THE BIG BAROQUE CHORAL BOX, VOLUME 2

8+ HOURS OF MUSIC

TRACK LISTING

1. Antonio Vivaldi: Introduzione al Dixit (RV 594)

"Canta in prato, ride in fonte"
Karla Schlean; Adele Bonay; Ugo Benelli; Gastone Sarti; Vienna State Opera Orchestra; Angelo Ephrikian; Vienna Chamber Choir; Hans Gillesberg

Antonio Vivaldi: Dixit Dominus in D Major, RV 594
Karla Schlean; Adele Bonay; Ugo Benelli; Gastone Sarti; Vienna State Opera Orchestra; Angelo Ephrikian; Vienna Chamber Choir; Hans Gillesberg
2. I. Dixit Dominus
3. II. Donec ponam
4. III. Virgam virtutis tuae
5. IV. Tecum principium
6. V. Allegro: Juravit Dominus
7. VI. Dominus a dextris tuis
8. VII. Allegro molto: Judicabit in nationibus
9. VIII. De torrente
10. XI. Gloria Patri
11. X. Sicut erat

Christoph Willibald von Gluck: Orfeo ed Euridice, Wq.30
Maureen Forrester; Teresa Stich-Randall; Hanny Steffek; Franz Falter;

Akademie Choir; Vienna State Opera Orchestra; Sir Charles Mackerras
12. Act I - Scene I - Overture
13. Act I - Scene I - Ah, se intorno (Chorus)
14. Act I - Scene I - Basta, o compagni! (Orfeo)
15. Act I - Scene I - Dance
16. Act I - Scene I - Ah, se intorno (Chorus)
17. Act I - Scene I - Chiamo il mio ben cosi (Orfeo)
18. Act I - Scene II - T'assiste Amore! (Amore)
19. Act I - Scene II - Gli sguardi trattieni (Amore)
20. Act I - Scene II - Che disse? (Orfeo)
21. Act II - Scene I - Chi mai dell'Erebo (Chorus)
22. Act II - Scene I - Deh placatevi con me (Orfeo)
23. Act II - Scene I - Dance Of The Furies
24. Act II - Scene I - Dance Of The Blessed Spirits
25. Act II - Scene I - E' quest'asilo (Euridice)(Chorus)
26. Act II - Scene II - Che puro ciel (Orfeo)
27. Act II - Scene II - Vieni a' regni del riposo (Chorus)
28. Act II - Scene II - Dance
29. Act II - Scene II - Anime avventurose (Orfeo)
30. Act III - Scene I - Vieni, segui i miei passi (Orfeo)
31. Act III - Scene I - Vieni, appaga il tuo (Orfeo)
32. Act III - Scene I - Qual vita e questa? (Euridice)
33. Act III - Scene I - Che fiero momento (Euridice)
34. Act III - Scene I - Ecco un nuovo tormento! (Orfeo)
35. Act III - Scene I - Che faro senza Euridice? (Orfeo)
36. Act III - Scene I - Ah finisca (Orfeo)
37. Act III - Scene II - Orfeo, che fai? (Amore)
38. Act III - Scene III - Ballet
39. Act III - Scene III - Trionfi, Amore (Soli)

François Couperin: Leçons de Ténébres
Alfred Deller; Desmond Dupre; Wilfred Brown; Harry Gabb
40. Première Leçon (a1): I. Incipit: Lamentatio Jeremiae Prophetae
41. Première Leçon (a1): II. Aleph
42. Première Leçon (a1): III. Beth
43. Première Leçon (a1): IV. Gimel
44. Première Leçon (a1): V. Daleth
45. Première Leçon (a1): VI. Heth
46. Première Leçon (a1): VII. Jerusalem, convertere ad Dominum Deum tuum
47. Deuxième Leçon (a1): I. Vau
48. Deuxième Leçon (a1): II. Zain
49. Deuxième Leçon (a1): III. Heth
50. Deuxième Leçon (a1): IV. Jerusalem, convertere ad Dominum Deum tuum
51. Troisième Leçon (a2): I. Teth
52. Troisième Leçon (a2): II. Jod
53. Troisième Leçon (a2): III. Caph
54. Troisième Leçon (a2): IV. Lamed
55. Troisième Leçon (a2): V. Mem
56. Troisième Leçon (a2): VI. Nun
57. Troisième Leçon (a2): VII. Jerusalem, convertere ad Dominum Deum tuum

Michel-Richard Delalande: De Profundis, S.23
Mary Thomas;  Honor Sheppard; Robert Tear  Maurice Bevan;  Alfred Deller;

Vienna Chamber Choir; Vienna State Opera Orchestra; Alfred Deller
58. I. De profundis clamavi ad te Domine
59. II. Fiant aures tae
60. III. Si iniquiatates
61. IV. Quia apud
62. V. Sustinuit anima mea
63. VI. Sustinuit anima mea
64. VII. A custodia matutina0
65. VIII. Quia apud Dominum
66. IX. Et ipse redimet Israel -- Requiem --Et lux perpetua

