Only a conductor of Robert Shaw's experience could hope to shed new light on a score the composer himself had so convincingly presented on record. Shaw finds a meditative gentleness in the music that is new and touching, and imparts a distant, sad feeling to the climaxes that deepens their ambivalence. The solo singing is on a par with that of Britten's recording--the diction is in fact better--and the choral singing is suffused with Shaw's unique magic. Telarc's digital recording is a bona fide sonic spectacular.

From America's greatest choral conductor, Robert Shaw, and his superbly trained Atlanta forces comes a recording of two settings of the Latin mass by Franz Schubert. Shaw and the Telarc recording team have won numerous Grammy Awards, they continue that tradition of excellence with Schubert: Mass No. 2 & Mass No. 6. In all, Schubert wrote six Masses over a period stretching from his school days to the end of his life. All but the last were written for specific performances in local churches, and all are practical works reflecting Viennese performance customs of the time. Mass No. 2 in G major was composed in 1815, when Schubert was 18 and just embarking on a teaching career. Simple and tuneful, it is a small-scaled work for chamber choir accompanied only by strings and organ. Soprano, tenor, and bass soloists contribute to the intimate beauty of the choral writing. The Mass must have gladdened the heart of his teacher, Antonio Salieri, who praised Schubert's first Mass with the words, 'Franz, you are my pupil and you are going to do me proud.' The product of a remarkable surge of music Schubert wrote in his final year, Mass No. 6 in E-flat major lay unperformed until a year after his death. It is basically a choral mass, as its five soloists (soprano, mezzo, two tenors, and bass) are used sparingly. The festive orchestra includes strings, timpani, and full winds except for tuba and flute. Its overall shape and construction follow traditional practice-more so than his preceding setting in A-flat. In harmonic language and details of text setting, however, we encounter a different Schubert, a Romantic who produced telling dramatic effect through his use of frankly pictorial writing and daring chromatic digressions.

The late Robert Shaw, who died in January 1999, had a long and fruitful relationship with Telarc, spanning twenty years and producing 41 recordings, eleven of which have won Grammy Awards. The current recording is the final one to be made by the conductor. Included on the second disc is a spoken interview of Shaw made by National Public Radio's Martin Goldsmith, host of 'Performance Today.' The interview was made in November 1998, just after the recording sessions for the Dvorak Stabat Mater, and features Shaw discussing his career, this work, and the state of the choral art. Portions of the interview were originally broadcast over NPR on April 2, 1999. The Stabat Mater was written by Dvorak in direct response to personal and private grief when he began the work, in 1876, he and his wife had recently lost a baby daughter, who had lived only two days. Other work intervened requiring the composer to set the Stabat Mater aside, but he soon resumed it in 1877 after losing two more children in quick succession-a baby daughter to accidental poisoning, and his three-year-old son to smallpox. The work was premiered in Prague in 1880, by which time Dvorak had risen from obscurity and poverty to become an internationally known composer. In 1883, the London premiere of the Stabat Mater met with such success that Dvorak was invited to come to England to conduct the work. He did so, conducting an enormous orchestra and chorus in the Royal Albert Hall in 1884.

The great choral arranging team of Robert Shaw and Alice Parker has given us some great music through the years. They have long been involved with the sacred hymns and spirituals of America, from the southern shape-note hymns to the African American spiritual. Amazing Grace is a compilation of these sacred songs. Selections include, 'Wondrous Love,' 'Hark I Hear the Harps Eternal' and 'Sometimes I Feel Like a Moanin' Dove.' Originally heard on previous recordings by the Robert Shaw Chorale, these up dated versions by the Festival Singers are just as wonderful and uplifting.

In addition to his many solo songs, Franz Schubert wrote about one hundred male quartets and choruses. These part songs, like their solo counterparts, use texts by the great poets, like Goethe and Schiller, and have equally beautiful melodies. The popularity of these pieces was due to the development of music making by the middle class. Small public concerts, given in taverns or peoples homes, were places that the songs would be performed. Schubert was often requested to compose these part-songs for the occasions. Among the all male songs is the gem 'Standchen' which is scored for alto and male chorus with piano accompaniment. The men of the Robert Shaw Chamber Singers perform these rarely heard pieces with great beauty and lyricism. The songs on this CD are a cappella, with a few having guitar or piano accompaniment.

