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Easter best selling music offer

Easter music at special prices. 20% discount offer is for a limited period and subject to availability.
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Image Bach: Easter Oratorio
The Easter Oratorio, one of the less performed of Bach's choral works, was first composed as a simple cantata and later revised to become a more polished piece with a meditative emphasis.
  • Actus tragicus, composed for a funeral, has an unusually soft toned instrumentation (recorders, viola da gamba and organ) which make it sound both consoling and full of optimism.

  • £13.99
    Image Johann Sebastian Bach: St Matthew Passion
    Masaaki Suzuki and his Bach Collegium Japan made their first recording of the St Matthew Passion in March 1999. Twenty years later, in April 2019, it was time once again, as the singers and players gathered in the concert hall of the Saitama Arts Theater in Japan. ‘A profound joy’ is how Masaaki Suzuki describes his emotion at the opportunity to record Bach’s great fresco of Christ’s Passion for a second time. And this time, he and his ensemble have brought with them into the concert hall a profound and collective familiarity with Bach’s choral music, after having recorded more or less all of it in the meantime, including the complete sacred cantatas. For his Evangelist, Suzuki has selected the young German tenor Benjamin Bruns, making his first appearance on BIS. Among the other soloists are familiar names including Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler.

    Image The Chants of Easter
    Image Ludwig van Beethoven: Mass in C major; Vestas Feue
    The custom of marking the name-day of Princess Esterházy with a newly composed Mass began in the 1790s and for many years was carried out by Joseph Haydn. In 1807 Beethoven was commissioned and responded with his Mass in C major. Coolly received at court, it is a celebratory work of large-scale brilliance. The cantata Meeresstille und glückliche Fahrt is set to Goethe’s poems and contrasts calm with exuberance. In 1803 Beethoven set two numbers from Vestas Feuer, written by Emanuel Schikaneder, the librettist of Mozart’s Die Zauberflöte.

    Genre-wise the two works here balance between oratorios and cantatas. Though their format is not far removed from that of the longer cantatas, some differences are obvious: for instance, in its earliest version the soloists in the Easter Oratorio were assigned roles (such as Mary Magdalene and Peter), while the Ascension Oratorio features an Evangelist, filling the same function as in the more monumental Passions. Both works - like the Christmas Oratorio - are, at least in part, so-called parodies: reworkings of secular occasional pieces as sacred compositions by adapting their texts. Such origins may to some extent explain the festive note of these two celebrations of the resurrection of Christ, and his ascension to heaven. The opening instrumental movement of the Easter Oratorio, which uses the theme from 'Erschallet, ihr Lieder' of Cantata BWV 172, resounds with jubilant trumpets and timpani, and the Ascension Oratorio begins with a chorus in which choir and orchestra "praise God in His kingdoms" with the splendour worthy of a great prince. Recent reviews have described Bach Collegium Japan's offerings as 'Bach to an unbelievable perfection' (the Suites) and 'musical beyond belief' (Volume 29), and here is more from the seemingly indefatigable Masaaki Suzuki. On the present disc, Cantata cycle veterans Yukari Nonoshita and Chiyuki Urano are joined by Jan Kobow, whose participation on Volume 22 (BIS-CD-1322) received much praise, and counter-tenor Patrick van Goethem, making his BIS début.

    Image Thomissøn’s Easter
    Ribe Cathedral, in Southwest Denmark, is one of the few places in the world where the earliest Lutheran church music practice can be reconstructed. Thanks to the Danish hymn collector Hans Thomissøn(1532-73), music director at Ribe Cathedral School around 1560, a clearly shaped liturgy was equipped with the relevant music. In exemplary manner this recording reflects the elements that made up an early Lutheran feast-day service in Denmark, including a fashionable Mass cycle by the Flemish master Jacobus Clemens non Papa.

    These famous choral works are performed with a distinctly Russian feel and the Bulgarian National Choir, along with the Sofia Orthodox Choir, give us the most authentic sound you can hope to hear in Rachmaninov’s masterpieces. This 3 CD set comes with a bonus DVD entitled “Mystery of the East,” a documentary about Russian Monasteries and Churches. Presented at a special price.

