Jordi Savall

Conductor

Jordi Savall

Jordi Savall, born in 1941 in Barcelona, embodies the spirit of the rich Catalan culture in which he was raised. Inspired by another great Catalan artist, Pablo Casals, whom he heard perform at Prades, the young Jordi Savall realized that music could be more than just a profession - for him, it would become an all-consuming life's work. He completed his cello studies at the Barcelona Conservatory in 1965 and, seeking to broaden his musical horizons, took an interest in early music.

Jordi Savall is widely credited with the rebirth of the viola da gamba, an instrument which has been all but ignored since the late 17th century - the period of its greatest exponents, François Couperin, Marin Marais and Antoine Forqueray. Savall's ongoing musicological research - uncovering works of previously unknown composers such as Coperario, Cererols, Ferrabosco, Ortiz, and Guerrero - has made him a major force in the revival of early music.

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Isaac: In the time of Lorenzo de’ Medici and Maximilan I

Isaac: In the time of Lorenzo de’ Medici and Maximilan I

1450-1519


1. La morra (instrumental) - Henricus Isaac

2. Motet : Sustinuimus pacem ? 4 v. - Henricus Isaac

3. Fanfare of the Medicis: Palle, palle (instrumental) - Henricus Isaac

4. Motet : Parce, Domine - Henricus Isaac

5. Chanson : Innsbruck, ich mu? dich lassen - Henricus Isaac

6. Carnival song: Hora e di maggio - Henricus Isaac

7. Instrumental song: A la battaglia - Henricus Isaac

8. Lament: Quis dabit capiti meo aquan? Henricus Isaac / Angelo Poliziano

9. Motet : Sancti spiritus assit nobis gratia - Henricus Isaac

10. Motet : Angeli, Archangeli ? 6 v. - Henricus Isaac

11. Instrumental motet (Duc de Ferrara) : La Mi La Sol - Henricus Isaac

12. Motet : Optime Divino date munere pastor ovili ? 6 v. - Henricus Isaac

13. Motet (Choralis Constantinus) : Circumdederunt me - Henricus Isaac

14. Song : O Welt, ich mu? dich lassen - Henricus Isaac / Texte Anonyme

15. Motet (Contrafactum de Virgo prudentissima) : Christus, filius Dei ? 6 v. - Henricus Isaac


This new album is not only the opportunity to discover the music of Heinrich Isaac under the inspired direction of Jordi Savall ; it is also the portrait of an era during which the Hundred Year's War ended, the Medici family reached its peak, the idea of the Reformation surged and Charles V was crowned at the head of an Empire that redefined the idea of Europe, as did the music of this time.

Recorded December 23rd, 2016 - January 19th, 2017 in Spain

Format: digipak deluxe - 1 hybrid multichannel

SACD

Booklet: English, French, German, Italian, Castillan, Catalan

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Dixit Dominus: Vivaldi, Mozart, Handel

Dixit Dominus: Vivaldi, Mozart, Handel


Handel:

Dixit Dominus, HWV 232

Mozart:

Dixit and Magnificat, K. 193

Vivaldi:

Dixit Dominus, RV595


Marta Mathéu, Marta Bayodi-Hirt (sopranos), Anthony Roth Costanzo (alto), Makoto Sakurada (tenor), Furio Zanasi (bass) & Manfredo Kraemer (concertino)

La Capella Reial de Catalunya & Le Concert des Nations, Jordi Savall

Alia Vox presents three composers in three masterpieces based on a cornerstone of the Bible, the psalm 'Dixit Dominus' in the latest programme from Jordi Savall.

Following the critically acclaimed 'Magnificat & Concerti' two years ago, 'Dixit' highlights the full maturity of his ensembles.

The vivid orchestral colours, the ideal spacing of the instruments, the effortless virtuosity of the choir, the bright recorded sound bringing out the detail within the works all prove that Jordi Savall has established a new standard for the recording of 18th Century music.