Twenty-nine carols arranged by Robert Shaw and Alice Parker, and sung by the forty-nine member Robert Shaw Chamber Singers. Many English, but some French, Spanish, Italian, German and the occasional American carol are included. In broad terms, carols were popular songs, and the original definition referred to a type of dance; remember, too, that Christmas was an adaptation of various pagan celebrations, an influence that can certainly be discerned in carols such as 'Masters In This Hall,' the sprightly rhythms of which are not meant to be listened to sitting down. Robert Shaw's various classical vocal ensembles are considered to be some of the finest in the world, and under his direction, earned many Grammy's and international acclaim.

Vespers is a musical setting for a night-long service celebrated in Russian monasteries and Russian orthodox churches. Written at the height of Rachmaninoff's compositional powers, the Vespers setting is considered to be the finest of his sacred works. This lush and beautiful composition for unaccompanied voices, in an eloquent performance by Robert Shaw and his talented festival chorus, is captured dramatically by Telarc in the spacious acoustic of the Church of St. Pierre, Gramat, France. This recording won a Grammy award in 1990.

This CD is a newly recorded collection of the most accessible, spiritually enlightening, and uplifting music of our time -- brilliantly interpreted by Robert Shaw and the Robert Shaw Festival Singers. It features Barber's Agnus Dei, a vocal arrangement by the composer of the hauntingly beautiful Adagio For Strings. 

Twenty-four carols arranged by the eminent choral director Robert Shaw and the respected Alice Parker. Shaw-Parker arrangements are famous and recorded by everyone, including Shaw's various ensembles. Described as a mixed voice collection, these twenty-four carols have varying voicings, with frequent solo opportunities. There are also a few tenor/bass charts. Most have piano for rehearsal.

This is the second compilation recording to feature sacred choral classics conducted by Robert Shaw. The baroque era is represented by Vivaldi's Gloria and J.S. Bach's Magnificat; the classical and romantic periods include selections from Mozart's Requiem, and the Verdi and Berlioz Requiems; and the twentieth century is well-represented with selections from the Poulenc Mass in G Major, the Durufle Requiem, and Mahler's Symphony No. 8, the 'Symphony of a Thousand.' Operatic selections are included by composers Arrigo Boito (the 'Prologue' from Mephistofele), and Pietro Mascagni (the 'Regina coeli' from Cavalleria rusticana). Also contributing to the dramatic sense of contrast on this recording is the juxtapositioning of the Atlanta Symphony Orchestra and Chorus with the ethereal, a capella sounds of the Shaw Festival Singers, who are highlighted in 'Bless the Lord, O my soul,' from Rachmaninoff's Vespers; and in the 'Agnus Dei' from the Poulenc Mass in G Major.

The more modern and esoteric of Shaw's Christmas recordings, featuring the 'Ceremony Of Carols,' a modern suite by Benjamin Britten, comprising 11 tracks, and highlighting two soloists and harp. The contemporary composer, Morten Lauridsen's 'O Magnum Mysterium' is also included; its simple and graceful melody floats ethereally by. Biebl's 'Ave Maria,' with its distinctive major/minor tension, Praetorius' 'Lo, How A Rose E'er Blooming,' and Howell's 'Sing Lullaby' are other gems, most of which are arranged by Shaw and Alice Parker. The sprightly 'Allon, Gay Bergeres' and 'While By My Sheep' suggest caroling from door-to-door, the crisp crunch of snow underfoot and rosy-cheeked smiles for all!

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.

Barber's Prayers of Kierkegaard was commissioned by the Koussevitsky Foundation in 1942, but the composer did not complete the work until January, 1954. It is a setting, in the form of a single-movement cantata, of four prayers by the Danish theologian and philosopher S¿ren Kierkegaard (1813-1855). Robert Shaw gave the American premiere of Bart—k's Cantata Profana at Carnegie Hall in 1952. For this recording, he has used a refined version of the English translation of the text he made for that premiere performance. Vaughan Williams's Dona Nobis Pacem was intended as a warning of the threat of war in Europe in the mid-1930s. The texts are taken from the poetry of Walt Whitman, the Bible, the Latin Mass, and from a speech made in the British House of Commons during the Crimean War in the 1850s by John Bright.

The great contribution of Robert Shaw to choral music has brought the listener to expect that nearly any recording or live performance under Shaw's direction will be thoroughly stunning, refreshing and performed with remarkable musical insight. On Appear and Inspire, Robert Shaw and the Robert Shaw Festival Singers give exactly this kind of performance of Argento's 'I Hate and I Love', Debussy's 'Trois Chansons', Poulenc's 'Un Soir de Neige', Badings 'Trois Chansons Bretonnes', Britten's 'Hymn to St. Cecilia' and Ravel's 'Trois Chansons.'

