Omnis

Omnis

Track Listings

1. Salve Rex Gloriae

2. Ardaigh Cuan

3. Beati Quorum Via

4. Flower of Maherally

5. Geantraí

6. Maria Matrem

7. Codail a Linbh

8. Gaudete

9. Agnus Dei

10. Ave Generosa

11. O Viridissima

12. Dúlamán

13. Stór Mo Chroí

14. Róisín Dubh

15. Mermaid

16. St. Nicholas

17. Diwanit Bugale

18. Tenebrae I

19. Tenebrae II

20. Tenebrae III

Tracks:

Beata Viscera
Viderunt Omnes
Viderunt Omnes
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Organum) ... Notum Fecit ...
... Dominus ...
... Salutare Suum Ante Conspectum ...
(Plainchant) ... Justitiam Suam
(2-Part Organum) ...Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Organum) ... Notum Fecit ...
... Dominus ...
(Plainchant) ... Justitiam Suam
(2-Part Organum) ...Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Clausula): ... Dominus ...
(2-Part Motet): Factum Est Salutare/
(4-Part Organum): Viderunt Omnes ...
(Plainchant) ... Fines Terre Salutare Dei ...
(4-Part Organum): Notum Fecit ...
... Dominus ...
.... Salutare Suum Ante Conspectum ...
(Plainchant) ... Justitiam Suam
(Plainchant): Viderunt Omnes ...
(Organum After 9th-Century Scolica Enchiriadis)...
(4-Part Organum): Sederunt Principes
(4-Part Conductus): Vetus Abit Littera

Customer Reviews:

Nice.......2006-11-04

This is a very good example of Polyphony as practiced in Notre Dame .....

A Resounding Success .......2005-12-27

If one read the album notes but failed to read the fine print on the rear of the jacket, one would likely assume that this recording was made in Notre Dame Cathedral, which it was not. It was recorded at Chancelade Abbey, Dordogne, France. (http://chapaq.free.fr/Congregations/Chancelade.htm)

The notes mention the fact that both Leonin and Perotin worked at Notre Dame and were both responsible for the Organum. Organum is Polyphony used in liturgical music from the late 9th century to c. 1250.

I bring this up because few people, even musicologists, understand the vital roles that acoustics and harmonics(overtones)played in the composition of sacred music until about the Seventeenth Century.

The musicologist, Thurston Dart, summarizes the influence that reverberation has on composers:

"But even a superficial study shows that early composers were very aware of the effect on their music of the surroundings in which it was to be performed, and that they deliberately shaped their music accordingly. Musical acoustics can be roughly divided into resonant, room and outdoor. Plainsong is resonant music; so is the harmonic style of Leonin and Perotin .. Perotin's music, in fact, is perfectly adapted to the acoustics of the highly resonant cathedral (Notre Dame Paris) for which it was written...."
(Thurston Dart, musicologist, "The interpretation of Music",Hutchinson, London pp56-57 (1954).

I think, like most 'moderns', Mr. Dart has got it backwards -- these composers were mostly aware of the effect of the surroundings upon their music. Composers like Leonin and Perotin and others, notably Allegri (composer of the famous "Miserere"), were more interested on the effect that the music, augmented by the acoustics, had on the congregation, in terms of literally uplifting their spirits and assisting them in participating directly in what was called the "Communion of Saints".

E. Power Biggs said: "An organist will take al the reverberation time he is given, and then ask for a bit more.... Many of Bach's organ works are designed .... to explore reverberation. Consider the pause that follows the ornamented proclamation that opens the famous Toccata in D minor. Obviously this is for the enjoyment of the notes as they remain suspended in the air". Church music sounds wrong when performed in a small non-reverberant space with a lot of acoustic absorbent such as curtains and carpets."
(http://www.acoustics.salford.ac.uk/acoustics_world/concert_hall_acoustics/acoustics_music.html)

E. Power Biggs and the pundits at Salford University, assume that Bach and his predecessors valued acoustics and resonance primarily from the standpoint of aesthetics. In other words, they chose reverberant halls because their music sounded better when performed in them. I believe that they too are missing the point. Acoustic Archeologists, like John Reid and Paul Devereux are beginning to discover that ancient holy places, such as Stonehenge and also the Gothic Cathedrals, like Notre Dame de Paris, were actually tuned to resonate certain specific pitches or sound frequencies. They are or contain what are called "resonant chambers".

A resonant chamber essentially reflects and amplifies or "empowers" certain specific frequencies, particularly when they are sung by a chorus (or congregation) of "pure voices" in unison. These frequencies and the harmonies reproduced by the reverberations elicited certain specific emotional responses, such as awe and reverence, from the assembly. I'm sure that Leonin and Perotin were well aware of the marvelous acoustics of Notre Dame and structured their music to take full advantage of it.

After the invention of the printing press, increasingly more emphasis was placed on the written and spoken word. Music was no longer spontaneously created or improvised and less and more reverberant acoustics only served to muddle the words of the preacher or celebrant.

I'm guessing that the reason why the producer, Jeremy Summerly, chose not to record this music in its original home is because it now uses a P.A. or electronic audio system, which is more appropriate for the modern mostly-spoken Mass. Masses are undoubtedly still sung there but the voices are likely amplified and filtered by electronics. The addition of modern furnishings can also affect the acoustics.

Speaking of electronics -- it is now possible to accurately reproduce the acoustics of a particular space, like Notre Dame Cathedral, electronically. The acoustics of Notre Dame have already been captured and digitally reproduced, I believe, by the Japanese Yamaha Company. Unfortunately, I did not have that particular software program ("algorhythm") but, using other software, I was able to create my own semi-cavernous cathedral space.

What an awesome experience!

Even without the virtual cathedral enhancement, the sound is marvelous and the performance is excellent.

One more technical consideration -- this recording was recorded and edited at 24-bit resolution. Unlike recordings made at a lower bit-rate, the sound, particularly in the higher registers, is smooth and clean. I wish that Jeremy Summerly would record Allegri's "Miserere" in a space that is acoustically similar to the Sistine Chapel, using the same technology. I haven't heard a recording of this work where the vital higher harmonics are not badly distorted.

