The Choral

The London Choral Sinfonia presents a captivating blend of French choral music under the direction of Michael Waldron, with soloists Nick Pritchard and Miriam Allan. Their new album includes Jean Langlais' monumental masterpiece "Messe Solennelle," accompanied by staples of the choral repertoire: Gabriel Fauré's "Cantique de Jean Racine" and César Franck's "Psalm 150". The album also features hidden gems such as Marcel Dupré's "Quatre Motets," as well as fresh arrangements of Franck’s "Panis Angelicus" and Gounod's "Ave Verum" by Composer-in-Residence, Owain Park. These reimagined pieces breathe new life into beloved favourites. Under Michael Waldron's direction, the LCS continues its tradition of excellence, blending celebrated works with lesser-known treasures, and winning new audiences with its rich romantic colours and innovative interpretations.

One of Brahms' earliest musical jobs (besides playing piano in whorehouses) was directing a choral society. This introduced him to the music of the Renaissance and the Baroque, which sparked his antiquarian enthusiasms, in particular his first-hand encounters with the choral music of Bach. Choral music became an important part of Brahms' output – to his art, to his career (Ein deutsches Requiem propelled him to European notice), and to his income. Brahms may have directed much of his choral music to the then-lucrative amateur market, but he also produced plenty for crack choirs and without much reasonable hope for financial reward – again, Ein deutsches Requiem a good example. Like the Requiem, some of these works even became popular.

This collection of short choral pieces by Johannes Brahms is an unusual one in present times, partly because many of the choral parts are quite demanding. For a choral club in the 19th century, however, it wouldn't have been so novel, and there are great beauties on offer here. After the fetching Ave Maria, Op. 12, the rest of the program is dense, metaphysical, and, with the partial exception of the Alto Rhapsody, Op. 53, concerned with death. There are two funeral songs, and two more about fate, and this is not the warm, humanistic Brahms of the German Requiem, Op. 45. The performances are profound and dignified, and the overall effect uncanny. The Warsaw Philharmonic Choir under choirmaster Henryk Wojnarowski has a gorgeous rich tone that is undiminished by the long lines of the music, and the Alto Rhapsody achieves real grandeur in the hands of contralto Ewa Wolak. But the real credit goes to the Warsaw Philharmonic and conductor Antoni Wit, who keep a consistent level of tension and momentum in difficult, dark material like the somber Nänie, Op. 82 (Funeral Song), a rarely performed late Brahms masterwork.

BEETHOVEN 250: One of twelve monthly Digital Exclusive releases that focus on and celebrate a particular aspect of Beethoven’s work. This release highlights Beethoven’s contribution to the choral genre with folksong arrangements and original songs.