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.

Sometimes sprightly, sometimes pensive, but always graceful, these Irish traditionals are given a refined treatment by the Robert Shaw Chorale. The Alice Parker arrangements are simple, merely fleshing out the melodies, but the full, resonant tone of this famous classical ensemble lends elegance as well. A mixed chorale, but soloists are featured on some tracks, as suggested by the text. Styles have changed since 1968, when this was originally released, but songs such as 'The Girl I Left Behind Me' and 'The Parting Glass' have a timeless flavor. With some Irish harp accompaniment.

The final years of Robert Shaw's life saw a return to his devotion to unaccompanied vocal music. Many will remember the Robert Shaw Chorale which was so popular in the 1950s and into the '60s. For two decades ending with his official retirement in 1989, Robert Shaw was the conductor and music director of the Atlanta Symphony Orchestra. During that period most of his choral work was for orchestra and chorus. Yet even before his retirement he had established the Robert Shaw Choral Institute which devoted it's efforts to furthering choral arts through conductor training, workshops and performances. Through the establishment of its summer festivals beginning in 1989, participants who were selected by audition came to the Quercy district of south-central France for two weeks of instruction and intensive rehearsal, culminating in a week of performances in the wonderful medieval churches of the region. Many of the recordings on this release were obtained by Telarc during the momentary summer existence of the Robert Shaw Festival Singers. In the winters Robert Shaw created the Chamber Singers to further the practice of choral music. From both these groups has been assembled a group of recordings which reflect the deeply spiritual nature of the founder. Several of them have never been released before. You will find classical works by Tallis, Poulenc, Rachmaninoff, Schubert, and others in addition to several gospels sung by some of the most beautiful voices of the time. This is glorious full choral splendor!

We don't need to recount Robert Shaw's credentials as a group leader and director of the Fred Waring Glee Club and The Robert Shaw Chorale, or his list of awards, Grammys, ASCAPs, etc. over his 50+ year career, do we? Good. So, if you were director of the Atlanta Symphony Orchestra & Chorus and recording a Christmas CD, what kind would it be? Powerful, monumental and classic of course! We have 18 mostly traditional carols here, 'Good Christian Men, Rejoice,' 'Silent Night,' 'Patapan,' 'Fum Fum Fum,' 'March of the Kings,' 'Bring a Torch, Jeannette Isabella,' 'Angels We Have Heard On High,' 'The First Nowell,' 'I Saw Three Ships,' 'Deck The Halls,' etc., along with the Latin hymn 'O Sanctissima,' Wesley-Mendelssohn's 'Hark!,' and Bach's 'Break Forth, O Beauteous Heavenly Light.' All arrangements are by Robert Russell Bennett. Majestic, triumphant Christmas music!

The remastered A Festival of Carols by the Robert Shaw Chorale and Orchestra, originally recorded in 1957 and 1963, is a timeless classic. It includes four of Robert Russell Bennett's medleys and beautiful a cappella versions of holiday favorites many of which are by Robert Shaw and Alice Parker. Selections include, 'O Come, O Come, Emmanuel,' 'My Dancing Day' and 'Lo, How a Rose E'er Blooming.' This CD will keep your spirits up all season long.

Robert Shaw's awards shelf had to be expanded to make room for the National Medal of Arts from Pres. Reagan, Musician of theYear by Musical America, the Theodore Thomas Award of the Conductor's Guild, a Gold Record, Britain's Gramophone Award, 13 Grammys, four ASCAP awards, the list goes on and on. Shaw began directing the Fred Waring Glee Club to radio fame, then his Collegiate Chorale, finally moving on to the Robert Shaw Chorale, whose tours and recordings brought him worldwide fame. He became music director of the Atlanta Symphony Orchestra in 1967. 'The Power' combines the orchestral power (as in heavily accompanied) of the Symphony with the Atlanta Symphony Orchestra Chorus and the Robert Shaw Festival Singers to do justice to 17 monumental pieces by such heavies as Verdi, Durufle, Orff, Mozart, Borodin, Bach, Handel, Berlioz, Faure, Haydn and Rachmaninoff. Remember the drama and power of the 'Hallelujah Chorus' from Handel's 'Messiah?' It's here, and there's 16 others like it. Amazing!