Tim O'Hanlon

A Voice Feast from the Middle Ages.......2005-07-23

Recorded and edited in 24 bit resolution, this Naxos recording is a joy to the ears. The performing voices are solid and the direction of Antony Pitts has a sometimes dramatic, majestic, tempo. The only reason I did not concede full 5 stars is because in the Middle Ages female voices for Lithurgy were almost unknown, and in this record there are two sopranos and an Alto. If you enjoy Early Music you will need this record, if you are a beginner this is an intelligent way to introduce you to Polyphony, a cornerstone of Western music.

Average customer rating:

another winner from Naxos
awesome value -- 5+ stars

Discover Early Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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The World of Early Music

ASIN: B000B6N6BI
Release Date: 2005-11-01

Tracks:

Antiphona Post Evangelium - In Dulci Jubilo
Versus Alleluiatici: Adorabo - Nova Schola Gregoriana
Ordo Virtutum: Procession - Oxford Camerata
Viderunt Omnes - Tonus Peregrinus
Fines Terre Salutare Dei Nostri Jubilate Deo Omnis Terra (Plainchant) - Tonus Peregrinus
Notum Fecit - Tonus Peregrinus
Dominus - Tonus Peregrinus
Salutare Suum Ante Conspectum Gentium Revelavit - Tonus Peregrinus
Justitiam Suam (Plainchant) - Tonus Peregrinus
Gaudete Christus Est Natus - Oxford Camerata
Cantiga De Santa Maria - Michael Posch
Exiit Diluculo - Unicorn Ensemble
Humils Forfaitz - Michael Posch
Adieu Ces Bons Vins De Lannoys - Michael Posch
Non Avra Ma'Pieta Questa Mia Donna - Michael Posch
Non Ara May Pieta Questa Mia Dona - Michael Posch
Veni Creator - Tonus Peregrinus
D'Ung Aultre Amer - Capilla Flamenca
Alleluya - Capilla Flamenca
El Grillo - Shirley Rumsey
El Grillo - Capilla Flamenca
Missa 'La Sol Fa Re Mi': Kyrie - Capilla Flamenca
Le Chant Des Oiseaux - The Scholars Of London
Passe & Medio/Den Iersten Gaillarde - Capilla Flamenca
Den III Ronde, Den VI Ronde-Les Quatre Branles - Convivium Musicum Gothenburgense
Gaillarde I, II, III - Convivium Musicum Gothenburgense

Tracks:

In Nomine - Rose Consort Of Viols
In Nomine No.20 - Rose Consort Of Viols
Spem In Alium - Oxford Camerata
Sanctus - Oxford Camerata
Du Fond De Ma Pensee - Christine Morel
The King Of Denmark's Galiard - Rose Consort Of Viols
Flow, My Tears - Dorothy Linell
Greiner Zancker - Ensemble Villanella
Stat ('Tsaat) Ein Meskin - Ensemble Villanella
Tiento - Shirley Rumsey
Tribulationem Et Dolorem - Oxford Camerata
Lagrime Di San Pietro: 'Il Magnanimo Pietro' - Bo Holten
Missa 'Susanne Un Jour': Kyrie - Oxford Camerata
Beau Le Crystal - The Scholars Of London
Missa 'O Magnum Mysterium': O Magnum Mysterium - Oxford Camerata
Missa 'Papae Marcelli': Kyrie - Oxford Camerata

Customer Reviews:

another winner from Naxos.......2007-02-21

This is another winning compilation from Naxos. My only comment is to provide a heads-up regarding the track list in the booklet. CD 1 puts the Leonin "Viderunt Omnes" on six tracks, while the booklet leaves room for only one. Thus, add five to booklet tracks five through 21 for CD1 to get them to match. (I.e., where the booklet says tracks 15 and 16 are two versions of Josquin's "El Grillo," your CD player will show them to be tracks 20 and 21.) With luck this will be corrected in later printings.

Also, I would have liked the booklet to include the words, but perhaps that is an inducement to get particular CDs from Naxos.

As for the music itself--breadth of selection, musicianship, sound quality, all are excellent. A great collection!

awesome value -- 5+ stars.......2006-07-15

I'm really enthusiastic about these CDs and booklet. I've had it for a few weeks now, in which I've explored Medieval and Renaissance music much more deeply than this little book and CD set. Yet I'm very glad I started with these.

The selection of composers gives an excellent, broad sweep across several centuries.

But the booklet contains one of the most informative essays I've found about early music, and I've spent a few dozen dollars buying books. If the booklet were separated from the CDs, it alone would be worth more than $10.

In short, if you're interested in exploring early music, this really is one of the best places to start; the best place that I know of. I'm sure, at any rate, that you can't beat the value.

Average customer rating:

Excellent introduction to this countertenor and well-rounded compilation of his work
heavenly
a voice teacher and early music fan
Baroque My Heart
Sublime compliation of Scholl's Harmonia Mundi recordings

The Voice

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Andreas Scholl - Kantate
Andreas Scholl - Ombra mai fu ~ Handel Arias from Giulio Cesare, Admeto, Radamisto, Rodelinda, Serse, Alcina
Andreas Scholl - English Folksongs & Lute Songs (17th Century)
Wayfaring Stranger: Folksongs
Andreas Scholl - Heroes / Norrington

ASIN: B000050A7K
Release Date: 2001-01-09

Tracks:

The Three Ravens - Andreas Scholl/Andreas Martin
Barbara Allen - Andreas Scholl/Andreas Martin
Messiah: Air 'But Who May Abide The Day Of His Coming?' - Andreas Scholl
Serse: Sinf - Andreas Scholl
Serse. Recitativo: Frondi Tenere - Andreas Scholl
Serse: Atto I, Scena 1. Aria: Ombra Mai Fu - Andreas Scholl
Cantate, RV 684 'Cessate, Omai Cessate': Largo E Sciolto: Cessate, Omai Cessate - Andreas Scholl/Ens 415/Chiara Banchini
Cantate, RV 684 'Cessate, Omai Cessate': Larghetto & Andante Molto: Ah Ch'infelice Sempre - Andreas Scholl/Ens 415/Chiara Banchini
Cantate, RV 684 'Cessate, Omai Cessate': Andante: A Voi Dunque Ricorro - Andreas Scholl/Ens 415/Chiara Banchini
Cantate, RV 684 'Cessate, Omai Cessate': Allegro: Nell'orrido Albergo Ricetto Di Pene - Andreas Scholl/Ens 415/Chiara Banchini
Messe in b: Agnus Dei - Andreas Scholl/Collegium Vocale/Philippe Herreweghe
Stabat Mater (Exc): Eja Mater, Fons Amoris - Andreas Scholl/Ens 415/Chiara Banchini
Stabat Mater (Exc): Fac Ut Ardeat - Andreas Scholl/Ens 415/Chiara Banchini
Stabat Mater (Exc): Amen - Andreas Scholl/Ens 415/Chiara Banchini
Maddalena Ai Piedi Di Cristo. Recitativo Amor Celeste: Di Miei Dardi Possenti - Andreas Scholl
Maddalena Ai Piedi Di Cristo. Aria Amor Celeste: Da Quel Strale Che Stilla Veleno - Andreas Scholl
Cantate 'Jubilate Domino' - Andreas Scholl/Friederike Heumann/Brigitte Gasser/Markus Markl/Karl-Ernst Schroder
Ach Liebste, Lass Uns Eilen - Andreas Scholl/Markus Markl/Karl-Ernst Schroder/ALix Verzier
Kunst Des Kussens - Andreas Scholl/Markus Markl/Karl-Ernst Schroder/ALix Verzier
Cantate Profane 'Hercules Auf Dem Scheidewege'. Aria Hercules: Treues Echo - Andreas Scholl
Matthaus-Passion. Aria: Erbarme Dich - Andreas Scholl/Collegium Vocale/Philippe Herreweghe

Customer Reviews:

Excellent introduction to this countertenor and well-rounded compilation of his work.......2007-04-02

If you're new to Andreas Scholl and want to dip a toe in the water of his recordings I think this would be an excellent choice - not only because it is mid-priced and because it has a generous 21 tracks. This countertenor singer has an unsurpassed voice, pure and beautiful but also strong and yet not overblown. Unlike many singers he doesn't (for me) ruin it by being excessively warbly but adds just the required variety to the tone.

This album contains a selection of tracks from several of his albums for the Harmonia Mundi label (he then switched to Decca and is now back with HM) which include a variety of styles and accompaniments. The first two tracks, for example, are English folksongs, then we have an Air from Handel's Messiah and three tracks (one instrumental) from Handel's Serse opera, some lively Vivaldi cantatas, there are a couple of German baroque songs, a JS Bach opera Aria from Hercules and finally the big guns (in my opinion), "Agnus Dei" from J S Bach's Mass In B Minor, Vivaldi's "Stabat Mater," a Buxtehude cantata "Jubilate Domino" and the incomparable recording of "Erbarme Dich" from the St Matthew Passion by Bach. That last track is so good I tend to feel I have to lie down afterwards and contemplate the world whilst waiting for the hairs on the back of my neck to settle down. The album price is worth it just for that one track.

The accompaniment on this album varies from just lute (in the folk songs), organ lute and cello on the German baroque songs, the Ensemble 415 with Chiara Banchini and several full orchestras. There's something here for everyone and none of the tracks is in any way disappointing (although I have my favourites, of course). The album was produced in 2000 and of course Andreas Scholl has done many more recordings and probably become an even better singer since this album but it's still an excellent album which can be played and enjoyed over and over again.

heavenly.......2006-12-10

andreas scholl does it again. the beauty of this "voice" is expressed in this lovely selection. so far my favorite scholl cd, with his pergolosi stabat mater as a close second. the highlight of this cd i felt was "da quel strale che stilla veleno" from the caldara work madalena ai pieda di christo. with the orchestra directed by his famous teacher rene jacobs this piece is a gem. absolutely heavenly is how i describe the heavenly side of the voice scholl portrays in this sacred opera. other highlights are bach's "agnus dei" from the mass in b minor, which scholl himself has referred to as the most beautiful piece for the countertenor voice. bach's "erbarme dich" from St. Matthews Passion, which he sings in his mother tongue, and his "ombra mai fu" which is the version i favor as opposed that that which appears on his "best of" cd, of which i also recommend. his version of "ah ch'infelice sempre" by vivaldi will give you chills. it is one of my favorites to sing as i am a countertenor as well. a must buy.

a voice teacher and early music fan.......2006-10-13

Andreas Scholl is regarded as one of the finest countertenors of our generation and has appeared throughout the world under the direction of many notable conductors. I personally think that the most important contribution he as has made is to the rediscovery of the German Baroque repertoire. There are two examples on this disc from his album :German Baroque Songs,which I think is one of his finest discs. He is also very interested in pop music and sound techniques. One can only hope that he doesn't decide to make an album of pop songs. He came close to it in that miserable disc: The Three Countertenors. However, I do think this is a very excellent collection of songs from his various recordings. I expecially liked the Vivaldi 'Cessate, omai cessate' and the 2 German Baroque songs: "Ach Liebste, lass uns eilen" by Johann Nauwach and "Kunst des Kussen" by Andreas Hammerschmidt.

Baroque My Heart.......2002-09-13

For a relatively young singer, Andreas Scholl has a surprising number of recordings. This attests to his amazing talent and the increasing popularity of music for countertenors. This CD is a sampler of Scholl's repertoire.

The English folksongs are interesting and pleasant, but for me, it is the Baroque works that truly shine. Scholl's voice is remarkably pure; his versatility and fluidity lend themselves perfectly to the currents of Baroque music. His take on Handel's Xerxes is incredible-this is music at its finest: pure joy, pure passion, raw emotion. It is heart-wrenching and soul-shaking. In "But who may abide the day of His coming?" from the Messiah, Scholl masters the balance between structured discipline and bravura "riffs" that demonstrate a singer's range and talent. Vivaldi's Sabat Mater, one of my favorite pieces of music, gets glorious treatment.

I'm glad that our civilized world had abolished the practice that creates a castrato, and I'm glad that there are rare talents like Scholl who can give us a sense of this musical genre.

The only downside to purchasing this CD is that you will immediately want to run out and purchase the complete version of each sample presented here!

If you enjoy listening to the magic of countertenors, I highly recommend Yoshikazu Mera, an amazing young Japanese artist. Start with his "Baroque Arias" CD, and I'm sure you will try more.

