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Requiem/Cantique/Messe Basse/E


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Product Details

  • Audio CD (Aug. 1 1989)
  • Number of Discs: 1
  • Label: Hyperion
  • ASIN: B000002ZKQ
  • In-Print Editions: Audio CD
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: #100,564 in Music (See Top 100 in Music)

1. Requiem Op. 48: Introit and Kyrie
2. Requiem Op. 48: Offertoire
3. Requiem Op. 48: Sanctus
4. Requiem Op. 48: Pie Jesu
5. Requiem Op. 48: Agnus Dei
6. Requiem Op. 48: Libera Me
7. Requiem Op. 48: In Paradisum
8. Cantique De Jean Racine Op. 11
9. Messe basse: Kyrie
10. Messe basse: Sanctus
11. Messe basse: Benedictus
12. Messe basse: Agnus Dei
13. Two Motets Op. 65: Tantum Ergo Op. 65 No. 2
14. Two Motets Op. 65: Ave Verum Op. 65 No. 1

Product Description

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1 of 1 people found the following review helpful By Richard Wells on March 13 2001
Format: Audio CD
I am hardly a classical music maven. I listen as others might use recreational drugs - when all else fails I hope a piece of classical music will take me out of myself and let me get a little closer to heaven. An opportunity to bathe in beauty. The reason it doesn't often work is because just as I'm about to transcend the composer changes dynamics and the bath turns into a perfect storm. Not so with this work. Forty minutes of undiluted peace, but with complexities that demand active listening. Vocals and instruments are of such a whole that I found myself listening to strings that unfolded as a voice, and vice versa. The vocal combinations and close harmonies were flawless. There was not a moment that was not gorgeous, and any loss of attention was caused by my own wandering mind rather than any jarring musical effect. These are the sounds I would like to accompany me on the big transition - they would open the gates.
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2 of 2 people found the following review helpful By Erik C. Friedman on Feb. 18 2001
Format: Audio CD
This is a stunning work, performed stunningly by the King's Consort under the direction of Robert King. Highly recommended
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By mrs. Rides on Sept. 5 2002
Format: Audio CD
This recording from December 1987 in the Church of St Jude-on-the-Hill, Hampstead, London, is far superior to all other recordings of Pergolesi's Stabat Mater.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 12 reviews
12 of 13 people found the following review helpful
a voice teacher and early music fan March 22 2006
By George Peabody - Published on Amazon.com
Format: Audio CD
GRAMOPHONE SAYS: 'THIS IS SO GREATLY SUPERIOR TO ALL PREVIOUS RECORDINGS OF PERGOLESI'S DEATHBED STABAT MATER AS TO PUT THE OTHERS COMPLETELY OUT OF THE RUNNING'.

Giovanni Battista Pergolesi achieved only modest success during his short lifetime, but the twenty years following his death(at the age of 26) in 1736,saw an extraordinary change, turning him into one of the most-published composers of the 18th century. An Eighteenth Century French writer described the 'Stabat Mater', completed as the composer lay dying, as the 'masterwork' of Latin music'.

Although this is music of great tenderness and sombre beauty, the work also includes chromatic sequences, sighing passages and dramatic dissonance straight out of the operatic style that made Pergolesi famous. The Stabat Mater is a setting of the sequence for the Feast of the Seven Dolours (sorrows) of the Blessed Virgin Mary, and was written during Pergolesi's last few months. Harmonically Pergolesi was ahead of his time; one technique he made use of was the application of chromaticism to create a bitter-sweet tone of expressive sensibility. In addition there is an operatic element such as is contained in the jaunty "Quae morebat" sung by the alto (Michael Chance).

The Salve Regina with its A minor setting and supplicatory text,contains many hallmarks of the Stabat Mater; from the expressive sighing of the 'Ad te suspiramus' to the contrasting misic of the strong 'Ad te clamamus' sung by the soprano (Gillian Fisher).

"In coelestibus regnis" (sung magnificently by Chance) is an example of the short type of piece that Pergolesi might have found time to write in between his operatic commisions. This is a truly exquisite and exciting recording featuring the WONDERFUL voices of Michael Chance -countertenor and Gillian Fisher-soprano. I have 2 other recordings of this music; neither of them come even close to the perfection of this one.!!!!!!

Since I wrote the above review I have purchased two other recordings of this work pairing Chance with a sopranist Jorg Waschinski. Although tempos and interpretations are the same it has an entirely different flavour; not unpleasant, however. The other recording features Chance with a soprano Maya Boog and is performed in German; now THIS is different and a bit hard to get used to, so I'll stand by my above statements that the Chance-Fisher recording is superior.

This was recorded in December, 1987, and the accompanying booklet is in French, German and English. However, the text is only translated from the Latin to the English.
16 of 19 people found the following review helpful
The perfect recording March 21 2007
By Steven Guy - Published on Amazon.com
Format: Audio CD
I have heard a number of soprano & countertenor teams sing the Stabat Mater since this recording was made, Kirkby & Bowman (the use of a harpsichord annoyed me in that recording) and Bonney & Scholl (the voices were mismatched, IMHO - Maria Cristina Kiehr would have been a better partner for Scholl, David Daniels a better partner for Bonney) immediately come to mind, but none move me and impress me like this recording. I think that this is one of the finest recordings of 18th century sacred music I've ever heard, it is certainly the most moving recording I've heard.

