Music of Elizabeth Bell

On this CD:

1. Concerto for piano, percussion & strings "Andromeda"
Composed by Elizabeth Bell
Performed by Seattle Symphony Orchestra
Conducted by Gerard Schwarz

2. String Quartet No. 1
Composed by Elizabeth Bell
Performed by Moyzes Quartet

3. Perne in a Gyre, clarinet, violin, cello & piano
Composed by Elizabeth Bell

4. Symphony No. 1
Composed by Elizabeth Bell
Performed by Seattle Symphony Orchestra
Conducted by Gerard Schwarz

Tracks:

SzVagy, Gyru Vagy Magyarorsz[A "Hamburgi Menyasszony" C O]
Nem Lehet Azt Parancsolni Senkinek (You Can't Make Them Do ...)
KorcsmsnAdjon Bort Hitelbe [Give Me Some Wine on Credit, Miss]
Arad Felol (From Arad) [Az "Erzst" C DaljkbFrom Arad]
Debrecenbe' Voltam (I've Been to Debrecen)/ik A, Hajlik a Bl
Vecserny Sz Harang (The Call of the Vesper Bell)
Hulllaton Tetej(On the Gentle Waves of ...)
Te Szoke Gyerek (You Fair-Haired Child)
Kesergo, Palot Friss (Lament, Palotand Quick)
KNefelejcs [Blue Forget-Me-Nots]
Kanyargsza Partj/Minden [On the Bank of the Winding Tisza River]

Average customer rating:

Awesome CD!!!!

American Collection: Max Lifchitz

Manufacturer: North / South Record
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000004AHF
Release Date: 1998-02-03

Tracks:

Colors From A Changing Sky
Elaborations: I. Fast
Elaborations: II. Slow
Elaborations: III. Quiet
Elaborations: IV. Brilliant
The Ideal Self
Variations And Interludes
Gypsy Ballads: I. Ballad Of The Black Pain
Gypsy Ballads: II. The Unfaithful Wife
Gypsy Ballads: III. Ballad Of The Moon, Moon
Gypsy Ballads: IV. Saint Rafael At Cordoba
Gypsy Ballads: V. Preciosa And The Wind
Gypsy Ballads: VI. Brawl
Gypsy Ballads: VII. Ballad Of One Who Is Doomed To Die
Gypsy Ballads: VIII. Sleepwalk Ballad
Gypsy Ballads: IX. Saint Gabriel At Sevilla

Tracks:

Stehende Musik
Tre Espressioni: I. Free
Tre Espressioni: II. = 60
Tre Espressioni: III. = 54
Romanza
Piano Sonata: I. Adagio-Allegretto
Piano Sonata: I. Adagio-Allegretto
Piano Sonata: II. Andantino Grazioso
Piano Sonata: III. Allegro vivace
Seven Piano Pieces: I. Prelude
Seven Piano Pieces: II. Fantasy
Seven Piano Pieces: III. Little Waltz
Seven Piano Pieces: IV. Elegy
Seven Piano Pieces: V. Capriccio
Seven Piano Pieces: VI. Song Without Words
Seven Piano Pieces: VII. Postlude
Images Of Wood And Fire

Customer Reviews:

Awesome CD!!!!.......2001-03-09

I think Timothy Kramer's piece is outstanding! A must to own. The other works on the CD are also great. This is one of my favorite CDs.

Wish You Were Here/Paint Your Wagon (Original London Cast) and Bonus Tracks

Average customer rating:

2 great London cast albums make their CD premiere!

Wish You Were Here/Paint Your Wagon (Original London Cast) and Bonus Tracks

Manufacturer: Sepia
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Grey Gardens - A New Musical (2006 Original Broadway Cast)
Love from Judy
The Drowsy Chaperone (2006 Original Broadway Cast)
Curtains (2007 Original Broadway Cast)
The Happy Time (1968 Original Broadway Cast)

ASIN: B000A2UBLG
Release Date: 2006-05-30

Tracks:

