Bless the Lord. Psalm 103

The motet Bless the Lord, O My Soul (2013) on verses from Psalm 103 exploits the possibilities of vocal combinations and the resulting sound effects to a high degree: In the opening invocation "O my soul", the soprano 1 ascends to float above the fanned out low chord of the other voices: and beginning from "For as the heavens are high above the earth", an eight-part fugato masses together into an extensive architecture of sound. The harmony of the work is tonal, but many enriched chords create a tension rich in nuances in the setting. The work has been released on the CD "Rejoice. Vocal Music by Kay Johannsen" (Carus 83.496/00).

Chorbuch Ostern : 103 Sätze für den Gottesdienst, 1–8stg gemischter Chor, teils mit Orgel

Chorbuch Ostern is the second sequel to the Freiburger Chorbuch. It has been described as “a real storehouse of good choral music for the Easter liturgy and for the 50-day period between Easter and Pentecost … stylistically varied, these 103 pieces offer a rich treasure for both large and small church choirs ...”

Brahms: Zigeunerlieder op. 103

Te Deum Op. 103

Jauchzet dem Herrn, alle Lande

Following two CDs devoted to Heinrich von Herzogenberg's secular choral music, this latest recording is devoted to the composer's sacred music. Beginning in 1879 Herzogenberg composed a total of five volumes of liturgical settings for the theologian Friedrich Spitta. They are oriented entirely towards practical use in worship services and are organized for various occasions during the church year. The ensemble cantissimo presents a selection from these settings and these are supplemented by their recording of the Four Motets, op. 103.

Flauto e voce V

In the opera and cantata orchestra of the baroque the sound and gentle timbre of the recorder had a special significance. It served pre-eminently to represent the emotional states of love, pain and sorrow. Many arias with obbligato recorder which have survived are still unknown today, despite the diligent efforts of “early music” enthusiasts to uncover these treasures. Through the “Flauto e voce” series this repertoire, for both study and concert use, is experiencing an interesting expansion and enrichment. The present new issue offers three arias from Bach Cantatas BWV 103 and 182 [the latter in two versions], 2 arias from Vivaldi’s operas as well as a graceful Italiancantata from the historically, practically unknown composer Jakob Greber [ca. 1710]. The Greber piece is in a style similar to Vivaldi. In this collection the Soprano, Sopranino and Alto recorders are employed.