Sublime compliation of Scholl's Harmonia Mundi recordings.......2002-01-23

Andreas Scholl is the countertenor, nay, the *VOICE* of all time. None can match him for clarity, diction, tone, precise phrasing, or *passion* that he puts into every song that he performs. For me, Scholl's voice is the voice of a divine being, at once something mysterious, holy, achingly beautiful and otherworldly.

If you believe me to exaggerate, so be it. To each his own. Countertenors are not to everyone's tastes even though they are more visible and mainstream than thirty years ago. Yes, there is perhaps some novelty to be found for the uninitiated at the sound of a man singing falsetto. I did not say "singing like a woman" because I do not believe that to be the purpose. "Singing like a woman" in my book defines Brian Asawa and David Daniels, two popular American countertenors who, to my delicate ears, sound exactly like mezzo sopranos and not the otherworldly, decidedly masculine sound of a countertenor (with the exception of Dominique Visse, whose voice is extremely androgynous, especially in the higher registers). This is only my humble opinion.

I discovered Andreas Scholl three years ago and have collected many of his works since. My first Scholl song was "Ombra Mai Fu," a song that is present on this collection. I was in awe, in heaven even, at the first sound of his pure voice, that first gentle crescendo that hinted of sensuality, vocal purity, a past era of Bach, Handel, Hasse. Scholl's phrasing is lush, his singing is effortless, he makes sparing use of vibrato, spinning track after track of an unmatched vocal tapestry. At times Scholl and the orchestra match each other note for note, at other times his voice soars above into the heavens ("Cessate, omai cessate").

"The Voice" covers various styles from nine different Andreas Scholl Harmonia Mundi recordings (Deutsche Barocklieder, English Folksongs and Lute Songs, Kantate, St. Matthew Passion, Cantates Profanes, Maddalena ai piedi di Cristo, Ombra mai fu, Messiah, Stabat Mater). Andreas quit Harmonia Mundi in 1999 and signed a recording contract with Decca Classics, on which he has released five additional recordings (Nisi Dominus, Pergolesi's Stabat Mater, Heroes, A Musicall Banquet, and Wayfaring Stranger).

It is my opinion that the best of Scholl's works up to the present were with Harmonia Mundi, as these 21 selections show. We have the pleasure of hearing Andreas sing English lute songs ("The Three Ravens," "Barbara Allen"), Baroque religious works by Bach, Handel, Caldara and Buxtehude ("Erbarme Dich," "Agnus Dei," "But Who May Abide," and "Jubilate Domino"), German Baroque songs, and other Baroque cantatas by Vivaldi and Bach.

At present (including several upcoming projects) Scholl's discography is over 75 recordings large. This is an excellent and affordable introduction to the voice of a most remarkable man.

Heinrich Schütz: Symphoniae Sacrae, 1629
Average customer rating:

Sublime!

Faultless performances

Sublime music and perfect interpretations

As with others by Concerto Palatino, First Rate

Heinrich Schütz: Symphoniae Sacrae, 1629

Manufacturer: Accent Records
ProductGroup: Music
Binding: Audio CD

General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
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ASIN: B000004433
Release Date: 1999-01-01

Tracks:

Domine, Labia Mea Aperies (SWV 271) - Barbara Borden/Douglas Nasrawi
Cantabo Domino In Vita Mea (SWV 260) - John Potter
Fili Mi, Absolon (SWV 269) - Harry Van Der Kamp
Paratum Cor Meum, Deus (SWV 257) - Barbara Borden
Anima Mea Liquifacta Est (Prima Pars-SWV 263) - John Potter/Douglas Nasrawi
Adjuro Vos, Filiae Jerusalem (Secunda Pars-SWV 264) - John Potter/Douglas Nasrawi
Jubilate Deo Omnis Terra (SWV 262) - Harry Van Der Kamp
In Lectulo Per Noctes (Prima Pars-SWV 272) - Barbara Borden/Rogers Covey-Crump
In Venerunt Me Custodes Civitatis (Secunda Pars-SWV 273) - Barbara Borden/Rogers Covey-Crump
O Quam Tu Pulchra Es, Amica Mea (Prima Pars-SWV 265) - John Potter/Douglas Nasrawi
Veni De Libano, Amica Mea (Secunda Pars-SWV 266) - John Potter/Douglas Nasrawi
In Te, Domine, Speravi (SWV 259) - Rogers Covey-Crump

Tracks:

Benedicam Dominum In Omni Tempore (Prima Pars-SWV 267) - Barbara Borden/John Potter/Harry Van Der Kamp
Exquisivi Dominum (Secunda Pars-SWV 268) - Barbara Borden/John Potter/Harry Van Der Kamp
Attendite, Popule Meus (SWV 270) - Harry Van Der Kamp
Venite Ad Me Omnes Qui Laboratis (SWV 261) - Douglas Nasrawi
Veni, Dilecte Mi (SWV 274) - Barbara Borden/Nele Gramss/Douglas Nasrawi
Exultavit Cor Meum In Domino (SWV 258) - Barbara Borden
Buccinate In Neomenia Tuba (Prima Pars-SWV 275) - John Potter/Douglas Nasrawi/Harry Van Der Kamp
Jubilate Deo (Seconda Pars-SWV 276) - Barbara Borden/Nele Gramss/Rogers Covey-Crump/John Potter/Douglass Nasrawi/Harry Van Der Kamp

Customer Reviews:

Sublime!.......2006-04-27

The composer: Heinrich Schutz, contemporary of Montiverdi, student of Giovanni Gabrielli, devout Catholic, and expat in Venice. Famous in his day and remains well-known. Fled to Venice to escape the 30 Years' War in his native Germany.

The Work: Symphoni? Sacr? I was written after Schutz returned to Venice. It was, in format and title, an homage to Gabrielli. A sublime piece of semi-ecclesiastical work, it is a setting for voice and instruments of many of Schutz' favorite verses from scripture, heavy on Song of Solomon, so expect a love theme. The whole work is superb but track 5- Anima Mea Liquifacta Est, Track 10- O, Quam Tu Pulchram Est, and 11- Veni di Libanon, are particularly beautiful. You can almost hear the mingling of divine and human love in the Symphoni? Sacr? I.

The performance: Period instruments are wonderful and the performance is flawless. As with their other recordings, Concerto Palatino does a wonderful job.

The Product: 2 CD's, both fine quality. Copious notes and full libretto with translations.

