Kygo Thrill of The Chase

This reissue of a 1989 recording by the Orchestra of the Age of Enlightenment has a good claim for the title of "Best Buy Brandenburgs." These performances don't have the splashy extroversion of Il Giardino Armonico or the caffeine-pumped, high-velocity thrill of Musica Antiqua Köln, but they're not overly reserved or dull, as some English ensembles are accused of being. The OAE's instrumental playing is very skillful indeed, with particularly nice work from the horns in the third movement of the First Concerto, and from trumpeter Mark Bennett in the Second; and the tempos are moderately quick (which means that they would have been considered rather fast before 1980 or so), but without being breathless. The slow movements sing sweetly–the viola playing of Monica Huggett and Pavlo Besnosiuk in the slow movement of the Sixth Concerto is especially lovely–and the quick outer movements have an infectiously bouncy pulse.

–Matthew Westphal

In the brilliant history of the Chamber Choir of the Moscow Conservatory a separate chapter is connected with the musical legacy of Alfred Schnittke (1934-1998). Both compositions are united by the subject of faith and contemplation of what Is spiritual and spiritless. Despite the fact that chronologically the Requiem (1975) Is an earlier work than the Cantata (1983), on the CD they are presented in reverse order: fol­lowing Alexander Solovyev's conception, the narrative of Faust’s tragic death, coming as retribution for his sinful earthly life, must be followed by a memorial prayer, the Requiem. The compact disc documented “live” performances: the Requiem was performed on September 17, 2013 at the Small Hall of the Conservatory, while the Cantata sounded out on September 29, 2014 at the Grand Hall of the Conservatory.

The juxtaposition of old and new which lies at the heart of much Christmas music lends this recording by the mixed-voice Choir of The Queen’s College Oxford its theme. The repertoire ranges in period from Hildegard of Bingen to pieces composed during the last few years. The central work – Britten’s A Ceremony of Carols – vividly encapsulates the intersection of ancient and modern, setting medieval and Renaissance texts, and drawing on plainchant as musical inspiration, while – in its series of fresh, vivid, and sharply-etched miniatures – eschewing the sentimentality which had become attached to Christmas and its music.

The Presidents of the United States of America (occasionally referred to as PUSA, The Presidents or Pot USA) was an American alternative rock power trio band formed in Seattle, Washington, in 1993. The three-piece group's initial line-up consisted of vocalist and bassist Chris Ballew, drummer Jason Finn, and guitarist Dave Dederer; Dederer eventually left the group and was replaced by Andrew McKeag. The band released six studio albums and was best known for its hits "Lump" and "Peaches", released in 1995 and 1996 respectively. Another well-known song was "Kitty", which helped popularize their self-titled debut album.

The laus perennis that the monks every day in their psalmody offer to the Lord, is adorned with hymns, antiphons and responsories; all chants drawn from the ancient gregorian repertory. With this daily practice and custom, the monks become almost the only custodians and specialists of this patrimony of the highest religious, cultural and artistic merit that is gregorian chant. The monks of Montecassino – always faithful cultivators of this venerable chant, proper to the lit- urgy of the Church – with the present CD want to make these melodies, which are an elevated form of prayer, resound also outside of the monastery walls. The recording was completed at the Tomb of St. Benedict and is intended as an affectionate hymn of sons towards their father and master: in fact, a good part of the liturgy of the Solemnity of St.Benedict of the traditional date of March 21 was performed.

Described as "Occult Pop" for fans of ELO, Deep Purple, Fleetwood Mac and Queen, the 9 track record from the Nottingham based "spiritual organisation" sees an expansion on the prog/psych/retro stylings and hook-heavy songwriting of the critically acclaimed debut "Is Satan Real?" (2016). Piano and vintage synths have been introduced alongside the Hammond organ, electric cello and six-part vocal harmonies, resulting in a sound that truly "puts the ABBA in Sabbath".