While most of us love the sound of a large choir in full voice it has been the sound of the smaller (approx from 3 to 16 voices) ensembles that can perform more frequently. Much easier to organize and to travel than a large choir and more likely to have professional voices (with fewer voices to pay!) choral ensemble have been delighting audiences from the very beginning. A great deal of early music is performed by smaller ensembles as well as a great variety of more contemporary choral music. More nimble than a large choirs there is a wide variety of music that can be performed, and more easily recorded, by the mixed voice ensemble.
|Wenn ich Vergnugt Bin, Muss Ich Singen
Lullabye / Good Night My Angel
One More Night
Son of a Preacherman
Bring Back that Leroy Brown
Barbara Georg Kreisler
Wochenend und Sonnenschein
Kiss from a Rose
Got to Get You Into My Life
Ich Hab Ka Lust
This release by the Leipzig-based Calmus Ensemble follows on the ensemble's recent tour of the US and features remarkable a cappella arrangements of more than a century of popular songs made popular by artists from the Comedian Harmonists to Queen, plus three original songs composed for the Calmus Ensemble by Fredo Jung, including their signature encore Rondo.
|8764 CD $15.95|
|Domine Quis Habitabit
Omni Tempore Benedic Deum
Christe Redemptor Omnium
Ne Perdas cum Impiis
De Lamentatione Jeremiae Prophetae
Tollite Portas / Ave Maria
Alma Redemptoris Mater
Christe qui lux es (a5)
Christe qui lux es (a4)
Audivi Vocem de Caelo
Vide Dominum Quoniam Tribulor
Peccavi Super Numerum
The Byrd Edition is a long-term project that is one of the most comprehensive ever undertaken in the early music field: some 20 CDs that will cover the complete works of William Byrd. The music will be freshly edited and sources re-examined by David Skinner. The Cardinall's Musick under Andrew Carwood has gained a formidable reputation in bringing the neglected masterworks of the English Renaissance to a wider public. These have included the festal Masses of Ludford and the complete works of Fayrfax, the excellence of which was recognized by the winning of a prestigious Gramophone Award. The whole project is divided between the Latin Church Music, the Secular Songs and Consort Music, and the English Church Music. Volume 1 is the first of the Latin Church Music discs, which provides a chronological survey of Byrd's surviving Latin motets to the Cantiones Sacrae of 1591, interspersed with a liturgical survey of the Gradualia. Thus this first CD includes the Gradualia propers for Lady Mass in Advent, the Lamentations, the exquisite penitential motet Peccavi super numerum and the great 9-part psalm setting for men's voices Domine quis habitabit.
|6501 CD $15.98|
This new Hyperion recording celebrates the 500th anniversary of the birth of England’s first superstar composer, Thomas Tallis, and welcomes the signing to the label of The Cardinall’s Musick and Andrew Carwood. Over the group’s fifteen-year history, The Cardinall’s Musick has built an enviable reputation for excellence. Some twenty recordings on the ASV Gaudeamus label have seen accolades from around the world, including a Gramophone Award and a Diapason d’Or, while in the concert hall and workshop the group has consistently displayed innovation and a freshness of approach, whether tackling contemporary works (many of them commissions) or sharing the fruits of years of research into the music of the English Renaissance. On their debut recording for Hyperion, The Cardinall’s Musick turns to the period of its namesake, Cardinal Wolsey, and specifi cally to the music of Thomas Tallis. Gaude gloriosa takes center stage. One of a series of monumental and extended motets (each lasting getting on for twenty minutes), this should be regarded as the summation of the genre - whereas Tallis’s earlier attempts such as Salve intemerata or Ave Dei Patris fi lia can seem to ramble somewhat, in Gaude gloriosa we find a sure-footed and eloquent response to an unusual text in honor of the Virgin Mary, and a work which takes singer and listener alike into a world of unremitting fervor. Other works on this recording include the famous Loquebantur variis linguis and O nata lux settings, the five-voice Latin Magnificat and Nunc dimittis. Of special note is the Suscipe quaeso Domine - where a particularly gloomy text (thought to have been written to mark England’s reconciliation with Rome on the accession of Mary Tudor) elicits from Tallis some truly extraordinary and rhetorical effects including harmonic shifts which are every bit as shocking today as they must have been at the work’s first performance in 1554. Future plans for The Cardinall’s Musick on Hyperion include the completion of their on-going series encompassing the complete Latin church music of William Byrd.
Blow, blow, thou winter wind
Come Away, Death
Double, Double, Toil and Trouble
Full Fathom Five
It Was a Lover and his Lass
Take, O Take Those Lips Away
Who is Silvia?
And Will A’Not Come Again?
It Was a Lover and his Lass
Shall I compare?
Madrigal (Take, O Take Those Lips Away)
Sonnet 147 (My love is as a fever)
Orpheus with his lute
O mistress mine!
To be, or not to be
O weary night
Tomorrow and tomorrow
Sonnet 18: Shall I compare thee to a summer’s day?
On its new CD, the "world class”" nine voice ensemble Chicago a cappella brings its trademark "wit, imagination, [and] flawless intonation" to 23 contemporary choral settings of Shakespeare texts - including ten recorded premieres and three works composed expressly for the group. Making its Cedille Records debut, Chicago a cappella performs artful arrangements that draw from influences ranging from bossa nova and the blues to Renaissance and Medieval modes. You’ll hear a fascinating spectrum of styles within single works and across the entire program. This is one CD where (in the words of the Bard) "music and sweet poetry agree."
|7916 CD $15.98|
Chicago a cappella’s sparkling new studio recording features an exciting collection of beloved music from the ensemble's first decade. Recorded at Chicago’s WFMT Studios by Grammy-nominated engineer Christopher Willis, Eclectric includes brilliant new choral works, familiar favorites, and vocal jazz.