“The performances of all three pieces have an overall character that contrasts with the tendency these days for hard-driven interpretations…an individualistic and essentially musical approach, as one might expect from Savall” Gramophone Magazine, January 2017

“glorious singing and playing of irrepressable effervescence ... Superb SACD sound and a lavishly designed booklet” Choir & Organ, July 2017

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Granada 1013-1526

Granada 1013-1526


1. Invocación Qamti be-Ishon Layla (Cantar de los Cantares. Inspirado en Cantar 3, 1-4)

2. Taqsim instrumental & Danza morisca (Ney)

3. Moaxaja: Billadi askara min aadbi Llama - Al-Andalus

4. Preces: Penitentes orate - Plegaria mozárabe s. XI

5. Ductia (instr.) - Cantiga de Santa María (CSM 123) - Alfonso X El Sabio

6. Siónida: Yefe Nof - Yehudá Haleví (1075-1141)

7. Taqsim (Kanun) - Improvisación - Moaxaja: Ya gosan naqa - Ibn Zuhr - Tradición Al-Ándalus

8. Fragmento de la Carta sobre la conversión forzosa Iggeret ha-Shemad, cap. IV - Las Estrellas de los cielos

9. Danza morisca

10. Lamento: Plange Castella misera - Anónimo, Códice de Las Huelgas, f. 160, s. X

11. Danza de iniciación (instrumental)

12. Lamento hebraico-andaluz Dror yiqrá - Dunash ben Labrat, s. X

13. Poema en piedra de la Alhambra de Granada. Texto en árabe de Ibn Zamrak - Taqsim

14. Pero que seja a gente - Cantiga de Santa María (CSM 181) - Alfonso X El Sabio

15. Romance fronterizo: Cerco de Baeza - Anónimo, Cancionero de Palacio (CMP 106)

16. Lamento: El camino – La angustia - Improvisación andalusí

17. Propiñan del Melyor (instr.) - Anónimo, s. XV

18. Villancico: Aquella mora garrida - Gabriel, Cancionero de Palacio (CMP 254)

19. Villancico: Viva el gran Re Don Fernando - Carlo Verardi

20. Romance: El pan de la aflicción - Plegaria sefardí

21. Diario de abordo de Cristóbal Colón, Noche del 11 al 12 octubre 1492

22. Villancico: Todos los bienes del mundo - Juan del Enzina

23. Crónica de los Reyes de Castilla, cap. CXCVI

24. Lamento andalusí Maqam hijaz - Ibn Zaydún (Córdoba 1003-Sevilla 1071)


Jordi Savall examines 500 years of history in this portrait of a city that symbolises like no other the fruitful, and at the same time, conflictual encounter of the three monotheistic religions. The succession of the Zirid, Almoravid, Almohad and Nasrid dynasties, their relationship with the neighbouring Christian kingdoms and the often precarious situation of the Jews (the first inhabitants of this area) are reflected in this wide musical fresco, in which each culture displays its most advanced refinement.

“imaginatively chosen, memorably performed, well documented with essays and illustrations.” Record Review, 11th June 2016

“Here is a fascinating range of music Islamic, Jewish and Christian, charting half a millennium of history...The performances under Savall’s direction are always evocative, and some are touching and some vibrant.” Sunday Times, 3rd July 2016

“A classic Jordi Savall project with Iberian cultural history lesson and loads of misty reverb attached...the performances are full of finesse and intensity...What stands out for me is the Mozarabic polyphony – vibrant, poised singing from La Capella Reial de Catalunya.” The Guardian, 28th July 2016 ****

“The celebration of musical interconnectedness is manifest in the smoothness of Savall’s programme and its execution … Heart-rending moments of beauty abound such as Manuel Forcano’s (director, Institute Ramon Llull) recitation concerning the forced conversion of the Jews in 1148.” Gramophone Magazine, September 2016

“The music itself is packed full of discoveries and treasures which often reveal themselves through juxtaposition … The choral work is also typically excellent … In short, this is a breathtaking achievement. It’s the kind of disc that often left me in quiet astonishment not just at its ambition, artistry or skill, but at the way it tries to further the human story and enrich the experience of us all. Bravo!” MusicWeb International, September 2016

