Delius: Mass [Import]

Track Listings

1. Introductory Talk

2. I Animatoa

3. Ii Recitative

4. Iii Andante Tranquillo Con Dolcezza

5. Iv Agitato Ma Moderato

6. V Andante Molto Tranquillo

7. Introductory: Andante

8. I Con Elevazione E Vigore

9. Ii Andante

10. Iii Lento Molto

11. Iv Lento

12. V Allegro Ma Non Troppo

13. Vi Largo Con Solennita

Tracks:

O Magnum Mysterium
Alleluia
Blazen Muzh, Op.37
O Magnum Mysterium
Angus Dei
Song For Athene
Friede Auf Erden Op.13
Totus Tuus
To Be Sung Of A Summer Night On The Water
Lux Aeterna ('Nimrod')

Amazon.com

One very noticeable quality of this CD is the remarkable dynamic range of the choir: performing a cappella throughout, their training and commitment allows them to sing through the entire dynamic spectrum from pianissimo to fortissimo with all the gradations in between, thus giving the music, which is uniformly serene, even greater variety than is inherent in its several nationalities and styles. Victoria's "O magnum mysterium" has just the right spooky piety while the same text, set by the contemporary composer Morton Lauridsen, remains faithful to antiquity while injecting some new colors. Rachmaninov's flavorful "Blazen muzh" reaches a fine intensity; the crescendo and de-crescendo in Randall Thompson's six-minute meditation on the single word "Alleluia" is beautifully handled; Barber's vocal arrangement of his "Adagio for Strings," is, as ever, gorgeous, and Tavener's "Song for Athene" is one of his least annoying works, handsomely sung here. Schoenberg's somewhat thorny "Friede auf Erden" makes one sit up and think twice, while Gorecki's "Totus Tuus" remains a simply ravishing meditation on the Virgin Mary. Works by Elgar and Delius round out the program. The accompanying notes by conductor Llewellyn announce that he hopes that the singers are "contributing to Peace on Earth" with this CD, and while that's quite a goal, what I can tell you is that the 65 minutes of music here is intensely calming and floats above and through the listener. A glorious CD which makes a great gift for a friend---or to yourself. --Robert Levine

Product Description

''No praise can be too high for the singing of the 32 Handel and Haydn choristers.... [T]heir work is magnificent in tone, balance, diction, and feeling, and there is no sense of strain in even the most demanding, high-flying passages.'' -- Richard Dyer, Boston Globe, April 30, 2004 PEACE | a choral album for our times is one of the 21st century's most acclaimed and best-selling CDs of a cappella choral music. Peace offers a rich collection of popular a capella works including the popular Agnus Dei of Samuel Barber; John Tavener's Song for Athene; Randall Thompson's Alleluia; Elgar's Lux Aeterna (Nimrod); and compositions by Rachmaninoff, Schoenberg and American composer Morten Lauridson. PEACE provides over one hour of beautiful and inspiring music.

Customer Reviews:

Cold Porridge.......2005-07-15

The choral singing is crude and sloppy throughout this album. The whole product has the sound and look (is that an alien on the cover?) of something hastily and cheaply produced. Indeed, opportunism seems to have ruled over musicianship, as it appears the product was rushed to market to coincide with the outbreak of war in Iraq. Grant Llewellan is a fine musician and capable of producing so much more. What went wrong? Are the musicians in Boston just not up to snuff, or is the board and administration just painfully parochial? This is an ensemble that became leaders in baroque music under Christopher Hogwood. So what makes them think they should be performing Schoenberg, Barber, Delius and Gorecki?

Stunningly Beautiful.......2004-10-08

Glorious Indeed! Robert Levine's above review is 'right on'.
Morten Lauridsen's chill-provoking 'O magnum mysterium' brought me to this project after hearing it on public radio at 2AM. Choice of material, quality and sensitivity of performance, and Grant Llewellyn's masterful direction make this a 'must have'.
I rarely buy choral music, but this one I will give at Christmas with a wish for the 'Peace' this music inspires.

Average customer rating:

Agnostic Mass and Requiem
Poor recording
A wonderful discovery

Delius: Requiem/A Mass Of Life

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Delius: Sea Drift/Songs of Farewell/Songs of Sunset

ASIN: B000000B0M
Release Date: 1997-03-18

Tracks:

Requiem: I. Our Days Here Are As One Day...
Requiem: II. Hallelujah
Requiem: III. My Beloved Whom I Cherished Was Like A Flower
Requiem: IV. I Honor The Man Who Can Love Life
Requiem: V. The Snow Lingers Yet On The Mountains
A Mass Of Life: I. O Du mein Wille, Du Wende aller Not!
A Mass Of Life: II. Erhebt eure Herzen, meine Bruder
A Mass Of Life: III. In dein Auge schaute ich jungst, O Leben
A Mass Of Life: IV. Wehe mir!
A Mass Of Life: V. Nacht ist es...