A classic recording remastered. In arrangements by Robert Russell Bennett, the Robert Shaw Chorale sings patriotic favorites with the RCA Victor Symphony Orchestra. Selections include a medley from the Civil War of songs from both North and South, a medley from the Revolutionary War and a Service Songs Medley. A great recording with or without fireworks.

We hardly need to mention Robert Shaw's credentials as a group leader and director of the Fred Waring Glee Club, the RS Festival Singers, RS Chorale and RS Chamber Singers, his Grammys and ASCAPS and his 50-plus year legendary career in music. This is a digitally remastered reissue of a classic lp of one of some of the most beloved music of all time, the Great Choruses from Handel's Messiah. The piece is given to us in 17 parts, from 'And the Glory of the Lord' and the famous 'For Unto Us a Child Is Born' to 'Their Sound Is Gone Out Into All Lands,' 'Hallelujah' and finishing with 'Worthy Is The Lamb That Was Slain.' Of course this CD is orchestrally accompanied, with harpsichord and organ, throughout. As with all the CDs associated with Robert Shaw that we carry in our catalog, 'Great Choruses' is a powerful, wonderfully performed work of art!

Led by master conductor and composer Robert Shaw, the RS Festival Singers perform 40 of Brahm's songs, lightly piano-accompanied and under three headings: 'Lebeslieder-Walzer, Op. 52, Neue Liebeslieder-Walzer, Op. 65, and Sieben Abendlieder. The large, extensive liner notes have all the lyrics. We particularly liked 'Liebeslieder-Walzer' cuts 1, 5, 6, 11, and 14, 'Neue Liebeslieder-Walzer Op. 65, cuts19, 21, 23, 26, 30 and 31, and 'Sieben Abendlieder' cuts 34, 37, 38 and 40. As with all Robert Shaw CDs, this one is elegantly arranged, beautifully sung and perfectly directed-great material, wonderfully performed!

Robert Shaw leads the Atlanta Symphony Orchestra and Chorus in some of opera's most beloved choruses. This assortment ranges from the immensely popular 'Va pensiero' from Nabucco to the tragic end of Purcell's Dido and Aeneas. Other selections include 'Regina Coeli' from Cavalleria Rusticana and the 'Anvil Chorus' from Il Trovatore. These choruses provide comic relief, enhance the plot or give voice to the desire for freedom. With guest soloists, soprano Christine Brewer, tenor Karl Dent and bass Kevin Maynor, this incredible chorus gives first rate performances of the grand and glorious from the stage. 

The legendary Robert Shaw conducts sacred songs on this remastered recording from 1964. The Robert Shaw Chorale with orchestra and organ sing such selections as the triumphant 'A Mighty Fortress Is Our God,' the spiritual 'Were You There?,' arranged by Alice Parker and both the Shubert and Bach-Gounod 'Ave Maria.' The orchestral arrangements were done by Robert Russell Bennett. This is a classic!

One of the members of Les Six, a group of avante garde French composers, Francis Poulenc was one of the twentieth century's most notable composers of sacred choral music. Much of this dynamic music is gentle with a mystic sense of simplicity. There are often passages with a rocking alternation of chords with false harmonic relations. Selections from this wonderful recording by then Robert Shaw Festival Singers include the Mass in G major, Four Short Prayers of Saint Francis as well as motets for Christmas and Penitence. The music of Poulenc is must for any collection.

There is an abundance of great choral music in the world. This compilation by Robert Shaw leading the Atlanta Symphony and Choruses is some of the best, from the opening movement of J.S. Bach's Magnificat to the 'Intaberna quando sumus' from Orff's Carmina Burana. These pieces are triumphant and glorious and as always beautifully performed by this highly acclaimed group of musicians. It is hard to pick the favorites among the best, but this is a good place to start.

The Faure Requiem was begun in 1886 and finished in the first weeks of 1888. Unlike other requiems, this piece has no sense of doom or angst. It expresses no fear of death, but rather depicts the reaching for eternal happiness. Warm and comforting, this work is a rare gem in the French repertoire. Durufle's greatest known work was his Requiem written in 1947. At the time it was commissioned, Durufle was composing a suite for organ solo based on the Gregorian chants of the Mass for the Dead. It was this suite that was expanded and transformed to become the requiem. The insightful interpretation and superb performance of these requiems by Robert Shaw and the Atlanta Symphony Orchestra & Chorus is unmatched. This release received a Grammy Award for Best Engineered Classical Recording.