Marc-Antoine Charpentier: Te Deum, H.146
Chorale Des Jeunesses Musicales France;

Orchestra Jean-François Paillard; Louis-Martinez
67.  I. Prelude
68.  II. Te Deum laudamus
69.  III. Te Aeternum Patrem
70.  IV. Pleni sunt coeli et terra
71.  V. Te per orbem terrarum
72.  VI. Tu devicto mortis aculeo
73.  VII. Te ergo quaesumus
74.  VIII. Aeterna fac cum sanctis tuis
75.  IX. Dignare Domine
76.  X. Fiat misericordia
77.  XI. In te Domine speravi

Joseph Martin Kraus: Funeral Cantata for Gustav III
Joan Marie Moynagh; Kerstin Meyer; Ragnar Ulfung; Kim Borg;

The Clarion Concerts Orchestra; The Clarion Concerts Chorus; Newell Jenkins
78. I. Introduction: Largo; Grave
79. II. Chorus: Con moto maestoso
80. III. Recitative, tenor: Larghetto
81. IV. Aria, tenor with chorus: Vivace
82. V. Aria, soprano: Allegro- Andantino
83. VI. Duet, mezzo-soprano, bass: Larghetto-Andante
84. VII. Recitative, soprano: Moderato-Larghetto
85. VIII. Aria, tenor with chorus: Andante moderato
86. IX. Aria, soprano: Andantino mesto
87. X. Chorus: Andante moderato-Vivace
88. XI. Introduction: Andante maestoso
89. XII. Quartet, soprano, alto, tenor, bass with chorus: Moderato
90. XIII. Aria, mezzo-soprano: Cantabile
91. XIV. Chorus: Maestoso-Allegro con brio

Alessandro Scarlatti: Messa di Santa Cecilia
Blanche Christensen; Beryl Jensen Smiley;  Jean Preston;  Ronald Christensen; Warren Wood;  University of Utah Alumni Chorus; Ardean W. Watts;  Utah Symphony Orchestra; Maurice Abravanel

92. I. Kyrie; Kyrie eleison

93. II. Kyrie; Christe eleison
94. III. Kyrie; Kyrie eleison
95. IV. Gloria; Gloria in excelsis Deo
96. V. Gloria; Et in Terra pax
97. VI. Gloria; Laudamus te
98. VII. Gloria; Gratias aqimus tibi
99. VIII. Gloria; Domine Deus
100. IX. Gloria; Qui tollis I & II
101. X. Gloria; Suscipe deprecationem nostram
102. XI. Gloria; Quoniam tu sulus sanctus
103. XII. Gloria; Com sancto spiritu
104. XIII. Credo: Credo in unum Deum
105. XIV. Credo: Et incanatus est
106. XV. Credo: Crucifixus
107. XVI. Credo: Et resurrexit
108. XVII. Credo: Et ascendit in coelum
109. XVIII. Credo: Cajus regni
110. XIX. Credo: Et vitam venturi saeculi
111. XX. Santus; Sanctus
112. XXI. Santus; Pleni sunt coeli
113. XXII. Santus; Osanna
114. XXIII. Agnus Dei; Agnus Dei
115. XXIV. Agnus Dei; Miserere nobis, dona nobis pacem

John Blow: Ode on the Death of Henry Purcell
Alfred Deller; Deller Consort; Mark Deller;

Stour Music Festival Chamber Orchestra
116. I. Mark how the Lark and Linnet sing
117. II. But in the close of night
118. III. So ceas'd the rival Crew when Purcell came
119. IV. We beg not Hell, our Orpheus to restore
120. V. The pow'r of Harmony too well they know
121. VI. The Heav'nly Quire, who heard his Notes from High
122. VII. Ye Brethren of the Lyre

Marc-Antoine Charpentier: Magnificat, H.73
Chorale Des Jeunesses Musicales France;

Orchestra Jean-François Paillard; Louis-Martinez
123. I. Introduction
124. II. Magnificat
125. III. Quia Fecit
126. VI. Et Misericordia
127. V. Fecit Potentiam
128. VI. Susecpit Israel
129. VII. Sicut Locutus Est
130. VIII. Gloria Patri

Giovanni Battista Pergolesi: Stabat mater, P.77
Teresa Stich-Randall; Elisabeth Hongen; Anton Heiller;

Vienna State Opera Orchestra; Mario Rossi
131. I. Stabat mater dolorosa
132. II. Aria: Cujus animam gementem
133. III. Duo: O quam tristis et afflicta
134. IV. Aria: Quae moerebat et dolebat
135. V. Quis est homo
136. VI. Aria: Vidit suum dulcem natum
137. VII. Aria: Eja, mater, fons amoris
138. VIII. Fac ut ardeat cor meum
139. IX. Sancta mater, istud agas
140. X. Aria: Fac ut portem Christi mortem
141. XI. Inflammatus et accensus
142. XII. Quando Corpus morietur; Amen

George Frideric Handel: Israel in Egypt, HWV54
Jutta Welting; Irmgar Bialas; Ebba Munzig; Wilhelm Horst; Gerhard Raker;

