol," "Sunrise" and "Mists" in "Silence." Beautifully illustrated, complete liner notes tell us all about the composer, the music and the Choir.

Listen to "Double chorus a cappella" in RealAudio.

Premiered 19 years ago, Harmonium served notice that America would be able to claim another major composer as its own before history closed the books on the 20th century. Only ten years later, at the debut of The Death of Klinghoffer, John Adams was already a figure of international renown, having been commissioned for new pieces by a formidable number of performing arts institutions throughout the world. These two works - both written to texts, and numbering among the composer's deepest and most emotionally affecting compositions - are bookends to a decade of meteoric ascendence for this Bay Area figure.

San Francisco-based composer Mark Winges writes music that is both familiar and strange; speaking to our oldest human qualities, beyond words. It embraces the versatility of the human voice: screams, whispers, whistling, muffled garbles, throat singing, speaking, and lyrical singing are all bound together into a tapestry of living, liquid a cappella sound. Think of the mind-blowing choral works of Penderecki, Messiaen, Takemitsu, or Ligeti's brooding score to 2001: A Space Odyssey. Winges' latest CD, Freed from Words expresses the abstract and the specific: Magic Strings places the listener in the swarthy world of a witch's sabbath; The Oh of Moon and Piano illustrates the moon and piano caught up in celestial dance; Haiku Settings unfold pithy sonic snapshots; Freed from Words uses phonemes and other pre-lingual vocal sounds. Composer in residence for the virtuosic San Francisco chamber singers, (three- time winners of ASCAP's "Award for Adventurous Programming of Contemporary Music") Winges seamlessly blends a wide variety of influences into an evocative choral world. Conductor Robert Geary (recently given the "Outstanding Conductorial Achievement" award at the International Children's and Youth Choir Festival) insures that all the singers involved, from children to adult, make the vocal gymnastics sound effortless. This recording will transport anyone with a love of choral music and an open ear.

The SFCA has been delighting Bay Area audiences since 1985 with their perfectly-balanced blend of 24 voices, fresh and unusual song selection and elegant presentation of choral classics and new music by contemporary composers. Magen Solomon has been Music Director of the group since 1995, and she also directs the Oakland Symphony Chorus. 'Music Among Friends' celebrates the ties of this chamber ensemble with the 'lively community of local composers who have generously shared their wonderful music with us.' 16 of these 22 works, chosen from live performances of the last 5 years, are by Bay Area composers, many are world premieres and several others have never been commercially recorded. Some of our favorites are a pair by Russell Burnham, 'The Dance' and 'Sonnet 4: O You Tender Ones,' Paul Chihara's 'Lie Lightly, Gentle Earth,' Allen Shearer's dissonant gem 'The Marriage,' John Kelley's poignant 'When You Are Old,' Paul Crabtree's 'First and Last Kiss,' Wm. Hawley's soaring 'Vita de la mia vita,' Robert Starey's surprising, powerful 'It Is an Easy Thing,' Kirke Mechem's beautiful 'Loveliest of Trees,' Halsey Stevens' 'Go, Lovely Rose,' Conrad Susa's 'The Gallant One' and 'The Kings of the Deck' and the lovely hymn, 'In the Valley.' There is occasional accompaniment, but mostly wonderful a cappella harmonies from this polished, talented ensemble. We loved every cut of 'Music Among Friends!'

Throughout history, the singing voice has been a vehicle for the expression of intense emotion. In Passion, the Santa Fe Desert Chorale performs a cappella settings that reflect the heart of human existence: passion for God, country, love and life itself. Although this recording of repertoire selected from the Chorale’s 2005 summer season is focused on music of the 20th and 21st centuries, it encompasses a wide variety of harmonic rhythmic and stylistic elements.

The Santa Fe Desert Chorale offers a brilliant two CD set with selections recorded at the historic Loretto Chapel, during the 2006 Santa Fe Summer Festival. Using two small ensembles, under the baton of artistic director Linda Mack, the chorale offers An American Hallelujah featuring songs of faith, joy and praise. The second disc called Romance is lead by assistant Matthew Tresler and offers a sublime view of the trials and tribulations of love, from Brahms to Lennon and McCartney.

The vast power of the Royal Courts of England and Scotland may be long gone but the sumptuous sounds of their worship are not lost. This disc brings together music of some of the most outstanding but now little-known composers of the 15th and 16th centuries, and introduces a major new work by one of this century's most remarkable composers, James Macmillan. Robert Carver's mesmeric setting of the devotional text "O bone Jesu" has long been admired and has now proved an inspiration to James MacMillan who has chosen with this special commission for The Sixteen, to clothe the same text in his own musical language of reflective beauty. "This 25th Anniversary CD is a delight, and like all great recordings it gets better the more you listen to it." - BBC Radio 3, CD Review

This collection of American choral music spanning the 20th century features familiar and less well-known composers, from the lyrical traditionalism of Barber by way of Bernstein and Copland to the counterpoint, rhythmic verve and neo-classicism of Irving Fine. The disc finishes with the dreamily haunting Acrostic Song from Final Alice by David del Tredici.

