Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Schumann: Choral Works
Schumann: | Vier doppelchörige Gesänge, Op. 141 Romanzen und Balladen für Chor Heft I, Op. 67 Der träumende See Op. 33 Nr. 1 Die Minnesänger, Op. 33 Nr. 2 Die Lotosblume, Op. 33 No. 3 Am Bodensee, Op. 59 No. 2 Gute Nacht, Op. 59 No. 4 Tamburinschlagerin, Op. 69 No. 1 Klosterfraulein, Op. 69 No. 8 Spanisches Liederspiel, Op. 74: Intermezzo In der Nacht, Op. 74 No. 4 Es ist verraten Ich bin geliebt (No. 9 from Spanisches Liederspiel, Op. 74) |
The Flemish Radio Choir is a professional chamber choir which performs a wide range of repertoire, including works which they have commissioned. Here they perform the works of Schumann, including Vier doppelchörige Gesänge Op.141 and excerpts from Romanzen und Balladen Op. 67, Vier Gesänge opus 59 and Romanzen Op.69. “Although Schumann envisaged more ample forces, the 24-strong Flemish Radio Choir under the sympathetic direction of Bo Holten sings with fresh, keenly focused tone, pure intonation (crucial in Schumann's many chromatic thickets) and a wide spectrum of dynamics and colour...this beautifully recorded recital should open many ears to the beauties of Schumann's choral works” Gramophone Magazine, May 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Sehnsucht - The Gents
Röntgen: | Hoffnung ('Letzte Lust und letzte Blüten') Fiesole ('Alles Tosen ist zerstoben') | Schubert: | Sehnsucht (Nur wer die Sehnsucht kennt), D656 Die Nacht, D983c Ständchen 'Zögernd leise', D920/921 Grab und Mond, D893 Der Entfernten D331 (Salis-Seewis) Nachtviolen D752 (Mayrhofer) Nachtstück, D672 (Mayrhofer) Abendstern, D806 An Sylvia, D891 | Schumann: | Die Lotosblume, Op. 33 No. 3 Die Rose stand im Tau, Op. 65 No. 1 Der träumende See Op. 33 Nr. 1 | Strauss, R: | Vor den Türen, Op. 123 No. 1 Traumlicht, No. 2 of Drei Männerchöre AV123 | Wolf, H: | Sechs Geistliche Lieder |
The nineteenth century was a golden age for choral singing in Germany and Austria. Beginning in 1810, singing clubs, and later on, choral societies, shot up all over this part of the world like mushrooms. You could join a Liedertafel, Liederkranz, or Männersangverein. Carl Friedrich Zelter, Mendelssohn’s teacher and the leader of the Berliner Singverein, was the first person to use the term “Liedertafel” in 1808. The term was used to indicate an informal meeting of poets, composers, and singers who came together to sing German partsongs. In a letter addressed to Goethe, Zelter explained that the 25 members of his Liedertafel were accustomed to sit down at a well-furnished table for a sumptuous dinner followed by an evening of singing. Zelter’s group preferred original works, so freshly composed that the ink was still wet. The goal was stimulation and promotion of German poetry and music. The Gents is unique All-male Dutch vocal ensemble that obtained in a very short period a prominent place within the international music world. The group of young singers is praised because of their special sound, the large degree of flexibility and the unequalled interpretation of the very divergent vocal repertoire. Whether it concerns religious music from the Renaissance, romantic English music, arrangements of contemporary jazz and pop songs or especially composed works for the ensemble, the concerts of The Gents are always an extraordinary experience. The concerts can count therefore on enthusiastic public and positive criticisms in the press. “The 18-strong Dutch ensemble bring to their enterprising programme the essential technical finesse: a rounded, unforced sonority, refined chording and balance (un-hooty male altos blend euphoniously with the high tenors on the top lines), and near-perfect intonation...They are always alive to the sound and sense of the words” Gramophone Magazine, August 2010 “Hypnotically homogenous of timbre, hushed and soft-focused, The Gents clearly relish Schubert's songs of night and of yearning” BBC Music Magazine | | | Usually despatched in 4 - 5 working days. |
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| |  | Liedertafel
Mendelssohn: | Wasserfahrt, Op. 50 No. 4 Sommerlied 'Wie Feld und Au' so blinkend im Thau', Op. 50 No. 3 Abendständchen Op. 75 Nr. 2 | Schubert: | Die Nachtigall, D724 Der Entfernten D331 (Salis-Seewis) Widerspruch D865 (Seidl) Trinklied D148 (Castelli) Trinklied aus dem 16. Jahrhundert D847 Op. post. 155 Trinklied, D75 Im Gegenwärtigen Vergangenes, D710 Grab und Mond, D893 Der Gondelfahrer, D809 Die Nacht, D983c Abendfrieden La Pastorella, D513 Zur guten Nacht, Op. 81 No. 3 D903 | Schumann: | Der träumende See Op. 33 Nr. 1 Die Minnesänger, Op. 33 Nr. 2 Die Lotosblume, Op. 33 No. 3 | Silcher: | Loreley Frisch gesungen Entschuldigung Der lustigen Doktoren Leibliedlein Untreue ('In einem kühlen Grunde') |
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| |  | Am Brunnen vor dem ToreCelebrated works for male choir
anon.: | Drei Reiter am Tore | Beethoven: | Die Ehre Gottes aus der Natur ('Die Himmel rühmen des Ewigen Ehre'), Op. 48 No. 4 Opferlied 'Die Flamme lodert', WoO 126 | Brahms: | In stiller Nacht, WoO 34 No. 8 | Hassler, H L: | Wenn ich einmal Soll scheiden | Haussmann: | Mein Buhlschaft ist Frau Musica | Isaac: | Innsbruck, ich muss dich lassen | Mendelssohn: | Türkisches Schenkenlied 'Setze mir nicht', Op. 50 No. 1 Wasserfahrt, Op. 50 No. 4 Der Jäger Abschied: Wer hat dich, du schöner Wald, Op. 50 No. 2 | Schubert: | Der Lindenbaum (No. 5 from Winterreise, D911) Liebe, D983a Die Nacht, D983c Nächtliches Ständchen D635 | Schumann: | Die Rose stand im Tau, Op. 65 No. 1 Der träumende See Op. 33 Nr. 1 Die Minnesänger, Op. 33 Nr. 2 | Silcher: | Wohin mit der Freud? ('Ach du klarblauer Himmel'), Op. 58 No. 2 Ännchen von Tharau Ich weiss nicht was soll es bedeuten | Weber: | Fruhlingslied | Werner, H: | Heidenroslein |
Berliner Mannerchor Carl Maria von Weber, Andreas Wiedermann | |
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