A 'Greatest Hits' collection of some of the Chorus's most popular pieces.

Having given his lifetime experience and mastery to the great repertory of the choral literature, Robert Shaw addresses one of the greatest challenges of all-Verdi's greatest choral masterwork, the Requiem. Combining a succession of thrilling solo arias, duets and ensembles with some of the most inspiring writing for chorus, the great Italian master produced a unique tribute to the memory of one whom he regarded as a virtual saint: poet and novelist Alexander Manzoni. Balancing the devotional with the theatrical requires the utmost care, but care must also be taken to involve the listener in a continually unfolding drama. Robert Shaw, his expert singers, chorus, and orchestra, have achieved this. But there is more to offer on this superb album. Shaw has set down his interpretation of some of the best-known choruses from five of Verdi's major works-Macbeth, Don Carlo, Otello, Aida and especially, the well-loved Chorus of the Hebrew Slaves from Nabucco.

Since his death in 1999, Robert Shaw continues to be revered by American choral directors and music lovers, and his recorded interpretations are regarded as the gold standard among all those available. His numerous Grammy Awards attest to the regard in which he was held by his fellow musicians. This collection of seventeen choral selections are in recognition of Shaw's stellar body of work and were recorded during his last decade. These tracks are considered the best of the best, exquisite examples of the deep spiritual rapport Shaw achieved with unaccompanied choruses. One piece, the Verdi 'Ave Maria,' is performed by his 200-voice Atlanta Symphony Orchestra Chorus in one of their rare opportunities to engage in a cappella singing. The remaining sixteen tracks were recorded by the smaller ensembles he formed in his final years-the Robert Shaw Festival Singers, who performed and recorded at his summer choral festivals in the south of France, and the Robert Shaw Chamber Singers, which brought together the best of his Atlanta voices for concerts and recordings during the winter months.

Listen to Same Train in RealAudio.

Recorded in 1966, Robert Shaw's Grammy Award-winning performance of Handel's Messiah marks an important turning-point in this work's interpretation, clearly moving away from the ponderous, overly reverential style of early twentieth century renditions and pointing toward the leaner versions of the 1970s onwards, which follow Baroque-period practices. Shaw employed a small orchestra that complemented the vocal soloists with a light, transparent string sound -- complete with an audible continuo of harpsichord and cello -- and he eschewed reinforcing wind parts in all but the choruses. Ornamentation is cleanly and tastefully applied, and Shaw's tempi are usually brisk and propulsive, with sparing use of ritardandi; even then, there is always a firm rhythmic thrust to his cadences. Soprano Judith Raskin, contralto Florence Kopleff, tenor Richard Lewis, and bass Thomas Paul are equally matched in expressive depth and vocal strength, and the Robert Shaw Chorale and Orchestra is consistently motivated and responsive to the conductor's fluid direction. The listener may regret that the ADD sound is a little weak, but the tape hiss has been minimized in the remastering and is fairly easy to ignore. Evenly divided between two discs, this recording of Messiah is complete, and it is preferred over RCA's 1992 excerpt album The Great Choruses from Messiah.

This recording presents a poignant compilations disc of songs, laments, chants, and single movements from large sacred works-all conducted by the late Robert Shaw-that evoke peace, reflection and remembrance. All of the thirteen tracks in this beautiful collection are taken from a wide variety of previously released recordings made for Telarc by the late Robert Shaw, the Dean of American choral conductors. The featured compositions include single movements from large works for chorus and orchestra (such as the Requiems of Mozart, Faure, and Durufle) as well as works for unaccompanied voices (such as the 'Ave Maria' from Quattro Pezzi Sacri by Verdi.) The recording opens with the serene sounds of Gregorian chant: six verses of the Stabat Mater dolorosa, followed by the 'Fac ut ardeat' movement from the Stabat Mater by Poulenc. Secular works featured on Elegy include Beethoven's Elegiac Song; the Schicksalslied (Song of Destiny) by Brahms; a movement from Hindemith's poignant When Lilacs Last in the Dooryard Bloom'd; and the 'Bois muertri' from Poulenc's Un soir de neige (Night of Snow). The recording closes, fittingly, with Schoenberg's eloquent a cappella choral work, Friede auf Erden (Peace on Earth).

An exciting collection of five classic spiritual settings which can be performed separately or together as a suite.