|Sanctus: Sanans fragilia -Anon/Ivrea
Kyrie - 'Chipre'/Ivrea
Gloria: Et versus homo - Anon/Ivrea
Dame/Fins cuers doulz - Machaut
Trop plus est bele/Biayte paree de valour - Machaut
Lasse!/Se j'aim mon loyal ami - Machaut
Credo - Anon/Ivrea
Tu qui gregem/Plange, regni respublica - Machaut
Christe qui lux/Veni creator spiritus - Machaut
Felix virgo/Inviolata genitrix - Machaut
Amours/Faus samblant - Machaut
Post missarum sollempnia/Postmisse modulamina - Anon/Ivrea
The Clerks' Group is a highly sophisticated ensemble of young singers whose immaculately polished performances show Machaut's extraordinary lyrical gift - even in the genre of the motet, so often thought of as abstract and unapproachable. Edward Wickham clearly views Machaut as a medieval romantic, drawing out the finely wrought lines and wallowing in the luscious sonorities of his music; and the effect is enhanced by a resonant acoustic, though the recorded sound is somewhat over-glossy. Each singer has a naturally light, straight-toned voice and can effortlessly flat over the vocal lines like 'a feather on the breath of God'. The highlights of this disc are three motets by Machaut based on love songs in performances which sound every bit as poetic and expressive as 18th-century Lieder; and the rapturous Marian motet Felix virgo / Inviolata genitrix, in which the group's intimately veiled sound is especially apt. Alongside the Machaut works are a handful of anonymous motets from the Ivrea Codex, a major 14th-century source containing some fine compositions, if never quite matching Machaut's genius. With the caveat that a few motets go a long way, this is a truly haunting collection.
|7852 CD $14.98|
This is the third disc recorded by The Clerks' Group for their Signum Records trilogy. The series explores repertoire in the medieval period and culminates with a selection of works by Guillaume Dufay, found in one of the great anthologies of 15th century music: the manuscript Bologna, Civico Museo Bibliografico Musicale, MS Q15 (or "Q15" as it is known by its friends).The Q15 manuscript contains examples of almost every conceivable musical genre of the period by a vast array of composers. The Clerks' Group has chosen to perform works by a single composer, but still the variety of forms and styles on offer is bewildering. Guillaume Dufay was a composer who witnessed and contributed to most of the revolutionary changes to occur in music composition in the 15th century. The album includes some of the earlier works so often neglected from Dufay's repertoire, and goes on to explore compositions that demonstrate this revolutionary genius. Some compositional techniques celebrated by The Clerks' Group's performance include the playful exchange of Dufay's song-like melodies between the vocal lines; and the use of mensural canon, where the same melody is sung by all voices but at slightly different speeds. These are just a few examples of the radical nature of Dufay's music as demonstrated on this recording. The Clerks' Group brings immense diversity to the music and its performance. Their refreshing approach displays sincere empathy and passion for this astonishing repertory.
|Byrd Prelude In C
O Nada Lux - Tallis
Laetentur Coeli - Byrd
Salvator Mundi - Tallis
Organ Hymn - Tallis
Mass 5 - Byrd
Kyrie - Byrd
Gloria - Byrd
Plainsong - Byrd
Credo - Byrd
Sursome Corda - Byrd
Sanctus - Byrd
Benedictus - Byrd
Pax Dominus - Byrd
Agnes Dei - Byrd
Organ Hymn - Byrd
Gaudemus Omnes - Byrd
O Scrum Convivium - Tallis
Justorum Animae - Byrd
Critically acclaimed, this is a recording of William Byrd's Mass for Five Voices, five part motets by Byrd and Thomas Tallis. All the works on this disk are gems of Late Renaissance composition and are beautifully recorded and sung by this young Scottish group who have become one of Scotland's Scotland's leading performers of Early Music.
|8386 CD $15.98|
Scotland's world-class consort sings a program of American contemporaries, Samuel Barber and Aaron Copland. Barber's comfortable use of the traditional and Copland's drive to create an original American music meet in the fact that each composer used word settings of poetry and literature as the basis from which to express their instinctive feel for the human voice. Copland's "In the Beginning" and "Four Motets for a cappella" create a natural audio bracketing of Barbers' "Reincarnations," "The Virgin Martyrs," and the 1936 setting of Emily Dickinson's "Let Down the Bars, O Death." The singing is incomparable!
Six contemporary Scottish-based composers come together in this new Mass setting performed by the award-winning Dunedin Consort. Composers Malcolm Lindsay, Christine McCombe, Tommy Fowler, John Gormley, Anthea Haddow and Rebecca Rowe were each commissioned by the Dunedin Consort to set a movement of the Latin Mass to music. Each of the six sections of the Mass is divided into three parts: a plainsong performance of the appropriate chant, the composer’s liturgical setting for a cappella choir, and a secular setting based on a text of the composer’s choice for a soloist from the Dunedin Consort. Polychoral pieces interweave with harp-accompanied songs in a spiritual work that achieves unity in diversity.
|Mete din liechter schin -- Neidhart
Si vragent -- Friedrich von Sonnenburg
Nu alrest lebe ich mir werde -- Walther von der Vogelwelde
Ich sunge gerne hubschen sanc -- Friedrich von Sonnenburg
Got vater sprach zu Abraham -- Regenbogen
Troto -- Anonymous
Der wibe name grozer ist dan vrouwen lob -- Rumelant / Frauenlob
Es nahet gen der fasenacht -- Oswald von Wolkenstein
Verschamter munt -- Friedrich von Sonnenburg
Fro welt -- Hugo von Montfort
Nu kius ich -- Hawart
Maria unser frowe -- Anonymous
Nieman zu fro sol prysen -- Robyn / Rubin
Es gienc in juncfrou minneclich -- Burggraf von Lienz
Reymar, Walter, Robyn, Nithart -- Hermann Damen
The Spanish-based Pneuma label has achieved a near-cult following among lovers of early and world music for performances that completely rethink the concept of "authentic performance." Their newest offering is an unexpected treat: the Ensemble Unicorn under the direction of Michael Posch in a program of South German music of the Middle Ages. Posch has taken a completely fresh and innovative approach to the performance of these works, seeking to broaden their appeal through dramatic and improvisatory performance, based in part on medieval poetry having been "composed" for singing and performance. The program gathers a broad selection of poetry from the Middle Ages linked to the South Tyrol, the region surrounding the Alps that was of enormous importance to the propagation of literature during the era.
|8763 CD $15.95|
|Behold, O God our Defender
Here is the Little Door
A Spotless Rose
Thee will I Love
Blessed are the Dead
Even Such is Time
God is Gone Up
This is another exemplary addition to the Finzi Singers' ever-expanding discography. The earliest offerings here include "Even Such Is Time," an unpublished effort from 1913, and spans all the way to 1970, with "and Thee I Will Love," a heartfelt setting from 1970 with words by Robert Bridges, "commemorating the massacre of the monks of the Abbey of Medehamstede - now Peterborough Cathedral - in AD 870". As we have now come to expect from this partnership on record, these are splendidly fervent, finely disciplined performances (one readily forgives the occasional raw sonority from the sopranos). Excellent Chandos engineering, too. A hearty recommendation.
|6894 CD $15.98|
Here is another excellent record by the Finzi Singers in a series which is proving as valuable as anything in the current lists. They have standards in their choice of music as in their manner of performance, and everything they have undertaken in their recordings has been in a tradition of good workmanship and good taste. This present programme, with its alternation of works by Howells and Vaughan Williams, illustrates the individuality of both composers as well as the shared possession of a culture deeply loved and richly imbued. All are finely caught in these performances, not least the aeroplanes in Harry Bickett's imaginative registration and skilful playing. Choral tone, the work of soloists drawn from the choir, recorded sound, written presentation, all are admirable features of a highly recommendable disc.
