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Drawing on the romantic spirit in music, Schubert’s moving setting is of a poem by Goethe which compares a rushing waterfall to the soul of man, while Strauss’s gorgeous Mittagsruhe depicts the peace of a summer noontide. Narrative vocal traditions are heard in Sibelius’s nationalist Vapautettu kuningatar, Bruckner’s heroic Helgoland, and Grieg’s Landkjenning, which tells of the 10th century Norwegian king Oleg Tryggvason. Das Liebesmahl der Apostel anticipates the religious ecstasies of Wagner’s Parsifal, while Debussy’s early cantata Invocation resonates with Gallic sparkle.
Jean Sibelius: Vapautettu kuningatar (The Captive Queen), Op. 48 (version for male chorus and orchestra)
Vapautettu kuningatar (The Captive Queen), Op. 48 (version for male chorus and orchestra)
Claude Debussy: Invocation (version for male chorus and orchestra)
Invocation (version for male chorus and orchestra)
Richard Strauss: Die Tageszeiten, Op. 76
Die Tageszeiten, Op. 76: No. 2. Mittagsruhe
Anton Bruckner: Helgoland in G minor, WAB 71
Helgoland in G minor, WAB 71
Franz Schubert: Gesang der Geister uber den Wassern, Op. 167, D. 714
Gesang der Geister uber den Wassern, Op. 167, D. 714
Edvard Grieg: Landkjending (Land-Sighting), Op. 31
Landkjending (Land-Sighting), Op. 31
Richard Wagner: Das Liebesmahl der Apostel
Das Liebesmahl der Apostel (excerpt)
“Seven resonant Romantic rarities...enthusiastically performed by a Swedish student choir.”
“This ensemble has a history that dates back to 1831...its joy in singing is one of the main reasons this disc is such a success. The other is its one-of-a-kind programme, which contains several unfamiliar or even obscure works, which nevertheless are of very high quality...This is a likeable release, and it would take an entire rugby team to pry it from my hands!”
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