Flaws: Translations of the Latin are abominable in places, only fair in others. Translations to the English are generally only so-so, to German are consistently inept.

Faultless performances.......2005-12-03

I must agree with my Australian friend, as I have also owned this recording for years and regularly come back to it. The motets from Symphoniae Sacrae I are small in scale, but are all extremely beautiful. Apart from his Psalmen Davids (1619), this collection is my favorite of Schutz's published output.

The music is unfailingly expressive and innovative, plus the performances given are perfectly judged and do great justice to these fantastic works. There is constant variety of voices and instrumentation such that no two motets share the same scoring. I especially like In lectio per noctes which employs three curtals under soprano and alto voices. It's an exquisite texure.

This is a recording any fan of Schutz should not be without.

Sublime music and perfect interpretations.......2005-11-03

This recording is a 'desert island disc' of mine. I have played it over and over again since I bought it in 1992.

There are many masterpieces here.
Fili me, Absalon and Attendite, popule meus - each featuring four trombones, solo bass voice and basso continuo. Anima mea liquifacta est/Adjuro vos filiæ Jerusalem - for two mute cornetts, two tenors and basso continuo (perhaps the best work in the set?) and the extroverted Buccinate in neomenia tuba/Jubilate Deo - both parts for two tenors and bass singers, trumpet, cornett, dulcian and basso continuo.
The two works for three dulcians and alto and soprano voices are very atmospheric and sensual.
Some of the works feature a pair of violins accompanying the singers and these are also very beautiful works.

The Symphoniæ Sacræ I of Heinrich Schütz is one of the greatest collections of works in the entire 17th century. Schütz explores a range of human emotions and moods in these works and does so with great clarity and sophistication.

The performances on these two CDs are beyond reproach. I cannot recommend this recording too highly to you - it is a great recordings of great music.
Believe me!

As with others by Concerto Palatino, First Rate.......2000-06-14

These concertos are grander and more expansive than the Kleine Geistliche Konzerte of a few years later, and show Schutz at his most expressive and emotionally intense form.

The performances are excellent and the sound quality very fine.

Tracks:

O Jesu, nomen dulce, SWV 308
Ach, Herr, lass deine lieben Engelein
Lamento 'Ach, dass ich Wassers g'nug hatte
Salve mi Jesu
Sonata Quinta a quattro, viole da gamba o come piace aus 'La Cetra', 1673
Klag-Lied 'Muss der Tod denn auch entbinden' aus 'Fried - und freudenreiche Hinfahrt', BuxWV 76
Wer sich dem Himmel ubergeben
Herzlich lieb hab ich dich, o Herr, SWV 348
Jubilate Domino
Sonata lV pour violon et basse continue en ut mineur - C Minor
Was hast du verwirket, SWV 307

Amazon.com

Sublime is the only word for it. We're talking about the voice of countertenor Andreas Scholl--and you will be talking about it too, between many repeat plays of this outstanding disc, which deserves to win whatever awards are given this year for vocal performance. Although this magnificent program of German Baroque cantatas for solo voice and various accompaniments (including viols, lute, and harpsichord) has much to offer purely on the strength of its astonishingly beautiful music, it's the voice of Scholl, served by faultless musical instincts and unequalled technical facility, that elevates these mortal scores to the most rarefied realm of high art. Scholl's voice--which has no discernible register break--and his interpretive delivery have been accurately described as "seductive," "alluring," and "potent." You'll certainly find your own descriptive terms, but one thing is certain to be shared by all who listen to this disc: your CD library will grow in direct proportion to the number of Scholl discs in the catalog. --David Vernier

Customer Reviews:

simply wonderful.......2000-12-21

This is an outstanding recording that does full justice to the beauty of German pre-Bach song. Scholl is unparalleled in the subtle way he treats every single song. The listener gets carried away by the different moods the tunes carry: once brooding and sad, other times very exuberant and full of joy. Having grown up with the music of Schutz and Buxtehude in a northern German medieval town, I have heard many weak renderings of this music that do not do justice to its inherent pious beauty. Scholl lets it sparkle and shine the way it deserves to be sung.

Hypnotizing.......2000-08-29

This was my first Andreas Scholl CD, I purchased it immediately after hearing it played in a store. From the first listen over a year ago until now it still profoundly affects me. Alternatingly slow and brooding to more uptempo, the beautiful music and haunting voice are the perfect accompaniment to those moments of pensive introspection.

Sublime truly is the word........2000-07-06

I loved Heroes, but this is my favorite Scholl collection so far. Alternatingly exuberant, forceful, and delicate, his enchanting voice is refined and controlled yet emotive. Countertenor fans will not be disappointed.

Sold out in the shops.......1998-12-28

This is a beautiful collection of pre-Bach German sacred music, which probably has the distinction of being the first such to break into Classical charts. Clever programming and marketing by Harmonia Mundi obviously hasn't hurt any there, but this still remains a great disc.

Most of the tracks are well known and oft recorded, notably by Scholl's teacher Rene Jacobs. Schutz features three times (SWV307,308,348), Buxtehude twice (BuxWV76, Jubilate), along with two standards of the genre: JC Bach's Ach dass ich Wasser's g'nug, and Tunder's Ach Herr lass deine lieben Engelein. The only discoveries are Philipp Heinrich Erlebach 1657-1714: Wer sich dem Himmel ubergehen, and a protestant reworking of Rovetta's Salve Regina into Salve mi Jesu. The disc also features two short instrumental pieces by Legrenzi and Albertini.

Tracks:

Lux refulget
Verbum patris humanatur o o
Ora pro nobis beate Nicolae
Cantu miro summa laude
Instrumental piece
Veri solis radius
Divinum stillant
Instrumental piece
Orienti Oriens
Per parfum virginis
Congaudet hodie
Virga Jesse floruit
Senescente mundano filio
Radix Iesse castitatis lilium
Omnis curet homo
Benedicamus domino: Stirps Iesse florigeram
Resonemus hoc natali
Resonemus hoc natali (II)
Ad infantum triumphantum
Instrumental piece

Customer Reviews:

Relaxing Alternative Music for the Winter Season.......2007-01-10

"Shining Light" will lift your spirits during the gloomy winter months, and is a great alternative to over-played commercialized Christmas music. This is a wonderful collection of ancient music that provides a soothing and meditative experience.