From RCA's "Living Stereo" series, this re-issue of Stephen Foster compositions and Negro spirituals was recorded in 1958 and 1961. Mr. Shaw, whose illustrious career spanned a directorship at Julliard in 1945 to a 21-year tenure at the Atlanta Symphony (before his death earlier this year), treats his material with sensitivity and respect, a respect that was obviously shared by Stephen Foster for the pre-Civil War South. Foster did not defer to a European classical model for his inspiration or precedent. Songs such as "Beautiful Dreamer," "Oh Susanna" and "Nelly Bly" are powerful because of their elegant simplicity, not in spite of it. Likewise, the mournful expression of "I Want To Die Easy" speaks louder than any history book. Frequently a cappella, but with some banjo and guitar accompaniment. Songlist

The 17 men and women of the Gregg Smith Singers, directed by Gregg, perform a piece written by New York City composer Wm. Duckworth, who was affected by "shaped note" (helping the congregation learn the tune by making the notes square, round, triangular and diamond-shaped) singing in rural churches. "Southern" is based on an 1854 hymn collection of the same name, and it is a parody in the ancient sense, not humorous, but a rewriting, paraphrase and commentary on the material. There are 20 songs here, divided into four books: "Consolation," "Wondrous Love," "Hebrew Children," "Solemn Thought," "Rock of Ages," "Cheerful," "War Department," Condescension," "Holy Manna," "Bozrah," "The Mouldering Vine," "Mear," "Leander," "Sardina," "Windham," "Distress," "Nashville, "Turtle Dove," "Primrose" and "Social Band." An intriguing choral piece, with orchestral use of voices, that goes off into surprising, theatrical melodic directions.

For their spectacular debut recording, the exciting young British early-music vocal group Stile Antico presents a program of English Renaissance music associated with the office of Compline (absorbed by the Anglican Church into Evensong), the service that ends the monastic liturgical day. A who’s-who of 16th-century British composers, including Thomas Tallis, William Byrd and John Sheppard, are represented here by hymns, antiphons, responsories, motets and psalms—the occasion not only for music of intimacy, elegance and reflection, but for flights of breathtaking canonic and contrapuntal invention and harmonic daring.

This uniquely named work has moments of wondrous luminosity, particularly in its second and fourth movements. The second, which has a hypnotic slow lilt to it, even evokes the sensuality of the Poulenc Gloria (closing section), a most unlikely kinship. There are many inspiring moments and many memorable textures, and any worries the composer may have had about Western performers’ response to this music would have been quickly dispelled by Tõnu Kaljuste and the outstanding Swedish Radio Choir. Their technical assurance is so great that one can easily admire their powerful identification with the music, while Kaljuste clearly has a superb ear for texture, balancing convincingly Schnittke’s often densely complex choral writing. The wordless Voices of Nature is a short relatively simple work for ten women’s voices and vibraphone. Its coolness, however, makes a welcome foil to the intensity of the Concerto. Then follow three works by Estonian Arvo Pärt, and many listeners may experience some surprise at the cheerful, almost humorous nature of Dopo la Vittoria. The title means After the Victory, the text telling the story of how Ambrose, Bishop of Milan in the 4th century, composed the hymn Te Deum and sang it with St. Augustine when baptising him. It is a blithe work, with a wonderfully solemn ‘Amen’ just near the end, before the good-humoured music returns to round the work off.

A generous collection of 26 finely-crafted folk, spiritual and traditional songs, with some light accompaniment, all sung in Swedish, by the acclaimed mixed-voice Swedish Voices Chamber Choir. Some favorites: "Uti ar hage (Out in the Meadows)," "Och jungfrun hon gar I dansen (The Maiden dancing in the Ring)," "Si god afton och god kvall (Evening Greeting Song)," "Tre korvisor (Three Choral Ballads)," ""Lustwins wijsa (Lustwin's Ballad)," "Sommarmarsch fran Osterbotten (Summer March from Osterbotten)," "Brusala," and the soulful "Sverige (Sweden)". There are a few all-instrumental songs here, but largely amazingly beautiful choral music from Sweden's finest! Nicely designed liner notes with info about the music.

