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Agnus Dei, Vol.1
 
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Agnus Dei, Vol.1

~ Samuel Barber (Composer), Gabriel Fauré (Composer), Giovanni Pierluigi da Palestrina (Composer), Wolfgang Amadeus Mozart (Composer), Edward Higginbottom (Conductor), et al.
4.0 out of 5 stars  See all reviews (3 customer reviews)
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Product details

  • Performer: Rebecca Hirsch
  • Orchestra: Oxford New College Choir, Capricorn
  • Conductor: Edward Higginbottom
  • Composer: Samuel Barber, Gabriel Fauré, Giovanni Pierluigi da Palestrina, Wolfgang Amadeus Mozart
  • Audio CD (23 Sep 1996)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Erato
  • ASIN: B000005E4J
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 29,087 in Music (See Bestsellers in Music)

    Popular in this category:

    #54 in  Music > Opera & Vocal > Choral > Cantatas

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1. Agnus Dei, op.11 - Barber
2. Cantique de Jean Racine, op.11 - Faure
3. Kyrie - Palestrina
4. Ave Verum Corpus K 618 - Mozart
5. Jesus bleibet meine Freude - Bach
6. Ave Maria, op.37 No.6 - Choir Of New College Oxford
7. Lux Aeterna - Choir Of New College Oxford
8. Totus Tuus - Choir Of New College Oxford
9. Hear my prayer - Mendelssohn
10. The Lamb - Tavener
11. In paradisum - Faure
12. Miserere mei, Deus - Choir Of New College Oxford

On this CD:
  1. Agnus Dei
    Composed by Samuel Barber
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  2. Cantique de Jean Racine
    Composed by Gabriel Fauré
    Performed by Oxford New College Choir, Capricorn
    Conducted by Edward Higginbottom

  3. Missa Papae Marcelli
    Composed by Giovanni Pierluigi da Palestrina
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  4. Ave verum corpus in D
    Composed by Wolfgang Amadeus Mozart
    Performed by Oxford New College Choir, Capricorn
    Conducted by Edward Higginbottom

  5. Cantata No. 147, 'Herz und Mund und Tat und Leben'
    Composed by Johann Sebastian Bach
    Performed by Oxford New College Choir, Capricorn
    Conducted by Edward Higginbottom

  6. Vespers, 'All-Night Vigil'
    Composed by Sergey Rachmaninov
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  7. Variations on an Original Theme, 'Enigma'
    Composed by Sir Edward Elgar
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  8. Totus tuus
    Composed by Henryk Górecki
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  9. Hear my prayer
    Composed by Felix Mendelssohn
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  10. (The) Lamb, 'Little Lamb, who made thee?'
    Composed by John Tavener
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom

  11. Requiem
    Composed by Gabriel Fauré
    Performed by Oxford New College Choir
    with Rebecca Hirsch
    Conducted by Edward Higginbottom

  12. Miserere mei
    Composed by Gregorio Allegri
    Performed by Oxford New College Choir
    Conducted by Edward Higginbottom


Product Description

Amazon.co.uk Review

This album of choral classics, recorded in the beautiful acoustics of New College Chapel, Oxford, has been given the subtitle "World of Inner Harmony". If one were to be cynical, it suggests a stream of crystals'n'kaftans mood music. The surprise, however, is that though conductor Edward Higginbottom has created an unruffled surface of reflection and calm, he and his choir have also crafted a musically satisfying disc. Much of the variety is to be found in the significantly different styles on offer, from the slow build of Barber's Agnus Dei, through the restrained Gallic beauty of Fauré's Cantique de Jean Racine, to the spare spirituality of Górecki's Totus Tuus. There is also a sophisticated approach to the different acoustics needed for each piece. Fauré's In Paradisum is handled with much more intimacy than, for example, the Kyrie of Palestrina's Missa Papae Marcelli, which is recorded at a far greater distance. The most risky item on the disc is John Cameron's arrangement of Elgar's "Nimrod" for eight-part choir, using the words of the Lux Aeterna: it teeters between kitsch and real power. In the end, as with most of the pieces here, the choir's extraordinary performance renders it hugely enjoyable. --Warwick Thompson