Herbert Rungenhagen; Combined Berlin Chamber Choirs;

Berlin Symphony Orchestra; Helmut Koch
143. Part 1: 1.Recitative (Tenor): Now there arose a new king over Egypt
144. Part 1: 2.Aria (Alto) and Chorus: And the children of Israel sighed
145. Part 1: 3.Recitative (Tenor): Then sent He Moses
146. Part 1: 4.Chorus: They loathed to drink of the river
147. Part 1: 5.Aria (Alto): Their land brought forth frogs
148. Part 1: 6.Chorus: He spake the word
149. Part 1: 7.Chorus: He gave them hailstones for rain
150. Part 1: 8.Chorus: He sent a thick darkness over all the land
151. Part 1: 9.Chorus: He smote all the first-born of Egypt
152. Part 1: 10.Chorus: But as for his people
153. Part 1: 11a.Chorus: He rebuked the Red Sea
154. Part 1: 11b.Chorus: He led them through the deep
155. Part 1: 11c.Chorus: But the waters overwhelmed their enemies
156. Part 2: 12.Introitus (Chorus): Moses and the children of Israel
157. Part 2: 13.Duet (Soprano, Alto): The Lord is my strength
158. Part 2: 14.Chorus: He is my God/And I will exalt him
159. Part 2: 15.Duet (Bass 1, Bass 2): The Lord is a man of war
160. Part 2: 16.Chorus: The depths have covered them
161. Part 2: 17.Chorus: And with the blast of Thy nostrils
162. Part 2: 18.Aria (Tenor): The enemy said
163. Part 2: 19.Aria (Soprano): Thou didst blow with the wind
164. Part 2: 20.Chorus: Who is like unto thee, o Lord/The earth swallowed them
165. Part 2: 21.Duet (Alto, Tenor); Thou in thy mercy
166. Part 2: 22.Chorus: The people shall hear
167. Part 2: 23.Aria (Alto): Thou shalt bring them in
168. Part 2: 24.Chorus: The Lord shall reign for ever and ever (1)
169. Part 2: 25.Aria (Tenor): For the horse of Pharaoh
170. Part 2: 26.Chorus: The Lord shall reign for ever and ever (2)

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This release grew out of the unexpectedly successful “Renaissance Choral Music” box, and “Big Baroque” Boxes. We moved further in time to the Baroque period - but we discovered that if we did a Big Baroque Choral Music Box, it would, generously put, be about 75 hours long (no exaggeration). But it is named as a follow up to the Renaissance Choral Box, so we can move into Volumes 3 and beyond (and we will). So we cut out for the time being Bach, Handel and Purcell, all composers who we have covered with their own individual boxes. And we still left out quite a bit.

Why did we leave hours and hours of recordings off of this box? Well, for this box, we wanted to focus on Bach Guild recordings that had been buried in the vault for a while. The two juicy nuggets in this box are a long-forgotten recording of Israel in Egypt - one of the first Bach Guild releases (BG 521 to save you the trip to your LP collection). Sung in German, this is a rare bit, and The Bach Guild’s first recording of a Handel oratorio. The second juicy bit is a complete recording of Gluck’s Orfeo and Euridice, made in Vienna (one of the last Vanguard recordings made in Vienna) in the mid 1960s, with a superb cast and conducted by Sir Charles Mackerras (BG 686, stereo version BGS 70686). This was released on CD in the early 1990s but has been out of print for (we estimate) nearly 20 years.

Also getting their Bach Guild digital debuts are the wonderful recording of the Kraus Funeral Cantata for Gustav, the Charpentier Te Deum with Jean-Francois Paillard (with Maurice Andre playing trumpet in the famous opening movement) and several other Baroque choral and vocal works featuring Alfred Deller, Maureen Forrester and other well-beloved members of the Bach Guild roster.

Kudos to the executive producer of The Bach Guild for tireless work resurrecting the Vivaldi Dixit Dominus RV 594. We often have just bare threads of information on the older recordings, and hunting down the old LP (and this is the 11th LP The Bach Guild released) can be very difficult, although we do have an extensive library, we don’t have everything. The information was sketchy and misleading, and we tried to include this recording in the Big Vivaldi Box but we really couldn’t piece the work together. This time, we were able to locate a score and place the tracks in the proper order (the information we had actually indicates that this was a different Vivaldi Dixit (there are two). So this recording, probably out of print for 50 years is now featured, in all its glory. We can’t confirm this, but this release probably represented the first complete recording of the RV 594. We put the release date as 1952 (original LP number: BG 678, in stereo as BG 70678 - we only had the mono master at our disposal).

And snark aside, we meant glory as in loud and glorious. This collection does not feature any “historically informed” instrument-based performances. You will hear full-throated choirs, and the Vivaldi never gets performed like this in our era, so it’s a surprise and surprisingly beautiful to hear an operatic choir throw themselves into this work now essentially in the possession of much smaller early music groups (not that there’s anything wrong with that, either way).

Again, there’s a lot more we could have put in…but we tend to cap these at 10-12 hours (yikes). This one is 8 hours and 54 minutes.

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