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Any recording that proclaims its contents as the 100 best sacred works is going to attract potshots, but the fact is that this six-disc set might be a useful thing for churches and the like to have on hand. The set takes on the ambitious task of assembling pieces from the era of plainchant up to the present day; the most recent pieces come from the widely performed "The Armed Man: A Mass for Piece," composed by Britain's Karl Jenkins and based on the Renaissance tradition of masses based on the song "L'homme armé" (The Armed Man). There are several things buyers should know. Especially considering the British origins of the set, the Renaissance and Medieval eras are underrepresented, and the Romantics overrepresented with two full discs, one devoted to French music and the other to "Romantic Sacred Masterpieces." The perorations of Elgar and Karg-Elert notwithstanding, the nineteenth century was not a high-water mark for sacred music. The "Modern Sacred Favorites" on disc 6 are conservative in orientation, with Barber, Rutter, Lloyd Webber, Vaughan Williams, Tavener, Pärt, and Górecki represented along with Jenkins; the progressives, who are none too progressive, are Stravinsky and Leonard Bernstein. Non-Christian forms of spirituality are not included at all. The selection of pieces is intelligent, resisting the temptation to squeeze in every hit and instead programming lesser-known works from time to time if they fit the sequence of events. Best of all are the performances, which draw from various segments of the EMI catalog. They come from between the early '60s and the 2000s, with most from the 1970s and 1980s, and the remastering of such a variety of sound sources is reasonable. The listener receives not only a collection of attitudes toward sacred music but also a group of diverse performer approaches to the problem of performing sacred music. Disc 1, for example, is neatly divided between the stark sounds of the Hilliard Ensemble and the quiet, tradition-encrusted performances of English church choirs. Whatever debates it may start, this is an undeniably useful box set. James Manheim, All Music Guide
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November 08, 2009: Raised in the Classics, I needed some type of Classical music to help me relax to maintain focus on my studies. This quality and yet affordable CD set titled, "Sacred Works" was highly suggested by a very helpful and gracious store staff. For this reason, I purchased the CD set and was exceedingly glad in doing so. Meanwhile, the set served another purpose. Traveling overseas for my Professional Studies, I take hundreds of photos per site. In preparation for a Powerpoint presentation as intern guest lecturer in two community colleges, since composed in Baroque" style, I utilized the Sacred Works as background music for my upcoming presentation photos from my recent visit to the Russian Federation's Winter Palace at the Hermitage in St. Petersburg, the official home of the Russian Tsars (1732-1917)of which some were responsible for the commissioning of the building's interior and exterior in Baroque architecture. I appreciate the recommendation. Majestically Imposing!
I Also Recommend: Best Baroque 100.
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October 26, 2009: There are many selections in this collection that I love to listen to over and over again. They are classic favorites sung by really good choirs. It's wonderful if you love choral music.