The voices of Michael Chance and Gillian Fisher blend perfectly and both sing with great style and conviction. Something of a "dream-team", to use a colloquialism, in fact. The dissonances are brought out most effectively and poignantly ... and without distracting and unnecessary vibrato. You'll never heard the seconds, sung in the opening movement, with more precision and bite than on this recording!

The King's Consort uses a small number of strings, organ and theorbo accompaniment. Robert King's choice of tempi is natural and effective. The recorded sound and the acoustical environment of the recording is perfect, neither is it too dry nor too reverberant. All in all, an ideal recording of this masterpiece from this tragically short lived composer. I own this recording and, although I've heard other recordings, including the one with Andreas Scholl, a favourite singer of mine, I have never felt tempted to buy another recording.
20 of 28 people found the following review helpful
Otherworldly March 13 2001
By Richard Wells - Published on Amazon.com
Format: Audio CD Verified Purchase
I am hardly a classical music maven. I listen as others might use recreational drugs - when all else fails I hope a piece of classical music will take me out of myself and let me get a little closer to heaven. An opportunity to bathe in beauty. The reason it doesn't often work is because just as I'm about to transcend the composer changes dynamics and the bath turns into a perfect storm. Not so with this work. Forty minutes of undiluted peace, but with complexities that demand active listening. Vocals and instruments are of such a whole that I found myself listening to strings that unfolded as a voice, and vice versa. The vocal combinations and close harmonies were flawless. There was not a moment that was not gorgeous, and any loss of attention was caused by my own wandering mind rather than any jarring musical effect. These are the sounds I would like to accompany me on the big transition - they would open the gates.
1 of 1 people found the following review helpful
An outstandingly fine 1893 Requiem to compare with Rutter's equally fine recording Feb. 19 2013
By I. Giles - Published on Amazon.com
Format: Audio CD
Prequel:
My thanks to the reader who has informed me of the double listing of this review - one correct and one incorrect.
Unfortunately this is a common software problem, especially where listings share similar titles, and cannot be corrected by reviewers.
Please be patient and understanding therefore and either scroll down past this review or read it for unintentional additional interest if appropriate! Best wishes - Ian Giles
..........................................................................

This disc, first issued in 1989, focusses on a recording of the second of three versions Faure made of his Requiem. The first version did not include two of the movements and was written for a smaller orchestra without violins, horns or trumpets. The second version from 1893 and recorded here incorporated these extra instruments in a limited but telling way and also included the Offertoire and Libera Me missing from the first version. The third, and most often performed version was for full orchestra and larger choir.

The performance here uses the small orchestra as required by Faure and this is matched by the Corydon Singers. a choir of moderate size and purity of tone. The horns have a small but vital role in the climax to the Libera me. This is far more effective than in many more opulent versions simply because of the contrast created between so little and then relatively so much. The important treble solo in the Pie Jesu is taken by solo soprano Mary Seers who sings with clarity and tonal purity. The baritone soloist, Michael George, sings his solos well.

The Cantique de Jean Racine is an early work of Faure written when he was just 20 winning him first prize in a competition. It has justifiably remained popular ever since. The remaining works on the disc are of similar quality but it will be for the Requiem that this disc is chosen.

The disc is completed with the Messe Basse, Tantum Ergo and Ave Verum and these three pieces make this a more generous collection than that offered with the Requiem and Cantique offered by Rutter. Both performances make use of the same 1893 edition of the Requiem, the main difference being that Rutter's choir is smaller and closer to the chamber size of the small orchestra. This extra intimacy is reinforced by the soprano singer, Catherine Ashton, who has a treble quality of sound which sounds very like an excellent boy soloist. Choice between the two at this point may be simply a matter of how much chamber intimacy is preferred, all other things being practically equal.

I would suggest that, like both Matthew Best and John Rutter believe, this second version from 1893 is the finest of the three settings of the Requiem created by Faure. As such it has strong claims on collectors and this is one of the finest performances of that setting yet made. The recording portrays its ethereal quality perfectly.

This is a sublime disc in every way and one that should be considered along with the equally fine, but even more intimate performance by Rutter. Rutter has a marginally purer concept and delivery but offers a less generously filled disc.

I would therefore suggest that either this disc or that by Rutter deserve to be seriously considered when contemplating a purchase. Even better, get both!
2 of 3 people found the following review helpful
Pergolesi: Stabat Mater; Salve Regina; In Coelestibus Regnis Nov. 10 2007
By Bjorn Viberg - Published on Amazon.com
Format: Audio CD
Pergolesi: Stabat Mater; Salve Regina; In Coelestibus Regnis is such a fine recording under the direction of Robert King. Gillian Fischer and Michael Chance grace us with their astounding tallent. The book is quite sparse contains only 4 pages, which is well written essay by Robert King, the text in latin and english and a beautiful painting of the crucifiction. Being a very devout person these works speak right into my very soul. 5 stars.


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