“As ever, Savall points up the sources’ colour, vitality, expressiveness and socio-political context in an exciting, fascinating and utterly beguiling programme … The singers are superb, displaying gorgeous timbres and honest emotional dimensions … the realisations are consistently moving and beautiful. Even the spoken texts sound mellifluous and resonant.” BBC Music Magazine, November 2016 *****

“In yet another Tardis of a disc, time-traveller extraordinare Jordi Savall packs five centuries and seven epochs of Granada’s history into a haunting, atmospheric, evocative, heart-rending, -stopping, -warming by turns melange of three medieval cultures: Arabic, Christian and Jewish … this SACD with (as ever) stunningly beautiful booklet enthrals, enchants and demands total attention.” Choir & Organ, November/December 2016

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Ramon Llull (1232-1316)

Ramon Llull (1232-1316)

Era of Conquest, Dialogue, and Exhortation


Ramon Llull (1232-1316) was one of the most prominent writers and poets of medieval Catalonia. Llull lived at a time of great cultural splendour, marked by the coexistence, not always peacefully, of the three religious cultures of his time: Christian, Jewish, Muslim. While there is no direct evidence whether or not Ramon Llull was himself a musician, it’s clear that he deeply loved the art of singing; indeed, many of his poems were intended to be sung.

Jordi Savall leads La Capella Reial de Catalunya, Hespèrion XXI, and special guest artists in a programme entitled 'Ramon Llull: Era of Conquest, Dialogue, and Exhortation'.

“If you’ve come across Savall’s special projects on the Alia Vox label before you’ll know just what an attractive package they’ve put together; the music though, that’s the thing, colourful, imaginative, beautifully recorded” CD Review, 21st May 2016

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Biber: Baroque Splendor - Missa Salisburgensis

Biber: Baroque Splendor - Missa Salisburgensis

Recorded in Cardona (Catalunya) January 14-16, 2015 except for La Battalia à 10, recorded on February 11th, 2002


Biber:

Motet 'Plaudite tympana'

Battalia à 10

Sonata Sancti Polycarpi

Missa Salisburgensis

Fanfara


Hanna Bayodi-Hirt, Marianne Beate Kielland, Pascal Bertin, David Sagastume, Nicholas Mulroy, Lluis Vilamajó, Daniele Carnovich, Antonio Abete

La Capella Reial de Catalunya & Le Concert des Nations, Jordi Savall

cd book

The 'Missa Salisburgensis à 53 voci' (in comparison, 'Spem in alium' was written by Thomas Tallis for «only» 40 voices) is perhaps the largest-scale piece of extant sacred Baroque music, an archetypical work of the Colossal Baroque. It is a polychoral composition which takes advantage of the multiple organs and various locations available for groups of singers and musicians to perform in Salzburg Cathedral, probably for the 1682 celebrations marking the 1100th anniversary of the founding of the Archbishopric of Salzburg. This stunning recording features Jordi Savall’s ensembles at their best and fully reveals the «splendour» of this masterpiece. A recording of cosmic proportions that Jordi Savall has decided to illustrate with a celestial image of the Helix Nebula. Nothing less.

“Savall rallies his ensembles to scale the exultant heights but still keeps things nimble; the full ensemble sound is warm, vibrant and spacious, while shapely solo voices make clear work of all that counterpoint...Savall is in his element [in Battalia], leading the dance with supple, graceful swing.” The Guardian, 10th September 2015 ****

“an ingenious balancing act between solo voices, choirs and brass, particularly in the ensemble developments of the Gloria and the lengthy Credo, with its shift from angelic high voices to deep, sorrowful ones as the crucifixion weighs heavily.” The Independent, 10th October 2015

“[a] superb new recording … The venue chosen for this recording – the Romanesque chapel of Cardona Castle in Catalonia – also possesses generous reverberation, but Savall knows how to capitalise on it, allowing the music to bloom and blaze but also to withdraw intimately into itself … the overall impression of sumptuousness certainly lives up to the CD’s Baroque Splendour title.” The Telegraph, October 2015