From Amazon.com

Beyond this recording's new age packaging and title is a splendid sampling of some of the world's finest choral music, sung by one of the world's outstanding choirs. This "anthology of sacred choral music" spans 400 years and includes such masterpieces as Allegri's Miserere, Bach's "Jesu, joy of man's desiring," and Barber's exquisite Agnus Dei, which is the composer's choral setting of his famous Adagio for Strings. Along the way we also hear Mozart's sublime "Ave verum corpus," Elgar's "Lux aeterna," and the Kyrie from Palestrina's Missa Papae Marcelli. There has been a choir at England's New College, Oxford, since the year 1379, and this impressive line of experience shows in the intelligent, unfaltering, and finely polished performances by today's ensemble of 16 boys and 12 adults. --David Vernier

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Customer Reviews

3 Reviews
5 star:
 (2)
4 star:    (0)
3 star:    (0)
2 star:
 (1)
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Average Customer Review
4.0 out of 5 stars (3 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

 
13 of 14 people found the following review helpful:
5.0 out of 5 stars Absolutely outstanding quality of programme and performance, 30 Jun 2001
By philippa@murray11187.fsnet.co.uk (Milton Keynes, England) - See all my reviews
This CD from New College is worth buying for the Allegri's Miserere alone - I have six or seven different recordings of this piece including the famous King's version and New College's version is undoubtedly the best. The entire programme is well chosen, encompassing music from eight different European countries and covering a time span of almost five hundred years. Each piece flows easily into the next and a sense of continuity is felt despite the time leaps between pieces. The sound is arresting - Edward Higginbottom cultivates a unique sound in his trebles, chesty and strong in the lower registers and almost painfully sweet and pure in the higher, at all times emotionally charged, the expression heightened by the earthy vibrato. The famous "fruity" alto tone of New College is as much in evidence as ever here. Perhaps the commercial success of this CD is due to Higginbottom's ability to create a new interpretation of even the best known pieces, and to his incredible sensitivity to dynamics and expression. A vital addition to any classical music collection.
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4 of 5 people found the following review helpful:
5.0 out of 5 stars The Barber Adagio sends chills down my back, 3 Jan 2007
By John S. Allen (Waltham, MA USA) - See all my reviews
(REAL NAME)   
The singing in the Barber Adagio is exquisite. The phrasing is elegant, the pace is right, and the sopranos nail some stratospheric notes near the end that send chills down my back.

I first heard the Adagio decades ago on a 78 RPM disc with the Philadelphia orchestra conducted by Ormandy, and I have heard many versions since. But the Adagio acquires an entirely new dimension of expression and of challenge to musicianship when sung unaccompanied by a choir.

I was born and live in the USA, as Barber did, but I tip my hat to the British for the finest and most moving version of this piece I have ever heard.
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4 of 11 people found the following review helpful:
2.0 out of 5 stars Mystified by all this praise, 14 April 2002
By Mr. F. L. Dunkin Wedd - See all my reviews
(TOP 500 REVIEWER)    (REAL NAME)      
My previous review (now deleted) started with the words "Avoid at all costs" - and got 15 'unhelpful' ratings.

Before you rate THIS review as unhelpful, hear me out.

In the light of the other rave reviews listed here, I have just listened all the way through again. Perhaps I was a little harsh before. But I remain unconvinced by these interpretations, some of which sound positively Victorian - slushy, wobbly and tonally wooden. And there are some vocal infelicities that simply should not have got past the editing process.

Take the Mozart: even in the first two bars - just the instrumental intro - there's a slushy rit (the first of many!), a sudden accelerando and another rit just before the choral entry. Where does Mozart ask for this? It might have passed muster in 1890, but in 2007 it sounds extraordinarily dated.

There's a lot of swooping (eg 'ave verum corpus' at 15 seconds in). The vocal entries are tentative and the ensemble is patchy: at the end of the first vocal phrase (20 seconds in) they don't come off together. Listen to the 't' sound of 'natum' at the start of the next phrase (26 seconds): it goes 't-t-t-'. At 'Vere passum..' the singers are sneaking in because they're not sure of the beat, so there's no positive 'v' sound to 'vere'; you'll hear this 'sneaking in' repeatedly through the whole CD - a sure sign that the singers lack confidence in the conductor's beat.

At 1' 50" there's another rit (not Mozart's!), and again the entry is ragged and ensemble poor (listen to the 's' sounds of 'esto' and 'nobis'). The strings (and these are good players) sound deeply uncomfortable with the tempi and with all these rits and ralls. This performance is molto maestoso, vibrato-laden and sentimental; and - I'm sorry - but choir and players are simply not together. And I find that repeated in the other tracks.

Maybe I'm listening in a different way from other reviewers; maybe I should just relax and let the muzak flow over me; maybe I should be swept away by the gloopy sentiment of it all. Maybe...
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