Camp Kare-Free Song - Mark Baker
Nicer Than People - Shani Wallis
Ballad Of A Social Director - Dickie Henderson
Shopping Around - Shani Wallis
Mix And Mingle - Bruce Trent
Could Be - Elizabeth Larner
Tripping The Light Fantastic - Ensemble
Where Did The Night Go - Bruce Trent
Certain Individuals - Shani Wallis
They Won't Know Me - Bruce Trent
Summer Afternoon - Christopher Hewett
Don Jose Of Far Rockaway - Dickie Henderson
Everybody Loves Everybody - Shani Wallis
Wish You Were Here - Bruce Trent
Relax! - Christopher Hewett
Flattery - Elizabeth Larner
I'm On My Way/Dialog/I Still See Elisa - Chorus
They Call The Wind Maria/Dialogue/Wanderin' Star - Bobby Howes
There's A Coach Comin' In/Dialogue/All For Him/Another Autumn - Chorus
Dialogue/I Talk To The Trees/How Can I Wait - Sally Ann Howes
Bonus Track I Love Him As He Is - Sally Ann Howes
Bonus Track: I've Never Been In Love Before - Jerry Wayne
Bonus Track: Luck Be A Lady - Jerry Wayne
Bonus Track: If I Were A Bell - Lizbeth Webb
Bonus Track: I've Never Been In Love Before - Lizbeth Webb
Bonus Track: My Time Of Day - Jerry Wayne
Bonus Track: I'll Know - Jerry Wayne

Customer Reviews:

2 great London cast albums make their CD premiere!.......2004-12-22

This fabulous CD from Sepia presents 2 great (ultra-rare) London cast albums on compact disc for the very first time.

WISH YOU WERE HERE had been a success on Broadway (mainly for the novelty of featuring an actual pool onstage), and a charming score by Harold Rome. It played for 282 performances at the London Casino. Most recognisible from the cast is Shani Wallis, immortalised oncreen as the tragic Nancy in OLIVER!, here playing the pert secondary female lead. Elizabeth Larner and Bruce Trent play the central couple. Standouts in the score are "Ballad of a Social Director", "They Won't Know Me", "Where Did the Night Go?" and "Could Be". Shani Wallis delights with her playful "Shopping Around". The original Broadway cast album of WISH YOU WERE HERE (on the RCA label) has been out-of-print for a while now, but the London cast is more than ample compensation.

PAINT YOUR WAGON had been a sound success on Broadway for it's composer and lyricist (Frederick Loewe and Alan Jay Lerner), offering fine roles for James Barton and Olga San Juan as father-and-daughter Ben and Jennifer Rumson. The London production was very interesting because it offered the dynamic of a real father and daughter in the roles. Bobby Howes was joined by his lovely daughter Sally Ann Howes (in her first big role). She's a smashing Jennifer, though the recording (originally made to fit 4 sides of a set of 78's), denied Howes the chance to lay down her rendition of "What's Going On Here?". Nevetheless fans of Sally Ann will find this recording indispensible. Bobby Howes (in one of his last great performances) is a fantastic Ben.

This CD is filled out by Sally Ann Howes' performance of "I Love Him As He Is" from the original London cast of BET YOUR LIFE (the rest of the album can be found on Sepia's `Julie Wilson in London with Friends' ). Also included are 6 numbers from GUYS AND DOLLS recorded in 1953, performed by Jerry Wayne and Lizbeth Webb (who played Skye Masterson and Sarah Brown in the original London production).

Stanford: Serenade Op95; Parry: Nonet in Bf

Average customer rating:

The perfect recording
Excellent Interpretation
a voice teacher and early music fan
Superior recording
Otherworldly

Stanford: Serenade Op95; Parry: Nonet in Bf

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

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General | Chamber Music | Classical | Styles | Music
Similar Items:

Pergolesi: Stabat Mater; Salve Regina in Cm
Fauré: Requiem; Messe basse; Cantique de Jean Racine
Grieg: Peer Gynt Suites Nos. 1 & 2; Holberg Suite
Rimsky-Korsakov: Scheherazade
Dvorak - Stabat Mater / Goerke · M. Simpson · Olsen · N. Berg · Atlanta SO · R. Shaw

ASIN: B000002ZKP
Release Date: 1993-11-15

Customer Reviews:

The perfect recording.......2007-03-22

I have heard a number of soprano & countertenor teams sing the Stabat Mater since this recording was made, Kirkby & Bowman (the use of a harpsichord annoyed me in that recording) and Bonney & Scholl (the voices were mismatched, IMHO - Maria Cristina Kiehr would have been a better partner for Scholl, David Daniels a better partner for Bonney) immediately come to mind, but none move me and impress me like this recording. I think that this is one of the finest recordings of 18th century sacred music I've ever heard, it is certainly the most moving recording I've heard.