Tracks:

A Mass Of Life: On The Mountains: Andante
A Mass Of Life: I. Herauf! Nun herauf, du grosser Mittag!
A Mass Of Life: II. Susse Leier! Ich liebe deinen Ton
A Mass Of Life: III. La, La, La
A Mass Of Life: IV. Heisser Mittag schlaft auf den Fluren
A Mass Of Life: V. Gottes Weh ist tiefer...
A Mass Of Life: VI. Kommt. Lasst uns jetzt wandeln!

Amazon.com

This isn't a mass at all, but a setting of lines from Nietzsche's Also Sprach Zarathustra, including the famous "midnight song" that Mahler stuck into his Third Symphony. Delius clearly intended this piece to be his magnum opus, and parts of it are mightily impressive indeed, especially the sunrise ending (with pealing bells and gongs). At other times, however, it may seem that the music spends a bit too much time marveling at the coming of the "superman" and not enough time getting on with it. It's a matter of personal taste really, though it's safe to say that if you enjoy Delius, you will want to hear both of these unique works, and this excellent performance won't steer you wrong. --David Hurwitz

Customer Reviews:

Agnostic Mass and Requiem.......2006-01-24

Frederick Delius, sometimes referred to as an English impressionist, is represented here by two large choral/orchestral works, fairly well known: his Requiem and A Mass of Life. It is most interesting that Delius chose two antiquated religious titles for his works, since he himself was an atheist, but more so, the text used is not based on the church's liturgical text, but a text by Friedrich Nietzsche, an anti-Christian philosopher who believed in man, nature, and life. Delius' 30-minute Requiem, a reaction to the horrors of WWI and dedicated to artists that were lost in the war, paraphrases writings of Nietzsche. In five movements, there is a thoughtful evolution of ideas which progress. Movement one lays out the basis of mortality by comparing life to a day; youth represents morning and old-age by evening, and the knowledge of life is lost at the close of day. The second movement begins with proclamations of Hallelujah and the Islamic La, il Allah, but the speaker berates holy exclamations, and urges man to live life to the fullest while he has a chance. The third and fourth movements move to a more personal perspective, the former, a reminiscing of past love, and the latter movement honoring men who lived life, but now have joined Nature. The final movement sets various scenes of living Nature, commenting on the seasons of the year, and incidentally the cycle of life, and a hopeful theme in the renewal of life. The large orchestration, including bass oboe, is complemented by a double chorus, as well as soprano and baritone soloists. The music is not the fuzzy, picturesque landscapes we are used to from Delius, but a more serious garb is donned. Delius, instead, sets moods rather than melodies per se, with occasional dissonances and advanced harmonies. There are also influences of the "English" sound, as well as some "jazzy" chords. There is a real feeling that Delius' beliefs and soul is put into this setting of text, and while the music never really gets angry, he balances the lush sounds of Nature and the revelry of life, with the prospects of mortality.

The 98-minute A Mass of Life, as opposed to the Requiem's acknowledgement of the passing of life, celebrates the living of life. With much the same orchestration, a quartet of soloists are called upon here. The text once again is Nietzsche, but the setting is more poetic this go around. The music has much more unbridled energy and optimism compared to the Requiem. The first part of the Mass (there are two parts) is in 5 sections. The first section features a grand opening and march, the second a bouncy solo for baritone, and the third exclaims the revelry of life for soprano, alto, and tenor soloists and chorus; laughing and dancing with neat harmonic and melodic material bursts with optimism. The last two sections touch upon mortality and Delius' settings of nature sink into a peaceful nighttime scene. The second part is in six sections, the outer ones contain boisterous work for full ensemble, while the inner four sections exhibit Delius' pastoral, contemplative, and somewhat impressionistic sounds. Sumptuous harmonies, and in the case of the second section, a Ravel-like wordless chorus dances along. The works' overall musical qualities are more active than the Requiem, in some cases, more tuneful, and certainly more colorful and spry. By far the superior work, A Mass of Life conveys the importance of the individual, having fun, and Nature; the Requiem, a work of hopefulness and remembrance, as well as renewal.