Love songs sung by men's voices have a unique poignancy and charm. Robert Shaw's understanding of this style, and the kind of tone which these settings evoke, have made them much loved by singers and listeners. These selections may be performed separately or as a program suite.

Now available for the first time on CD, this is a reissue of the 1975 double LP and is a wonderful lasting testimony to the fabulous choral excellence of Mr. Shaw. This was a very successful release and was popular at the time but has been unavailable for many years. You will certainly feel the total majesty of one of America's finest choirs in this classic Christmas recording.

Winner of the 1960 Grammy Award for Best Choral Recording this release was the first of the Bach masterpiece and is still considered a definitive recording. This double CD is a true delight.

RCA Victor presents Robert Shaw, the preeminent choral conductor of his time, and The Cleveland Orchestra Chorus in sacred choral works that are symphonic in scale, and eternal in their appeal. Newly remastered with state-of-the-art 24/96 technology, this superb album presents the magic of these performances in the widest range of musical reproduction ever.

This book includes all arrangements from the first suite, with piano accompaniment, featured on CD with the same title, performed by the Atlanta Symphony Orchestra and Chorus, conducted by Robert Shaw.

Taken from the first arrangements on which Robert Shaw and Alice Parker collaborated, these titles were selected from hundreds of familiar and forgotten works for their musical and poetic excellence. The arrangements were made as simple as possible in order to let the words shine through the choral tone and texture while achieving variety from changes in voicing in a constant effort to reflect the most subtle articulations of the text. The earliest song in this collection is the ancient chant 'Christ the Lord Hath Risen.' Other familiar hymns come from the sacred tradition: 'The Strife is O'er,' and 'O Sons and Daughters.' The re-telling of the Easter story, and the joy of the Easter season, should shine forth through the singing of these songs. Listen, re-enact and give voice to the central mystery, in order that all who hear may join the celebration.

This invaluable collection contains 21 hymns, folk hymns, carols, and spirituals -- all set by the renowned talents of Alice Parker and Robert Shaw. The collection serves as a brief history of sacred song, beginning with early hymns of the church and culminating with spirituals from the New World.

This book includes all arrangements from the second suite, with piano accompaniment, featured on CD with the same title, performed by the Atlanta Symphony Orchestra and Chorus, conducted by Robert Shaw.

This book includes all arrangements from the third suite, with piano accompaniment, featured on CD with the same title, performed by the Atlanta Symphony Orchestra and Chorus, conducted by Robert Shaw.

This book includes all arrangements from the fourth suite, with piano accompaniment, featured on CD with the same title, performed by the Atlanta Symphony Orchestra and Chorus, conducted by Robert Shaw.

This DVD provides a rare opportunity to witness two sessions of Carnegie Hall's Robert Shaw Choral Workshop program, featuring rehearsals and portions of performances of Brahm's A German Requiem and Beethoven's Missa solemnis conducted by the legendary Robert Shaw. Follow Maestro Shaw from his initial meeting with the musicians, through the rehearsal process, to the final concert in Carnegie Hall's Isaac Stern Auditorium. Also included in the DVD are Maestro Shaw's invaluable insights into interpretive and performance challenges raised by these two choral masterpieces. The Preparing A Masterpiece video series on the Robert Shaw workshops at Carnegie Hall provides an in-depth look at Maestro Shaw's preparation for performances of choral masterpieces. These workshops inaugurated the Professional Training Workshops, which continue to this day.

Parts 3 and 4 of an 8 part series wherein Robert Shaw walks the viewer through his preparatory and performance techniques. The demonstrative masterpieces on this DVD are Requiem by Hector Berlioz, and War Requiem by Benjamin Britten. Featuring guest vocals by American Boychoir, Robert Shaw Festival Chorus and Institute and more!

Parts 5 and 6 of an 8 part series wherein Robert Shaw walks the viewer through his preparatory and performance techniques. The demonstrative masterpieces on this DVD are When Lilacs Last in the Dooryard Bloom'd: A Requiem 'For Those We Love' by Paul Hindesmith, and Requiem, Ave Maria, and Stabat mater by Giuseppe Verdi. Featuring guest vocals by Robert Shaw Festival Chorus and more!

The final parts of an 8 part series wherein Robert Shaw walks the viewer through his preparatory and performance techniques. The demonstrative masterpieces on this DVD are Elijah by Felix Mendelssohn and The Creation and The Seasons by Joseph Haydn. Guest vocals by Dominique LaBelle, Robert Shaw Festival Chorus and more!