Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider

Free classical music concerts by Gothenburg Symphony Orchestra.


Moravec - Twelfth Night Recital
15%off £17.21 (until Dec 7)

Katerina Englichová - harp
15%0ff £10.83 (until Dec 7)

  • Today's leading<br>clarinet-piano duo
  • Stellar debut<br>piano recital
  • Clarinet transcriptions Jonathan Cohler
  • Jonathan Cohler & Claremont Trio
  • French clarinet masterpieces
  • Today's leading<br>clarinet-piano duo

Sibelius Symphonies Maazel
4CDs + Blu-ray audio
Special Price £36.75

RVW A Sea Symphony - Elder

Shostakovich Symphony 10 Nelsons

Verdi Requiem

Dvorak Opera Premiere

Grieg, Mendelssohn sonatas




Would you like a hyperlinked weekly summary of the CDs we have reviewed?

Click for further details

Sample: See what you will get

Editorial Board
Classical Editor
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Stan Metzger
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger


CD: AmazonUK AmazonUS
Download: Classicsonline


Roma Triumphans
Luca MARENZIO (1553-1599)
Super flumina Babylonis [5:59]
Lamentabatur Jacob [4:17]
Tomás Luis de
VICTORIA (1548-1611)
Lætatus sum [6:53]
Giovanni Pierluigi da PALESTRINA (1525?-1594)
Laudate pueri [6:53]
Jubilate Deo [3:43]
Orazio BENEVOLI (1605-1672)
Gloria, from Missa Dominus Angeli [5:38]
Giovanni GIORGI (d.1762)
Terra Tremuit [4:23]
Haec Dies [4:38]
Veni Sancte Spiritus [3:30]
Vincenzo UGOLINI (1570-1638)
Beata es Virgo Maria [4:22]
Exultate omnes [5:48]
Quae est ista [5:25]
Studio de musique ancienne de Montréal/Christopher Jackson
rec. 30 April, 2-4 May 2007, Église de La Nativité de la Sainte-Vierge, La Prairie, Canada
Texts and translations included.
ATMA SACD22507 [61:32]



Experience Classicsonline

The use of the double choir, or cori spezzati, may have effectively begun at St. Mark’s in Venice although there is some evidence that it happened elsewhere in the Veneto before Adrian Willaert’s adoption of the practice at St. Mark’s in the middle of the sixteenth century. However it soon spread across Italy and beyond. Indeed it became a major characteristic of the sacred music of the Spanish baroque and Latin America. The phenomenon is discussed in Anna Tedesco’s ‘The polychoral tradition’ in volume 34 of Early Music (2006, pp.342-344), reporting on a conference held at the Palazzo Giustinian Lolin in Venice in 2005, ‘The polychoral tradition in Italy, the Iberian Peninsula and the New World’.

This CD presents an anthology of polychoral music written for the churches of Rome, roughly between the last quarter of the sixteenth century and the first half of the eighteenth. Given that Giovanni Giorgi died in 1762 it seems unlikely, although his birth date is unknown, that he “was born in Venice in the first quarter of the 17th century” as François Filiatrault suggests in the booklet notes!

ATMA do not offer here the more extreme employments of polychorality – some documents describe the use of as many as ten choirs, often raised each on a separate platform and often each with its own organ or other instrumental accompaniment. This anthology is made up of pieces written for three choirs - such as the two motets by Marenzio and those by Victoria and Ugolini - and for two choirs: the motets by Palestrina and Giorgi.

Palestrina’s is the major voice here, and much else on the disc might be thought of as music written in a more or less direct line of descent from his powerful example. That is true even of Marenzio, whose work displays more obvious debts to the secular madrigal tradition than Palestrina allowed himself when setting sacred texts. Palestrina’s two motets stand out as work of monumental - but far from merely heavy – beauty. Benevoli’s ‘Gloria’ makes good use of its three choirs and the motets by Giorgi - which presumably belong to his years as maestro di capella at St. John’s Lateran in Rome, from 1719-1725 - are all (especially the striking ‘Terra Tremuit’) decidedly interesting examples of later writing, grandly baroque, in the polychoral manner.

Most of the material is sung a capella, though a few pieces are accompanied by continuo bass, in the form of Sylvain Bergeron’s theorbo, Karen Kadevarek’s cello and Réjean Poirier’s positive organ. The thirteen voices of the Studio de musique ancienne de Montréal blend well, are attentive to detail and sustain the occasional solo duties very decently. Just occasionally a little more emotional intensity wouldn’t have gone amiss, but all of these performances enable us to enjoy some complex and rewarding music.

The recorded sound has – as it needs to – a generous but focused sense of space, whether heard on a standard player or an SACD model. Of course, this is one kind of music for which SACD is particularly well suited. Still, the very best recording techniques can never quite give us the real experience of such music - leaving aside such questions of authenticity as the use of female voices. An exercise of active imagination is needed, however good performances and recording may be. Such music was part of a complex sensual and spiritual experience. Leibniz – who was in Rome in 1689 – left a descriptive catalogue of the baroque Catholic experience, writing of “The strains of music, the sweet concord of voices, the poetry of the hymns, the beauty of the liturgy, the blaze of lights, the fragrant perfumes, the sacred vessels adorned with precious stones, the statues and pictures that awaken holy thoughts, the glorious creations of architectural genius, with their effects of height and distance …”. Polychoral writing both took advantage of – and reinforced – the heights and distances of the great baroque churches of Rome and it played its part in the complex of effects which Leibniz describes. Sitting at home, a considerable effort of imagination is needed even to begin to put this music into appropriate context. Perhaps future technology will develop to allow a kind of virtual experience of music and place, at which point reviewers will need to comment on the smells and the statues as well as the singing!

Glyn Pursglove


Gerard Hoffnung CDs

Advertising on

Donate and get a free CD

New Releases

Naxos Classical


Musicweb sells the following labels
Acte Préalable
Cameo Classics
Prima voce
Red Priest
Toccata Classics

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
Classical Editor
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Stan Metzger
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger


Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews


      Composer surveys
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site


Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure



Bulletin Board

Give your opinions or seek answers

Pat and present

Helpers invited!

How Did I Miss That?

Currently suspended but there are a lot there with sound clips

Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Other links
Web News sites etc

A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools

Return to Review Index

Untitled Document

Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.