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 Bach family was one of hardworking provincial craftsmen, in which the family craft was passed (apparently along with the first name Johann) from one generation to the next-in this case, the craft was music. In 17th century Thuringia, a region of Central Germany and hotbed of Lutheranism, they were many careers in music to choose from, a town, church or court musician, or an instrument maker, and the Bachs were active in all those fields. Johann Sebastian, recognizing the gift of his genealogy, compiled his own family history in 1735 and possessed an archive of works by his forbears, with some pieces copied out in his own hand. England's excellent mixed-voice Clare College Chapel Choir, formed in 1971, performs these 11 rarely-heard gems perfectly: Johann Christoph Bach's (1642-1703) 'Lieber Herr Gott,' 'Es ist nun aus,' 'Der Gerechte, ob er gleich,' 'Ich lasse dich nicht' and 'Furchte dich nicht;' Johann Bach's (1604-1673) 'Unser Leben ist ein Schatten,' Johann Michael Bach's (1648-1694) 'Herr, du lassest mich erfahren' and 'Sie lieber Tag willkommen;' and Johann Ludwig Bach's (1677-1731) 'Unsere Trubsal.' Listening to this wonderful stuff, it's clear that Johann Sebastian's heritage was a highly appreciated, major factor in his own genius.

This highly regarded chorus is considered to be one of the top university choirs in England and one can both see and hear why on this well-produced DVD. Filmed in the famous Clare Chapel, the fine performances by the choir makes this video a real treat. Features John Rutter's 'Gloria', Britten's 'Festival dec deum' and 'Rejoice in the Lamb:, Bernstein's 'Chichester Palms' with five negro spirituals by Sir Michael Tippet. With 68 tracks and a 2.45 hours running time this DVD is also well priced.

Enjoy this top-notch choir and get in the Christmas mood by both watching and listening to some wonderful singing directed by Timothy Brown. Filmed at St. Edmundsbury Cathedral, Bury St. Edmunds, Suffolk, England

Famous for his keyboard works Sweelinck was also a skilled composer for voices as well, and composed over 250 works for voice (chansons, madrigals, motets and Psalms). Some of Sweelinck's innovations were of profound musical importance, including the fugue-he was the first to write an organ fugue which began simply, with one subject, successively adding texture and complexity until a final climax and resolution, an idea which was perfected at the end of the Baroque era by Bach. This is a world premi�re recording of the complete Latin Motets, including the Christmas motet Hodie Christus natus est.

The choral works of Henry Purcell (1659 -95) are sung here with near perfection under the direction of Timothy Brown.

Rutter's Requiem, from 1985, is wildly popular among modern choirs, audiences, and record shoppers. It is offered here in the world premiere recording of its chamber version, making what is considered a concert piece more suitable for liturgical purposes or intimate venues. This, along with many of his other works, has a direct, uncluttered, almost folksy air to it, while hardly ever lapsing into banality. Just when you begin to think, 'Ah, I've heard this kind of stuff before', up Rutter comes with some ingenious device or harmonic twist that grabs even the most jaded ear. And he knows how to hold such a comparatively larger-scale composition together, too. This is one of Rutter's finest and most convincing works. It consoles, implores, worships, affirms, reassures, and mystifies-everything that a good requiem is supposed to do. Instrumental accompaniment (single flute, oboe, cello, harp, and timpani, plus percussion) is spare, but expert and tasteful. Rutter has a long and fruitful history with the Clare College Choir, having led them himself in quite a few outstanding recordings. They perform here with their usual depth, sensitivity, technical finesse, and bright, clear sound.

When you have one of England's premiere choirs being directed by one of England's foremost director while singing some of the finest traditional carols then you most certainly have yourself a wonderful holiday recording. Noted baritone Simon Vaughn is featured and many of the songs are accompanied by the Clare College Orchestra.

Bringing together the voices of adults and children, Rutter's Mass of the Children is scored for mixed choir, soprano and baritone soloists, orchestra, and the irresistible charm of a children's choir. Rutter's skilful writing for these forces together with his sensitive interweaving of both the Latin Mass texts and Thomas Ken's renowned morning and evening hymns for Winchester College, gives the whole work the framework of a complete day, from waking to sleeping. This has resulted in one of his finest and most moving works to date.