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Best Sacred Works 100 | ||
| 1. | Sub tuum praesidium, antiphon in mode 7 1:03 | |
| Composed by Gregorian Chant | ||
| Performed by David Lawson, Downside Abbey Choirboys, Monks of Downside Abbey and Dom Dunstan O'Keeffe | ||
| 2. | Miserere mei Deus (Psalm 51), motet for chorus: vv. 1-4 & 17-20 5:47 | |
| Composed by Gregorio Allegri | ||
| Performed by Timothy Beasley-Murray, Choir of King's College, Cambridge and Gerald Finley | ||
| Conducted by Stephen Cleobury | ||
| 3. | Veni Sancte Spiritus, isorhythmic motet for 4 voices, MB 32 6:26 | |
| Composed by John Dunstable | ||
| Performed by The Hilliard Ensemble | ||
| 4. | O nata lux de lumine, motet (hymn) for 5 voices, P. 209 1:56 | |
| Composed by Thomas Tallis | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Philip Ledger | ||
| 5. | Verbum Caro Factum Est for 6 voices 6:44 | |
| Composed by John Sheppard | ||
| Performed by Clerkes of Oxenford | ||
| Conducted by David Wulstan | ||
| 6. | Buccinate in neomenia tuba, motet for 19 voices 4:20 | |
| Composed by Giovanni Gabrieli | ||
| Performed by Ambrosian Singers, Barry Rose and String & Brass Ensemble | ||
| Conducted by Denis Stevens | ||
| 7. | O Magnum Mysterium, motet for 4 voices 4:10 | |
| Composed by Tomás Luis de Victoria | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge | ||
| 8. | Ave verum corpus (also anthem: "O Lord, God of Israel"), motet for 4 voices (SATB) 4:42 | |
| Composed by Byrd | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge | ||
| 9. | Tu es Petrus, motet for 7 voices (from Motets Book I) 3:59 | |
| Composed by G.P. Da Palestrina | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge | ||
| 10. | Missa L'Homme armé, for 4 voices: Kyrie 4:10 | |
| Composed by Guillaume Dufay | ||
| Performed by The Hilliard Ensemble | ||
| 11. | Missa Bell' Amfirit'altera, for 8 voices, H. viii/55: Gloria 4:19 | |
| Composed by Orlande de Lassus | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by George Guest | ||
| 12. | Mass "Euge Bone" for 6 voices: Credo 5:32 | |
| Composed by Christopher Tye | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Philip Ledger | ||
| 13. | Missa Paschalis (i), mass for 4 voices: Sanctus 4:28 | |
| Composed by Heinrich Isaac | ||
| Performed by The Hilliard Ensemble | ||
| 14. | Mass for 4 Voices (SATB): Agnus Dei 3:54 | |
| Composed by Byrd | ||
| Performed by The Hilliard Ensemble | ||
| 15. | Absalon, Fili Mi, motet for 4 parts (poss. spurious) 4:28 | |
| Composed by Josquin Desprez | ||
| Performed by The Hilliard Ensemble | ||
| 16. | Hosanna to the son of David, anthem for 6 voices 3:13 | |
| Composed by Orlando Gibbons | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge | ||
| 17. | Spem in Alium (also set as "Sing and glorify"), motet for 40 voices, P. 299 10:23 | |
| Composed by Thomas Tallis | ||
| Performed by Wim Becu, Paul Nicholson, Taverner Consort Choir and Alan Wilson | ||
| Conducted by Andrew Parrott | ||
| 18. | Gloria, for 3 solo voices, chorus, trumpet, oboe, violin (ad lib), 2 violas, 2 cellos, strings & continuo in D major, RV 589: Gloria in excelsis Deo 2:29 | |
| Composed by Antonio Vivaldi | ||
| Performed by Academy of Ancient Music, Choir of King's College, Cambridge, Sarah Fox and Deborah Norman | ||
| Conducted by Stephen Cleobury | ||
| 19. | Gloria, for 3 solo voices, chorus, trumpet, oboe, violin (ad lib), 2 violas, 2 cellos, strings & continuo in D major, RV 589: Laudamus te 2:28 | |
| Composed by Antonio Vivaldi | ||