The Chandos label sound is full and clear, a sonic delight. The Bournemouth Symphony Orchestra under Richard Hickox casts the many moods Delius asks for with vitality. The soloists are exceptional, including both works' large role for solo baritone; Peter Coleman-Wright is very expressive. The Bournemouth Symphony Chorus and Waynflele Singers handle the difficult choral writing well, the sound is good and I like the forward placement, although the sopranos become a bit shouty in the upper register, but overall well done. These two important large-scale choral/orchestral works are an interesting look at life from a somewhat unpopular viewpoint, but no matter the subject, the music is beautiful and somewhat moving (some think Delius drags on a bit too long). If you want to buy a choral work that is a little different, this might be the CD to look at.

Poor recording.......2002-10-21

The recording is terrible. The problem is simple. The microphones are centered on the chorus and they are too close. Listening to it is jarring. You will have 10 minute quiet passages where the orchestra is playing, when suddenly the chorus comes in and it is thunderous. One of the worst mixing jobs I have ever heard. I find it simply unlistenable.

A wonderful discovery.......2000-01-05

Frederick Delius's music is almost unknown outside of England and this an enormous shame, because it is of the highest quality. The Mass of Life is undoubtedly Delius's great masterwork, on an enormous scale with huge orchestra, gigantic chorus and many soloists. It begins with a huge shout and progresses through some of the most moving and gorgeous passages ever written. It seems incredible to me that it is not as popular as the Mahler 8th - it is certainly better music. However many times I listen to this disc, and listen to it often, I find something new and exciting in the music. Perhaps its neglect is because although it is called a "Mass" it is not in fact religious music - quite the reverse. Delius was an atheist and believed that nature was the paramount force in life. The Requiem whcih is also on this disc is similarly pagan in nature.

Delius: A Mass of Life; Songs of Sunset; An Arabesque

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Delius: A Mass of Life; Songs of Sunset; An Arabesque

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000DOAN
Release Date: 1993-01-19

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Classical Wonder
Beware the Flame

Classical Heat

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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ASIN: B00005YUAA
Release Date: 2002-05-21

Tracks:

Mars, The Bringer Of War - Royal Scottish National Orchestra
Sabre Dance - Czecho-Slovak Radio Symphony Orchestra
Malambo - Enrique Batiz
Ride Of The Valkyries - Czecho-Slovak Radio Symphony Orchestra
Tzigane - Marat Bisengaliev
Overture To Ruslan And Ludmilla - Anthony Bramall
Allegro Vivace - Maggini String Quartet
Dies Arae (Chorus) - Hungarian State Opera Choir
Ritual Fire Dance - Czecho-Slovak Radio Symphony Orchestra
Dance Of The Knights - Andrew Mogrelia
Joie Du Sang Des Etoiles - Thomas Bloch
Allegro - Alexander Rahbari
Molto Allegro E Appassionato - Wendy Warner
King Kashchey's Infernal Dance - Alexander Rahbari
O Fortuna - Czecho-Slovak Radio Symphony Orchestra

Tracks:

Adagio - Moderato - Maria Kliegel
'Siste Farvel' (The Last Farewell) - Royal Scottish National Orchestra
Vocalise Op.34 No.14 - Vytautas Sondeckis
O Soave Fanciulla - Luba Orgonasova
Intermezzo - Czecho-Slovak Radio Symphony Orchestra
Aria - Royal Ballet Sinfonia
Liebestod - Johannes Wildner
Idylle Printemps - English Northern Philharmonia
Lento - Vlach Quartet Prague
Gluck, Das Mir Verblieb - Thomas Sunnegardh
Rhythmic Variations On Two Ancient Hymns - Kenneth Schermerhorn
Adagio For Strings, Op.11 - Marin Alsop

Customer Reviews:

Classical Wonder.......2003-05-18

As an avid classical music listener, and cellist, Classical Heat was the perfect blend of energized, fast-paced works, and then on the second disk, a more mellow, yet still firey, works. I would recommend this CD set to every classical listener, even people that don't normally like the classical genre will enjoy this cd.

Beware the Flame.......2002-06-14

Trumpet blasts, french horn flares, all the way to the subtle reeds of the bassoon. This album will keep you interested and awake all the way through. Paired with its sister album "Classical Chill", they can be the perfect mix you have been looking for. Musician and listener alike: This CD is a must have.

The Beecham Collection: Frederick Delius

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Delius in Sunset Hues
Many first ever issues of Beecham conducting Delius.