Robert Schumann's a cappella choral works have established themselves on the concert stage far less than those of Mendelssohn or Brahms. He himself, however, accorded them a much higher position among his works, writing that they were composed "with true passion," and that nothing of their kind existed. The 37 mixed voices of SWR Vokalensemble Stuttgart show us exactly what he was talking about. Here we have "Romances and Ballads I, II, III and IV, five songs in each, and op. 69 and op. 91, six tunes in each, for a total of 32 cuts. These are impassioned, romantic vocal gems. Some favorites: "Schon Rohtraut," "Ungewitter," "Schnitter Tod," "Im Walde," "Der Schmid," "Der Sanger," "Romanze vom Gansebuben," "Brautgesang," "Tamburin" and "Jager Wohlgemuth." Masterful compositions by Schumann, wonderful, spirited interpretations by SWRVS. Recommended

One of the most noted groups in the world of Renaissance music, the Tallis Scholars bring us a compilation of their work from 1980-1998. "The Essential Talllis Scholars," a two CD set, gives us an introduction to the vast amounts of music from this period and their discography. Disc 1 contains motets by such composers as Palestrina, Josquin and Lassus. The opening piece is the incomparably gorgeous "Miserere" by Allegri, which should be in everybody's library. Disc 2 is comprised of works by English composers, such as Tallis and includes Byrd's "Mass for 5 Voices." If you are new to the works of the Tallis Scholars or to the world of Renaissance music, this is a great place to start.

Avant-garde composer Krzysztof Penderecki, born in Poland in 1933, returned to more traditional musical forms by the early 1960s. The orchestration and scoring in his large vocal works is often highly adventurous, using dramatic devices such as shouting and speaking to great effect. The world-renowned Finnish Tapiola Chamber Choir performs 9 pieces of this dramatically beautiful sacred music: "Stabat Mater," "Two Choruses from the Passion According to St. Luke," "Sicut locutus est from Magnificat," "Agnus Dei," "Song of the Cherubim," "Veni creator," "Benedicamus Domino," and "Benedictus." Striking sacred choral works, made even more so by the clear, bell-like voices of the world-famous Tapiola Choir.

In our contemporary, frenetic society, the innate spirituality of our common existence is all-too-often overlooked. This is Thy Hour, O Soulfocuses on that spirituality with modern musical settings of texts both contemporary and ancient, Western and Eastern, sacred and secular, theological and philosophical. Called by critic Lindsay Koob a “rising star in the national choral scene,” Taylor’s choirs have been described as sounding “more musical than would seem possible,” (Charleston Post and Courier) and have received numerous plaudits from critics and choral specialists for their technical proficiency, musicalty and beautiful sound production.

The Seattle-based Tudor Choir is a professional mixed-voice choir with a flexible membership between 10 and 30 singers, founded by director Doug Fullington in 1993. They specialize in Renaissance polyphony and also sings Baroque, early American and 20th century music. "Gentle Words" is their 3rd CD. The Shakers (or United Society of Believers) originated in England in 1747. In 1770 the charismatic Ann Lee became the acknowledged leader, she and 8 others departed for America in 1774 to escape persecution. Their animated and ecstatic worship practices gave rise to their common name. The societies they formed are characterized by pacifism, gender/racial equality and an astounding industriousness and invention. These songs are part of a body of 10,000 Shaker songs. There are 28 a cappella tunes here, all following the Shaker aesthetics of beauty, simplicity and utility. "I will bow and be simple," "In Yonder Valley," "All is summer," "Love is little," "The burning day," the triumphant "Circular march," "Heavenly display," the foot-stomping "Followers of the Lamb," the joyous "Angels of heaven," "Dismission of Great I," "Gentle words," "Beautiful Valley," "Jubilee," "Cords of love"Ó There is a quiet beauty and power to these songs--no wonder the Shakers have outlived all other utopian religious groups. Spirited, spiritual music sung beautifully!

The Seattle-based Tudor Choir is a professional mixed-voice choir with a flexible membership between 10 and 30 singers, founded by director Doug Fullington in 1993. They specialize in Renaissance polyphony and also sings Baroque, early American and 20th century music. "Gentle Words" is their 3rd CD. The Shakers (or United Society of Believers) originated in England in 1747. In 1770 the charismatic Ann Lee became the acknowledged leader, she and 8 others departed for America in 1774 to escape persecution. Their animated and ecstatic worship practices gave rise to their common name. The societies they formed are characterized by pacifism, gender/racial equality and an astounding industriousness and invention. These songs are part of a body of 10,000 Shaker songs. There are 28 a cappella tunes here, all following the Shaker aesthetics of beauty, simplicity and utility. "I will bow and be simple," "In Yonder Valley," "All is summer," "Love is little," "The burning day," the triumphant "Circular march," "Heavenly display," the foot-stomping "Followers of the Lamb," the joyous "Angels of heaven," "Dismission of Great I," "Gentle words," "Beautiful Valley," "Jubilee," "Cords of love"Ó There is a quiet beauty and power to these songs--no wonder the Shakers have outlived all other utopian religious groups. Spirited, spiritual music sung beautifully!