This is another in a series of Christian church choral works of relatively unknown British composers, performed by the 20-strong mixed choral group founded and directed by Paul Spicer. Sir William Walton lived on the island of Ischia, near Naples, Italy, in a lush, subtropical house and grounds, created by his wife Susana and himself, who had no children and made the estate and Walton's music their life's work. 18 of Walton's finest works are presented here, some with full, magnificent organ behind the voices, some a cappella--all have stature, be it an exquisite miniature like "Set Me as a Seal upon thine Heart," or a major score like "The Twelve," surely, with "Where does the Uttered Music Go?" his two finest works. There are 4 lovely Christmas carols, "Make we joy now in this Fest," "What Cheer?," "King Herod and the Cock" and "All this time." The Singers do seemingly effortless justice to some difficult, demanding work by this surprising, mostly self-taught British genius. All lyrics and information are in the extensive liner notes.
As directed by Paul Spicer, this English mixed ensemble has devoted themselves to the promulgation of British choral works. The relatively obscure Gustav Holst composed during the turn of the century, whereas Vaughan Williams began his career slightly later, by collecting English folk songs, ultimately accumulating over eight hundred! Later, Williams wrote various pieces for royal occasions and the like, such as "The Souls Of The Righteous" to dedicate the Battle Of Britain chapel. Sometimes dark and mournful ("Valiant For Truth"), hearty and powerful ("Sing Me The Men"), eerie and captivating ("Full Fathom Five") or gentle and pure ("O Lady, Leave That Silken Thread"), this collection is always uncompromised in excellence.
The Italian madrigals are some of the most exquisite vocal works ever written. This is the music found in Giovan Tomaso LambertiniÜs first book of madrigals. They are fifteen stanzas by Messer Bernado Tasso composed in 1544, during the poets period of residence in northern Europe with the patronage of the prince of Salerno. While other composers set some of the stanzas to music, Giovan adorned all fifteen of them with music and completed the works in his first book with six poetic works by the composer himself. It was published in 1560, the same year as some of BernadoÜs most important works. Experience this beautiful music for four voices created by various groupings of the Fortuna Ensemble, conducted by Roberto Cascio.
Andrew Rindfleisch (b. 1963) is an internationally active composer, conductor, and pianist whose work continues to gain consistent critical and popular acclaim. A leading composer of his generation, he has produced dozens of works for the concert hall, including solo, chamber, vocal, choral, orchestral, and wind music. His committed interest in other forms of music-making have also led him to the composition and performance of jazz and related forms of improvisation. As a composer, Mr. Rindfleisch has been awarded many prestigious honors in recognition of his work. He is the 1997-98 recipient of the coveted Rome Prize and in 1996 received a John Simon Guggenheim Foundation Fellowship. Most recently, he received the 2002 Cleveland Arts Prize, the 2001 Aaron Copland Award, and the 2000 Koussevitzky Foundation Commission from the Library of Congress. He has also been the recipient of over thirty-five other prizes and awards, including those from the American Academy of Arts and Letters, the Fromm Foundation, ASCAP, and the League of Composers-ISCM. He has participated in dozens of renowned music festivals and has received residency fellowships from the Charles Ives Center for American Music, the Czech-American Music Institute in Prague, the June in Buffalo Contemporary Music Festival, the MacDowell Colony, and the Pierre Boulez Workshop at Carnegie Hall, among others. Mr. Rindfleisch holds degrees from the University of Wisconsin at Madison (Bachelor of Music), the New England Conservatory of Music (Master of Music), and Harvard University (PhD)
|Reges terrae (Pierre de Manchicourt)
Regina caeli (Cristobal de Morales)
Laudate Dominum (Pierre de Manchicourt)
O magnum mysterium (Jacobus Clemens 'non Papa)'
Hei mihi, Domine (Francisco Guerrero)
Ego sum qui sum (Nicolas Gombert)
O Virgo virginum (Pierre de Manchicour)t
Exaltata est sancta Dei Genitrix (Cristobal de Morales)
Agnus Dei (from Missa 'Reges terrae') (Pierre de Manchicourt0
Nordic Voices have put together a unique collection of pieces by sixteenth-century composers associated with the courts of Emperor Charles V, a great musical enthusiast. Superbly sung by these Norwegians, the works draw attention to a highly varied group of sought-after composers, whose careers often followed a colourful course. During the first half of the sixteenth century, there was no greater a ruler than the Emperor Charles V, whose court was lavishly supplied with music by composers of high talent. Charles had a personal enthusiasm for music, and his chapel was more or less in constant attendance on his travels. It is small wonder, then, that a number of the greatest composers of the age had some connection with him, including the Franco-Flemish composers Manchicourt, Cristóbal de Morales and Nicolas Gombert. Complementing these composers are the perhaps less well-known Guerrero and Jacobus Clemens non Papa. This superb collection confirms these composers as major figures of their era, and will serve as a perfect introduction to the music of the period. Their performance is smart and stylish, employing a playful yet sophisticated approach that enhances their already remarkable singing.
