Pietro Paolo Bencini (1675? -1755) was one of the most important figures in the musical life of Rome in the eighteenth century. His sacred music is on the same level as that of Alessandro Scarlatti. This is evident from the fact that much of his music can be found in copies even outside Europe. The most important part of his oeuvre is in the collection of the 'Cappella Guilia', now the library of the Vatican. Bencini worked as 'maestro di cappella' in the basilica of San Lorenzo in Damaso and from 1743 in St. Peter's of Rome; an important job. His style is festive, full of contrasts and smooth melodic lines.

Francisco Lopez Capillas was born in 1608 in Mexico City, and studied plainchant and polyphonic composition at the Royal and Pontifical University before assuming the post of chorister and second organist at Puebla Cathedral in 1641. Although most of his significant works were composed toward the end of his life–and thus well into what is generally regarded as the baroque period–the Messe de la Bataille is, like many of his other works, ambiguous in its relationship to the musical innovations that were taking place in the old world at the time.

With the Missa cuiusvis toni, Ockeghem achieves a veritable tour de force: a work having the advantage of being able to be executed in all church modes. In an era when composers vied with each other in virtuosity, this mass 'in whatever tone' became an unsurpassable model. Musica Nova recreates the four versions here for the first time on disc.

François Ier, prince mécène, avait compris combien la musique pouvait servir sa politique de prestige : - musique officielle pour les grands événements diplomatiques comme l'incroyable match musical entre la Chapelle du roi de France et celle d Henri VIII d'Angleterre, lors de la messe du Camp du Drap d'Or restituée dans cet enregistrement ; - mais aussi musique de l'intime avec le répertoire le plus subtil, raffiné et savant entendu dans les châteaux du souverain Chambord, Fontainebleau… interprété par les meilleurs chanteurs et instrumentistes du royaume réunis au sein de la Chambre du Roy. Un festin de musiques inédites pour un roi François Ier, symbole d une Renaissance heureuse.

The setting by Alphonse D’Eve (1666-1727)‚ born in Brussels and Kapellmeister at the church of Our Lady in Antwerp‚ of the motet for the dead‚ O acerbi‚ is not without its moments. The plangent opening is striking‚ as is the use of high voices at the beginning of the final chorus‚ presumably to represent the heavenly hosts referred to in the text. If the music‚ thoroughly Italianate in style and often reminiscent of Vivaldi‚ is somewhat predictable – the cadences are rather formulaic and the sequential patterns overused – it is certainly worth dusting down: it represents the kind of work that must have been heard in so many of the larger musical institutions all over Europe in the early part of the 18th century.

George Philipp Telemann was a composer whose creative powers continued undiminished through his old age of eighty six years. The last decade of his life witnessed an astonishing creative surge, perhaps comparable only to that of Verdi. It was then that the eighty-year-old, with all the benefits of mature mastery at his command, penned some of his most beautiful vocal works. The oratorio "The Delivered Israel" is a work from this period.

When Joshua Rifkin began recording Bach vocal works to demonstrate his one-singer-per-part thesis, he started not with the lightly scored early cantatas but rather with the Holy of Holies–the B-Minor Mass. (Don't accuse the man of starting small.) Predictably, outrage ensued: detractors far outnumbered supporters at the time (though this seems to be gradually changing). Musicology or not, Rifkin's approach works. Bach's florid vocal parts are far more negotiable for soloists than for chorus; period instruments never overwhelm the voices. Certainly the standard of baroque- instrument playing, particularly brass, has improved since 1980; but Rifkin's instrumentalists, especially woodwinds, are quite listenable.

This release offers four works [by] Johann Ernst Bach (1722-77), Johann Christoph Altnikol (1719-59), Johann Bernhard Bach (1676-1749), and Georg Gottfried Wagner (1698-1756)…The level of craftsmanship in these works is indicative of Bach's art. Stylistically, they range from the foursquare formality of the baroque to the charm of the emerging rococo…The singing is light-toned and agile, with proper weight of emotion and excellent dynamic range…

Andrew Lloyd Webber is world-famous as the composer of the musicals Cats and The Phantom of the Opera, but his Requiem has also achieved international acclaim. Winner of a Grammy Award, this grand-sounding masterpiece of contemporary classical music, written in 1985, is dedicated to the memory of Webber's late father. The recording of a concert by the Münchner Rundfunkorchester on June 15, 2023, a tribute to the British composer who celebrated his 75th birthday in March 2023, is now presented on CD by BR-KLASSIK. This live recording from the Herz-Jesu Church in Munich features the Bavarian Radio Chorus accompanied by a select ensemble of soloists, under the baton of principal guest conductor Patrick Hahn.

Während des De Monte-Jahres veröffentlichten Capilla Flamenca und das Bläserensemble Oltremontano (auf Initiative und unter der Leitung von Bart Demuyt) eine CD mit Motetten von zwei flämischen Meistern, die überwiegend an den habsburgischen Höfen tätig waren. Philippus de Monte war Hofkapellmeister in Wien und Prag und Alexander Utendal wurde Vize-Hofkapellmeister von Erzherzog Ferdinand von Tirol, dem Bruder Kaiser Maximilians.

In addition to his symphonies, Anton Bruckner is best known for his sacred works: his stirring masses and his deeply moving a cappella motets. To mark the Bruckner Year 2024, the Bavarian Radio Chorus and the Münchner Rundfunkorchester, conducted by Peter Dijkstra, present his Mass No. 2 together with five well-known motets and the two short Aequali for three trombones from 1847. These studio recordings were made in connection with the opening concert of the 2023/24 season on 28 October 2023.

Der Tod Jesu of Carl Heinrich Graun (1704–59), completed in 1755, was for decades the musical mainstay of Passiontide services (a position now held by Bach’s and St. John Passions), being performed by the Berlin Singakademie virtually every Good Friday until 1884. Unlike the passions of Bach, Schütz, and other predecessors, Graun’s work does not set any texts of Scripture. Instead, in line with burgeoning Enlightenment sensibilities, the entire libretto by Carl Wilhelm Ramler (1725–98) is written in the exalted style of impassioned poetic declamation common to opera libretti of the era, in supposed imitation of Greek tragedy. At less than half the length of the Bach passions, and musically far less complex, with dignified and attractive arias composed in a style somewhat akin to those of Handel’s Messiah , it remains winsome even today, and its enduring popularity is readily comprehended.

Born around 1380 in the Duchy of Limburg, possibly in the little town of the same name, Johannes de Limburgia was active for a long time in Liège, then in Italy. We have evidence of his presence in Vicenza between 1431 and 1436, and several of his works refer explicitly to Vicenza, as well as to Venice and Padua, demonstrating a strong connection with northern Italy, where his music was compiled. His output – more than 45 works – is contained in three large manuscripts from the first half of the fifteenth century, alongside music by other composers from north of the Alps, such as Johannes Ciconia and Guillaume Dufay.

Giovanni Battista Fasolo (1598-1680) was born in Asti (Italy) and spent his life as a Franciscan Friar in Rome, Naples and finally as Maestro di Cappella at the Cathedral of Monreale, Sicily. He is mainly known for his “Annuale”, the largest compendium of organ music for liturgical use written in the 17th century.

Cappella Amsterdam does not just sing music that charms and captivates, but does this at the highest possible level. For its performances, the choir has received many prizes and a stream of positive reviews. Cappella Amsterdam offers the classical choir repertoire in all its glory and dedicates itself, every single year, to bring to you the most beautiful and important choral pieces, both old and new. Daniel Reuss is the artistic director of Cappella Amsterdam. Under his guidance the choir has professionalised and risen to international fame.