    Image RUTTER: Requiem / Anthems
    During the late 1950s and early 1960s, Highgate School in North London was renowned as a fervent source of musical activity. The choir at the school was among the finest in Britain, often performing at the London Promenade Concerts and being involved in landmark premiere performances. As a young chorister there John Rutter took part in the 1963 recording of Britten's War Requiem under the baton of the composer; an experience which Rutter describes in hindsight as one where \I think we knew that we were touching the hem of history's garment". It is little wonder that from within this unique and bustling environment, Rutter, who counts among his contemporaries at the school the composer John Tavener and Nicholas Snowman, founder of the London Sinfonietta, began to develop speedily into the multi-faceted musician of international repute that he is today, while concurrently beginning his inextricable association with the canon of late twentieth-century choral music.

    Image Johann Sebastian Bach; Britten; Byrd; de Lassus: C
    Image Graun: Osteroratorium
    Image Telemann Cantatas: Easter, Ascension & Pentecost
    Image Gubaidulina: St. John Passion, etc.
    Image FOERSTER: Festival Overture, Op. 7 / My Youth Op.
    The Fourth Symphony is perhaps Foerster'smasterpiece. It was written during his first years in Vienna,surely under the spell of Bruckner and Mahler. LikeBruckner, Foerster was a devout Roman Catholic, and theFourth Symphony is a direct expression of his deepreligious feeling. The first movement is a Mahleresquefuneral march, with a sombre first theme that slowly triesto rise from the depths. Twice the music seems about toreach a climax, only to return to the ominous mood of theopening. Finally a sunnier second theme appears, and themusic grows in warmth and radiance until a new, ratherchildlike theme is heard on the flute. The developmentsweeps in mightily, with the first and second themescombined in a stormy passage that eventually leads to ahuge, wrenchingly dissonant chord in the full orchestra.

    Image Easter Cantatas
    Zachow was active over a period of twenty-eight years and numbered among the most renowned church musicians of his epoch (J. S. Bach applied to succeed him in 1712). Just how much George Frideric Handel valued his teacher and his music is shown by his continual citing of compositions by Zachow in his own work even during his years in London.

    The authorship of the two cantatas presented on this release - often ascribed to Handel - remains uncertain and has been discussed many times in musicology. One thing remains clear: both works are from Zachow's musical circle of influence around 1700. Even if the cantatas turn out not to be by Handel, he no doubt would have known them and heard them. In this respect, this CD makes a significant contribution to our understanding of the young Handel's Halle environment.

    Image Love is Come Again: Music for the Springhead Easte
    Sir John Eliot Gardiner’s personal curation of Easter Choral music inspired by his family's annual Easter Play at his home in Springhead, Dorset. A companion to the Monteverdi Choir’s 1998 recording Once as I remember, which told the story of the Springhead Christmas Play. Structured around a series of tableaux, narrating through a combination of the different Gospel accounts, it is a dramatic retelling of the Resurrection story, employing disparate musical styles and frequent shifts of focus and perspective, all held together by the creative vision of a Dorset mother and her son.

    "John Eliot Gardiner's strongest qualities are evident in these performances of six Easter cantatas made in his on-going Bach Cantata Pilgrimage series. I particularly admire the fervour with which Gardiner imbues the music, his lively responses to the many instances of word-painting and his intuitive feeling for dance rhythms." - 5* from BBC Music Magazine, 2007

    Image Sacred Music: An Easter Celebration
    In the finale to series one of the Sacred Music programme, Simon Russell Beale presents a special concert for Easter from LSO St Luke's in London, performed by the award-winning choir The Sixteen, conducted by founder Harry Christophers. The music takes us on a journey of over a thousand years, from haunting plainchant through to the celebrated music of Johann Sebastian Bach. Highlights include Palestrina's motet Assumpta Est Maria, and Allegri's Miserere.

    Image Passiontide At St. Pauls
    This sequence of music for Lent, Passiontide and Easter represents a journey through perhaps the most dramatic part of the Church's year. It is a season which has inspired many composers to write some of their most potent pieces, and contrasts the seriousness of intent and poignancy found in, say, Lotti's Crucifixus with the exuberance of music such as Philips's Ecce vicit Leo.