The Beecham Collection: Frederick Delius

Manufacturer: Somm Recordings
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

A Mass Of Love: Prelude To Part 2, No. 3
An Arabesk
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Parts 1-7
Songs Of Sunset, Part 8

Customer Reviews:

Delius in Sunset Hues.......2002-01-16

Frederick "Fritz" Delius (1862-1934) embodied the late-Nineteenth Century idea of the "aristocratic radical": true to his own impulses, scornful of custom and commerce, agnostic in religion and liberal in amorous affairs, he was also an esthete of the most refined sensibility who struggled to express his sense of a beautiful and sometimes tragic world in his art. Like the nature-poet Wordsworth, Delius worked within an esthetic of the epiphany: in the midst of the loud world, he finds a quiet place ("Summer Night on the River" or "The High Hills") and sets the preparatory mood; briefly but powerfully, a vision of poignant beauty emerges, in the appearance and passing of which the witness and participant finds his own moment of transfiguration. All of Delius' characteristic works represent the organic blossoming-forth and swift withdrawal of some gorgeous but evanescent phenomenon, as in his set of orchestral variations on the Yorkshire folk tune "Brigg Fair." The tune seems to emerge from hints and prognostications, the way a river or stream emerges - inconspicuously - from rills and sources in the high ground, until, after a magnificent but brief minor-key apotheosis in the full orchestra, it melts away again into the quiet texture of things. In "Tommy" (later Sir Thomas) Beecham, fortune blessed Delius with an interpreter whose essentially Pagan convictions matched his own, and who not only played his friend's music frequently in concert but began recording it in the mid-1920s, just after the introduction of electrical recording. Beecham belonged in part to the milieu of Edwardian estheticism, but unlike the followers of Ruskin and Pater he understood the relation of technics to the preservation and dissemination of art. The Delius Festival (Beecham organized two, in 1929 and again in 1946) could reach a few thousand people; recorded albums of the Delius scores, on the other hand, might reach tens of thousands. Some of these recordings went into commercial release; others, for a variety of reasons, remained in the archives. Recently Naxos released three discs of early Delius-Beecham collaborations in its historical series. Now Somm, a British label, has produced two discs of similar, sometimes overlapping, material, all of it exquisite and much of it previously unheard outside the Delius-Beecham circle. In October 1934, for example, on the occasion of the Leeds Festival, Beecham took care that his performance of the choral-orchestral "Songs of Sunset" (1911, with texts by Ernest Dowson) be recorded. This performance (supplemented by a 1946 "take" of the final song) forms the centerpiece of the program on Somm-Beecham 08, sharing the disc with a 1934 performance of "An Arabesk" (1911, with text by Jens-Peter Jacobsen) and a generous selection of songs, about half of them with orchestral accompaniment; there is also the orchestral Prelude to "A Mass of Life," Part II. The choral singing is captured with remarkable clarity, much of it being comprehensible. In his book about Delius (1946), Beecham insisted "that in no circumstances should a large number of voices be employed" for this work, as "fifty or sixty at most are enough; otherwise the extremely personal harmonic sequences tend to be muddied or blurred." The Leeds performance seems to obey the dictum. In Olga Haley, moreover, Beecham finds a mezzo solo of the requisite "voluptuous quality" who "can cope with the rich middle register of the music," while in Roy Henderson he has a baritone capable of smoothly negotiating the "vocal angularities" of some of the movements. ("Notably in 'By the Sad waters of Separation.'") The third movement, "Pale Amber Sunlight," is especially entrancing - "a truly Delian product," as Beecham writes; the woodwind parts of the orchestral accompaniment come through with much warmth. To "An Arabesk," as to "Songs of Sunset," Beecham likewise imparts an intimate feeling. The poem of "An Arabesk" is actually quite disturbing, mixing love and sacrifice (or is it murder?) in an idyllic setting. Gary Moore's transfers from the archival sources work wonders, especially with "Songs of Sunset," not previously released in any form, the recording conditions of which must have been difficult. There is occasional congestion at the climaxes where the chorus is involved but in the main the acoustic reconstruction in both "Songs of Sunset" and "An Arabesk" is a marvel. The same may be said for the songs with orchestra, recorded in February 1938. Beecham would record these again in 1947, and the result can be canvassed on a Dutton CD. This Somm-Beecham CD is a fine production, invaluable for its "Songs of Sunset," and should be acquired swiftly by Delians.