While the centrepiece of this recording is the rich and diverse soundscape of the title track (by British composer Jonathan Dove), the award-winning ''Mads'' have crafted yet another showcase of choral tradition and variety..

Recorded in the Fall 2005, this CD features a delightful selection of songs from some of America’s rich music traditions. Enjoy American Love Songs, variations on American folk songs, Songs of the Slaves, African American Spirituals and Gospel Music, songs from American Dance Halls and the Wild West, selections from the songbook of Stephen Foster and other Memories of Home.

The Singers proudly present their first 2-disc set! Disc 1 features music from the University of Utah Singers triumphant 2006 European Concert Tour, during which they won the European Grand Prix for Choral Singing in Tolosa, Spain! Reminisce with “I Have Had Singing”, “Daemon Irrepit Callidus”, “A Boy and a Girl”, “Cloudburst” and “Ah, El Novio”. Disc 2 offers an engaging program of your favorites from the 2006-2007 season, including Selections from “Into the Woods”, “One of Those Moments”, “Prayer of St. Francis”, “J’entends le Moulin”, “Stars I Shall Find”, “Conversion of Saul”, “How Can I Keep From Singing” and “Didn’t My Lord Deliver Daniel?” Packed with a delightful variety of music, this album has something everyone will love!

This recording marks a triumphant second year for the Singers and their victorious European Tour. Recorded May 2005 in Munich, Germany, it contains most of the a cappella repertoire they performed on their tour, including Sacred American Anthems, European Motets, Marian Anthems, Commentaries on Love, Musica Latinoamericana, American Folk Music, Spirituals, and more.

An outstanding choir, the University of Miami Chorale sings great pieces from the modern choral repertoire. Included are pieces by such composers as Morten Lauridsen, Eric Whitacre and Rene Clausen. The dramatically moving suite "I Never Saw Another Butterfly," by Joel Hardyk is based on poems written by children imprisoned in Terezin and is for unaccompanied treble voices with oboe solo. The choir is led by Jo-Michael Scheibe and Robert Gower, piano.

This is a lovely program by the University of Miami Chorale. Led by Jo-Michael Scheibe the choir explores sacred and secular love. The program begins with O vos omnes by Victoria and an Ave Maria by Steven Edwards. Scheibe puts a spin on the Mass. In an Eclectic Missa Brevis he pairs two movements from Byrd's Mass for Four Voices with two movements from the Messe by Frank Martin. Some interesting pieces are the five Hebrew love songs by Eric Whitacre. They are set to poetry by Hila Plitman and accompanied by string quartet. This CD is a nice mixture of styles and is well sung.

The UNM performers were joined by an Italian guest conductor, Stefano Vignati, and soloists Ilaria De Francesco, soprano; Laura Brioli, mezzo soprano; Gian Luca Pasolini, tenor; and Mirco Palazzi, bass. “We record all our performances for archival purposes, but because of the special guest artists and the combination of the chorus and concert choir, we used eight microphones to capture the event. The sound quality is exceptional, especially for a live performance,” Ellingboe said.

University of New Mexico Music Professor Brad Ellingboe and the UNM Concert Choir releases “Fast Falls the Eventide,” a collection of sacred and familiar songs as well as pieces specially written and arranged for the choir including, “O Esca Viatorum,” a 17th century hymn. Ellingboe’s original piece, “Be Music, Night,” is featured. Voice faculty Jaccqueline Zander-Wall, a mezzo soprano, is featured in the classic, “What a Wonderful World.” “The name of the CD comes from the second line in the song ‘Abide with Me.’ The CD is comprised of gentle music about evening, music and the night. The more hidden meaning is ‘abide with me,’ or come with me to listen to the UNM choirs,” Ellingboe said.

This anthology brings together representative works from the mainstream of contemporary American choral music. Charles Ives’s Psalm 90 evokes a mood reminiscent of congregational Sunday singing in New England. Copland’s In the Beginning recalls his Fanfare for the Common Man, while Lukas Foss’s Behold, I Build An House shows the stylistic influence of Copland. Vincent Persichetti’s Flower Songs reveal his deep commitment to his favourite poet E.E. Cummings, and favours the women’s voices. In Fern Hill, set for alto, chorus and orchestra, composer John Corigliano sings of the joys of youth.

