Christ Church Cathedral Choir, Oxford - Oxford Church Anthems

#777
Жанр: Choral
Страна-производитель диска: Великобритания
Год издания: 1995
Аудиокодек: MP3 (конвертировано из lossless)
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 59:01
Наличие сканов в содержимом раздачи: да

Треклист:
01. Charles Wood: O thou, the central orb (4:41)
02. Orlando Gibbons: Almighty and everlasting God (2:17)
03. Herbert Howells: My eyes for beauty pine (2:27)
04. Franz Schubert: Where Thou reignest (5:57)
05. Anton Bruckner: Locus iste (2:58)
06. G. F. Handel: Lord, I trust thee (2:20)
07. William H. Harris: Holy is the true light (1:53)
08. Kenneth Leighton: Solus ad victimam (4:39)
09. John Rutter: God be in my head (1:50)
10. C. V. Stanford: Pray that Jerusalem (2:38)
11. Johannes Eccard: When to the temple Mary went (3:03)
12. Henry Purcell: Thou knowest, Lord (2:13)
13. William Byrd: Ave verum corpus (4:04)
14. J. S. Bach: Awake, thou wintry earth (3:06)
15. Tomas Luis de Victoria: O quam gloriosum (2:39)
16. Thomas Morley: Nolo mortem peccatoris (3:03)
17. John IV, King of Portugal: Crux fidelis (2:31)
18. H. Baqlfour Gardiner: Evening Hymn (6:42)

Исполнители:
Christ Church Cathedral Choir, Oxford
Stephen Darlington, director
Stephen Farr - organ

Recorded at Christ Church Cathedral, Oxford on May 23-24, 1994.

[spoiler="Об альбоме (сборнике)"]

The Choir of Christ Church Cathedral, Oxford, present on this disc a survey of music from the "New Church Anthem Book" - new, at least, in 1996 - which contains some of the most accessible and well-crafted music in the repertoire of the English Church. Since the book was designed for use by parish church choirs, it follows that most of the music is quite simple, and the Christ Church Choir make it sound easily achieved, but it is still enormously effective and makes a good sequence of music. The extremely close acoustic of Christ Church Cathedral (the driest cathedral acoustic in England, I believe) lends an impression of what such music might sound like in the parish church context.
Some of the all-time favourites are here, as one might expect: Charles Wood's magnificent "O Thou, the central orb"; "Locus iste," arguably the most famous of Bruckner's motets; Purcell's solemn funeral sentence "Thou knowest, Lord, the secrets of our hearts"; William Byrd's poised yet anguished setting of "Ave verum corpus"; John Rutter's gem-like and highly effective setting of the beautiful Sarum Primer prayer "God be in my head." These are certainly to be heard from time to time at all the great cathedrals in England, but are no less at home in English parish churches and make for absorbing listening.
Other items fit more obviously into the cathedral tradition. Orlando Gibbons, whose career ended with a brief tenure as Organist and Master of the Choristers at Westminster Abbey, enriched the worship there and in other great houses of prayer with his anthems and music for the liturgy, and his motet "Almighty and everlasting God" is a noble example of his calmer polyphonic writing. Also from the Tudor period is the dignified account of Simeon witnessing the Christ-child in the temple and declaring his faith and readiness to die in that faith in Johannes Eccard's "When to the temple Mary went." Thomas Morley produces an intense restraint in "Nolo mortem peccatoris" with its weaving vocal lines. The Renaissance is well represented in the lush motets of Victoria (his evocative setting of "O quam gloriosum") and King John IV of Portugal (the popular "Crux fidelis," often to be heard during Passiontide).
Two interesting items are extracts from baroque cantatas, sung in English: "Awake thou, wintry earth" comes from Bach's Cantata 129 and features a chorale (with unmistakable harmonies) set above a continuous organ part that makes colourful use of trumpet stops; meanwhile, "Lord I trust thee" is adapted from Handel's lesser-known oratorio "Der f