“Savall marshals the music with a keen sensibility to momentum, balance and colour…[his] more organically natural acoustic makes for an easier overall listen [than the Koopman or McCreesh versions] while losing only a little in forthright splendour…[the Mass] makes its awesome point.” Gramophone Magazine, November 2015

“This is Biber in gargantuan mode … superbly recorded. Groups ranging from solo voices with a pair of recorders to the full ensemble complete with brass and drums are thrown across the huge spaces of the chapel with palpable excitement and thrilling effect. The reverberation lasts over five seconds, yet every detail in the small scale passages is crystal clear, and the sheer weight of the full forces is shattering.” BBC Music Magazine, Christmas 2015

“The central work on the disc is the astonishing Missa Salisburgensis, but Savall surrounds this with a range of other works, choral and instrumental, that show this remarkable composer off to a dazzling degree. It's my greatest musical discovery of the year so far...It's very well sung but the effect when the voices, trumpets and drums all combine is breathtaking, and the engineers deserve credit for capturing it so faithfully...Overall, tremendous.” MusicWeb International, February 2016

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Marais: Alcione - Suites des airs à joüer (1706)

Marais: Alcione - Suites des airs à joüer (1706)


Marais, M:

Suite from 'Alcyone'

Première Suite: Airs pour les Driades et les Bergers

Ouverture, Marche pour les Bergers et les Bergères, Air pour les Faunes et les Driades, Menuet pour les Bergers et les Bergères, menuet pour les mêmes, Bourée pour les Bergers et les Bergères, Passepied I & II pour les mêmes

Deuxième Suite - Airs pour les Eoliens et les Eoliennes

Air, Menuet, Air, Menuet da capo, Sarabandes, Gigue

Troisième Suite - Airs pour les Prêtresse et les Magiciens

Prélude de l’Acte second, Sarabande pour les Prêtresses de Junon, Prélude pour la Prêtresse de Junon, Gigues pour les mêmes, Airs I & II pour les Magiciens

Quatrième Suite - Airs pour les Matelots et les Tritons

Prélude de l’Acte troisième, Marche pour les Matelots, Air pour les mêmes, Air «Tambourin» pour les mêmes, Symphonie pour le Sommeil, Tempête, Ritournelle, Entract’ Menuet, Chaconne pour les Tritons


Together with 'Sémélé', 'Alcione' is the only opera composed by Marin Marais. The first first performance took place at the Théâtre du Palais Royal in Paris on February 18, 1706. Shortly after that, Marin Marais decided to gather the most beautiful tunes, including the famous 'Tempest', into four suites.

Le Concert des Nations and Jordi Savall fully reveal the colours of this vivid score. As you might expect, Alia Vox have granted this Heritage reissue a state-of-the-art multichannel remastering and a richly documented booklet.

“These four suites show that Marais was a fine orchestrator and knew how to write descriptive music. These qualities come off very well in this 1993 recording.” MusicWeb International, 9th April 2014

“very fine.” Early Music Review, April 2014

“Few readers will be able to resist either the graceful charm of this music or the elegant gestures of the members of Le Concert Des Nations.” Early Music Today, Autumn 2014

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Monteverdi: Arie et Lamenti; Madrigali Guerrieri et Amorosi

Monteverdi: Arie et Lamenti; Madrigali Guerrieri et Amorosi


Monteverdi:

Il ottavo libro de madrigali, 1638 'Madrigali guerrieri et amorosi'

with Jordi Savall

Ohime ch'io cado

with Ton Koopman

Lettera amorosa

with Ton Koopman

Libro Nono di Magrigali e Canzonette: Si dolce è'l tormento

with Ton Koopman

Lamento d'Arianna 'Lasciatemi morire'

with Ton Koopman

Quel sguardo sdegnosetto

with Ton Koopman

Salve, O Regina

with Ton Koopman

O quam pulchra es

with Ton Koopman

Exulta, filia Sion

with Ton Koopman

Pianto della Madonna 'Iam moriar, mi fili' (sopra il Lamento dell'Arianna), SV 288

with Ton Koopman

Venite, videte

with Ton Koopman


This set gathers 2 albums released in 1990 and 1994.

