Gloria: Highlights of sacred choral music

From Bach through Haydn and Beethoven to Verdi, the Bavarian Radio Choir, one of the best in Germany, shows great versatility in this selection of recordings marking its 70th birthday. — BBC Music Magazine, May 2017, 4 out of 5 stars

Release Date: 3rd Mar 2017
Catalogue No: 900518
Label: BR Klassik
Length: 76 minutes

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Bach, J S: Mass in B Minor, BWV 232, Pt. 1

Work length5:53

Chor des Bayerischen Rundfunks, Concerto Köln
Peter Dijkstra

Mass in B Minor, BWV 232: Gloria in excelsis Deo

Track length5:53

Gounod: Messe solennelle de Sainte Cécile, CG 56

Work length6:29

Chor des Bayerischen Rundfunks, Symphonie-Orchester des Bayerischen Rundfunks
Mariss Jansons

Messe solennelle de Sainte Cécile: Kyrie

Track length6:29

Excerpt, Schubert: Mass No. 2 in G major, D167

Work length2:54

Luba Orgonasova (soprano), Gustáv Beláček (bass)
Chor des Bayerischen Rundfunks, Symphonie-Orchester des Bayerischen Rundfunks
Mariss Jansons

Mass No. 2 in G Major, D. 167: Gloria: Gloria in excelsis Deo

Track length2:54

Excerpt, Dvořák: Stabat Mater, Op. 58

Work length7:09

Chor des Bayerischen Rundfunks, Symphonie-Orchester des Bayerischen Rundfunks
Mariss Jansons

Stabat Mater, Op. 58, B. 71: Eia, mater

Track length7:09

Excerpt, Beethoven: Missa Solemnis in D major, Op. 123

Work length9:48

Genia Kühmeier (soprano), Elisabeth Kulman (mezzo-soprano), Mark Padmore (tenor), Hanno Müller-Brachmann (bass-baritone)
Chor des Bayerischen Rundfunks, Symphonie-Orchester des Bayerischen Rundfunks
Bernard Haitink

Mass in D Major, Op. 123, "Missa Solemnis": Kyrie: Kyrie eleison

Track length9:48

Excerpt, Handel: Dixit Dominus, HWV 232

Work length4:59

Christina Landshamer (soprano), Maarten Engeltjes (countertenor), Maximilian Schmitt (tenor)
Chor des Bayerischen Rundfunks, Concerto Köln
Peter Dijkstra

Dixit Dominus, HWV 232: Dixit Dominus Domino meo

Track length4:59

Excerpt, Bach, J S: Magnificat in D major, BWV243

Work length2:02

Chor des Bayerischen Rundfunks, Concerto Köln
Peter Dijkstra

Magnificat in D Major, BWV 243: Gloria Patri

Track length2:02

Excerpt, Bach, J S: St Matthew Passion, BWV244

Work length2:27

Chor des Bayerischen Rundfunks, Concerto Köln
Peter Dijkstra

St. Matthew Passion, BWV 244, Part III: Chorale: O Haupt voll Blut und Wunden

Track length2:27

Excerpt, Bach, J S: St John Passion, BWV245

Work length7:47

Chor des Bayerischen Rundfunks, Concerto Köln
Peter Dijkstra

St. John Passion, BWV 245, Part I: Chorale: Herr, unser Herrscher

Track length7:47

Excerpt, Haydn: The Creation

Work length4:17

Camilla Tilling (soprano), Mark Padmore (tenor), Hanno Müller-Brachmann (bass-baritone)
Chor des Bayerischen Rundfunks, Symphonie-Orchester des Bayerischen Rundfunks
Bernard Haitink

Die Schopfung (The Creation), Hob.XXI:2: Part I: Die Himmel erzahlen die Ehre Gottes (The heavens are telling the glory of God)

Track length4:17

Excerpt, Verdi: Requiem

Work length2:31

Chor des Bayerischen Rundfunks, Symphonie-Orchester des Bayerischen Rundfunks
Mariss Jansons