Many first ever issues of Beecham conducting Delius........2001-12-26

More than half of the music included in this estimable CD derive from hitherto unissued recordings made at the 1934 Leeds Festival. In very acceptable sound, with a balance that favours the soloists Roy Henderson and Olga Haley, the principal works are "An Arabesque", and "Song of Sunset". Collectors have wondered about the elusive "Song of Sunset" recording for many years. Two subsequent attempts by Beecham to record this work are said to have dissatisfied him. Requests and searches for playable test copies of this 1934 Leeds Festival recording produced nothing until now. Here, from Beecham's own archives of test pressings, made available by Shirley, Lady Beecham, are heard all but the last few minutes of the 1934 performance. The missing part is provided from a 1946 recording. I understand that the missing part of the 1934 performance has since been located in the British Museum.

Also included here are all the recordings of Delius songs Beecham made, accompanying the soprano Dora Labbette. The singing of this fine English soprano was not only wonderfully pure, ethereal and graceful, it also clearly conveyed the songs' texts. Happily, it recorded well, although the singer was required to turn her head away from the microphone when taking a high, loud note - as can be heard several times in "Twilight Fancies".

Tracks:

A Mass Of Love: Prelude To Part 2, No. 3 - LPO/Sir Thomas Beecham
An Arabesk - Roy Henderson/London Select Chor
Songs Of Sunset, Parts 1-7 - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset, Parts 1-7 - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset, Parts 1-7 - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset: Exceeding Sorrow - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset: By The Sad Waters Of Separation - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset: See How The Trees - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset: I Was Not Sorrowful - Olga Haley/Roy Henderson/London Select Chor
Songs Of Sunset - Nancy Evans/Redvers Llewellyn/BBC Chor
Whither - Dora Labbette
The Violet - Dora Labbette
I-Brasil - Dora Labbette
Klein Venevil - Dora Labbette
Le Ciel Est Par-Dessus Le Toit - Dora Labette/Sir Thomas Beecham
The Violet - Dora Labette/Sir Thomas Beecham
Irmelin Rose - Dora Labette/Sir Thomas Beecham
Twilight Fancies - Dora Labette/Sir Thomas Beecham
Cradle Song - Dora Labette/Sir Thomas Beecham
The Nightingale - Dora Labette/Sir Thomas Beecham

Average customer rating:

Sir Thomas is Delius supreme interpreter
A very special recording

Delius: Mass
Beecham , and Royal Philharmonic Orcehstra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00005B1CN
Release Date: 2002-09-30

Tracks:

Introductory Talk
I Animatoa
Ii Recitative
Iii Andante Tranquillo Con Dolcezza
Iv Agitato Ma Moderato
V Andante Molto Tranquillo
Introductory: Andante
I Con Elevazione E Vigore
Ii Andante
Iii Lento Molto
Iv Lento
V Allegro Ma Non Troppo
Vi Largo Con Solennita

Customer Reviews:

Sir Thomas is Delius supreme interpreter.......2004-09-29

I first met the music of Delius at the London Symphony Institute in Daytona Beach, Florida. I was instantly attracted to his sound world of nature and poetry. Then I was blest to be able to study with Geoffrey Gilbert, Beecham's flautist in the Royal Phil for 35 years. With Mr. Gilbert I studied conducting and much British music, including Delius. He was able to give me insights directly from his experience with Sir Thomas.

This recording is one to treasure. While the sound quality is somewhat limited, the opening lecture(a little pompous, but I love Sir Thomas and feel like I know him, so it doesn't matter) is a joy to hear and the interpretation is that of the master who worked with the master. To hear Delius done right, one must turn to Sir Thomas. Then one moves on to the poetry of Nietschze and the affirmation of life itself. So this is a pretty heady experience. The orchestra responds well and the soloist are topnotch, especially the baritone with a big voice that is beautifully controlled.

All in all, I treasure this recording, and have waited years to see it come out on disc. So, to all you budding Delians out there, here's your chance to go to the source!

A very special recording.......2004-05-30

It's now half a century since this recording was made. For his time, Beecham used to be recorded well (they were probably terrified of him) and the quality here is not too bad although obviously not up to today's best. In the big opening number O Du mein Wille the chorus seem a bit 'recessed' for the full impact to be made, but I was less conscious of this as the work progressed, possibly because my ear was compensating but more, I think, from a genuinely better balance later on.