Each of them definitely established Montserrat Figueras as one of the best performers of Claudio Monteverdi’s vocal music. At this time, she developed an innovative style of interpretation, characterised by great fidelity to historical sources, combined with an extraordinary creative and expressive power, that has exerted a decisive influence on the whole historical music movement.

Vocal music before 1800 required a new technical and stylistic approach capable of restoring to the beauty and emotion of the voice, that most human of all forms of expression, the necessary balance between singing and declamation, with an emphasis on the poetic and spiritual dimension of the text.

She is accompanied by Jordi Savall on CD1 and Ton Koopman on CD2.

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Hispania & Japan

Hispania & Japan

Dialogues


1. Improvisación sobre “O Gloriosa Domina”

Ichiro Seki, shakuhachi (japanese long recorder)

2.O Gloriosa Domina (greg.)

La Capella Reial,Hespèrion XXI

3. Improvisación sobre “O Gloriosa Domina”

Yukio Tanaka, biwa (Japanese lute) & Hiroyuki

Koinuma, shinobue (small flute)

4.Quod Eva Tristis II La Capella Reial, Hespèrion XXI

5. Improvisación sobre “O Gloriosa Domina”

Yukio Tanaka, biwa

6. Tu Regis Alti Ianua III La Capella Reial de Catalunya

7. Improvisación sobre “O Gloriosa Domina”

Ichiro Seki, shakuhachi & Yukio Tanaka, biwa

8. Patri Sit Paraclito IV La Capella Reial

9. DE NARVAEZ O Gloriosa Domina Diferencia II

Hespèrion XXI

10.O Gloriosa Domina - Amen La Capella Reial

11. DE HENESTROSA.Himno XX O Gloriosa Domina

La Capella Reial

12. Rangyoku Hiroyuki Koinuma, nokan (flute)

13. ANÓNIMO. Villancico: Senhora del Mundo

M. Figueras canto y cítara, K. Zuckerman sarod,

P. Edouart tablas

14. Anónimo. Alba&Rotundellus

Hespèrion XXI, Pierre Hamon, flute,

B. Delpierre, chirimia, D. Psonis, percussion

15.Honnôj Yukio Tanaka, chant & biwa

16. O Gloriosa Domina Diferencia I

X. Díaz-Latorre, vihuela de mano

17. Shino no netori

Hiroyuki Koinuma, shinobue (small flute)

18. ANÓNIMO (China). AveMaría (pentatónica)

Montserrat Figueras, La Capella Reial & Hespèrion XXI

19. Reibo Ichiro Seki, shakuhachi


In 2006 Road to the Orient (AVSA9856) was released by Alia Vox. This double album was a musical portrait of Francisco Javier and of his trip from Spain to Japan. On this occasion, Jordi Savall met Japanese musicians who soon became his friends and with whom he performed in many concerts around the world. Consequently, following the catastrophes in Japan, Jordi Savall decided to release this special tribute album in which the most significant pieces of the dialogue between Spain and Japan are gathered.

A premiere in the history of CD packaging !

Included in the set : - a card miniature of a Japanese folding screen depicting the arrival of the first Europeans in Japan, card and book are shrink-wrapped together, CD sleeve is glued in the hardcover of the booklet.

Format of the set : 145 x 190 x 5mm

Format of the miniature folding screen (unfolded) : 435 x 190mm

All profits will be donated to the Japanese Red Cross.

A sticker will indicate the purpose of this release to consumers, which will also feature a picture of the unfolded screen.

