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What's on Great Sacred Music, Sunday, January 31, 2016

Location: North Carolina, USA
My playlists are on Spotify for you to enjoy: GSM - January 31, 2016
Don't forget that we have more choral and organ music programmed
on Sunday evenings beginning at 10 p.m. eastern.
Rob Kennedy
Great Sacred Music
The Classical Station
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Giovanni Pierluigi da Palestrina: Canite tuba
Voices of Ascension, Dennis Keene
Franz Schubert: Tantum ergo in E flat, D. 962
Gachinger Kantorei Stuttgart; Bach Collegium Stuttgart, Helmuth Rilling
Sibylla Rubens, soprano; Irene Friedli, alto;
Christoph Genz, tenor; Thomas Mehnert, bass
Sergei Rachmaninoff: Bogoroditse Devo
Atlanta Symphony Orchestra Chorus, Robert Shaw
The Voices of Ascension is a professional choral ensemble which was founded
by conductor Dennis Keene in 1990 and is based in New York. Schubert left us almost
as many sacred choral works as he did songs. "Bogoroditse Devo" translates as "Rejoice,
O Virgin Mother of God" and is part of Rachmaninoff's All-Night Vigil, Op. 37
John Tomkins: Cantate Domino
Quire Cleveland, Ross W. Duffin
Claudio Monteverdi: Christe, adoramus te
The Sixteen, Harry Christophers
George Frideric Handel: Hallelujah, your voices raise ~ Occasional Oratorio
Howard University Choir; Handel Festival Orchestra of Washington, Stephen Simon
Quire Cleveland is a professional choral ensemble directed by Ross Duffin. The choir
was founded in 2008. The Sixteen have over 100 recordings to their credit. Harry
Christophers founded the group in 1979. Handel wrote An Occasional Oratorio in early
1746. The libretto uses texts by John Milton and Edmund Spenser.
Pietro Mascagni: Regina coeli (Easter Hymn) ~ Cavalleria rusticana
Mormon Tabernacle Choir; Utah Symphony Orchestra, Julius Rudel
Kiri te Kanawa, soprano
Christopher Gibbons: Not unto us, O Lord
Academy and Choir of Ancient Music, Richard Egarr
Alastair Ross, organ
Sir Charles Villiers Stanford: Magnificat in A, Op. 12
Worcester Cathedral Choir, Donald Hunt
Paul Trepte, organ
The musical forces which appear in this morning's performance of Mascagni's
Easter Hymn are as rich and lush as the music itself. Richard Eggar has been
Director of the Academy of Ancient Music since 2006. Dr. Donald Hunt was
Organist and Director of Music at Worcester Cathedral from 1975-1996.
Sir Hubert Parry: I was glad when they said unto me
Choir of St. Paul's Cathedral, London, John Scott
Cesar Franck: Prelude, Fugue and Variation, Op. 18
Gaston Litaize, organ
1878 Fermis/1923 Gonzalez et Ephrem/1957 Müller/1993 Dargassies organ
in Eglise Saint Francois Xavier
English composer Sir Hubert Parry's setting of Psalm 122: 1-3, 6-7 was written
for the Coronation of King Edward VII in 1902 and subsequently revised for the
Coronation of King George V in 1911. French organist Gaston Litaize was the titular
organist of Eglise Saint Francois Xavier in Paris from 1975-1991.
J.S. Bach: Cantata 81, "Jesus schlaft, was soll ich hoffen"
Bach Collegium Japan, Masaaki Suzuki
Robin Blaze, countertenor; James Gilchrist, tenor;
Peter Kooy, bass-baritone
The German translates as "Jesus sleeps, what hope is there for me?" Bach set the Gospel
text of Matthew 8: 23-27 which describes Jesus quieting the storm. The music can only be
described as theatrically appropriate. 
Sir George Dyson: Hierusalem
St. Michael's Singers; Royal Philharmonic Orchestra, Jonathan Rennert
Valery Hill, soprano; Thomas Trotter, organ
English composer Sir George Dyson (1883-1964) was Director of the Royal College of Music.
After his retirement he began to write music again. You will hear influences of Vaughan Williams
and Delius as well as Richard Strauss in this beautiful piece of music which he composed in 1956.
Havergal Brian: Te Deum Laudamus~Symphony No. 1 "Gothic"
Slovak Philharmonic Orchestra, Ondrej Lenard
Havergal Brian's inspiration for his Te Deum Laudamus which comprises Part II of his Gothic Symphony
as a grand Gothic cathedral and its music. The occasion of English composer Havergal Brian's birthday
got me digging around in the music library several months ago. His Symphony 1 "Gothic" intrigued me
as it is largely a choral setting of the ancient hymn of praise Te Deum Laudamus. Mahlerian in scope
Havergal's creation requires four choirs, four off-stage brass bands as well as one of the largest orchestras
ever specified in an orchestral work.