Incidental liturgical music. Great listening........2005-12-16

'shining light' performed by Sequentia, the Ensemble for medieval music, is an excellent collection, running for over 70 minutes, of fragments of instrumental music and vocal music in Latin from monasteries in and around the southwestern French city of Limoges.

While this may not rate five stars as an academic piece, it is certainly worth the ranking as music easy on the ears, combining instrumental, male, and female choral music.

I wlll let the scholars fight it out. I simply find it an excellent collection of early music performances.

Sounds as pure as water.......2001-01-04

This disc is so beautiful, so full majesty and spirituality. It can quiet the stress and bring sweet comfort. The Sequentia singers so clean-sounding. Their voices have never sounded so pure, like the running of the streams. The chasms of the earth and the sea would be moved to the sounds.

Average customer rating:

a tale of two worlds
Wow/Awesome/that's what I call music
Fantastic Vocals, Thrilling Instrumentals
Fantastic German pop

Helium Vola + Omnis Mundi Creatura
Helium Vola
Manufacturer: Chrom
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

General | Rock | Styles | Music

Qntal III: Tristan Und Isolde
Illuminate
IV: Ozymandias
Signum
Irfan

ASIN: B00005QZAC
Release Date: 2007-07-16

Tracks:

Funerali
Les Habitants Du Soleil
Omnis Mundi Creatura
Begirlich In Dem Hertzen Min
Je Chante Par Couverture
Gegen Einen Teufel
Fama Tuba
Losepruch
Sancte Sator
Du Tagte Ez
Les Habitants Du Soleil (Reprise)
Luvenes
Selig

Customer Reviews:

a tale of two worlds.......2007-01-04

charmed by the cover and mysterious name and hearing of their association to e nomine, i was instantly attracted to helium vola. the version i bought had 2 CDs, one, the single for Omnis Mundi Creatura and two the original self-titled release seen above. The single was exactly what i had anticipated; a strong beat that makes you tap your feet and nod your head, a latin choir-based chorus that chants a catchy melody, and mostly satisfactory programming/engineering. however, most of the rest of the release is not like this.

in fact, it seems divided into two worlds. one, the enchantingly beautiful world of 'les habitants du soleil,' 'du bist min' and 'bergirlich in dem hertzen min;' and two, the bizarre, darker world of 'fama tuba,' 'sancte sator' and 'gegen den teufel.' the former reminds one of a stroll through a sunlit monastery courtyard, while the latter invokes a clandestine and rather dark, cultic ritual. this rather dichotomous approach is more consolidated toward the end of the CD with 'do tagte es' which more or less combines the two worlds. 'selig' is more playful than the rest of the CD, and makes a great closing track; probably my favorite of the whole album.

both worlds utilize archaic german vocals, mostly for their magnificently gifted female vocalist, and latin for their darker male soloists and choir. the cd is quite unique in its approach and execution. much more serious than corvus corax, yet not the deathknell that is sopor aeternis, the album certainly makes for an interesting journey.

the album gets four stars from me because i favor the ethereal beauty of 'begirlich in dem hertzen min' so much over the likes of 'gegen einen teufel,' a track i keep finding myself having to fast forward through. it interrupts the atmosphere set by the previous tracks in a most unwelcome way. the darkness of it i suppose is intended to add some variety to an otherwise excellent CD. i would have opted for another track like selig; long, catchy, beautiful, beautiful...

by the way, the man behind helium vola is Michael Popp, also the man behind Deine Lakaien and of course the now ever-so popular Qntal.

Wow/Awesome/that's what I call music.......2004-08-17

Exquisitely beautiful dance inducing dark penetrating music.

I bought this unheard (though I had heard a few 30 second clips of another Helium Vola CD), thanks partially to the two previous reviewers.

I loved The Inhabitants of the Sun (I am sorry, I do not have the CD with me, and I cannot remember how to spell it), but the entire album is gorgeous. It surges and swells and dips - it reminds me of a thick, dark slow moving, perhaps, liquid.

It is intense and enters you

Fantastic Vocals, Thrilling Instrumentals.......2003-08-21

This CD is absolutely fantastic, the vocals harmonize beautifully. It is something of a mix between Dark Techno, Gothic, Opera, and Chanting. Definitely one to own, pleasant enough for the whole family, it will exceed your expectations.
1. Funerali -- intro track, fairly nonexistant.
2. Les Habitants Du Soleil -- rather slow song, the vocals really stand out well. 3/5
3. Omnis Mundi Creatura -- one of the best tracks on the CD, fast, great beat, a remix cd of this song is included 5/5
4. Begirlich In Dem Hertzen Min -- slow, sad song, beautiful, nearly brings tears to the eyes 5/5
5. Je Chante Par Couverture -- medium paced, mezmerizing song 4/5
6. Gegen Einen Teufel -- slower, bassy male chanting song 4/5
7. Fama Tuba -- faster, very punchy track, quite different from the majority of the disc 4/5
8. Losepruch -- slow, female vocal, brings a snowstorm to mind 4/5
9. Sancte Sator -- faster, great beat, fantastic use of instrumentalization, slightly trancey 5/5
10. Du Bist Min -- slow, this track is not mentioned, but is on the CD; my favorite track on the disc, spectacular 6/5
11. Du Tagte Ez -- slower, tenor & bass chanting, nice bassline, another excellent track, almost magical 5/5
12. Les Habitants Du Soleil (Reprise) -- slightly longer, improved version of the second track 4/5
13. Luvenes -- I've no idea; this track is somewhat strange ?/5
14. Selig -- medium/fast, long, fantastic song, excellent rhythm, catchy beat, you'll be singing Selig all day long 5/5

Fantastic German pop.......2003-02-15

This male-female duo from Germany has made a fantastic record that combines opera and classical influences with German electro and industrial. "Omnis Mundi Creatura" combines a gorgeous orchestration and powerful vocal arrangement with a marching drum machine that propels the song at a nice pace. "Selig" sounds like a demented Christmas song. My personal favorite is "Sancte Stor," which sounds like nothing I've ever heard before; clashing vocal pitches ride alongside a panic-inducing industrial rhythm, and the results are phenomenal. If you like stuff like Front 242, Haujobb and Deine Lakaien, GET THIS NOW!