|8832 SACD $24.95|
|Intemerata Dei mater (Johannes Ockeghem)
Nunc dimittis (Josquin Desprez)
Magnificat (Octavi toni) ( Cristobal de Morales)
Surrexit pastor bonus (Jean Lheritier)
Laboravi in gemitu meo (Philippe Rogier)
Ego flos campi (Jacob Clemens)
Si ignoras te (Giovanni Pierluigi da Palestrina)
Lauda mater ecclesia (Orlande de Lassus)
Vadam et circuibo (Tomas Luis de Victoria)
Laudibus in sanctis (William Byrd)
Crux fidelis (King Joao IV of Portugal)
It is doubtful whether any of the composers represented on this recording would have had an understanding of the term 'masterpiece' (let alone the term 'Renaissance') when applied to their own music. Similarly, it is unlikely that any of these composers would have considered themselves composers in the sense in which we now understand the word. The Renaissance musician was regarded as more craftsman than artist. Moreover, all of the music recorded here is entirely functional: it was all designed to be used within a living Latin liturgy; it had no other purpose. Beauty is in the eye of the beholder, but it may also be in the mind of the creator, and when composer and performer seem to perceive beauty within the same gesture (although separated by hundreds of years) we may be tempted to describe a work as masterly. In the Nunc dimiltis, for instance, Josquin's anonymous imitator may lack the technical refinement of his mentor, but the product is sincere and moving. Similarly, Thomas Morley's subsequent adaptation of Rogier's Laboravi in gemitu meo evidently reflects a contemporaneous respect for this beautifully-paced motet. And while King Joao IV may have been a discerning musical patron, he was neither a prolific nor great composer; however, Crux fidelis achieves a depth of emotion that was as recognizable to J. S. Bach as it must have been to King Joao's own subjects. Byrd's Laudibus in sanctis is the only concrete example on this recording of the composer giving a particular work his own seal of approval: its position at the head of the 1591 Cantiones sacrae proves that Byrd himself regarded this motet highly, and the fact that it now enjoys unreserved critical acclaim is comforting.
|8755 CD $9.95|
The early 1580s marked an important change in the sacred music of William Byrd, just as they did in the history of Catholicism in England. Many of the Latin motets of the 1580s, collected in two volumes of Cantiones sacrae, set words about the Babylonian Exile, charged with penitential ecstasy. These are non-liturgical works - indeed the text of Infelix ego draws on the Bible only indirectly through the pen of savonarola. The words, written as that Catholic puritan demagogue awaited execution in Florence, reflect on his own personal guilt and the redemptive pity of God. They stimulate Byrd's wide technical resources, from two- and three-part writing to complex six-part polyphony to dramatic homophony, the whole reminiscent of the vast Marian antiphons of Christopher Tye or William Mundy. By contrast, the Mass settings are compact and controlled. They belong to a later period, when Byrd's response to his circumstances had changed from the impassioned to the practical; the Gradualia represent an attempt to set music for the entire Catholic liturgy, and the Masses may have been linked to the same project.
O quam gloriosum and O magnum mysterium are both early motets, published in 1572, and are amongst the best loved in his output. Written for the feasts of All Saints and the Circumcision respectively they both lend themselves well to adaptation into "parody" Masses. Material in O quam gloriosum for instance comes in easily delineated sections which can be lifted entire - Victoria particularly likes the motive on "quocumque ierit" which ends several sections of the Mass; he does however leave the startling first three bars of the motet completely alone. Why Victoria should have been so fond of the parody technique in general (only one of his twenty Masses is free-composed) is difficult to say - a clue may lie in the fact of his republishing many of his old works in new volumes, and he is unusual among contemporaries in having almost all of his output published in his lifetime. He was not altogether the otherworldly innocent he made out. But Victoria was far from just a talented, functional composer. The intensity of works such as Ardens est cor meum has led to frequent comparisons with another child of the Counter-Reformation, El Greco. Adapting the words of Mary Magdalene when she discovers the tomb empty on Easter morning, it translates into a personal plea for spiritual revelation. This passionate style is also evident in Versa est in luctum by Alonso Lobo, a Spanish contemporary and regarded as an equal by Victoria. It was written for the funeral of Phillip II of Spain, and sets a movement from the Requiem Mass.
|Lord I Want To Be A Christian
Didn't My Lord Deliver Daniel
Ezekiel Saw De Wheel
Ain't That Good News
His Name So Sweet
Soon And Very Soon
Do Lord Remember Me
Sometimes I Feel Like A Motherless Chile
Nobody Knows The Trouble I've Seen
Abide With Me
I'm Gonna Sing 'til The Spirit Moves In My Heart
The Battle Of Jericho
Down By The Riverside
Who Is Dat A Yonder
Ev'ry Time I Feel The Spirit
Behold A Star
Mary Had A Baby
The Berkeley, CA-based PME has just been getting better and more innovative since its founding 20 years ago. This rich, powerful, live collection of 23 authentic Spirituals is their 3rd winning recording in the Primarily A Cappella catalog. Some songs are recorded at the Green Room in San Francisco, and the rest at the Oakland Museum. All of our favorites are here, with fresh new arrangements: "Didn't My Lord Deliver Daniel," "Ezekiel Saw de Wheel," "His Name So Sweet," "Freedom Train," the heartbreaking "Steal Away," "Do Lord, Remember Me," "Elijah Rock," "The Battle of Jericho," "Amazing Grace," "Mary Had a Baby" and many others. Every song a gem, soaring solos, great music, live performance excitementwhat could be better? We loved "A Story of Freedom!"
Listen to "His Name So Sweet" in RealAudio.
|8630 CD $15.95|
Since its founding twenty years ago, Berkeley-based PME has grown to fill an important role in the cultural life of the Bay Area, presenting courageous and innovative programs of many works that have never been performed in concert settings. PME provides the opportunity for composers to collaborate with a professional chorus in performances of new or experimental work. In addition, PME stages live performances of works previously heard only on recordings. Founding director Richard Grant has directed the Ensemble in more than 200 concerts, and led the Ensemble on three European concert tours, presenting innovative programs from all periods and styles of music. Grant has has established a reputation for programming the current work of the most important contemporary composers, such as John Adams, Meredith Monk, David Lang and Philip Glass. But their repertoire also includes, of course, Christian sacred works by Mozart, Poulenc and Stravinsky. "Classics Live" focuses on this music. The first nine songs are a cappella, and this is a live recording. Barber's "Agnus Dei," "Ave Marias" by Biebl, Bruckner and Stravinski, Stravinski's "Pater Noster" and "Credo," Lotti's "Crucifixus," Durufle's "Tota Pulchra Es" and Poulenc's "Quatre Petites Prieres De Francois D'Assisse, No. 3." The last eight movements are parts of Durufle's moving "Requiem," accompanied by organ and cello. The soaring voices of this 64-strong mixed chorus take us to another time and space, a place of worship and angels. Truly beautiful.
The P.M.E. is one of the San Francisco Bay Areas most versatile and innovative choruses. The repertoire stretches from Mozart to Monk (Meredith). Each year members arrange and perform immensely popular jazz and pop concerts. On this recording which has arrangements of 20 songs, various members form quintets and sextets to allow individual singers greater individual expression. It begins with "Doodlin'" and ends with "Canary In A Coal Mine." In between find yodeling, scats, a lullaby, Eric Clapton and more. You'll listen to this one over and over.
