Review: Daniel Harding, the Swedish Radio Symphony Orchestra and the Swedish Radio Choir perform Brahms’ German Requiem. Christiane Karg (Soprano) and Matthias Goerne (Baritone) join in the solo arias.
Tag: Choral
Review: Kile Smith – “Arc in the Sky” – The Crossing, Donald Nally
The Crossing presents Kile Smith’s hour-long contemporary piece, “Arc in the Sky”, based on poems by Robert Lax.
Review: Charpentier – Histoires Sacrées – Ensemble Correspondances, Daucé
In their latest release, Ensemble Correspondances and their director Sébastien Daucé continue to champion the music of Marc-Antoine Charpentier, one of the most sophisticated composers of the French Baroque.
Review: “Kantaten” – Vox Luminis, Lionel Meunier
Vox Luminis under Lionel Meunier perform Cantatas by members of the Bach family, including one by Johann Sebastian himself.
Review: Howells – Cello Concerto, An English Mass – Johnston, Cleobury
The Choir of King’s College, Cambridge, Britten Sinfonia and Stephen Cleobury showcase Howells choral, orchestral and organ works.
Review: Beethoven – Complete Symphonies – WDR Sinfonieorchester, Saraste
Jukka-Pekka Saraste concludes his tenure as the chief conductor of the WDR Sinfonieorchester with a complete cycle of Beethoven Symphonies, recorded live.
Review: Fauré – Requiem, Poulenc – Figure Humaine, Les Siècles, Ensemble Aedes, Romano
Mathieu Romano conducts the period instrument group Les Siècles and Ensemble Aedes, playing Fauré Requiem and Poulenc’s “Figure Humaine”.
Review: Bach – St. Matthew Passion – Bachorchester and Choir Mainz – Ralf Otto
Ralf Otto conducts the Maintz Bach orchestra and choir for his third Bach volume for Naxos.
Review: “In a Strange Land” – Stile Antico
This album combines some seven composers, all writing in circumstances of exile. Read the review of this special album performed by the Stile Antico group.
Review: Les Arts Florissants and Paul Agnew Perform Brossard And Bouteiller
Sébastien de Brossard is not a well known baroque composer, but his long-time obsession with composers of his and older generations saved some great music from oblivion. His Stabat Mater is arranged for 5 voices and continuo, and the sheer force of his writing is striking from the first movement.