Messa da Requiem: Dies irae: Dies irae, dies illa

Track length2:31

Kodály: Missa brevis

Work length4:22

Masako Goda (vocals), Barbara Fleckenstein (vocals), Michaela Knab (vocals), Sigrid Horvath (vocals), Andrew Lepri Meyer (vocals), Werner Rollenmüller (vocals), Max Hanft (organ)
Chor des Bayerischen Rundfunks
Peter Dijkstra

Missa brevis: Gloria

Track length4:22

Pärt: Berliner Messe

Work length4:19

Chor des Bayerischen Rundfunks, Munich Radio Orchestra
Peter Dijkstra

Berliner Messe: Credo

Track length4:19

Excerpt, Bach, J S: Christmas Oratorio, BWV248

Work length7:46

Chor des Bayerischen Rundfunks, Akademie für Alte Musik Berlin
Peter Dijkstra

Christmas Oratorio, BWV 248, Part I: Jauchzet, frohlocket, auf, preiset die Tage

Track length7:46

Excerpt, Handel: Messiah

Work length3:41

Chor des Bayerischen Rundfunks, B'Rock
Peter Dijkstra

Messiah, HWV 56, Part II: Hallelujah

Track length3:41

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“Chorus”, the name for a community of singers that evolved in Europe from the Middle Ages onwards, derived from the choros of Ancient Greek theatre. The first polyphony soon arose from the initially purely monophonic Latin church music, sung since Late Antiquity and collected and standardised under Pope Gregory I as Gregorian chant. The Renaissance then brought forth complex types of polyphonic a cappella works; these reached new heights during the course of the 16th century in multiple choirs, bringing new experiences in sound through the juxtaposition - whenever space allowed - of several choirs inside churches. The choir became increasingly functional – above all in operas, cantatas and oratorios. By the Late Baroque period, the development stage had been reached that still characterises today’s concept of the choir: a fixed choral ensemble, clearly differentiated from an instrumental one (the orchestra); works of primarily spiritual content; texts in Latin but, increasingly, in national languages as well; and everything gradually becoming more representational in character. The first bourgeois choral societies of the 19th century – the forerunners of today's philharmonic choirs - were ensembles of a size that could compete as well as cooperate with symphonic orchestras. In choral singing, the content - sacred and secular, nationalist and idealist, reactionary and revolutionary – could be expressed with powerful emotion, not only in separate compositions but also in choral numbers extracted from their former, broader contexts. As the 19th century progressed, combinations of popular pieces appeared that were seldom coherent in terms of their content but still sounded highly impressive (in a musical context this is not referred to as an anthology but more usually as a Florilegium), and it is these that still determine today’s concert programmes.

The Chor des Bayerischen Rundfunks can be heard here performing highlights of sacred choral music dating from the Baroque period to modern times. Even today, three hundred years later, the large oratorio choirs by Bach and Handel are as vivid, realistic and captivating as ever. Haydn succeeded in preserving this for the sacred music of the Wiener Klassik era, which reached its peak in Beethoven's Missa solemnis. The heartfelt masses composed by Schubert are typical of early German Romanticism, Gounod’s St. Cecilia Mass is the French equivalent here, and Dvořák's Stabat mater represents Bohemian Romanticism of the mid- to late 19th century. Verdi's famous Messa da Requiem testifies to the close relationship between Italian opera and Italian church music. The Mass written just before the end of World War II by the Hungarian composer Kodály is still Late Romantic in its musical language, while in his Berlin Mass, written shortly before the start of the 20th century, the Estonian composer Arvo Pärt maintains the Tintinnabuli style that informs and inspires his work.

Reviews

May 2017

From Bach through Haydn and Beethoven to Verdi, the Bavarian Radio Choir, one of the best in Germany, shows great versatility in this selection of recordings marking its 70th birthday.

Offer,Gloria: Highlights of sacred choral music

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