Les Noces: First Tableau
Les Noces: Second Tableau
Les Noces: Third Tableau
Les Noces: Fourth Tableau
Cosmas and Demian
God Bless, Jesus
My White Peas
In the House
Bunny With Short Legs
Founded in 1973 in Moscow by Dmitri Pokrovsky, the great musician and ethnomusicologist, the Pokrovsky Ensemble's repertoire encompasses more than 2000 songs, including medieval Russian village music, music of the country's old and new faiths, and modern works of Russian composers. The Russian nation has many different ethnic groups separated by geographical regions. Each small group has its own customs, traditions and lifestile. This is reflected in their songs, which are in an oral improvisational tradition handed down from generation to generation. Dmitri Pokrovsky was the one of the first musicians in Russia who felt the need to bridge the gap between the old and new musical vocabulary. He formed the Ensemble as a 'living laboratory' with the aim of keeping folk music alive.
|8628 CD $15.95|
A thrilling project, it has an interesting story behind it. Pokrovsky's group is referred to here as a "living laboratory" -- a hub of musicians and scientists who tested their theories about the dynamics of village life by touring outlying towns in the Russian countryside. A portion of the entrancing vocal polyphony they picked up is enthusiastically performed here, without a hint of academic reserve. Robust men's choirs are followed by equally gutsy female solos, interspersed with small vocal groups and a raucous mixed chorus ends this all-too-brief treasure chest on a high note
This beautifully crafted CD is a joy. The group Pomerium was founded in 1972 by Alexander Blachly with the purpose of performing "virtuoso chapel choirs of the Renaissance." The "Musical Book of Hours" is a concept record-an accompaniment to the medieval religious texts of the 13th to 16th centuries, and features works by Desprez, Ockeghem, and Du Fay. The fifteen-voice mixed group sings these gentle and fluid melodies with a delicacy and grace that caresses the ear, as well as the spirit. The detailed liner notes include several exquisite reproductions of the artwork from the period.
One of the world's leading a cappella vocal ensembles, Pomerium, presents brilliant performances of works by one of the most extraordinary composers of the Renaissance. American Record Guide (USA) stated that "the performances are exemplary in their clarity, beauty of balance, stylistic sensitivity, and sincerity of feeling."
Dazzling Eastern European polyphony featuring the antiphonal glory of Polish Renaissance composer Mikolaj Zielenski, the strength of the Russian Orthodox Liturgy with 12-part writing from Baroque master Vasily Titov, and the commissioned “hit," Bogoroditse Devo, Raduysia," by Minnesota composer, Sergey Khvoshchinskiy.
The Rose Ensemble's holiday recording features music from medieval and Renaissance Poland and Czechoslovakia, including motets from the Prague manuscript Codex Specialnik and several lovely spiritual songs extolling the virtues of various Slavic saints and heroes. The Rose Ensemble, based in Minneapolis/St. Paul, handles this material with great skill and grace. Their vocal tone is bright yet warm, and their articulation is clear and crisp. This is interesting music from a part of the world we've just begun to explore. This music is at once familiar and exotic.
|Vostre Amour est Vagabonde
Tes Beaux Yeux
Tu as Tous Seul
Pseaume 72: tes jugements dieu veritable
Pseaume 78: sois ententif, mon peuple
Pseaume 137: estans assisaux rives aquatiques
Dieu! qu'il la fait bon regarder
Yver! vous n'estes qu'un villain
La Petite Fille Sage
Le Chien Perdu
En Rentrant de i'ecole
Le Petit Garcon Malade
St. Godrics Hymn
I Mon Waxe Wod
Lenten is Come
The Long Night
Yif ic of Luv Can
Ye that Pasen by
If Ever I Would Leave You
Misty my Romance
The three women and two men of this Dutch classical ensemble open this recording with 6 sixteenth-century works by the Dutch composer Sweelinck (though written in French, the courtly language of the time). Two "chanson" by Debussy follow, and then selections by Poulenc and Britten, both twentieth-century composers; as is characteristic of modern music, the harmonic progressions can be something of a non-sequitur, depending on your point of view! For dessert, five close harmony arrangements, including "Besame Mucho," "My Romance" (as arranged by Puerling) and of course, "Ain't Misbehavin'". A rich and satisfying tapestry of sound.
|7441 CD $15.98|
The Dutch quintet presents the a cappella compositions of contemporary composers. However, we hasten to add, the change in the compositions from a traditional liturgical feeling into definite contemporary music with suspended, shimmering dissonances and stark textures is so gradual that we find ourselves attending the works with a beguiled fascination. The composers are four of the most notable Dutch composers of this century, Ton de Leeuw, Robert Heppener, Daan Manneke and Huub Kerstens. The liturgical tradition is represented by Ton de Leeuw's "Missa Brevis" about which he says: "My purpose was to compose a work close to the Roman Catholic liturgical tradition of plainchant and early Renaissance polyphony, and whose music is a more collective spiritual experience than the subjective expression of the individual." On the other end of the spectrum we have music written specifically for the ensemble which is receiving its world recording premiere. You must hear this recording for it has some of the most original vocal work ever found to emerge from a western vocal sensibility.
The Madrigal sprang from Italy in the early 16th Century, as the poetry of Petrarch fused with secular polyphony. This enjoyable collection starts with the much-imitated work of Cipriano de Rore from 1550, and follows madrigal evolution through Giches de Wert, Claudio Monteverdi, Alessandro Scarlatti and finally Alessandro Stradella. Beautifully sung, with ample liner notes.
Towards the end of the 16th Century, Italian music permeated previously insular England and created a fervid outpouring of madrigals. This recording includes some of the "greatest hits" from this 40-year boom, organized by composer: Morley ("Now is the month of Maying"), Pilington, Tomkins, Bateson, Byrd, Farmer, Wilbye and Weekles. Quink is an accomplished mixed quintet, and their interpretations with a single voice per part reflect the madrigal tradition as chamber music.