The voices of Michael Chance and Gillian Fisher blend perfectly and both sing with great style and conviction. Something of a "dream-team", to use a colloquialism, in fact. The dissonances are brought out most effectively and poignantly ... and without distracting and unnecessary vibrato. You'll never heard the seconds, sung in the opening movement, with more precision and bite than on this recording!

The King's Consort uses a small number of strings, organ and theorbo accompaniment. Robert King's choice of tempi is natural and effective. The recorded sound and the acoustical environment of the recording is perfect, neither is it too dry nor too reverberant. All in all, an ideal recording of this masterpiece from this tragically short lived composer. I own this recording and, although I've heard other recordings, including the one with Andreas Scholl, a favourite singer of mine, I have never felt tempted to buy another recording.

Excellent Interpretation.......2007-01-12

There are many recordings of Faure's Requiem. If you are looking for the best one, this recording is it. The Corydon Singers, the English Chamber Orchestra, and the soloists due an impressive job full of lyricism and emotion. The diction, the blending, and the balance between orchestra, orchestra, and soloist is impeccable. And the other tracks, which others have written on, are just as expertly performed. If looking for a recording of the Requiem, this is the one to get.

a voice teacher and early music fan.......2006-03-23

Giovanni Battista Pergolesi achieved only modest success during his short lifetime, but the twenty years following his death(at the age of 26) in 1736,saw an extraordinary change, turning him into one of the most-published composers of the 18th century. An Eighteenth Century French writer described the 'Stabat Mater', completed as the composer lay dying, as the 'masterwork' of Latin music'. Although this is music of great tenderness and sombre beauty, the work also includes chromatic sequences, sighing passages and dramatic dissonance straight out of the operatic style that made Pergolesi famous. The Stabat Mater is a setting of the sequence for the Feast of the Seven Dolours (sorrows) of the Blessed Virgin Mary, and was written during Pergolesi's last few months. Harmonically Pergolesi was ahead of his time; one technique he made use of was the application of chromaticism to create a bitter-sweet tone of expressive sensibility. In addition there is an operatic element such as is contained in the jaunty "Quae morebat" sung by the alto (Michael Chance). The Salve Regina with its A minor setting and supplicatory text,contains many hallmarks of the Stabat Mater; from the expressive sighing of the 'Ad te suspiramus' to the contrasting misic of the strong 'Ad te clamamus' sung by the soprano (Gillian Fisher). "In coelestibus regnis" (sung magnificently by Chance) is an example of the short type of piece that Pergolesi might have found time to write in between his operatic commisions. This is a truly exquisite and exciting recording featuring the WONDERFUL voices of Michael Chance -countertenor and Gillian Fisher-soprano. I have 2 other recordings of this music; neither of them come even close to the perfection of this one.!!!!!!

Superior recording.......2002-09-06

This recording from December 1987 in the Church of St Jude-on-the-Hill, Hampstead, London, is far superior to all other recordings of Pergolesi's Stabat Mater.

Otherworldly.......2001-03-14

I am hardly a classical music maven. I listen as others might use recreational drugs - when all else fails I hope a piece of classical music will take me out of myself and let me get a little closer to heaven. An opportunity to bathe in beauty. The reason it doesn't often work is because just as I'm about to transcend the composer changes dynamics and the bath turns into a perfect storm. Not so with this work. Forty minutes of undiluted peace, but with complexities that demand active listening. Vocals and instruments are of such a whole that I found myself listening to strings that unfolded as a voice, and vice versa. The vocal combinations and close harmonies were flawless. There was not a moment that was not gorgeous, and any loss of attention was caused by my own wandering mind rather than any jarring musical effect. These are the sounds I would like to accompany me on the big transition - they would open the gates.

Herrmann: Wuthering Heights (Complete Opera)

Average customer rating:

The Opera Was First
A lost treaure!
Memo to Renee Fleming: what are you waiting for
Bronte aned Herrmann are an Unbeatable Combo!
A Treasure That Should Never Be Lost!

