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What's on Great Sacred Music, Sunday, May 4, 2014

Location: North Carolina, USA
This week's playlist continues the celebration of Easter. In case you cannot
hear the show live, the playlist is on Spotify for you to enjoy: GSM - May 4, 2014
Don't forget that we have more choral and organ music programmed on Sunday
evenings beginning at 10 p.m. eastern.
Rob Kennedy
Great Sacred Music
The Classical Station
Josquin des Prez: Ave Maria
Hilliard Ensemble
The Franco-Belgian musician Josquin Lebloitte dit Desprez (c.1440 - 1521)
was one of the most influential composers of his time. We are so fortunate
that much of his ouevre has survived.
Cesar Franck: Beatitude III ~ The Beatitudes
Choirs of Radio France; New Philharmonic Orchestra, Armin Jordan
Louise Lebrun, soprano; Jane Berbie, mezzo-soprano; Nathalie Stutzmann, contralto;
David Rendall and Peter Jeffes, tenor; Marcel Vanaud, baritone; Francois Loup and Daniel Ottevaere, bass
Franck's monumental oratorio Les Beatitudes has never enjoyed great popularity.
That's a pity, as it contains some of the composer's finest writing.
J.S. Bach: Chorale Prelude "Dearest Jesus, we are here"
Christopher Herrick, organ
1975 Metzler organ in St. Michael Church, Kaisten, Switzerland 
Christopher Herrick recorded a series of Bach's smaller scale organ works in
the late 90s. This choral prelude is from his CD entitled Organ Cornucopia.
J.S. Bach: Cantata 85, "Ich bin ein guter Hirt ... "
Bach Collegium Japan, Masaaki Suzuki
Carolyn Sampson, soprano; Robin Blaze, countertenor;
Gerd Turk, tenor; Peter Kooy, bass-baritone
"I am the Good Shepherd"
The libretto for this cantata was written by the poetess Christiane
Mariane von Ziegler (1695-1760). Bach was very fond of her poetry
and set several of her cantata texts to music.
Sir Edward Elgar: The Apostles, Op. 49: Part I
London Symphony Chorus and Orchestra, Richard Hickox
Alison Hargan, soprano; Alfreda Hodgson, contralto;
David Rendall, tenor; Bryn Terfel, bass;
Stephen Roberts, bass; Robert Lloyd, bass
The Apostles is not performed as often as Elgar's other masterpieces The Dream of Gerontius
and The Kingdom. Elgar began work on the oratorio in 1902. It was first performed at the
Birmingham Trienniel Music Festival in 1903.
The oratorio is scored for large orchestra and chorus including shofar and three bass soloists.
The final chorus is about as fine a piece of writing as Elgar ever wrote.