Swedish choral singing is justly famous, with Swedish choirs regularly taking prizes at the major international competitions. The Uppsala University Choir "Allmanna Sangen" is currently one of the very best mixed choirs in the country. The choir sang on the highly successful BIS-recording of the "non-orchestral" version of Orff's Carmina Burana and here presents a collection of Swedish and Estonian a cappella songs for the four seasons.

This selection of close harmony arrangements offers several well-known items by composers as diverse as Kern, Gershwin and Mancini, but also includes some newer works, including a Vasari commission from Bob Chilcott called "Dances in the Streets" and "Birthday Madrigals" by John Rutter. This fine recording includes many arrangements by Ward Swingle with whom the ensemble has often worked with.

In 1991 founder and artistic director Philip Brunelle and 24 mixed-voice VocalEssence presented "Witness," the first of an enduring series of concerts focused on the music of African American Composers. It was taken from "Witness: Six Original Compositions in a Spiritual Style," commissioned for Jubilant Sykes and VocalEssence. Visiting several area high schools while soloist Sykes was in Minneapolis for the premiere led VocalEssence to create an award-winning educational outreach program, bringing the talents of African Americans to thousands of Minnesota school students. A Woodwind Quintet and Jazz Ensemble perform with VocalEssence on the 18 pieces of "Dance Like The Wind," Undine Smith Moore's lovely "Mother to Son," "We Shall Walk Through the Valley" and "Tambourines to Glory," the title tune--William Banfield's beautiful instrumental, "My Soul Hath Found Refuge In Thee" (Psalm 91), by Evelyn Simpson-Curenton," Adolphus Hailstork's soaring "Nocturne," two selections from Billy Childs' "Piece for Stringed Orchestra" and David Baker's eclectic "Images, Shadows and Dreams: Five Vignettes." "Dance Like the Wind" is thought-provoking and moving music by eight modern, cutting-edge African American composers.

The marvelously varied repertoire of Voces Cantabiles Music's 6-man, 2 woman a cappella ensemble Voces8 is highlighted on this collection of tunes that have been wowing audiences and judges across Europe, making the group one of the most highly sought after vocal ensembles around. The group's links to Westminster Abbey are clear in the first two cuts, "O Clap Your Hands," a polyphonic work by former organist Orlando Gibbons (1583-1625), and Richard Dering's (1580-1630) Italian canzona "Factum est Silentium." William Byrd's "Haec Dies" continues the Italianate theme, and returning to Westminster Abbey we hear from another former organist, Henry Purcell (1659-1695), his 8-part "Hear My Prayer, O Lord." Other fine classical works follow, among them "Gaude Virgo, Mater Christi" by Josquin de Prez, Claudio Monteverdi's "Cantate Domino," Josef Rheinberger's "Abenlied" and Robert Pearsall's "Lay a Garland." Two spirituals, the plaintive "Steal Away" and "Didn't my Lord Deliver Daniel," Louis Armstrong's jazz recording of "Mack the Knife" hears the ensemble imitate an 8-part big band, "Maria" from "West Side Story" and "Who Will Buy" from the musical "Oliver" follow. The final cut returns to an Armstrong recording of Gershwin's 1930s classic, "I Got Rhythm." A wonderful, stunning collection, and another winner for Voces8!

Listen to "Cantate Domino" in Real Audio.

Voices of Ascension evolved from a 1989 concert series of Church of the Ascension in NYC, when Dennis Keene directed the Ascension choir in a major music festival, "Tribute to Durufle," a retrospective of the French composer that drew international attention. The following year the group incorporated separately from the church as Voices of Ascension. The number of singers in the professional ensemble varies from 20 to 40, among the finest and most skilled ensemble singers and soloists in the country. Metropolitan Opera star Hei-Kyung Hong blesses the VOA with a lyric soprano voice of uncommon beauty and warmth. 15 selections; right from the beginning Randall Thompson's soaring a cappella "Alleluia" and Mozart's "Laudate Dominum" show off the amazing soprano voice of Hei-Kyung Hong. Two by Pablo Casals, "Tota Pulchra" and "Nigra Sum," Felix Mendelsson's "Hear My Prayer" and Durufle's "Tu es Petrus" make it abundantly clear that we are in the presence of greatness. Nicolai Tolstiakov's "Blagoslovi, dushe moya, Ghospoda (Bless the Lord, O My Soul)," Tchaikovsky's "Bazheni, yazhe izbral (How blessed are they)," Charles Villiers Stanford's "Beati quorum via" and the final cut, Mendelssohn's "Happy and blessed are they" leave us in stunned silence after listening to the angels. Some organ accompaniment. Amazing!