Herrmann: Wuthering Heights (Complete Opera)

Manufacturer: Unicorn
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000001PBO
Release Date: 1993-12-07

Tracks:

Prologue: Intro - Pro Arte Orchestra/Bernard Herrmann
Prologue; Lockwood: 'Wuthering Heights!' - David Kelly/Elizabeth Bainbridge
Prologue; Lockwood: 'Snow, everlasting snow' - David Kelly
Prologue; Lockwood: 'Catherine Earnshaw, her book' - David Kelly/Donald Bell
Prologue; Heathcliff: 'Is anyone here?' - David Kelly/Donald Bell
Act 1, Scene 1: Intro - Pro Arte Orchestra/Bernard Herrmann
Act 1, Scene 1: 'I have been wandering' - Morag Beaton/Donald Bell
Act 1, Scene 1: 'Look, Cathy' - Morag Beaton/Donald Bell
Act 1, Scene 1: 'On the moors, on the moors' - Morag Beaton/Donald Bell
Act 1, Scene 1: 'Ha! so this is what you do, is it?' - John Kitchiner/Morag Beaton
Act 1, Scene 1: 'Be quiet ye ill children' - Michael Rippon
Act 1, Scene 1: 'Look-the moon' - Morag Beaton/Donald Bell
Act 1, Scene 1; Orchestral Interlude (Noturne) - Pro Arte Orchestra/Bernard Herrmann
Act 1, Scene 2: Intro - Michael Rippon
Act 1, Scene 2: 'Joseph-enough of your christmas music' - Elizabeth Bainbridge/Donald Bell
Act 1, Scene 2: 'I am the only being' - Donald Bell
Act 1, Scene 2: The postillion call of the coach - Donald Bell/John Kitchiner/Elizabeth Bainbridge/Morag Beaton
Act 1, Scene 2 'It is now Christmas' - Elizabetthan Singers/Louis Halsey/Michael Rippon/Morag Beaton

Tracks:

Act 2: Intro - Morag Beaton/Elizabeth Bainbridge/Donald Bell
Act 2: 'Come, Cathy-' - Morag Beaton/Donald Bell
Act 2: 'I'm not come too soon, am I?' - Morag Beaton/Elizabeth Bainbridge
Act 2: 'Nelly, Nelly, hide me' - John Kitchiner/Elizabeth Bainbridge/Morag Beaton
Act 2: 'Poor Bairn. poor Bairn' - Elizabeth Bainbridge/Morag Beaton
Act 2: 'Nelly, will you keep a secret for me?' - Elizabeth Bainbridge/Morag Beaton
Act 2: 'I have dreamt' - Elizabeth Bainbridge/Morag Beaton
Act 2: 'Isn't that Heathcliff? - Michael Rippon/Morag Beaton/Elizabeth Bainbridge
Act 3: Intro - Pamela Bowden/Morag Beaton/Joseph Ward
Act 3: 'Now art thou, dear' - Joseph Ward
Act 3: 'A person from Gimmerton' - Elizabeth Bainbridge/Morag Beaton/Joseph Ward
Act 3: 'Sit down, sir' - Joseph Ward/Donald Bell/Pamela Bowden
Act 3: 'Love is like the wild rose-briar' - Pamela Bowden/Morag Beaton
Act 3: 'Heathcliff! I want to talk to you' - Pamela Bowden/Morag Beaton/Donald Bell/Joseph Ward
Act 3: 'She goes to the window - Morag Beaton
Act 3: 'There's A face in the window' - Elizabeth Bainbridge/Morag Beaton/Pamela Bowden
Act 3: 'Love is like the wild rose-briar' - Morag Beaton/Elizabeth Bainbridge

Tracks:

Act 4: Prld - Pro Arte Orchestra/Bernard Herrmann
Act 4: 'Tell me, Nelly' - John Kitchiner
Act 4: Slowly hindley begins to awaken - John Kitchiner/Pamela Bowden
Act 4: Hindley picks up one of the bottles - John Kitchiner/Donald Bell
Act 4: 'Silence!' - Pamela Bowden/John Kitchiner/Donald Bell
Act 4: Orchestral Interlude (Mediation) - Pro Arte Orchestra/Bernard Herrmann
Act 4: Cathy Enters - Morag Beaton/Donald Bell
Act 4: 'May she wake in torment!' - Donald Bell
Act 4: 'Heathcliff,-Heathcliff-' - Donald Bell