| Performed by Academy of Ancient Music, Choir of King's College, Cambridge, Sarah Fox and Deborah Norman | ||
| Conducted by Stephen Cleobury | ||
| 20. | Magnificat, for 5 voices, 5-part chorus, orchestra & continuo in D major, BWV 243 (BC E14): Magnificat anima mea 3:02 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Academy of Ancient Music and Choir of King's College, Cambridge | ||
| Conducted by Stephen Cleobury | ||
| 21. | Messiah, oratorio, HWV 56: For unto us a child is born 4:20 | |
| Composed by George Frideric Handel | ||
| Performed by Ambrosian Singers and English Chamber Orchestra | ||
| Conducted by Charles Mackerras | ||
| 22. | Weihnachtsoratorium (Christmas Oratorio), in six parts, BWV 248 (BC D7): Bereite dich, Zion 5:33 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Academy of St. Martin-in-the-Fields and Janet Baker | ||
| Conducted by Philip Ledger | ||
| 23. | Zadok the Priest, coronation anthem No. 1 for chorus & orchestra, HWV 258 5:20 | |
| Composed by George Frideric Handel | ||
| Performed by Academy of Ancient Music and Choir of King's College, Cambridge | ||
| Conducted by Stephen Cleobury | ||
| 24. | Mass in B minor, for 5 voices, 6-part chorus, violin, orchestra & continuo, BWV 232 (BC E1): Cum Sancto Spiritu 4:25 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Bavarian Radio Chorus and Bavarian Radio Symphony Orchestra | ||
| Conducted by Eugen Jochum | ||
| 25. | Mass in B minor, for 5 voices, 6-part chorus, violin, orchestra & continuo, BWV 232 (BC E1): Et incarnatus est 4:30 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Bavarian Radio Chorus and Bavarian Radio Symphony Orchestra | ||
| Conducted by Eugen Jochum | ||
| 26. | O Mensch, bewein' dein' Sünde gross, chorale prelude for organ (Orgel-Büchlein No. 24), BWV 622 (BC K51) 5:25 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Peter Hurford | ||
| 27. | Cantata No. 140, "Wachet auf, ruft uns die Stimme," BWV 140 (BC A166): Zion hört die Wächter singen 4:47 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Consortium Musicum and South German Madrigal Choir & Consortium Musicum | ||
| Conducted by Wolfgang Gonnenwein | ||
| 28. | St. Matthew Passion (Matthäuspassion), BWV 244 (BC D3b): Ebarme dich, mein Gott 6:24 | |
| Composed by Johann Sebastian Bach | ||
| Performed by Ensemble Orchestral de Paris and Stephanie Blythe | ||
| Conducted by John Nelson | ||
| 29. | Cantata No. 147, "Herz und Mund und Tat und Leben," BWV 147 (BC A174): Jesus bleibet meine Freude (Jesu, joy of man's des 3:31 | |
| Composed by Johann Sebastian Bach | ||
| Conducted by David Willcocks | ||
| Performed by Academy of St. Martin-in-the-Fields and Choir of King's College, Cambridge | ||
| 30. | Thou know'st, Lord (2nd setting), anthem for chorus, slidetrumpets & organ, Z. 58c 2:22 | |
| Composed by Henry Purcell | ||
| Performed by Choir of King's College, Cambridge and The Philip Jones Brass Ensemble | ||
| Conducted by Philip Ledger | ||
| 31. | Hear my prayer, O Lord, anthem for chorus, violins & continuo, Z. 15 (unfinished) 2:14 | |
| Composed by Henry Purcell | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Philip Ledger | ||
| 32. | St. Matthew Passion (Matthäuspassion), BWV 244 (BC D3b): O sacred head, sore wounded (Passion Chorale) 2:46 | |
| Composed by Johann Sebastian Bach | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge | ||
| 33. | Crucifixus a 8 Voix 3:43 | |
| Composed by Antonio Lotti | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Philip Ledger | ||