    Image Johann Sebastian Bach: Complete Oratorios
    "Ich bin ein guter Hirt (BWV85)… conveys the delicate and subtle pastoral conceits of "Christ, the good shepherd" with endlessly alluring dialogues between on-form singers and instrumentalists, notably some disarmingly beautiful oboe playing, a performance of real distinction." - Gramophone, 2007

    Image Paschale Mysterium: Gregorian Chant for Easter

    The liturgical celebration of the mystery of Easter, the Paschale Mysterium,comes at the height of the Christian year, marking the task of human redemptionand the glorification of God. It is both a record and a redemptiverepresentation of the passion and death of Christ, on Good Friday, and of hisresurrection, on Easter Eve and Easter Day. These two celebrations, which haveformed the core of the Easter liturgy since the apostolic age, centre on theCross, the "King's emblem, glowing with mystery ...the wonderful, shiningtree, adorned with royal purple", in the words of the hymn Vexilla regis,written by Venantius Fortunatus, seventh century bishop of Poitiers, theopening of the present release. In the modern liturgy the Vexilla regis issung at Vespers in Holy Week. Its composition presents highly lyrical melodicmotifs and is constructed on an authentic protus mode which has a rangeof a modal fifth (D to A) with the ornamentation of B flat.

    Image Zelenka: Lamentations of Jeremiah
    "Between the incomparable settings by Thomas Tallis and the extremely austere one by Stravinsky (which he called Threni) the Lamentationsof Jeremiah have attracted surprisingly few composers. Perhaps the predominantly sombre tone, without even the dramatic opportunities presented by the Dies irae in a Requiem, is off-putting. Be that as it may, Zelenka showed remarkable resourcefulness in his 1722 setting for the electoral chapel at Dresden, where he was Kapellmeister. His musical language is in many ways similar to that of JS Bach but there are also daring turns of phrase which are entirely personal. The six Lamentations feature each singer twice; this performance is intimate, slightly spacious in tempo and with a resonant acoustic." - Gramophone, 2010

    "This is Bach at a very high level - a match for anything else that is currently available on disc." - 5* BBC Music Magazine, 2008

    Image An Easter Album
    Lent and Easter have provided composers from every generation with a wealth of material to set to music. This 2 CD collection features a variety of music inspired by Easter, from early Gregorian Chant to Bach's majestic Passion settings to selections from the popular Requiems by Mozart, Faur?® and Rutter.

    The third release from the Bach Cantata Pilgrimage - the previous launch issues in the series received phenomenal press coverage and tremendous reviews for performance, sound quality and packaging. This new set, Volume 24, brings live recordings from the Schlosskirche in Altenburg (featuring the famous Trost organ that Bach himself was invited to ‘test’ when it was newly built) and from St Mary’s in Warwick.

    Image Georgy Sviridov: Canticles and Prayers
    Georgy Sviridov's (1915–1998) Canticles and Prayers is considered by many as one of the most important works in Russian sacred music. In this new recording Latvian Radio Choir under Sigvards Klava offer impressive renditions of music from this collection by the Russian master. Sviridov, a pupil of Shostakovich, began writing religious works since 1969. Since then these works came to form an important part of his oeuvre. In the 1980s Sviridov had several projects to write a liturgy or a mass. In the end, the sketches of his sacred music came to form a cycle titled Canticles and Prayers. The work was created at a turning point in the history of Russia, the perestroika years that ended in the collapse of the Soviet state. The composer was keenly affected by the events of those years, building a monument to his era. The main body of Canticles and Prayers was assembled between 1988 and 1992. In September 1997, Sviridov selected the versions he thought best, approving the final order for the first three parts and making the final edits to the score. This work remained incomplete at the time of his death in 1998. Canticles and Prayers was thus Sviridov's last work. The recording also includes chorus The Red Easter (1978) based on a cycle of Easter hymns.

    Image Gregorian Chant - Easter
    This recording of Gregorian Chants includes Introits, Graduals, Alleluias, Sequences, Offertories, Communions, and Hymns from Easter Mass, and the Mass for the First Sunday after Easter. This recording reflects the unmatched authenticity which characterizes the exquisitely gracious and moving performances of Gregorian chant by the Monks of Solesmes.
    IN THE LATE 19TH CENTURY POPE LEO XIII CHARGED THE ABBEY OF SOLESMES with the restoration and preservation of Gregorian Chant according to the original 10th–11th century manuscripts. The care and zeal with which the monks undertook this mission quickly extended the Abbey’s influence beyond Europe. Their goal: that Gregorian Chant be available to all people so they may “pray with the help of beauty” (Pope St. Pius X).
    Today, the Abbey continues to be a vibrant source of research and liturgical prayer with their library of over 200,000 volumes, and a musical palaeography workshop second only to the Vatican. But above all, Solesmes is a living community of Benedictine monks searching for God and sharing their spirituality, community life, and heritage.

