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What's on Great Sacred Music, Sunday, April 6, 2014

Location: North Carolina, USA
Great Sacred Music airs every Sunday morning from 8 until 11 a.m. eastern on The Classical Station.
Most of the music on this week's playlist can also be found on Spotify at this link: GSM - April 6, 2014
Also on Sunday evenings you can hear more choral music both sacred and secular on Wavelengths and Peaceful Reflections
beginning at 9 p.m. eastern.
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08:02:00
Tomas Luis de Victoria: Vidi speciosam
Stile Antico
 
de Victoria's setting of the Responsory for the Feast of the Assumption translates as
follows: "I saw her, beautiful as a dove, ascending from above streams of water, she
whose sweet fragrance was above price in garments deliciously perfumed, and like a
spring day, she was surrounded by roses and lilies of the valley."
 
08:08:34
Thomas Attwood Walmisley: Psalm 49
Choir of St. Paul's Cathedral, London, John Scott
Andrew Lucas, organ
 
Anglican chant dates back to the late 16th century. The marriage of the music to the
psalm text is what makes this particular musical form full of both meaning and beauty.
 
08:17:49
Antonio Vivaldi: I turbato mare, RV 627
The King's Consort, Robert King
Susan Gritton, soprano
 
This Marian motet describes how the captain and his ship are brought safely into port
by the star of the sea, Mary.
 
08:35:11
Arvo Part: Salve Regina
Estonian Philharmonic Chamber Choir, Paul Hillier
Christopher Bowers-Broadbent, organ
 
Arvo Part wrote his setting of the Salve Regina in 2001. The Estonian composer's music
is intensely spiritual.
 
08:49:55
Gabriel Faure: Messe basse
Saint Thomas Choir of Men and Boys, John Scott
Richard Pittsinger and Jack Keller, treble; 
Kevin Kwan, organ
 
A messe basse or low mass sets the Kyrie, Sanctus, Benedictus and Agnus Dei portions of
the liturgy. Faure wrote his Messe Basse in 1881.
 
09:01:48
J.S. Bach: Motet No. 5: "Komm, Jesu, komm", BWV 229
RIAS Chamber Choir; Akademie für Alte Musik Berlin
Rene Jacobs
 
Scholars think that Bach wrote his six motets for the funerals of prominent citizens. They
were probably performed at graveside.
 
09:13:17
John Tavener: Little Requiem for Father Malachy Lynch
Choir of Westminster Abbey; English Chamber Orchestra, Martin Neary
 
The Southern Cathedrals Festival commissioned this work in 1972. It is scored for SATB
choir and orchestra.
 
09:25:31
Manuel Arenzana: Grand Mass in D
Mexico City Chorus and Chamber Orchestra, Benjamin Jaurez Echenique
Irasema Terrazas, soprano; Gabriela Thierry, mezzo-soprano;
Flavio Becerra, tenor; Jorge Cozatl, bass; Ivan Juarez, bass
 
Manuel Arenzana (c. 1762-1821) was the organist and choirmaster of Puebla Cathedral
in Puebla de los Angeles, Mexico from 1792-1821.
 
09:58:56
Horatio Parker: Hora Novissima
Abendmusik Chorus; Nebraska Wesleyan Choir; Nebraska Chamber Orchestra, John Levick
Anna Soranno, soprano; Julie Simson, mezzo-soprano;
Kent Hall, tenor; Duane Andersen, bass-baritone
 
Horatio Parker (1863–1919) used the opening text of De contemptu mundi by Bernard of
Cluny for his oratorio Hora Novissima. The work was finished in 1893 and is scored for large
chorus,soloists and orchestra. Parker was taught by George Whitefield Chadwick and himself
taught Charles Ives and Roger Sessions.