Vocal

In the first century of its life, the musical genre of the Oratorio knew an impressive growth, in terms of quantity (a proliferation of compositions), quality (some early works which are absolute masterpieces, and a plethora of excellent or very good Oratorios), subjects, and styles. Many of the greatest composers of the seventeenth century tried their hand in this genre, and for some it was one of the main veins of their artistic activity. In the early Baroque, the beating heart of this genre was doubtlessly to be found in Italy, with a particular focus in the city of Rome, whence it had originated thanks to the activity of the Florentine St. Philip Neri. However, the expansion of the genre also implied a geographical spread, which was the precondition for the Oratorio’s subsequent conquest of all European countries.

One of the most lauded and award-winning groups in gospel music, garnering five GRAMMY® nominations, two GRAMMY® Awards and 18 Dove Awards, these GMA Hall of Fame members headline one of the largest tours in Christian music annually. The list of men who have comprised the Gaither Vocal Band over the years reads like a “Who’s Who” among Christian music’s best-loved male voices; and their groundbreaking successes, performances and TV appearances continue to raise the standard in male harmony.

Peter Kopp and his Vocal Concert Dresden have long since made a name for themselves with their releases on disc of highly interesting and hitherto little regarded compilations and programmes. Following works from the Dresden court and Venetian gems, the most recent release was Masonic music of the 18th century. The latest project, then, is the music of the Moravian Brethren. The Brotherhood’s historical merit and international significance, radiating out from a picturesque village in Saxony across the whole world, will be celebrated at its tercentenary next year; in the meantime, it has been acknowledged by UNESCO as part of the world’s Cultural Heritage.

This programme stands out forcefully against the idea of a supposed rivalry between the Conservatoire and the Schola Cantorum and showcases techniques inherited from both plainsong and a golden age of polyphony by three generations of musicians. La Schola was founded in 1894 and opened on 15 October 1896 as an alternative to the emphasis on opera at the Paris Conservatoire and to foster the study of late Baroque and early Classical works, Gregorian chant and Renaissance polyphony. On this release from Mirare, esteemed choral conductor Michel Corboz leads the Ensemble Vocal de Lausanne in a collection of French music written in honour of the Virgin Mary.

Mozart provided a steady output of Masses during his time at the court in Salzburg. The fine Missa brevis in G major was composed in 1768 when Mozart was just twelve years old. The theatrical and inventive ‘Credo’ Mass in C major, from 1776, is regarded as one of Mozart’s finest achievements from this period. The profound key of D minor for the Missa brevis, K65, reflects its use at a 40-hour vigil, while the affectionate nickname ‘Spatzenmesse’ (‘Sparrow Mass’) for the Missa brevis in C major refers to the chirping nature of the Sanctus.

The most comprehensive survey ever assembled on record of a major Russian composer working in the post-Soviet school of simplicity and transcendence. Vladimir Martynov (born 1946) is one of the leading composers of the Russian avant-garde, an experimentalist of serial, minimalist and electronic music. His ethno-musicological studies into the folk music of Russia, his philosophical and religious ideas and his great knowledge of Renaissance polyphony as well as Orthodox Chant all inspired his compositions. His principles are: commitment to traditional rules; modality as a constant feature of musical language; and repetitiveness as a means of immersion in states of prayer, mantra, and ritual in general. This set, compiled for his 75th birthday, presents sacred vocal works: performed by famous musicians from the composer’s close circle: pianist Alexei Lubimov, Tatiana Grindenko, the Sirin Choir, Op Posth Ensemble, Dmitri Pokrovsky Ensemble and others.

ATMA Classique is proud to collaborate with Ensemble vocal Arts-Quebec and Mecenat Musica on ART CHORAL, a unique and ambitious project surveying the history of choral singing over six centuries, from the Renaissance to the present day. Consisting of 11 volumes, the series will roll out over the next three years and will feature works by 50 composers from the 16th to the 21st centuries, as well as 11 webcast concerts and 120 videos.

Intorno alla personalità di Maria Pia De Vito, tecnica, stile e creatività enormi, è nato e cresciuto l’ampio ensemble vocale Burnogualà, in cui convergono dodici voci femminili e dieci maschili (Valentina Rossi, Vittoria D’Angelo, Ilaria Gampietri, Oona Rea, Mary De Leo, Francesca Fusco, Marta Colombo, Lucia Mossa, Laura Sciocchetti, Elisabetta D’Aiuto, Margherita Rampelli, Elena Paparusso, Danilo Cucurullo, Daniele Giannetti, Tommaso Gatto, Stefano Minder, Paolo Caiti, Flavio Spampinato, Gianfranco Aghedu, Marco Lizzani, Sebastiano Forti e Fabio Grasso), e le cui origini sono rintracciabili all’interno dell’attività didattica di musica d’insieme svolta da Maria Pia a Santa Cecilia. Ai cantanti si unisce il composito organico strumentale comprendente Lorenzo Apicella (pianoforte), Dario Piccioni (contrabbasso) e Arnaldo Vacca (percussioni).