Customer Reviews:

The Opera Was First.......2006-10-31

Yes, the sweeping First Act Love Duet does appear in the soundtrack of "The Ghost and Mrs. Muir," but the music was written for the opera and only plugged into the film when it seemed the opera would never be performed. As for Donald Bell and Morag Beaton, the opera was recorded in a few lengthy sessions, and sometimes the singers' exhaustion comes through. It only adds to the desperate intensity of the performance, however, and no one will ever conduct Herrmann with the savagery of the composer.

A lost treaure!.......2004-12-22

I love this opera! Why! oh why hasn't it been performed. Thank God for this recording, the only document that we have of this masterpiece. As another reviewer has written Renee Fleming would be a perfect Cathy and what about Bryn Terfel as Heathcliff. WOW!! What a production that would be. Until then we can only dream.. Ahhh!

Memo to Renee Fleming: what are you waiting for.......2003-10-11

Actually, the memo is addressed to Decca as well as Fleming. This is a jewel of an opera, and while the existing recording has lovely moments, the piece really deserves deluxe treatment. Fleming's recording a few years ago of Cathy's heartbreaking aria was simply gorgeous -- so what on earth is stopping her, and Decca's executives, from pushing forward with the whole opera?? If Fleming's not interested, maybe Hei-Kyung Hong could be persuaded -- she would be perfect as Cathy.

Bronte aned Herrmann are an Unbeatable Combo!.......2003-05-10

Bernard Herrmann - Wuthering Heights

Wuthering Heights is a book that is just dying to become an opera. And Bernard Herrmann was one of the most dramatic and operatic of mid-twentieth century American composers. The marriage of story and composer should have made for one of the most popular operas in the literature. And yet Herrmann's masterwork took ten years to write and never really held the stage. Like many people, I chalked it up to a great film composer who tried to reach to far and failed. Then I heard the opera and I must say, I am mystified as to why this work isn't in the repertoire. It's extremely powerful, beautifully written and worthy of standing next to any of the best modern operas.

The libretto of the work is excellent. Herrmann's first wife is responsible for it. She and the composer decided that only the first half of the Bronte work should be treated as opera, a wise decision. Though the second half of Wuthering Heights is marvelous in it's own way, dramatically, it wouldn't hold the stage well. In addition to this cut, much of the action is telescoped into discreet scenes. And yet all of the spirit and power of the Bronte original is kept, along with almost all of the language. The libretto is constructed either of lines lifted directly from the book, though sometimes translated to different characters, or lifted sensitively from Bronte's own poetry. The result is an old-fashioned 19th century libretto complete with set pieces, and yet completely faithful to the Bronte and to 20th century dramatic practices.

Herrmann's music is from beginning to end, brilliant. Herrmann is one of a half a dozen composers active in the late 20th century who could take a traditional romantic language and say something deeply personal with it. From the first measures of the stormy prelude you know that this is Herrmann's music. All of the hallmarks from his film music are present, stormy dissonances, bold and colorful orchestrations, repeated pithy motives, and a harmonic language that can border on atonality, but is never far removed from it's tonal and romantic origins. Each scene is discreetly composed to project the physical and emotional atmosphere. The prologue is developed from three tense and haunting motives which will dominate the opera. The first scene of Act I contains some of the most lovely lyric singing in modern opera as Heathcliff and Cathy sing a paean to the wild Moors of Yorkshire. Hindley's music is violent and careens drunkenly, as his character should. The Thrushcross Grange scene is all elegance and taste, a beautiful counterpoint to the darker music of the Heights.

As it should be, the music for Heathcliff and Cathy are the heart of this work. Cathy is by turns ecstatic, lyrical and controlled, as befits a character who's unbridled nature is wild, but who is just barely tamed by the society around her. Heathcliff is all storm and tempest, at any moment about to break into passion and yet as ardent as any lover. Their duets are the high points of the opera...the sexual tension between them is felt palpably throughout the score. And the final scene, the death of Cathy and the beginning of Heathcliff's long vigil is unbelievably haunting...sends shivers up and down my spine in exactly the same way as the Fool in Boris Godanov or the Child's hop-hops in Wozzeck do.

