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Sacred Music, page 30

   Nalezeno titulů: 407
 

The Akathistos Hymn to The Mother Of God - The Akathistos Hymn to The Most Sweet Jesus

The Akathistos Hymn to The Mother Of God - The Akathistos Hymn to The Most Sweet Jesus
ID: VOL.28.0
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Choir

Precentor of the Monastic Choir of the Valaam Monastery Hierodeacon German (Ryabtsev)

The Akathists to the Most Sweet Jesus and the Mother of God are a vivid expression of Russian piety and a special love of the Russian Orthodox Christians to this kind of prayers, which has become an important part of the daily rule.
The Akathist to the Most Sweet Jesus expresses the pious reverence and humility of Christians at the mystery of the coming to the world of the Son of God and His Incarnation. His deed of redemption, Resurrection and Ascension are glorified in the Akathist. Being aware of his sinfulness, the worshipper hopes for the all-forgiving love and mercy of Christ the Saviour.
The Akathist to the Mother of God expresses the firm belief of the Orthodox people in Her prayers and intercession for humanity before Her Divine Son.
These akathists are the earliest in Orthodox hymnology. It was on this pattern that many other akathists were composed, particularly to the icons of the Mother of God and to many saints.
14.00 eur Buy

Today Salvation Has Come To The World - Selected Hymns Of The Russian Orthodox Church 17th-20th cent.

Today Salvation Has Come To The World - Selected Hymns Of The Russian Orthodox Church 17th-20th cent.
ID: VOL141.0
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Choir

The ‘Akathist’ male chamber choir - a laureate of international competitions - continues the great traditions of Russian choral art and Orthodox church singing.The repertoire of the male chamber choir consists of hymns of the Orthodox Church from the 16th to the 20th centuries and folk songs. The choir performs monophonic znamenny chant, monastic melodies from the Laura of the Caves in Kiev and the Laura of the Holy Trinity and St.Sergius, and works of church composers from the 19th and 20th centuries such as A.Kastalsky, A.Arkhangelsky, P.Chesnokov, V.Kalinnikov, A.Grechaninov
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Holy And Great Week and The Festal Triodion - Hierodeacon German (Ryabtsev)

Holy And Great Week and The Festal Triodion - Hierodeacon German (Ryabtsev)
ID: VOL.21.0
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Choir

Palm Sunday is the feast of the Entry of the Lord into Jerusalem - His voluntary coming to His sufferings and death. He was met as the King and the Lord, but in a few days was sentenced to death and crucified. The hymns in the first part of the CD are dedicated to these events, about which we know from the Gospel.
Recorded in the second part are hymns from the Festal Triodion, i.e. the period of church services from Pascha to the Sunday of All Saints. This will be interesting to the listeners to hear these festive hymns performed with unusual austerity and restraint.
Recorded in St.Nicholas skete of the Valaam Monastery.
14.00 eur Buy

Recieve Me, O Wilderness - Hierodeacon German (Ryabtsev)

Recieve Me, O Wilderness  - Hierodeacon German (Ryabtsev)
ID: VOL146.0
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Choir

The verses are penitential, tearful and moving, so that they call the soul to repentance" - this title in chant manuscripts relates to particular works. First of all, these texts appeared in chant books at the end of the fifteenth century. They were not connected to the Church"s Ordo and liturgical practice. They are an ancient layer of Russian para-liturgical religious poetry. The purpose of the verses was to lead the singers and listeners to a pure repentance of sins, once committed or imagined, that would benefit the soul.
The freedom of melody, its beauty and divine inspiration, the lofty sensitivity of its poetry, and the power of all these component parts were so great that the penitential verses survived the medieval tradition by receiving embodiment at the end of the seventeenth century in the new genres of para-liturgical lyric poetry of psalms and religious verses, and in the twentieth century - in the great artistic works of the Russian composers Georgy Sviridov, Valery Gavrilin and Vladimir Martynov.
A.N. Kruchinina, Professor of the St. Petersburg Conservatoire

The Znamenny chant notation was deciphered and arranged by hierodeacon German
Sound engineer: hierodeacon German
Arrangement for two voices by hierodeacon German
Music and words by hierodeacon German.
Music by hierodeacon German
14.00 eur Temporarily out of stock