Eight men and six women form the acclaimed Voices of Lee (University of Cleveland, TN), directed since their debut in 1994 by Danny Murray, apply their rich harmonic blend and top-drawer soloists to their fourth winning album. "Encore" begins with Barry Manilow's "One Voice," a jazzy, upbeat "Power in Praisin' the Lord," a striking, powerful vocal-percussion gem, "Mercy Seat," the heartfelt "Ho, Everyone Who Is Thirsty" (arranged by Derrick Johnson), a scattish, bright arrangement of "Lord, I Lift Your Name on High," the Doo-Woppy Gospel number "When God Dips His Love," the traditional hymns "The Old Rugged Cross" and "Have You Met Jesus" (both also arranged by Johnson), and a bonus track of "Mercy Seat," our personal favorite. Ten songs in total, and there's not a weak track among them. Confident solos, solid harmonies, great arrangements—"Encore" just knocked our socks off! It's one of the best Contemporary Christian albums we've heard this year.

Listen to Have You Met Jesus? in Real Audio.

Harvest Home originated in England as a festival for “bringing in the harvest” around the autumnal equinox. The community would work together to get the harvest (usually wheat, barley, corn, and oats) in before the autumn weather closed in. This bringing of the "harvest home" would be an occasion for great rejoicing accompanied by feasting, music, and dancing. Our “Homecoming” takes its origins from this festive term. This recording is a collection of familiar spirituals, folk songs, and hymns. Exquisitely sung and beautifully recorded, this CD offers some of the most heartfelt singing we’ve heard in awhile. Perfect intonation, sumptuous sound, and familiar tunes - this is Dale Warland at his best. Includes “Deep River,” Simple Gifts, “The Water is Wide,” Beautiful River (“Shall we gather at the river”) “We gather together,” and many more. The booklet features full text and notes on each song. The Grammy-nominated Dale Warland Singers, during their 31 years of concerts and recordings, set the standard for excellence in American choral singing. This was recorded before the group disbanded in 2004.

Listen to "By and By" in Real Audio

1975 Pulitzer Prize in Music winner and winner of Fulbright and Guggenheim awards , Minnesota composer Dominick Argento marked his diamond jubilee in 2003 with performances of his works by the numerous musical organizations, including the Dale Warland Singers, who have commissioned him across the decades. First we have the first piece written for the group by Argento in 1981, "I Hate and I Love (Odi et Amo)," which includes percussion. Then "A Toccata of Galuppi's, a rhapsody for chamber choir, harpsichord and string quartet, with poetry by Robert Browning. The final piece, "Walden Pond," puts to music the outdoor musings of 19th century author and naturalist, Henry David Thoreau, including "The Pond," "Angling," "Observing," "Extolling" and "Walden Revisited." All songs are lightly accompanied. Extensive liner notes tell us all about the composer, the music and the group. Complex harmonies, dramatic phrasing--very few groups would attempt to perform this music; the DWS do it justice with professional elegance. Excellent!

Reincarnations is a program of five American masterworks and includes one world premier recording (Tom o'Bedlam). "The Hour Glass" by Irving Fine is difficult and virtuosic cycle, written in a lyrical style just before his 12-tone experimentation. "Tom o'Bedlam" by Jacob Avshlomov is based on a text about one of the patients of the insane asylum, St. Mary of Bethlehem, in 16th century. Accompanied by oboe and percussion, this powerful piece mimics the nonsense and madness in the text. "Reincarnations" by Samuel Barber is a set of three pieces which uses James Stephen's re-writing of old Gaelic poetry and includes the absolutely gorgeous setting of "The Coolin (The Fair Haired One)." All of the works on this recording are demanding but skillfully sung by the incomparable Dale Warland Singers.

Some of the most beautiful music in the world can be heard in a performance of Rachmaninoff's Vespers. Better to be described as an All-night vigil, Rachmaninoff uses Russian melodies dating from the Byzantine era. In the Eastern Church, the All-night vigil is observed before religious feasts. This piece is difficult for any non-Russian choir due to the language. The Dale Warland Singers sing with great energy and beautiful dark tones as befits the Russian style.

The forty-voice choir, directed by Dale Warland, are known for their advancement of modern choral literature. This CD bookends works by Bejamin Britten and Leonard Bernstein, with several other composers - Stephen Paulus, Nancy Wertsch and Aharon Harlap among them - contributing. Britten's "Rejoice In The Lamb" (Op.30), is an exercise in contrast, with eerie chromatic dissonances and diminutive solo passages in marked relief to the organ-accompanied, florid crescendos of the chorus. Harlap's "Bat Yiftach" features a distinctive solo French horn motif, rebuked by an agitated chorus; the music from Bernstein's "Chichester Psalms" were actually exerpted from work the celebrated conductor had written for an unproduced Thornton Wilder play! With organ, percussion and harp, the result has several movements and is sung in Hebrew; moments of stark beauty are shattered by portentous discord, only to be relieved by a dreamlike peace.