Folk music is difficult to define. Generally speaking, it is music which grew in communities with enough tradition to have a need to link the past with the present. Each generation, indeed, each performer will modify it slightly to suit their own needs and times. Among other reasons for the continuation of their memory and performance from generation to generation,they provide historical recollection, cautionary tales, humorous and dramatic stories and an accompaniment to dancing. Quink Vocal Ensemble (three women and two men) have applied their five exquisitely trained voices to recording a selection of folk songs from all over the world. Often they will end with lighter arrangements of folk tunes after performances which include Renaissance, Baroque, Romantic, Impressionistic and contemporary music. Songs from Israel, Scotland, England, Newfoundland, U. S., U.S.S.R., Yugoslavia, Czechoslovakia, Germany, France and Spain are included in the twenty-five songs.
|Great Is Thy Faithfulness
Jesus, Lover of My Soul
Just a Little Talk with Jesus
Spirit of God
I Must Tell Jesus
A Mighty Fortress
I Walked Today Where Jesus Walked
O Love That Will Not Let Me Go
Just As I Am
It Is Well With My Soul
Go Down Moses
Jesus Is His Name
More That Wonderful
Velvet: a rich fabric. The harmonies of Regeneration: sumptuous, angelic outpourings of rejoicing, of which velvet is a most fitting adjective. Carrying on in the mode established by the best-selling "Christmas In Velvet" volumes one and two, the fourteen traditionals and hymns contained here (ten of which were released a few years ago in a now out-of-print recording entitled"Pure Silk"), are inspiring not only because of their thematic content of praise, but because of the arranging of Derric Johnson, the group's director. To study a Derric Johnson arrangement is to contemplate the canon of a master. Key to his style is his seamless blending of classical choral and jazz idioms that are fresh, yet easy to assimilate. What could be more uplifting than the gloriously ascending intervals of "More Than Wonderful," ending in an epic high note? The serene and resonant "Holy Ground" is set against a backdrop of plush oohs and aahs. The countermelodic texture of "Just As I Am" is engaging but never excessive. The men and women of Regeneration (some of whom moonlight as Walt Disney World's "Voices of Liberty"), could not be more pristine in their performance. Their control, phrasing and interpretation is textbook perfect. All in all, "Hymns in Velvet" is an exercise of pure enjoyment.
Listen to Great Is Thy Faithfulness and I Must Tell Jesus in Real Audio
|5340 CD $14.98|
Derric Johnson and his "Voices of Liberty," eight of whose best and most experienced members became ReGeneration, toured nationally for 12 years, performing 6,000 live performances for 12 million people. In a recording encore, one of the most beloved and respected choral ensembles of all time comes back to blow us away with 10 Contemporary Christian tunes and favorite hymns. "Have You Met Jesus," "The Old Rugged Cross," "All Hail the Power of Jesus' Name," "In The Presence/Surely The Presence," "For All My Sin," the traditional spiritual "David and Goliath," "Moment by Moment," "O The Deep, Deep Love of Jesus," "Ho, Every One That is Thirsty in Spirit" and "Midnight Cry"this is a powerful, inspirational collection of wonderful songs, with Derric Johnson's arrangements and direction, by his hand-picked mixed ensemble. What could be better?
Listen to All Hail The Power of Jesus Name in Real Audio
Showcasing works from the preeminent composers of Western classical music, such as Schubert, Vivaldi and Bach, this recording is a compilation drawn from Robert Shaw's vast canon. Mr. Shaw, who recently died, was one of the most famous and recognized choral directors of modern day, and his association with the Atlanta Symphony and Chorus was a prolific one. These accompanied selections, on sacred and religious themes, are grand, dramatic and ornate. One of the most affecting is Beethoven's "Missa Solemnis: Gloria," which captures the intense emotion that heralded the beginning of the Romantic era.
|Libera Nos I & II - Shepard
Salva Nos, Domine - Plainchant
Christe, Qui Lux Es Et Dies - Byrd
In Pace In Idipsum - Shepard
In Manus Tuas - Tallis
Jesu Salvator Saeculi Verbum - Shepard
In Manus Tuas I - Shepard
In Manus Tuas II & III - Shepard
Miserere Nostri Domine - Plainchant
Miserere Nostri Domine - Tallis
Miserere Mihi Domine - Byrd
In Pace In Idipsum - Tallis
Christe Qui Lux Es Et Dies - White
Veni, Domine - Plainchant
Nunc Dimittis - Byrd
Te Lucis Ante Terminum - Tallis
Gaude, Virgo Mater Christi - Aston
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 psalmsthe occasion not only for music of intimacy, elegance and reflection, but for flights of breathtaking canonic and contrapuntal invention and harmonic daring.
|8539 CD $18.95|
Path of Miracles, for a cappella choir, was commissioned by Tenebrae from Joby Talbot and premiered last year. The work is based on the most enduring route of Catholic pilgrimage - the great Pilgramage to Santiago. The four movements of Path of Miracles are titled with the names of the four main staging posts of the 'Camino Frances': I Roncesvalles; II Burgos; III Leon; IV Santiago. The 'Camino Frances' s the central axis of a network of pilgrimage routes to Santiago. Talbot's music has been performed by, amongst others, the London Sinfonietta, The BBC Symphony Orchestra, The Brunel Ensemble, Evelyn Glennie and The Duke Quartet. In addition, Talbot also writes for the big and small screen. Credits include, The League of Gentlemen and The Hitchiker's Guide to the Galaxy.Tenebrae, founded and directed by former King's Singer Nigel Short, is a professional vocal ensemble, whose motto is passion and precision. Tenebrae has built an impressive reputation for innovative and memorable performances throughout the UK and Europe..
This release takes its title from a new work written especially for the choir by Sir John Tavener. Mother and Child has a unique and personal history inspired- by one of the Tenebrae members' children. Playing in the garden, Samual McCosh and his mother Susan caught the eye of a visiting friend, poet Brian Keeble. The picture of mother and child in close union with one another so enchanted him that he began to write a poem based on that image. The resulting poem caught the attention of Sir John Tavener who, on reading it decided to set it to music and to dedicate it to Tenebrae. In its short existence, Tenebrae has made a considerable impact on the musical world with fresh and vital re-interpretations of classic works in the choral repertoire. On this recording, innovatory and lesser-known repertoire is drawn from contemporary sources. Alongside Mother and Child, this release features four further world-premiere recordings by composers Francis Pott, Alexander L'Estrange and Jeremy Filsell. Within this individual collection of choral music, which also includes works by Jonathan Dove, Richard Rodney Bennett and Giles Swayne, Tenebrae continues to chart out a new territory, which is rapidly establishing it as one of the most exciting choirs of our time.