“the mixture of western monophony and polyphony with some profoundly beautiful improvisations on them by Japanese musicians is illuminating and unexpectedly rewarding...the real connection throughout is the extraordinary beauty and mutual understanding on the part of the musicians, from both East and West, in this sumptuous, beautifully recorded disc.” Gramophone Magazine, November 2011

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Rameau: L’Orchestre de Louis XV

Rameau: L’Orchestre de Louis XV


Rameau:

Les Indes galantes: Suite

Naïs: orchestral suite

Zoroastre: orchestral suite

Les Boréades: orchestral suite

Les Indes Galantes 1735:

Ouverture, Musette en Rondeau, Air vif, Air des Incas pour la dévotion du Soleil, Air pour les amants qui suivent Bellone, Air pour les guerriers, Menuets pour les Guerriers et Amazones I&II

Orage, Air pour les esclaves africains, Air pour Borée et la Rose, 2ème Air pour les Zephirs, Tambourins I/II, Chaconne

Naïs 1748:

Ouverture, Musette tendre, Rigaudons I /II, Sarabande, Gavotte pour les Zéphirs, Loure, Musette, Tambourins I/II, Entrée des Luteurs, Chaconne, Air de Triomphe

Zoroastre 1749:

Ouverture, Passepieds I/II, Loure, Air des Esprits, Infernaux II, Air tendre en Rondeau, Air Grave, Gavotte en Rondeau, Sarabande, Contredanse

Les Boréades 1764:

Suite d’Orchestre, Ouverture, Entrée, Entrée des Peuples, Contredanse en rondeau, Les Vents Gavotte I&II pour les heures et les Zephirs, Menuets I- II, Contredanse très vive


Following the success of the albums L’ Orchestre de Louis XIII (Philidor l’Aisné) and L’ Orchestre du Roi Soleil (Lully), Jordi Savall delivers another dynastic opus consisting of music by Jean-Philippe Rameau. Le Concert des Nations sparkles in these four orchestral suites which document the genius of the French composer and Jordi Savall’s affinity with the repertoire of the the XVIIIth century.

“This is dance music of dizzying variety and instrumental colour...There's lively, rumbustious playing from Le Concert des Nations...The angular contredanses with their quirky intervals, and the magnificent chaconnes, are splendid – the one for Naïs (1748), involving dancing athletes, boxers, runners and wrestlers, is made for the Olympics opening.” The Observer, 19th June 2011

“Jordi Savall and his ebullient Baroque orchestra, Le Concert des Nations, have released recordings of the music Philidor wrote for Louis XIII, and Lully for Louis XIV. All is eclipsed by the double-CD of Rameau’s fabulously spirited rococo pieces for Louis XV’s orchestra...these suites have a tunefulness, an instrumental diversity and a quirky joyousness that even the most curmudgeonly Anglo-Saxon soul will find hard to resist.” The Times, 18th June 2011 ****

“The exhilarating effect of this joyous music could scarcely be better conveyed. Savall has chosen his “suites” to reflect the astonishing variety of Rameau’s instrumentation and inventiveness as a composer of ballet music...The wonderfully windy music for Les Boréades (sons of Boréas, the north wind) culminates in a sizzling contredanse très vive — guaranteed to set the toes tapping.” Sunday Times, 26th June 2011 *****

“The Chaconne ending Les Indes Galantes shows Savall's breadth, roving with equal conviction from pastoral sensuality to blazing, robust militarism. The whiplash strings of the Nais Overture free an infectious rhythm and the off-beat timpani create thrilling thunder in a voluminous acoustic.” Classic FM Magazine, September 2011 ****

“With a large and varied orchestra and (optional) surround sound, Jordi Savall revels in the unmatched opulence, extravagance and scale of mid-18th century France...The music is divorced from its dramatic context and the visual accompaniment of costume, dancing and scenery, but is speaks splendidly for itself, displaying Rameau's kaleidoscopic orchestration and arresting devices...A magnificent production - the high Baroque doesn't get higher than this” BBC Music Magazine, October 2011 *****

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Mozart: Requiem & Funeral Masonic March

Mozart: Requiem & Funeral Masonic March


Mozart:

Requiem in D minor, K626

Montserrat Figueras (soprano), Claudia Schubert (alto), Gerd Türk (tenor), Stephan Schreckenberger (bass)

Masonic Funeral Music in C minor, K477


Jordi Savall’s recordings of Mozart are few and this album reminds us of what we are missing. Recorded in 1991, it bears the signature of Jordi Savall’s talent as a conductor: breadth, clarity, beauty of singing. Mentioned on Building a Library as one for reissue - please!

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