The Dale Warland Singers is a forty-voice professional chorus founded in l972 whose avowed goal is to commission and perform twentieth century music. In this, their twentieth recording, they sing four scores of transcendent beauty. The lyrics of the pieces are the Church's timeless words of faith. Each of the four have fascinating stories. The best known is the 400 year old composition, Gregorio Allegri's "Miserere," which was decreed illegal to publish, by Papal decree, as it was felt to be too heavenly for most mortals. Thus, there were only three known copies out side of the Sistine Chapel in 1770, when a fourteen year old Mozart heard it and transcribed it from memory. Three twentieth century scores complete this recording. Herbert Howells "Requiem" was written while grieving the loss of his nine year old son. He hid it away for forty-four years as it was too painful for him to bear the idea of hearing it. Frank Martin's "Mass" lay in a drawer for forty years because he felt it was between him and God. Finally, Samuel Barber's "Agnus Dei" began as a string quartet. He expanded it at the request of Toscanini for string orchestra. It was the music played when both F.D.R. and J.F.K. were laid to rest. He then transcribed it for voice. Wonderful! Songlist

We have here an assemblage of the choral works which are the substance of American folk music history. African-American spirituals, Anglo-American and uniquely American songs are beautifully presented, some with concert harp accompaniment. In the insert booklet, which has the lyrics of the songs, is also included a paragraph about the history of each song. For example, "Skip To My Lou" was an attempt to accommodate the joy of folk dance with the approval of powerful churches during the Protestant revivalist movement of the early 1800's. Rather than holding dances, the members of faithful communities held "play-parties" which featured unaccompanied singing and lively movement based, roughly, on children's games. So instead of having a caller and Devil's instrument (fiddle), the participants sang their own cues. We bet you never thought "Skip To My Lou" was reactionary! This is a beautiful recording, with fascination included in the presentation, of some of America's best known and loved songs. Songlist

David Hill conducts Winchester Cathedral Choir in a programme of sacred works. Settings by John Tavener include "Song for Athene", movingly sung at the funeral of Diana, Princess of Wales, and "As one who has slept", written for Winchester Cathedral in 1996. Arvo Part's "Magnificat" is serene and deceptively simple, while an earlier and no less anxious and questioning age is represented by contemplative settings from Thomas Tallis and Victoria. Well recorded, a low price and all a cappella.

At The Round Earth's Imagined Corners
The Assumption
Short Mass
Of Flowers and Emeralds Sheen
Magnificat
Nunc dimittis
As The Angels Stood
Apple Blossom
The Corpus Christi Carol
The Song of the Creatures
Death Be Not Proud
Come Let Us Pity Not the Dead
Te Deum
Nunc dimmittis

Agnus Dei - Barber
Requiem Aeternam - Durufle
Kyrie - Durufle
Psalm 90 - Ives
Psalm 23 - Bernstein
Credo - Srtavinsky
Pater noster - Srtavinsky
Love bade me welcome - Vaughan Willams
The Call - Vaughan Willams
Ave Maria - Verdi
Friede auf Erden - Schoenberg

Westminster Choir College in Princeton, NJ, has been combining scholarship and professional training in music for over 60 years, and during that time the mixed, 40-voice Westminster Choir has set the standard for choral excellence. Forming the core of the 200-voice Westminster Symphonic Choir, the Choir has performed with every internationally known conductor in the last 50 years and has performed with the NY Philharmonic alone over 300 times. Internationally recognized conductor Joseph Flummerfelt has directed the Choir since 1979, and arranged several of the songs on this CD. There are 17 classic a cappella tunes, and picking favorites was not easy, as each song hits us right in the nostalgia bone and tugs 2 or 3 heartstrings. "Danny Boy," "Black is the Color of My True Love's Hair," "Annie Laurie," "Turtle Dove," "Old Folks at Home," Beautiful Dreamer," "Loch Lomond," "Flow Gently, Sweet Afton," "Shenandoah"Óthey're all winners, sung by one of the best choirs of all time.

Westminster Choir College is a center for music studies in Princeton, NJ, with a four-year music college and graduate school which prepares men and women for careers as music leaders. The 40 mixed-voice Westminster Choir, part of the 200-voice Symphonic Choir, is internationally renowned, as is Joseph Flummerfelt, who besides being choral activities director at the College, is Chorus Master of the NY Philharmonic. 20 songs, all organ accompanied, but the focus is on the perfect, soaring voices. "When In Our Music God Is Glorified," "Ye Watchers and Ye Holy Ones," "Guide Me, O Thou Great Jehovah," "Let All The World In Every Corner Sing," Randall Thompson's "The Last Words of David," "Holy, Holy, Holy," "All Praise to Thee, My God, This Night" and "Old Hundredth Psalm Tune" are favorites, reveling in the magnificence of this powerful, traditional church music!