|Innsburck, Ich Muss Dich Lassen
Wohlauf ihr Lieben Gaste
Feinslieb, Du Hast Mich Gefangen/ Tanzen und Springen
Away In A Manger
Main Einigs A
Der Spate Abend
Two Old Netherland Dances
Il Bianco e Dolce Cigno
Zu Bethlehem Geboren
Die Martinsgans/ Ein Hennlein Weiss
God Rest Ye Merry, Gentelmen
Wach Auf, Wach Auf
Intrade, Sarabande & Gigue
Waldensnacht, Du Wunderkuhle
Eriskay Love Lilt
Come, Heavy Sleep
Lavanthal, Lavanthal/ Die Auglein Voll Wasser
In Einem Kuhlen Grunde
Vom Himmel Hoch
O Haupt Voll Blut und Wunden, Chorale
Guten Abend, Gut' Nacht, op. 41
Everyone has heard the story of the Trapp Family, as dramatized in the beloved musical, "The Sound of Music." After their discovery by German opera singer Lotte Lehmann in 1936, they became a sensation in their native Austria. Hitler's invasion in 1938 caused them to accept the offer of an American tour, and they became exiles from their native land. The recordings preserved on this CD were made upon their arrival in New York, continuing into 1941. The Trapp family repetoire consisted of folk songs, madrigals, motets and classical chorales. Later, they began a tradition of annual Christmas concerts, and several of those carols are included in this collection. The recorder is a featured instrument on "Intrade, Sarabande and Gigue," a series of lively dances from the baroque era, and "Two Old Netherland Dances." The remaining twenty selections are a cappella and show that the Trapp Family was no novelty act. With the aid of their conductor and arranger Dr. Franz Wasner, their technique became consummately professional, their intonation and blend first-rate, and their performances confident and assured. Incomparable.
|6503 CD $15.98|
The Trapp Family Singers made famous in the movie "The Sound of Music" were an actual group that were fortunately able to escape the Nazis by arranging an American tour, leaving behind their home and all that remained of their wealth. They toured and recorded in the US for another decade and a half, and founded the Trapp Family Music Camp in Stowe, VT., at a lodge that is still run by the family today. The CD, the third in our catalog (following the excellent "The Original Trapp Family Singers" and "The Sound of Christmas") begins with 6 tunes sung in English, "Ev'ry Year Brings Something New," "The Farmer's Boy," "Waltzing Matilda," "The Lone Prairie," "An Eriskay Love Lilt" and "Early One Morning;" before continuing with German and Austrian tunes, "In einem kuhlen Grunde," Kuckuck hat sich zu Tod gefallen," "Innsbruck, ich muss dich lassen," Es wollt ein Jagerlein jagen," "Auf der Alm," "Spinn, spinn Marie" and many others, 23 in all. Occasional instrumental music. An inspiring story, and inspiring music sung by this talented, deservedly famous family!
|Give Me Your Tired
God Bless The USA
Songs Of The West
Back Home In Indiana
The Red, White And Blue
When I fall In Love
OL' Man River
Old McDonald Had A Farm
A Dream Is A Wish Your Heart Makes
"A Slice of A Cappella" is a patriotic classic, from "Give Me Your Tired," the timeless words from the Statue of Liberty, "Yankee Doodle," "God Bless The USA," and "The Red, White and Blue" medley, to the "Songs of the West" medley, "Rockytop," "Kentucky Babe," "Back Home In Indiana" and "Old Man River," it's all-American great stuff! Derric Johnson's direction is once again flawless, and these 8 talented voices effortlessly nail every song. A celebration of our country and freedomÇa real feel-good CD!
Listen to "The Red, White and Blue" or "When I Fall in Love" in Real Audio
|2803 CD $14.98|
A beautiful disc of (mostly) World Premiere recordings, this first-ever CD to be devoted solely to the choral music of Edmund Rubbra. The earliest are the Five Motets of 1934, settings of 16th century metaphysical poems. It was madrigalist Thomas Campion whose poems provided the basis for two delightful sets of Madrigals, and charming too are the group of four simple Carols. It is for his liturgical music that Rubbra is perhaps best known today, and the four substantial works included here demonstrate why. There is his largest a cappella piece, Lauda Sion, a magnificent Aquinas setting, plus his second setting of The Beatitudes. Two settings of the mass are featured, his third, written in medieval style, and his fifth. This is the focal point of the whole collection, the Mass in Honour of St Teresa of Avila of 1981 which was Rubbra's last major choral work, and summarises the composer's mature harmonic language.
|O Clap Your Hands (Orlando Gibbons)
Factum Est Silentium (Richard Dering)
Haec Dies (William Byrd)
Hear My Prayer (Henry Purcell)
Gaude Virgo Mater Christi (Josquin Desprez)
Magnificat Primi Toni A 8 (Giovanni Pierluigi da Palestrina)
Cantata Domino (Claudio Monteverdi)
Abendlied (Josef Rheinberger)
Nunc Dimittis (Gustav Holst)
As Yesta Was From Latmos Hill Descending (Thomas Weelkes)
Fair Phyllis (Robert Pearsall )
Il Est Bel Et Bon (Pierre passereau)
Lieto Godea (Giovanni Gabrieli)
Steal Away (Traditional Spiritual)
Didn't My Lord Deliver Daniel (Paul Har)t
Mack the Knife (Kurt Weill
Maria (Leonard Bernstein)
Who Will Buy (Lionel Bart)
I Got Rhythm
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.
|7662 CD $15.95|
Voces Cantabiles Music is a British Educational Foundation, led by Artistic Director Barnaby Smith and an elite team of 19 professional performance artists, teachers, facilitators and workshop leaders that maintains 4 ensembles, Voces Cantabiles, Voces Cantabiles Youth Choir, the Senesino Players, a professional chamber orchestra, and Voces8, a professional a cappella vocal octet. "Snowed In" is a finely-crafted Christmas collection of 17 songs by these 6 young men and 2 women singers, founded in 2003 by ex-choristers of Westminster Abbey. With a repertoire ranging from 13th century polyphony to new jazz arrangements, the group has toured extensively in Europe, winning first prizes at International Grand Prix in Goriza and at the European Grand Prix in Spain, for both the sacred and secular categories. Favorites are standards "I Saw Three Ships," "The Boar's Head Carol," "Good King Wenceslas," "Gabriel's Message," "The Twelve Days of Christmas," "Ding Dong Merrily on High," "The Holly and the Ivy," "I Wonder as I Wander" and "In the Bleak Midwinter," but the fresh, clean sound of this talented group makes every selection a winner. Treat your family and friends to "Snowed In," one of the best Christmas recordings of the year!
Listen to "Ding Dong Merrily on High" in Real Audio.