Average customer rating:

Omnis
Anuna
Manufacturer: Danu
ProductGroup: Music
Binding: Audio CD

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Cynara
Deep Dead Blue
Sensation
Behind the Closed Eye
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ASIN: B0000TP9SO
Release Date: 2003-11-04

Tracks:

Salve Rex Gloriae
Ardaigh Cuan
Beati Quorum Via
Flower of Maherally
Geantra
Maria Matrem
Codail a Linbh
Gaudete
Agnus Dei
Ave Generosa
O Viridissima
Dn
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Miracles of Sant'iago: Music from the Codex Calistinus

Average customer rating:

Great, as usual.
Miraculous music
The sirens of heaven
A real miracle
"Sublime" is an understatement

Miracles of Sant'iago: Music from the Codex Calistinus
Ambrosian Chant , Gregorian Chant , Codex Calixtinus Anonymous , Anonymous , Italian Anonymous , and Anonymous 4
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

The Lily and the Lamb: Chant and Polyphony from Medieval England
Lammas Ladymass - 13th and 14th Century English Chant and Polyphony
Love's Illusion-Music From The Montpellier Codex 13th Century
An English Ladymass: Medieval Chant and Polyphony
The Origin of Fire: Music and Visions of Hildegard von Bingen

ASIN: B0000007F1
Release Date: 1996-02-26

Tracks:

Medival Chant & Polyphony For St. James From The Codex Calixtinus: Invitatory: Venite omnes cristicole
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Processional: Salve festa dies
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Benedicamus trope: Vox nostra resonet
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Invitatory: Regem regum dominum
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Benedicamus trope: Nostra phalanx plaudat leta
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Antiphon: Ad sepulcrum beati Iacobi
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Benedicamus trope: Ad superni regis decus
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Brief responsory: Iacobe servorum
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Benedicamus domino
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Conductus: In hac die laudes
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Kyrie trope: Cunctipotens genitor
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Hymn: Psallat chorus celestium
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Prosa: Alleluia: Gratulemur et letemur
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Offeratory: Ascendens Ihesus in montem
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Agnus dei trope: Qui pius ac mitis
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Benedicamus trope: Gratulantes celebremus festum
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Conductus: Iacobe sancte tuum
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Responsory: O adiutor onmium seculorum
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Prosa: Portum in ultimo
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Benedicamus trope: Congaudeant catholici
Medival Chant & Polyphony For St. James From The Codex Calixtinus: Prosa: Clemens servulorum

Amazon.com essential recording

The program is a selection of chant and polyphony taken from a fascinating 12th-century manuscript that includes not only music but also sermons, stories, legends, and "an informative travel guide to the pilgrimage routes through France and Spain." The collection originated in France, but since the late 12th century it has resided in the famed Cathedral of Santiago in Compostela, Spain. In a purely vocal sense, these performances are transcendent: impeccable intonation, no false turns or failed leaps, and an ethereal ambience that is hard to describe with mere words. Musically, this recording features some of Anonymous 4's most engaging repertoire. No matter how many Anonymous 4/medieval music recordings you already own, these four women will still manage to keep you transfixed throughout, bringing you awesomely close to the spiritual essence of these impassioned yet often simple works of religious devotion. --David Vernier

Customer Reviews:

Great, as usual........2005-11-12

'Miracles of Sant'Iago' by the Anonymous 4 is yet another collection of medieval chants. This time, its from the Spanish shrine reputed to be the site of Saint James' tomb. This is significant, and the reason for the site's being a major pilgrimage destination, because James was the first disciple of Christ.

While the location is Spanish, virtually all the texts are in Latin, and practically all are in plainsong, with very little polyphony. So, if it is the multipart singing you like, this may not have as much as you would like to hear.

I have been listening to Anonymous 4 recordings for about 10 years now, but my reviewing the titles in my colleciton brings be to the conclusion that unless you are a big fan of Medieval music, you may want to pass on this particular title and go for the masses such as 'A Lammas Ladymass' or the collections of secular motets such as 'Love's Illusion'.

But, If you really like this stuff as I do, this is as good as it gets in the relatively uniform Anonymous 4 body of work.

Miraculous music.......2005-10-12

The music in this collection is done in honour of St. James, the first of the apostles to die a martyr's death. Reportedly buried in Compostela, Spain, his burial place became a pilgrimage destination, and the music composed in his honour was very popular in the Middle Ages. This was especially true in Spain when the Christian fervour to recapture the peninsula was in full force. St. James was a miracle worker during his lifetime, and, according to legend, his presence would still enact miracles for the faithful who would trek to his shrine.

Much of this music comes from a book that has survived from the Cathedral of Santiago. Much of the music contained in that book is plainchant, with the rest polyphonic works. There are some pieces that are liturgical, and others that are sacred or so inspired, but not strictly liturgical in nature.

The compositions show somewhat of the international nature of Christendom of the time - despite being in Santiago and used by the Spanish church, much of the composition was done by French clerics and writers, written in Cluny.

According to Susan Hellauer, 'As our guiding principle we have tried to be true to the infectiously joyful and exuberant melody that pervades this remarkable collection, made for and performed by the young treble voices of a medieval French grammar school.'

The blend of voices here is superb, and the spirit is soaring in many respects. As a friend of mine and I listened to this disc last night, she remarked on one of the songs, 'That's a merry little piece!' It is remarkable to listen to the voices of women singing this music, a different feel indeed from the monks or men and boys choirs that are more standard fare.

-- Liner Notes --
This text accompaniment to this disc is very. The liner notes include a description of the work, a brief piece about the quartet, and the lyrics of the songs both in original language and in translation. The cover art features images of St. James, and there is a reprint of a page from the Codex Calixtinus inside, as well as a plate from the Forster Book of Hours.

-- Anonymous 4 --
Contrary to the implication of their name, the Anonymous 4 are not anonymous. This is a vocal quartet made up of Ruth Cunningham, Marsha Genensky, Susan Hellauer, and Johanna Rose at the time of this recording (Ruth Cunningham will later go on to a solo career early, and another member will join - Jacqueline Horner). They came together as a formal group in 1986, and have been ensemble-in-residence at St. Michael's Church in New York City, giving concert series in New York as well as throughout North America. They have been featured a number of times on national media in North America as well as Germany. They then went on to yet more success, eventually performing more that 1000 concerts worldwide.