    Image Nielsen:By Danish Choirs
    Carl Nielsen’s (1865-1931) large production of around 300 songs comes in many forms. In this collection we hear 25 choral versions of the most popular Nielsen songs like Den danske sang er en ung, blond pige and Solen er så rød, mor as well as more rarely heard or even unknown choral songs. Listen, for example, to the composer’s beautiful – but today entirely forgotten – proposal for a new Danish national anthem; a handful of fine pieces for male choir and not least a series of polyphonic songs for children’s and girls’ choir, including rare jewels and some of the most well-loved songs in Danish schools and homes today.

    Image Nicholas Ludford: Missa Dominica
    Trinity Boys Choir is one of the busiest and most successful ensembles of its kind. The young singers perform regularly at the concert and opera houses in Milan, Paris, and London, where they have appeared alongside the great stars of the music world, including Sir Eliot Gardiner and his Monteverdi Choir. For ‘Candlemas’, the ambitious choir have put together an inspiring programme: assisted by musicologists and composers, Nicholas Ludford’s (1485-1557) Missa Dominica was edited meticulously and is provided with a fitting context on this recording by medieval vocal music as well as contemporary works. This disc is not only a real asset for music scholarship but, first and foremost, a true feast for listeners: the singers’ brilliant voices merge beautifully with the sound of the organ and are enriched with additional tone-colours by the Hand Bells Choir Gotha.

    Image Kyrill Kondraschin conducts Rimskij-Korsakow and F

    Kyrill Kondraschin and the Symphonieorchester des Bayerischen Rundfunks: what had been planned as a happy relationship between the signi?cant representative of the Russian conducting school and the ?rst class Munich ensemble ended tragically with the sudden death of the conductor before he could assume the position of Chief Conductor of the orchestra. All the more signi?cant is thus this sound document. The live recording made at concerts in Munich’s Herkulessaal comprises an exciting program that juxtaposes two late romantic works from different symphonic cultures: Rimsky-Korsakov’s ‘Russian Easter’ Overture and César Franck’s only symphony, in D minor. One of the few testimonies to the collaboration between Kyrill Kondraschin and the Symphonieorchester des Bayerischen Rundfunks. An appealing juxtaposition of a Russian and a French work, this CD was released in October 2010 and will now be rereleased for March 2019.

    Image Cantatas For The Ascension
    Soprano and alto solos performed by boys from the choir
    Disc no. 8 in the ten-part series "The Liturgical Year with Johann Sebastian Bach"
    St Thomas's Boys Choir Leipzig continues its series "The Liturgical Year with Johann Sebastian Bach" with cantatas for the Ascension. Georg Christoph Biller, cantor at St Thomas, has boys from the choir sing the soprano and alto solos.

    Image Selle: Easter Concertos/ Motets
    Image LEIGHTON: Easter Sequence
    Leighton's compositions include three symphonies. The firstof these (1964), a purely orchestral essay, was followed by two includingvoices (1974, 1984). He was drawn to writing for virtuosi which resulted inseveral concertos. There are three of these for piano (1951, 1960, 1969), and,amongst others, concertos for violin (1952), cello (1956) and organ (1970). Hischoral music includes the large-scale The Light Invisible (1958), and thewell-known carol Lully, lulla, thou little tiny child (1948). He wrote anopera, Columba (1978), as well as vocal and chamber music, and a fine body ofpiano works that reflect his skills as a pianist. Characteristics of his musicare its lyricism, rhythmic energy, virtuoso writing, and a penchant forinstrumental colour.

    Image Richard Danielpour: The Passion of Yeshua
    Richard Danielpour’s dramatic oratorio The Passion of Yeshua – a work which has evolved over the last 25 years – is an intensely personal telling of the final hours of Christ on Earth. It incorporates texts from the Hebrew Scriptures and the Christian Gospels inspiring extraordinarily beautiful music that stresses the need for human compassion and forgiveness. Danielpour returns to the scale and majesty of Bach in this oratorio, creating choruses that are intense and powerful, and giving both Mary the mother of Jesus and Mary Magdalene a central place in a work of glowing spirituality. Conductor JoAnn Falletta considers The Passion of Yeshua to be ‘a classic for all time.’

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