| 34. | Messiah, oratorio, HWV 56: I know that my redeemer liveth 6:42 | |
| Composed by George Frideric Handel | ||
| Performed by Ambrosian Singers, English Chamber Orchestra and Elizabeth Harwood | ||
| Conducted by Charles Mackerras | ||
| 35. | Messiah, oratorio, HWV 56: Hallelujah Chorus 4:01 | |
| Composed by George Frideric Handel | ||
| Performed by Ambrosian Singers, English Chamber Orchestra and Elizabeth Harwood | ||
| Conducted by Charles Mackerras | ||
| 36. | Requiem for soloists, chorus, and orchestra, K. 626: Introit. Requiem aeternam 4:27 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by London Philharmonic Chorus, London Philharmonic Orchestra and Felicity Lott | ||
| Conducted by Franz Welser-Möst | ||
| 37. | Requiem for soloists, chorus, and orchestra, K. 626: Kyrie 2:35 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by London Philharmonic Chorus, London Philharmonic Orchestra and Felicity Lott | ||
| Conducted by Franz Welser-Möst | ||
| 38. | Requiem for soloists, chorus, and orchestra, K. 626: Lacrimosa dies illa 2:58 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by London Philharmonic Chorus, London Philharmonic Orchestra and Felicity Lott | ||
| Conducted by Franz Welser-Möst | ||
| 39. | Vesperae solennes de confessore for soloists, chorus & orchestra, K. 339: Laudate Dominum 5:30 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Conducted by Neville Marriner | ||
| Performed by Academy of St. Martin-in-the-Fields, Academy Chorus and Barbara Hendricks | ||
| 40. | Regina coeli, antiphon for soprano, chorus & orchestra, K. 127: Regina coeli 4:04 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by Collegium Cartusianum and Cologne Chamber Choir | ||
| Conducted by Peter Neumann | ||
| 41. | Mass No. 17 for soloists, chorus & orchestra in C minor (fragment, "Great Mass"), K. 427 (K. 417a): Laudamus te 4:57 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by Kiri Te Kanawa and New Philharmonia Orchestra of London | ||
| Conducted by Raymond Leppard | ||
| 42. | Mass No. 15 for vocal soloists, chorus & orchestra in C major ("Coronation"), K. 317: Benedictus 3:16 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by Bavarian Radio Chorus, Bavarian Radio Symphony Orchestra, Dietrich Fischer-Dieskau, Nicolai Gedda, Julia Hamari and Edda Moser | ||
| Conducted by Eugen Jochum | ||
| 43. | Exsultate, jubilate, motet for soprano & orchestra, K. 165 (K. 158a): Alleluia 2:56 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by English Chamber Orchestra and Lucia Popp | ||
| Conducted by Georg Fischer | ||
| 44. | Ave verum Corpus, motet for chorus, strings & organ, K. 618 3:27 | |
| Composed by Wolfgang Amadeus Mozart | ||
| Performed by Berlin Philharmonic Orchestra, Swedish Radio Choir and Stockholm Chamber Choir | ||
| Conducted by Riccardo Muti | ||
| 45. | Die Schöpfung (The Creation), oratorio, H. 21/2: With verdure clad 4:54 | |
| Composed by Franz Joseph Haydn | ||
| Performed by Arleen Augér, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Philip Langridge and David Thomas | ||
| Conducted by Simon Rattle | ||
| 46. | Die Schöpfung (The Creation), oratorio, H. 21/2: The heavens are telling 3:37 | |
| Composed by Franz Joseph Haydn | ||
| Performed by Arleen Augér, City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra, Philip Langridge and David Thomas | ||
| Conducted by Simon Rattle | ||
| 47. | Mass for soloists, chorus, organ & orchestra in D minor ("Lord Nelson"), H. 22/11: Kyrie 4:25 | |
| Composed by Franz Joseph Haydn | ||