Founder Karle Erickson directs his 40-strong, mixed-voice World Voices in this collection of 20 powerful songs. The songs are in 3 groups, 5 African-American Spirituals, especially "John Saw Duh Numbuh," "Wade in the Water" and "I've Been 'Buked;" 11 Eastern European tunes, especially "Quis Potest Dicere" by Zdenek Lukas, the lilting "Prsi, prsi," the lovely "Annie, My Sweetheart" and the dramatic "Tambur;" and four African songs, particularly Abraham Adzenyah's harmonic "Wonfa Nyem," Boniface Mganga's "Vamuvamba" and the rhythmic "Zungo." Some accompaniment and percussion, all authentic to the music. We enjoyed every cut of this collection!

"Mosaic" is the premiere CD release by Dr. Erickson's talented, 40 mixed-voice World Voices, who seek to "enhance the awareness and deepen the meaning of the cultural, spiritual and religious roots of music from around the world" with their music. A noble purpose indeed, and these 20 songs, from the folk and religious traditions of Asia, Russia, Israel, the Nordic countries, the Caribbean and the United States, joyously fulfill it. Favorites include the Caribbean tunes "Congori Shango" Larry Farrow's wonderful "Jamaican Market Place," "La Paloma Se Fue" and the Cuban folk song "Tumbando Cana." The Russian folk tune "Veniki," the lovely Chinese tune "Pengyou, Ting!," the Nordic folk songs "A Maiden Is In A Ring" and "A Sailor's Greeting," the American spiritual "Goin' Up to Glory" and the Hebrew "Ya Ba Bom (There Shall Be Peace)" are particularly fine. An impressive debut CD by World Voices. Some light accompaniment.

This is a generous 2-CD set, with a 26-page liner notes loaded with color photos and information about the choirs and their songs. With the first strains of the Montreal Jubilation Gospel Choir's "How I Got Over," we know that we're in for a treat here. Harlem Gospel Choir's "God First Gives You the Answer," US folk group Golden Bough's lovely a cappella "Stand in the Light of the Morning," Ireland's MACA's powerful "Blood and Gold," Llanelli Male Choir from Wales' rich, nostalgic "Pan Ddaw'r Nos" (When Night Falls)," Norway's "Oslo Kammerkor's "Uventa Brudlaupssjau," Germany's Hanover Boys' Choir's lilting "Zum Tanze da geht ein Madel," Slovakia's Urpin Folklore Ensemble's joyful, traditional "Zasela Sem Bazalicku," Croatia's Zagreb Folk Dance Ensemble's harmonic "Oj Dobricu Vodo Lada"Ó the hits we've never heard just keep on coming! Following are groups from Georgia/Russia, Zulu/South Africa, Mexico, Taiwan, Tahiti, Slovakia, Lituania, Russia, Spain, Portugal, Israel, Honduras, Cuba, Surinam, the Marquesas Isles, Tonga, Sotho/South Africa and Xhosa/South Africa. Some of these songs are heavily accompanied, some are a cappella as pure and sweet as you please, a true smorgasbord. We didn't hear a single weak track, and left the last song feeling enriched and amazed by our musical world tour.

The 6th World Symposium on Choral Music took place in Minneapolis and St. Paul, MN, in August of 2002, hosted by the American Choral Director's Association. The Symposium takes place every 3 years and features prominent choral specialists and choirs from around the world in lectures and concerts. This 2-CD set features live recordings of 27 choirs from around the world, beginning with Chanticleer's "I Dream of Jeannie," and ending with the combined choirs singing "What A Mighty God." Representing the US, besides Chanticleer, are AmericaFest, singing "One By One (from the Lion King)," Michigan State U. Children's Choir, singing "My Lord, What a Morning" and "Billy and Ming do the Be-Bop Thing," the St. Olaf Choir, singing the Moses Hogan-arranged "This Little Light of Mine," Dale Warland Singers, with "Snow (The King's Trumpeter)", and VocalEssence Ensemble Singers, singing "Antiphon for the Virgin." There is so much amazing music on this CD, we will mention a handful of other favorites: Cantoria de Merida of Venezuela's "El Gavan," Univ. of Pretoria Concert Choir's "A Selection of Traditional African Folk Music," Garganta Profunda of Brazil's jazzy "O pato," National Youth Choir of Namibia's "Sangena" and The Norweigian Soloists Choir's "Mon Dieu, mon adore." But if you are interested in the best of Contemporary Choral music, "Choral Highlights" is for you! Some light accompaniment, beautiful, extensive liner notes.