Anyway, I find no shortcomings from that point of view that would stop me describing this issue as one of the greatest records I know. Delius was the only English composer who consistently interested Sir Thomas, and I expect quite a lot of us virtually equate our ideas of the composer with his interpretations. I should not be surprised either if we thought subconsciously that Beecham played Delius for more than he really amounted to, based on the usual dreamy idyllic efforts. Speaking for myself, the Mass of Life completely changes my perspective on him. The style is perfectly recognisable as the Delius we know, e.g. in the wonderful prelude to part II (wonderfully performed as well), but in sheer stature he seems to have grown a hundredfold.

I do not see anything perverse in calling the Mass of Life a worthy and equal companion to Mahler's 8th. One normally thinks of Mahler as epic, Delius not, but, well, that's normally. The Mass of Life is very exceptional indeed. As for the performance, the soloists are excellent, the chorus are fine give or take some reservations about the balance, and to comment on Beecham's conducting of Delius, even to praise it, seems verging on impertinence. I am unencumbered with much knowledge of Nietzsche, but the selections that Delius uses are a universe away from any kind of politics or indeed any kind of philosophy. This is Nietzsche the poet, and I like poetry like this in much the way I like Blake -- it is all about mood and what we used to call 'vibes'. Any sense it may be held to make is poor, thin stuff by comparison. As always for me, music has primacy -- I do not hear it or judge it as a setting of the text, I value the text for itself and equally if not more for the music that it managed to inspire.

Tracks:

O Fortuna from Carmina burana
Puer natus nobis - Introit (Gregorian chant)
Chi la gagliarda
Omnes gentes
Iustorum animae
Festa, riso
Miserere mei, Deus (excerpt)
Pleni sunt coeli et terra from Te Deum
Gloria in excelsis Deo
O Mensch, bewein' dein Sunde grob (from St.Mathews Passion - J. S. Bach
Hallelujah Chorus from Messiah
Ave verum corpus
Awake the harp (from The Creation)
Sanctus (from German Mass D872) - Schubert
And then shall your light break forth (from Elijah) - Mendelssohn
Domine salvum (from Saint Cecilia Mass) - Gounod
Dies irae (opening from Requium Mass)
pavane
To be sung of a summer night on the water
Adam lay i-bounden
Laudamus te (from Gloria)
Land of Hope and Glory (from Coronation Ode)

A Mass of Life (Te Kanawa, Shirley-Quirk/BBCSO & Chorus, Del Mar)/Requiem (Harper, Hemsley/RLPO, Groves)

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From American Record Guide

A Mass of Life (Te Kanawa, Shirley-Quirk/BBCSO & Chorus, Del Mar)/Requiem (Harper, Hemsley/RLPO, Groves)
Frederick Delius , John Shirley-Quirk, Norman del Mar Dame Kiri Te Kanawa , and Thomas Hemsley, Sir Charles Groves Heather Harper
Manufacturer: Dead Line
ProductGroup: Music
Binding: Audio CD
ASIN: B00008F899
Release Date: 1993-02-19

Customer Reviews:

From American Record Guide.......2006-03-26

The Mass of Life is seldom performed. Delius completed the score in 1905, but the American premiere had to wait until 1938, and US performances have probably not reached double figures. The text is from Nietzsche's Thus Spake Zarathustra. Whatever Nietzsche's deficiencies as a philosopher, he was a magnificent poet and master of the German language. The Mass of Life does not have--could not have--the formal perfection of Sea Drift, but for sustained passion, philosophical range and sheer inspiration, no other of his works can be compared to the Mass. The composer Havergal Brian, who championed Delius in the early years of the century, wrote "Here, in this work, we find all those things that stir him to great moments--pastoral scenery, vastness, silences, human life; everything on a big scale."

Del Mar and Groves are both up to the mark here. The Mass of Life, from a 1971 London broadcast (Intaglio label, two CDs), is in clear, spacious sound, with the late Norman del Mar conducting the BBC Symphony and Choral Society, and has strong soloists, with John Shirley-Quirk a virile baritone protagonist and Kiri Te Kanawa at her soaring, youthful best.

The fillup is one of Delius' least known products, his Requiem: again, nothing liturgical, rather a gentle, pantheistically inspired tribute to friends fallen in the First World War.

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Classic Memories, Vol. 5

Offenbach: Coscoletto

High Performance Mind

1. Introductory Talk
2. I Animatoa
3. Ii Recitative
4. Iii Andante Tranquillo Con Dolcezza
5. Iv Agitato Ma Moderato
6. V Andante Molto Tranquillo
7. Introductory: Andante
8. I Con Elevazione E Vigore
9. Ii Andante
10. Iii Lento Molto
11. Iv Lento
12. V Allegro Ma Non Troppo
13. Vi Largo Con Solennita