| Performed by Robert Holl, Dresden Staatskapelle, Keith Lewis, Margaret Marshall, Carolyn Watkinson and Christine Schonknecht | ||
| Conducted by Neville Marriner | ||
| 48. | Mass for soloists, chorus, organ & orchestra in D minor ("Lord Nelson"), H. 22/11: Gloria in excelsis Deo 3:26 | |
| Composed by Franz Joseph Haydn | ||
| Performed by Robert Holl, Dresden Staatskapelle, Keith Lewis, Margaret Marshall, Carolyn Watkinson and Christine Schonknecht | ||
| Conducted by Neville Marriner | ||
| 49. | Mass for soloists, chorus & orchestra in C major, Op. 86: Kyrie 5:34 | |
| Composed by Ludwig van Beethoven | ||
| Conducted by Carlo Maria Giulini | ||
| Performed by Theo Altmeyer, Elly Ameling, Janet Baker, Philharmonia Chorus, New Philharmonia Orchestra of London and Marius Rintzler | ||
| 50. | Die Ehre Gottes aus der Natur ("Himmel ruhmen des ewigen Ehre"), song for voice & piano, Op. 48/4 2:31 | |
| Composed by Ludwig van Beethoven | ||
| Performed by Philharmonia Chorus and New Philharmonia Orchestra of London | ||
| Conducted by Wilhelm Pitz | ||
| 51. | Mass for soloists, chorus & orchestra in D major ("Missa Solemnis"), Op. 123: Gloria 17:12 | |
| Composed by Ludwig van Beethoven | ||
| Performed by Hans Peter Blochwitz, English Chamber Orchestra, Waltrand Meier, Tallis Chamber Choir, Hans Tschammer and Carol Vaness | ||
| Conducted by Jeffrey Tate | ||
| 52. | Te Deum, motet for 8 voices, chorus & orchestra, H. 146: Prelude 1:47 | |
| Composed by Marc-Antoine Charpentier | ||
| Performed by Academy of St. Martin-in-the-Fields | ||
| Conducted by Philip Ledger | ||
| 53. | Ave Maria, for voice & piano (or other vocal arrangements; after Bach's Prelude No. 1 from the Well-Tempered Clavier, Book 1) 3:14 | |
| Composed by Charles Gounod | ||
| Performed by Janet Baker and Philip Ledger | ||
| 54. | Messe solennelle de Sainte Cécile for soloists, chorus, orchestra & organ in G major: Credo - opening 3:50 | |
| Composed by Charles Gounod | ||
| Performed by French Radio Choir, Laurence Dale and Nouvelle Orchestre Philharmonique | ||
| Conducted by Georges Prêtre | ||
| 55. | Messe solennelle de Sainte Cécile for soloists, chorus, orchestra & organ in G major: Sanctus 5:33 | |
| Composed by Charles Gounod | ||
| Performed by French Radio Choir, Laurence Dale and Nouvelle Orchestre Philharmonique | ||
| Conducted by Georges Prêtre | ||
| 56. | L' Enfance du Christ, oratorio for soprano, 2 tenors, Baritone, 3 basses, chorus & orchetsra ("trilogie sacrée") H. 130 (Op. 25): The Shepherds' Farewell 4:14 | |
| Composed by Hector Berlioz | ||
| Performed by Choir of King's College, Cambridge and Royal Philharmonic Orchestra | ||
| Conducted by Stephen Cleobury | ||
| 57. | Te Deum, for tenor, 3 choruses, brass bands, organ & orchestra, H. 118 (Op. 22): Tu, Christe, Rex gloriae 5:38 | |
| Composed by Hector Berlioz | ||
| Performed by Marie-Claire Alain, Orchestre de Paris, Paris Orchestra Chorus, Chœur d'enfants de l'Union Européenne and Maîtrise d'Antony | ||
| Conducted by John Nelson | ||
| 58. | Requiem, for 2 solo voices, chorus, organ & orchestra, Op. 48: Pie Jesu 3:29 | |
| Composed by Gabriel Fauré | ||
| Performed by Nancy Argenta, Bournemouth Sinfonietta and Stephen Farr | ||
| Conducted by David Hill | ||
| 59. | Ubi caritas, motet for chorus, Op. 10/1 2:40 | |
| Composed by Maurice Duruflé | ||
| Performed by Winchester Cathedral Choir | ||
| Conducted by David Hill | ||
| 60. | Cantique de Jean Racine, for 4-part chorus & organ (or orchestra), Op. 11 5:51 | |
| Composed by Gabriel Fauré | ||
| Performed by Winchester Cathedral Choir and Stephen Farr | ||