In Passione Domini - Jan Valkestijn - Rabaskadol - Fritz Heller - William Byrd Vocal Ensemble - Nico van der Meel

In Passione Domini - Jan Valkestijn - Rabaskadol - Fritz Heller - William Byrd Vocal Ensemble - Nico van der Meel
ID: ACDHJ044-2
Disk: 1
Type: SACD
Kolekce: Sacred MusicPodkolekce: Voices and Chamber Ensemble

THE SUNG PASSION STORY
The passion story according to the four evangelists was already recited in early Christendom in the liturgy of Holy Week. One of the earliest reports dates from the fourth century. Pope Leo the Great (+461) reserved Good Friday for the passion according to St John ( Joh.18.1 - 19.42). Specifi c melodic formulas for the recitation of the passion were introduced at a very early stage. Until the thirteenth century, the passion pericope was read by a single person. In order to maintain the dramatic effect, the various personages were indicated by special letters and signs in the text.
Many settings of the passion story survive from the polyphonic age; written for the Catholic liturgy and largely in the responsorial form, they originate particularly from Venice and Rome, and were composed by Ruffo, Asola, Soriano and others. The turbae are usually written in a simple polyphonic style. The four musically more elaborate passions by Orlando di Lasso (written around 1580) and da Vittoria (1585) served as models until the seventeenth century. In the sixteenth century, the so-called Lied-passion arose in the Lutheran liturgy, employing either Latin or German. The prototypes were the St. John and St. Matthew passions by Johann Walter, a friend of Luther. Walter’s example was followed in the seventeenth century by Heinrich Schütz, who cultivated and developed both forms, paving the way from about 1650 for the oratorio-passion, with its interpolated musical refl ections and contemplative episodes, both vocal and instrumental. The eighteenth century witnessed the climax of this development in the oratorio passion, with its commenting da capo arias. The grand masters of this genre were Johann Sebastian Bach and Georg Philip Telemann.

In the nineteenth and twentieth centuries, passion composition fell into decline. Independent oratorios focused on particular parts of the text, such as Christus am Ölberg by Ludwig van Beethoven (1803). In The Crucifixion by John Stainer (1887), a modest return is evident - in romantic guise - to the responsorial passion, but the achievements of a bygone age were hardly equalled. In his Choral-Passion (1933), Hugo Distler sought to connect with the polyphonic technique of the Renaissance and early Baroque.
Examples of more recent passion compositions include Proeve van een Passie in de volkstaal volgens Johannes by Bernard Huijbers (in Dutch, 1959), Passio secundum Lucam by Krzystof Penderecki (in Latin, 1965), Mattheus-Passie by Willem Vogel (in Dutch, 1994) and St.John Passion by John MacMillan (in English, 2007).

Passion Motets
The polyphonic style is characteristic of Netherlands composers of the Renaissance, and to some extent of the Baroque, particularly with regard to vocal music. Contrapuntal techniques such as motivic and melodic imitation were employed, including various canonic forms. At the same time, increasing attention was paid to text depiction and the expression of sentiments, as is convincingly demonstrated by the mostly six-part motets on this recording.
Although new techniques and styles arose, the polyphonic style held ground, again predominantly in vocal music. German choral repertoire of the second half of the twentieth century is hardly conceivable without polyphonic writing, as in the music of Hugo Distler mentioned above.
This style was embraced in Holland, particularly in church music. The choral passages or turbae in the passion story on this recording owe their origins to this movement. Contrapuntal technique is clearly manifest in the canonic treatment of several strophic verses of this passion story, as also in the organ work by Bernard Bartelink (*1929) and the instrumental In Passione Domini by
Jan Valkestijn (*1928). Both compositions correspond to the opening hymn of the St. John passion recorded here. Most of the motet texts are taken from the Office chants for Holy Week. Alexander Utendal
Alexander Utendal, born in the Netherlands between 1530-1540, probably began his career as a member of the Brussels court chapel of Queen Mary of Hungary. In 1564, he sung countertenor in the choir of Archduke Ferdinand of Prague. When Ferdinand moved to Innsbruck in 1566, Utendal followed, dying there in 1581. The polyphonic texture of his music is rich and sonorous, and sometimes features chromaticism, as in the six-part passion motet Plangent eum.

