Great Sacred Music airs every Sunday morning from 8 until 11 a.m. eastern on The Classical Station.
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
Joseph Gabriel Rheinberger: Andante ~ Organ Sonata No. 1
Wolfgang Rubsam, organ
1997 Rieger-Sauer organ in St. Fulda Cathedral, Fulda, Germany
Joseph Gabriel Rheinberger: Andante ~ Organ Sonata No. 1
Wolfgang Rubsam, organ
1997 Rieger-Sauer organ in St. Fulda Cathedral, Fulda, Germany
Gregorian chant: Prosa: Clemens servulorum
Anonymous 4
Anonymous 4
Herbert Sumsion: Benedicite
Choir of Gloucester Cathedral, John Sanders
Mark Blatchly, organ
Choir of Gloucester Cathedral, John Sanders
Mark Blatchly, organ
Josef Rheinberger (1839-1901) taught several musicians including Boston composer
Horatio Parker and conductor Wilhelm Furtwangler. The chant which Anonymous 4
will perform is found on their CD entitled “Miracles of Sant’iago”. The Benedicite
Dominum, or the Canticle of the Three Young Men, takes its text from the Book of Daniel
Chapter 3:57-88 and Chapter 3:56.
08:17:46
Antonio Soler: Andantino ~ Concerto No. 3 for Two Organs
Jon Gillock, organ; Kathleen Bride: Harp
Antonio Soler: Andantino ~ Concerto No. 3 for Two Organs
Jon Gillock, organ; Kathleen Bride: Harp
Johannes Brahms: Ave Maria, Op. 12
Choir of St. Bride’s Church, Robert Jones
Choir of St. Bride’s Church, Robert Jones
W.A. Mozart: Ave verum corpus, K. 618
Winchester Cathedral Choir; Winchester College
Quiristers; Academy of Ancient Music, Christopher Hogwood
Winchester Cathedral Choir; Winchester College
Quiristers; Academy of Ancient Music, Christopher Hogwood
The Spanish priest-composer Padre Antonio Francisco Javier José Soler Ramos (1729-83)
wrote six concertos for two organs. Brahms wrote his “Ave Maria” for female chorus from
1858-60. Mozart composed his much-loved 46 bar anthem “Ave Verum Corpus” in the last
few months of his short life.
08:30:37
Loyset Compere: Paranimphus salutat virginem
Joseph Payne, organ
Loyset Compere: Paranimphus salutat virginem
Joseph Payne, organ
Fisk organ Opus 68, University of Vermont, Burlington
Franz Biebl: Ave Maria
Trinity College Choir, University of Melbourne
Michael Leighton Jones
Trinity College Choir, University of Melbourne
Michael Leighton Jones
Dmitri Bortnyansky, arr. Hector Berlioz: Pater noster
Montreal Symphony Chorus, Charles Dutoit
Montreal Symphony Chorus, Charles Dutoit
French musician Loyset Compere (1445-1518) was a contemporary of Josquin
des Prez. Franz Biebl (1906-2001) wrote his setting of the “Ave Maria” for a firemen’s
chorus in Germany in 1964. Dmitri Bortnyansky (1751-1825) was born in the Ukraine.
He was appointed Director of the Imperial Chapel Choir in 1796.
08:43:29
Mikhail Strokin: Maloie slavosloviye
Chorovaya Akademia, Alexander Sedov
Mikhail Strokin: Maloie slavosloviye
Chorovaya Akademia, Alexander Sedov
Harrison Millard: Abide with Me; ‘Tis Eventide
Combined Choirs of Brigham Young University, Ronald Staheli
Combined Choirs of Brigham Young University, Ronald Staheli
Alexander Sedov conducts the Russian a capella male ensemble Chorovaya Akademia
in this performance of Strokin’s setting of the Doxology. Brigham Young University
has a very active choral music program which functions at a very high professional standard.
08:53:53
J.S. Bach: Cantata 3, “Ach Gott, wie manches Herzeleid”
Holland Boys’ Choir; Netherlands Bach Collegium
Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto;
Knut Schoch, tenor; Bas Ramselaar, bass
J.S. Bach: Cantata 3, “Ach Gott, wie manches Herzeleid”
Holland Boys’ Choir; Netherlands Bach Collegium
Pieter Jan Leusink
Ruth Holton, soprano; Sytse Buwalde, alto;
Knut Schoch, tenor; Bas Ramselaar, bass
This cantata was written for the 2nd Sunday after the Epiphany.
09:20:47
Sir Edward Elgar: The Dream of Gerontius, Op. 38
New Philharmonia Orchestra; John Alldis Choir; London Philharmonic Choir, Sir Adrian Boult
Nicolai Gedda, tenor; Helen Watts, contralto; Robert Lloyd, bass
Sir Edward Elgar: The Dream of Gerontius, Op. 38
New Philharmonia Orchestra; John Alldis Choir; London Philharmonic Choir, Sir Adrian Boult
Nicolai Gedda, tenor; Helen Watts, contralto; Robert Lloyd, bass
Sir Edward Elgar’s work for voices and orchestra (he disliked the term ‘oratorio’) traces the progress
of a man through death into Purgatory. Elgar used a text by John Henry, Cardinal Newman. The work
dates from 1900 and is considered one of the composer’s finest compositions.
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