Swr Vokalensemble News
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2024-04-23
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2020-12-22 11:32:42
For the last six years, the SWR Vokalensemble and conductor Marcus Creed have been on a systematic journey through choral music from all points of the globe. It’s a journey i wasn’t aware of until earlier this year, when a large box set unexpectedly arrived at my door, ambitiously titled…
2020-12-21 09:29:33
An entire program of English music recorded by a German choir doesn’t happen all that often, and a disc of “very English” Christmas repertoire may be rarest of all. However, the top-tier Stuttgart-based SWR Vokalensemble is one group for whom this sort of thing is not so unusual. In fact they’ve not only recorded several […]
2020-06-07 01:30:00
Mahler - Vocal and Chamber Music and Arrangements - Pinnock - Caine - Creed - Rozhdestvensky - Tetzlaff
[…] Schoenberg)Lieder eines Fahrendes GesellenZemlinsky (arr. Austin)Six Songsop. 13Busoni (arr. Stein)Berceuse ElegiaqueWagner: Siegfried IdyllGareth Brynmore John baritoneKatie Bray mezzosopranoRoyal Academy of Music Soloists EnsembleTrevor PinnockLinn 2014 Mahler/Schnittke Piano Quartet Alfred Schnittke String Quartet No. 3 Piano Quintet Ludmilla Berlinsky piano Borodin SQ Virgin 1991 Symphony No. 4(Chamber version by E. Stein)Christian Tetzlaff violinChrsitiane Oelze sopranoFestival Ensemble SpannungenCavi 2015 Clytus Gottwald Alma and Gustav Mahler Songs for Choir a Capella SWR Vokalensemble Stuttgart Marcus Creed Carus 2013Das Lied von der Erde (Chamber version Schoenberg-Riehn) Hans Peter Blowchitz tenor Birgit Remmert mezzosoprano Ensemble Musique Oblique Philippe Herreweghe Harmonia Mundi 2006 Das Knaben Wunderhorn Anne Sofie von Otter mezzosoprano Thomas Quasthoff baritone Berliner Philharmoniker Claudio Abbado DG 1999 Das Klagende Lied Teresa Cahill soprano Janet Baker mezzosoprano Robert Tear tenor Gwynne Howell bass BBC […]
2019-08-30 10:28:00
Suspended Songs of Suffering: Gesualdo, Rihm, Nono
Transalpine Tendencies To view the relationship between Italian and German music as the fundamental driving force of modern Western musical history would be a gross oversimplification. However, in Salzburg of all places, ‘the Rome of the North’, it is a temptation that might be forgiven. It was here, after all, not long after the original 1608 premiere, that Monteverdi’s L’Orfeoreceived its first performances outside Italy, at more or less the same time as the foundation stone was laid for the new Cathedral (in 1614). Salzburg’s crucial importance as a staging post for the northward progress of the Italian Baroque, architectural and musical, renders it an especially apt home for this concert, Johann Bernhard Fischer von Erlach’s Kollegienkirche, built between 1694 and 1707, in turn an especially apt venue, steeped in the tradition of Francesco Borromini and Gianlorenzo Bernini. Yet, just as we should rightly cavil at speaking of […]
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