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6. Auf, Tochter Zion, schmücke dich (2:33)
Composer Christmas Traditional
Lyricist Traditional
Conductor Hans-Joachim Rotzsch
Choir Leipzig Thomaner Choir (Thomanerchor Leipzig)
7. Joy To The World (theme by Handel) (2:14)
Composer George Frederick Handel (1685 - 1759)
Lyricist Isaac Watts
Conductor Peter Marschik
Choir Vienna Boys' Choir (Wiener Sängerknaben)
Ensemble Wind Ensemble (Bläserensemble)
Genre Baroque Period / Carol
Date Written 1742
Ensemble Blaserensemble
Period Baroque
Country England
8. Ave maris stella, for double chorus, EG 150 (version for choir) (2:34)
Composer Edvard Grieg (1843 - 1907)
Lyricist Bible
Conductor Roland Buchner (Chorus Master)
Choir Regensburger Domspatzen
Genre Chorus / Romantic Period / Sacred Music
Date Written 1898-1899
Period Romantic
Country Norway
9. O Jesulein süß, o Jesulein mild (O Little one Sweet), carol (NEH No. 31), BWV 493 (Schemellis Gesangbuch, 1736) (2:15)
Composer Christmas Traditional, Johann Sebastian Bach, Eyvind Skeie
Lyricist Valentin Thilo
Conductor Martin Flämig
Performer Ulrich Schicha (Organ)
Choir Dresden Kreuzchor
10. Anderer Theil kleiner geistlichen Concerten, Part Ⅱ, Op. 9, SWV 306-337: Ave Maria, gratia plena, for 2 sopranos, alto, tenor, bass, 5 instruments & continuo, SWV 334 (Anhang) (Op. 9/29) (aus "Kleine geistliche Konzerte") (5:53)
Catalog No. SWV 334
Composer Heinrich Schütz (1585 - 1672)
Lyricist Bible
Conductor Gerhard Schmidt-Gaden (Chorus Master)
Choir Solisten des Tolzer Knabenchores (boy soprano)
Orchestra Studio orchestra
Genre Baroque Period
Period Baroque
11. Judas Maccabaeus, HWV 63: Tochter Zion, freue dich (hymn setting by Handel) (Sung in German) (1:52)
Composer Christmas Traditional, Anonymous, George Frideric Handel
Lyricist Thomas Morell
Conductor Peter Marschik
Choir Vienna Boys' Choir (Wiener Sängerknaben)
Ensemble Wind Ensemble (Bläserensemble)
12. O Freude über Freud, for 2 4-part choirs (4:43)
Composer Johannes Eccard (1553 - 1611)
Lyricist Georg Reimann
Conductor Martin Flämig
Choir Dresden Kreuzchor
Genre Renaissance Period
Period Renaissance
13. Oratorio de Noël, for solo voices, chorus, strings, harp & organ, Op. 12: Arie & Chor: 4. Air: Domini, ego credidi - 5. Duet: Benedictus qui venit - 6. Chor: Quare fremuerunt gentes? (6:38)
Common Name Oratorio De Noel
Composer Camille Saint-Saëns (1835 - 1921)
Lyricist Bible - New Testament
Conductor Martin Flämig
Choir Dresden Kreuzchor
Orchestra Dresden Philharmonic Orchestra
Genre Oratorio / Romantic Period / Sacred Music
Date Written 1858
Period Romantic
Country France
14. Messiah, HWV 56 (standard version), Part I: Pifa: 13. Pastoral Symphony - 14. Recitative: There where shepherds abiding in the field - 15. Chorus: Glory to God in the hig (4:52)
Composer George Frederick Handel (1685 - 1759)
Lyricist Bible - New Testament
Conductor Peter Marschik
Choir Vienna Boys' Choir (Wiener Sängerknaben)
Orchestra Academy of London
Genre Baroque Period / Oratorio
Date Written 1741
Period Baroque
Country England
15. Stille Nacht, heilige Nacht (Silent Night) (5:37)
Composer Franz Xaver Grüber (1787 - 1863)
Lyricist Josef Mohr
Conductor Hans-Joachim Rotzsch (Chorus Master)
Choir Leipzig Thomaner Choir (Thomanerchor Leipzig)
Genre Hymn / Romantic Period
Date Written 1818
Period Romantic
Country Austria
Review
The title of the album, Angel Voices: The Boys' Choir Christmas Celebration, would lead listeners to expect that they will be hearing a recital of music for boys' voices. It does feature several renowned boys' choirs -- the Vienna Boys' Choir, Altenburger Sängerknaben, and Tölzer Knabenchor -- but the majority of the three-disc collection is devoted to music written for mixed voices, sung by choirs in which boys take the soprano and alto parts. on most of the tracks, the boys' choirs are joined by a men's choir to fill in the lower parts for SATB works. The ensembles that are regularly made up of men and boys include Thomanerchor Leipzig (the choir of J.S. Bach's church), Dresdner Kreuzchor, and Regensburger Domspatzen. Of the set's 45 tracks, only 12 are devoted to boys' voices alone. Most of the selections with the Vienna Boys' Choir are anemic, flaccid accounts of choruses from Messiah (in which they are joined by the men of Academy of London), including an excruciatingly droopy and protracted version of "For unto us a child is born." A minority of the performances in the collection, in fact, are up to the standards expected of professional choral ensembles in terms of tone quality, balance, or polish. The exceptions include most of the tracks with Regensburger Domspatzen, Dresdner Kreuzchor, and Thomanerchor Leipzig. The repertoire is weighted toward German and Austrian works from the Baroque, Classical, and Romantic eras. The set as a whole has little to recommend it to either fans of boy's voices or of first-rate choral singing.
by Stephen Eddins |