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.
|3059 CD $14.98|
The 18 mixed voices of Cleveland, TN-based Lee University's Voices of Lee, directed by Danny Murray, have a lush musical style noted for its excellence in harmony, spirit and performance. Since their debut in 1994, this Contemporary Christian a cappella group has delighted audiences worldwide with a repertoire of high-energy patriotic numbers, and heartfelt gospel favorites. "In God’s Hands" is their fifth excellent CD. Nine songs: a beautifully arranged version of "How Great Thou Art," "More Than Wonderful," "Golden Stair," the dramatic "Jesus, The One and Only," the lovely title tune (light piano accompaniment), the inspirational "Dream On," the prophetic "Midnight Cry," and "He Giveth More Grace." Soaring solos, powerful harmonies and messageit adds up to another winner for Voices of Lee. Recommended.
Cleveland, Tennessee's Lee University boasts one of the finest 14-voice mixed Contemporary Christian choruses we've heard, the Voices of Lee, directed by Danny Murray. Songs include "I Will Follow Christ," "Lift Him Up," Derric Johnson's "I Walked Today Where Jesus Walked" and "Battle Hymn," "Let There Be Peace On Earth," "Keep Believing," "There's Not A Crown Without A Cross" and "Jesus, What A Wonderful Child." The 14 voices give the harmonic power of a chorus while still allowing the brilliance of individual voices to be highlightedand amazing, strong, vibrant, soaring voices they are. An inspirational, exceptional CD both spiritually and musically!
|Introduccion, En Mexico
Como Mexico No Hay Dos
Que Rico Mambo
Que Bonita Es Mi Tierra
Self-described "Trailblazers" in Mexican music, mixed quintet Voz en Punto, winners of international awards for their versatility and ability to interpret music from the cultures of many countries, had to start somewhere, and "Mexico A Capella" is it, their first commercial recording. "Mexico" represents the impassioned fusion of two of the group's great loves: Mexico and choral singing. The CD topped as #1 seller on the Mexican classical charts, and 4 of the CD's singles, "Tilingolingo," "Male Betulia," "Jucheti Consuelito" and the Swingles-influenced "El Rascapatate" won the 2nd Tribune of Mexican Music and were chosen to represent Mexico in the 10th Tribune of Latin-American and Caribbean music. 15 songs, all in Spanish, favorites besides the 4 singles are the manic "Cucurumbe," the romantic "Besame Mucho," the crazed, Swinglish "Que Rico Mambo," the rhythmic gem "Tete," and the jazzy "Que Bonita Es Mi Tierra." "Mexico" created an a cappella sensation in Mexico, and it's easy to hear why. Great arrangements, hot, spirited vocals, fine song selection, dynamic live performancesit adds up to the kind of stardom that changes the popular culture of a nation!
|7772 CD $15.98|
The fourth from the award-winning, internationally-acclaimed mixed quintet (3 men, two women) Voz en Punto, and it's as spirited and juicy as we have come to expect from Voz. Beginning with the title tune and "La Negra," "Copitas'" song selection concentrates on the group's forte, crazy, silly, manic, romantic Mexican songs, some accompanied by a string ensemble. Our favorites of course are the a cappella numbers, like "La Bruja," "No Volvere," and "El Sinaloense." Voz en Punto's sound is as crisp and clean as they come, and they get into some marvelously fast Mexican "scat" singing that boggles the mind. "Copitas is big, fat, south of the border fun from beginning to end. Enjoy!
Listen to La Bruja in Real Audio.
In Mexican slang, "del tingo al tango" means to go "from pillar to post" without stopping, a phrase that seems to sum up mixed quintet Voz en Punto's career in many ways. From its founding by director Jose Galvan in 1990, the ensemble has focused its artistic energy on the colorful arena of Mexican culture, from Mexican colonial polyphony from the 16th and 17th centuries to songs in native tongues and/or with African influences, up to the folklore and music of living Mexican concert composers. The group has also presented programs of European composers, including motets and madrigals, Latin-American bossa novas and tangos, and negro spirituals. To quote the group's press notes, audiences become "Ecstatic," "On Fire" or "Delirious." "Del Tingo" is a 16-song smorgasbord of the group's repertoire, beginning with the spirited Mexican "La Negra" and the French "Margot labourez les vignes," the Brazilian "Rosa Amarela" and the German "Tanzen und Springen;" and country-hopping into England's "Come Again," Cuba's "Mama Ines," Japan's "Ue wo muite," Italy's "Amor Vittorioso" and the US spiritual "Swing Low, Sweet Chariot." Brazil's "Samba de uma nota so," Spain's "Chacona," Finland's Satumaa Tango" and Glenn Miller's "In The Mood"… Voz continually amazes us with their spirited versatility. Listen to this multilingual a cappella gem and become an instant Voz en Punto fan!
|O Western Wind
Sumer is Icumen In
Se d'Amer Me Repentoie
Irme Quiero Madre
Miraculous Love's Wounding
L'Amfiparnaso, Act I, Scene I
Amazing Grace / The Promised Land
I Believe This Is Jesus
I'm too Tired to Tell You That I Love You
I'm Beginning to See the Light
It Don't Mean a Thing
Sh'boom, Life Could Be a Dream
Canary in a Coal Mine
The members of Western Wind, four men and two women, share an incredible depth of experience and scholarship. Combine that a musical sensitivity that embraces almost any genre, and the result is a "musical history tour." Beginning with the medieval, the group includes Rennaissance polyphony, African-American spirituals and Duke Ellington swing on their journey. "Dolcissimo Uscignolo" and "L'Amfiparnaso" border on the operatic. Philip Glass' "Vessels" (Glass is a contemporary composer of some repute) takes as a central concept a repetitive series of intervals, minor second, major second, minor third, though not in that order, juxtaposed against an arpeggiated scale or repeated tone, conveying a marvelous sense of energy, upward movement and growth. Fifties doo-wop takes a turn with "Sh'boom, Life Could Be A Dream," though the vocal style is much too refined to resemble the original version(s). Four tracks have minimal accompaniment.
|2238 CD $14.98|
Twenty-five tracks narrated by Theodore Bikel, who explains and describes much of the tradition associated with each composition, this frequently and beautifully accompanied CD reflects the "diverse and multi-national nature of the Jewish experience." The detailed liner notes further elaborate on Jewish history and the CD's content, which encompasses Sephardic songs, folk melodies, European nineteenth-century classical, and more. "Maoz Tzur" (Rock Of Ages in English), is a German synagogue melody with an arrangement from 1720 by the Italian, Marcello. The Western Wind, a mixed sextet, has a refined and cultured tone, and each piece is performed with a quiet dignity.
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