Michel Du Buisson
Buisson, probably born in Lille, was active between 1560-1573. Like Utendal, he served at the Viennese court of Archduke Ferdinand, later emperor, between 1559-1564. In the latter year he followed the dukal chapel of Ferdinand II to Prague, and in 1566 to Innsbruck.

Johannes Flamingus
Johannes Flamingus is known to us through 32 works that he wrote down in the Leiden choirbooks between 1565-1567. He left Leiden before the Alteration, and in 1571 he became chapelmaster to the court of Duke Johann Albrecht I at Schwerin, where he served until 1573. If the name Johannes Flamingus is synonymous with Johan Vlamincx, he was employed in 1592 at the Onze Lieve Vrouwekerk in Mechlin, where he died around 1598.

Orlando di Lasso
Orlando di Lasso [Lassus] (1532-1594), born in Bergen in Henegouwen, was a choirboy in Sicily and Milan. He held various posts in Napels, Rome and Antwerp, before his appointment in 1560 as court chapelmaster in Munich. Lassus is the last and greatest representative of the composers of the Netherlands Renaissance. His oeuvre of sacred and secular music comprises more than 2000 compositions. His genius is manifest primarily in the expressivity and architecture of his compositions. The text of the motet O crux splendidior is taken from the Office of the feast of Holy Rood.
Fritz Heller & Jan Valkestijn
15.00 eur Buy

Brussels - Masses by Frye and Plummer from the Brussels

Brussels - Masses by Frye and Plummer from the Brussels
ID: SIGCD015
Disk: 1
Type: CD
Kolekce: Vocal Collection

15.00 eur Buy

Psalms - Complete Recording

Psalms - Complete Recording
ID: HAEN093224000
Disk: 1
Type: CD
Kolekce: Sacred Music

CHARLES IVES COMPLETE PSALMS SWR Vokalensemble Stuttgart • Marcus Creed (Conductor/ Dirigent) 1-CD 93.224
15.00 eur Temporarily out of stock

I. Stravinsky - Canticum sacrum, Agon, Requiem canticles

I. Stravinsky - Canticum sacrum,  Agon, Requiem canticles
ID: HAEN093226000
Disk: 1
Type: CD
Kolekce: Orchestral Works

I. Strawinsky Agon • Canticum sacrum ad honorem Sancti Marci nominis • Requiem Canticles Stella Doufexis (Mezzosprano) • Christian Elsner (Tenor) • Rudolf Rosen (Bass) • SWR Vokalensemble Stuttgart • SWR Sinfonieorchester Baden-Baden und Freiburg 1-CD 93.226
15.00 eur Temporarily out of stock

ALLEGRI MISERERE - Tenebrae - Nigel Short

ALLEGRI MISERERE - Tenebrae - Nigel Short
ID: SIGCD085
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Choir

Few can argue with Tenebrae's international stature as one of the most competent, versatile, exciting and passionate vocal ensembles in the world today.

The beauty of Tenebrae's perfectly blended sound coupled with near-flawless technique is showcased in this recording, featuring a selection of their favourite concert repertoire to create a performance worthy of anyone's collection.


Allegri's haunting Miserere is the central point in a journey through music of longing and entreaty, hope and faith. These works spanning the centuries are chosen from the heart of Tenebrae's concert repertoire.
15.00 eur Temporarily out of stock

J. Ch. Bach - Sacred Songs of Sorrow

J. Ch. Bach - Sacred Songs of Sorrow
ID: SIGCD018
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Sacred Songs of Sorrow

Sacred songs from Protestant Germany of the late 16th and early 17th century

In Lutheran music the viol became particularly associated with the affect of lamento. This finds its roots in the string accompaniments to Italian operatic laments-a genre which had become much in vogue after Monteverdi’s second opera Arianna.

On this disc of music from Protestant Germany Charivari Agréable is joined by the distinguished tenor, Rodrigo del Pozo.
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