Their specialty is working with chant, monophonic and polyphonic music, and working with medieval texts. According to one source, 'The group takes its name from an anonymous music theorist of the late 13th century, Anonymous IV, who is the principal source on the two famous composers of the Notre Dame school, Léonin and Pérotin.'

The group ended a touring career of nearly two decades in 2004.

The sirens of heaven.......2001-05-24

This album was my entrance to the early music world and because of it i continud exploring the wonderful sounds of ancient times . the magicle voices of this 4 angles will in seconds take you into a time travel to the medieval world with so mutch beauty that u'll say "This must be a dream..."

A real miracle.......2001-04-19

Certainly, I am not being original, if I say that the way Anonymous 4 sing in this record is itself a real miracle, but I am just telling an obvious truth.

In "Miracles of Santiago", the performers almost reach a level of divine perfection, guiding the listener to a state of pure spiritual peace, carrying him to an era where our western cultural heritage dives some of her deepest roots.

A wonderful record that I highly praise and recommend to everybody.

"Sublime" is an understatement.......2000-11-19

Susan Hellauer, Ruth Cunningham, Marsha Genesky, and Johanna Rose have produced what is possibly the most sublime recording I have ever heard. From the first moment of the recording until the last, I was transfixed by their ethereal, uplifting sound, and found myself wanting to run right out and get their other CDs. Every person who is interested in early music will be impressed by their scholarly yet artistic aproach to these texts, and by their first rate performances.

The Holly and the Ivy: Carols from Clare College

Average customer rating:

Simply gorgeous
Angelic Music
Top list Christmas CD
Wonderful Christmas CD
traditional, and comfortingly so...

The Holly and the Ivy: Carols from Clare College

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Carols From Clare College
The John Rutter Christmas Album
Christmas Star
Christmas Night: Carols of the Nativity
Cambridge Singers Christmas Album

ASIN: B0000041VV
Release Date: 1990-05-30

Tracks:

King Jesus Hath A Garden
Up! Good Christian Folk, And Listen
Gabriel's Message
Donkey Carol
Wexford Carol
Cradle Song
Child In A Manger
Mary's Lullaby
Ding! Dong! Merrily On High
Quelle est cette odeur agreable?
I Saw A Maiden
In dulci jubilo
In The Bleak Mid-Winter
I Saw Three Ships
The Noble Stem Of Jesse
The Crown Of Roses
Jesus Christ The Apple Tree
Omnis mundus jocundetur
Wassail Song
The Holly And The Ivy

Amazon.com

Initially released in 1979, this album built on the success of the legendary Carols for Choirs volumes in establishing John Rutter's name with the wider public, and it gave a strong hint that he was more than just a talented composer-arranger. As the many subsequent releases on the Collegium label have also shown, Rutter is a deeply sensitive and musical conductor, alive to the color of words, always allowing phrases to breathe naturally. The accomplished Clare College Choir features male and female voices, the latter providing a more rounded alternative to those world-famous neighbors in Cambridge. Included are many of Rutter's own easy-listening carol arrangements ("King Jesus Hath a Garden" and "Wexford Carol," for example), plus others by the likes of Vaughan Williams and David Willcocks, while "Donkey Carol" and "Mary's Lullaby" are quintessential Rutter originals. Only a few numbers can be classed (statistically) as all-time Christmas faves--the likes of "The Holly and the Ivy" and "Ding Dong Merrily on High"--but this needn't deter anyone from snapping up what is the perfect album to accompany Christmas pud mixing (preferably by candlelight, imagining the twilight scene in Ely Cathedral's Lady Chapel, whose glorious acoustic graces the sound). --Andrew Green

Customer Reviews:

Simply gorgeous.......2007-04-10

I bought this album through Columbia mail order, and it instantly became one of my favorite CDs in my collection of over 2000. When it was scratched beyond playability, I immediately re-purchased it. I have almost everything else John Rutter has put out, as well as the Dale Warland singers from the US.
The music is simply ethereal, and the songs are not the overplayed tunes we hear over and over and over.
My two complaints with the album are that some of the tracks are hard to hear because the singing is so quiet and the sound level is uneven between tracks, and some of the tracks have Rutter's cutesy, saccharine arrangements drowning out the singing (Donkey Carol is the protoypical, and one I frequently skip).
However, the album is so beautiful otherwise, with the Wexford Carol, and the nearly inaudible Jesus Christ The Apple Tree, and several other tracks, that I still have to give it a 5 star rating.

Angelic Music.......2007-01-16

Lovely. So classic and ethereal. Perfect with Christmas dinner, or quiet card games by the fire.

Top list Christmas CD.......2006-12-12

The Holly and the Ivy is one of two absolutely must-have Christmas CDs from Clare College. This is a traditional English choir with adult male and female voices, trained in the utmost clarity and sweetness of voice that is rarely found elsewhere in the singing world. Clare College Choir is coupled with a most delightful orchestral score that seamlessly melds voices and orchestra into something surprisingly merry, uplifting, and completely satisfying. There are both familiar and lesser known carols here, and every single one is a joy.

Wonderful Christmas CD.......2006-11-15

Too many people are overwhelmed with the more modern Christmas songs out there today and are unaware of the wonderful music available on CDs like this. John Rutter proves his brilliance in arranging and conducting. The music overwhelms the senses and the joy of Christmas overcomes you as you listen. This is one of the most peaceful Christmas CDs I have ever heard. "Wassail Song" is incredible, and if you are ever in a small vocal ensemble, this song is a must to perform. You will not be disappointed when you purchase this CD.

traditional, and comfortingly so..........2005-08-23

In a world where new is better and change occurs at an ever-increasing rate, it seems logical that seasonal music would be included in the rush toward mass marketing and commercial airplay. It is amazing, but not surprising, that "carols" which extol the virtues of an electrically-illuminated ungulant, or which humourously recall the tragic events surrounding the collision of an elderly woman and another ruminating creature of the forest should be featured so prominently in the playlists of the popular culture.

Tired as I am of such artistic efforts, Rutter's efforts in leading the Clare College Choir and Orchestra on this collection come at the right time and to the right place. This is true and beautiful music of the season: it is performed well and interpreted with Rutter's master's touch. For those of us whose tastes run to the traditional, this is welcome stuff indeed.

Music Review:

Music Review

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