This CD is a reissue of the original recording done by Herrmann at his own expense in England. The cast is not first rate. Particularly disappointing are the principals. Donald Bell's voice strains at the extremes of his register and his diction is not very good...Cathy comes out sounding like caddy way too often from my taste...And Moerag Beaton is unpleasantly shrill in her role and has some lapses in intonation. But the Pro Arte Orchestra under Herrmann is fabulous, and until someone sees the light and redoes this work, this is all we have...and unfortunately for many of you, this CD is increasingly hard to get...Unicorn is defunct. I had to get this through the Amazon.com used channels.

It is worth it all in the end though. The work is terrific, romantic and deeply moving. I'm surprised actually that, given the interest in Herrmann's film music evidenced by so many orchestras, that an opera company doesn't do a "crossover" tie-in and programs this work. I would predict it to be a hit with audiences and critics alike. This is an unjustly neglected work!

A Treasure That Should Never Be Lost!.......2002-03-26

Bernard Herrmann's obsession in his life, Wuthering Heights, an opera that he had started to work on in the 1940s and didn't finish until the 1950s, and had so hoped to perform it. It wasn't until 1966 that his grand opera was finally performed. This opera I thought I was never ever in my life going to hear. When I did listen to it, I found out why Herrmann was so obsessed. I also noticed that there were numerous amounts of music that he's used in other films. For example, in Act I, he used the music from the beginning of the film The Ghost And Mrs. Muir, and on cd 2, track 7, Herrmann used the Second Nocturne from The Magnificent Ambersons, which was cut out of the final cut. At the end of Act II, he used the sea music from The Ghost And Mrs. Muir, when they are showing the passing years for Mrs. Muir, and on track 6 on cd 3, he used the Andante Cantabile from The Ghost And Mrs. Muir. I also found out why people say the What Lies Beneath score sounds like Bernard Herrmann's music is because Alan Silvestri wrote the main theme similar to Herrmann's main theme for the opera (the 5 note sequence). The last part of the opera, when Cathy's voice is heard on the moors was very spine-tingling with the sound of the wind and the low flute. I will admit though that the love scenes of the opera were sometimes just too dragging for me. I just still can't believe it, after finding out his obsession and love for the opera, I finally get to hear it, with him as the conductor. I love you Bernard Herrmann, and I wish you were still here today. Your music will never stop inspiring others.

Average customer rating:

Max Lifchitz Plays American Piano Music

Manufacturer: Vienna Modern Master
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000009IXS
Release Date: 1995-12-01

Elizabeth Bell: A Collection of Reflections

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Elizabeth Bell: A Collection of Reflections

Manufacturer: North / South Record
ProductGroup: Music
Binding: Audio CD

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General | Chamber Music | Classical | Styles | Music

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ASIN: B000CSUMVW
Release Date: 2006-01-24

Average customer rating:

I Am an American Woman

Manufacturer: Vienna Modern Masters
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000004A6Z
Release Date: 1995-12-01

Average customer rating:

Masters of the Renaissance

Manufacturer: Gloriae Dei Cantores
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

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

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

Classical | Indie Music | Stores | Music
ASIN: B000003XGA
Release Date: 1996-03-19

Album Description

This release from Gloriae Dei Cantores features sacred music from one of the most inspired periods in the arts---the Renaissance. Each of the European schools of composition---Italian, Flemish, German, Spanish, and English---is represented by a total of twenty composers, offering a fascinating cross-section of styles and influences. Great masters such as Lassus, Byrd, and Victoria are featured, as well as lesser-known composers such as Hassler, de Wert, and Nanino.

The central work of this recording is the MISSA SUPER BELL AMFITRIT ALTERA by Lassus, generally considered one of his finest works. Other selections include Anerio's tender and stirring REQUIEM AETERNUM and William Byrd's TERRA TREMUIT, which has been described as "one of the most dramatic texts in the whole of music."

The Music of Elizabeth Bell
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The Music of Elizabeth Bell

Manufacturer: Master Musicians Col
ProductGroup: Music
Binding: Audio CD

General | Concertos | Forms & Genres | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
ASIN: B00004TLYB
Release Date: 2000-06-27