| Conducted by David Hill | ||
| 61. | Panis angelicus for tenor, organ, harp, cello & bass 4:56 | |
| Composed by César Franck | ||
| Performed by The Hallé Choir and The Hallé | ||
| Conducted by Maurice Handford | ||
| 62. | Gloria, for soprano, chorus & orchestra, FP 177: Laudamus te 3:00 | |
| Composed by Poulenc | ||
| Performed by French Radio Choir and Orchestre National de France | ||
| Conducted by Georges Prêtre | ||
| 63. | Vinea mea electa, motet for chorus (4 motets pour un temps de pénitence), FP 97/2 3:49 | |
| Composed by Poulenc | ||
| Conducted by Harry Christophers | ||
| Performed by The Sixteen | ||
| 64. | Suite Gothique, for organ, Op. 25: Prière à Notre-Dame 4:08 | |
| Composed by Léon Boëllmann | ||
| Performed by Frederic Bayco | ||
| 65. | O sacrum convivium!, for voices, I/18 5:10 | |
| Composed by Olivier Messiaen | ||
| Conducted by Terry Edwards | ||
| Performed by London Voices | ||
| 66. | Requiem, for orchestra, organ & chorus; for organ & chorus; for small ensemble, organ & chorus, Op. 9 (3 versions): Sanctus 3:25 | |
| Composed by Maurice Duruflé | ||
| Performed by Peter Barley, Olaf Bär, Choir of King's College, Cambridge and English Chamber Orchestra | ||
| Conducted by Stephen Cleobury | ||
| 67. | Requiem, for orchestra, organ & chorus; for organ & chorus; for small ensemble, organ & chorus, Op. 9 (3 versions): Libera me 5:43 | |
| Composed by Maurice Duruflé | ||
| Performed by Peter Barley, Olaf Bär, Choir of King's College, Cambridge and English Chamber Orchestra | ||
| Conducted by Stephen Cleobury | ||
| 68. | Requiem, for 2 solo voices, chorus, organ & orchestra, Op. 48: In Paradisum 3:43 | |
| Composed by Gabriel Fauré | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge and New Philharmonia Orchestra of London | ||
| 69. | Mass for soloists, chorus & orchestra No.2 in E flat Major, Op. 80: Sanctus 1:33 | |
| Composed by Johann Nepomuk Hummel | ||
| Performed by Stuttgart Boys' Choir and Werner Keltsch Instrumental Ensemble | ||
| Conducted by Gerhard Wilhelm | ||
| 70. | Elijah (Elias), oratorio, Op. 70: O rest in the Lord 3:43 | |
| Composed by Felix Mendelssohn Bartholdy | ||
| Performed by Janet Baker, Philharmonia Chorus and New Philharmonia Orchestra of London | ||
| Conducted by Rafael Frühbeck de Burgos | ||
| 71. | Elijah (Elias), oratorio, Op. 70: And then shall your light break forth 3:19 | |
| Composed by Felix Mendelssohn Bartholdy | ||
| Performed by Janet Baker, Philharmonia Chorus and New Philharmonia Orchestra of London | ||
| Conducted by Rafael Frühbeck de Burgos | ||
| 72. | Stabat mater for 2 sopranos, tenor, bass, chorus & orchestra: Cujus animam 6:59 | |
| Composed by Gioachino Rossini | ||
| Performed by Robert Gambill and Maggio Musicale Fiorentino Orchestra | ||
| Conducted by Riccardo Muti | ||
| 73. | Psalm 23 ("Gott ist mein Hirt"), for female voices & piano, D. 706 (Op. posth. 132) 4:58 | |
| Composed by Franz Schubert | ||
| Performed by Choir of King's College, Cambridge and Philip Ledger | ||
| 74. | Deutsche Messe (German Mass), for mixed chorus, wind ensemble & organ, D. 872: Heilig, heilig, heilig 2:30 | |
| Composed by Franz Schubert | ||
| Performed by Bavarian Radio Chorus and Bavarian Radio Symphony Orchestra | ||
| Conducted by Wolfgang Sawallisch | ||
| 75. | Ellens Gesang III ("Ave Maria"), song for voice & piano, D. 839 (Op. 52/6) 4:26 | |
| Composed by Franz Schubert | ||
| Performed by Graunke Symphony Orchestra and Anneliese Rothenberger | ||
| Conducted by Gerhard Schmidt-Gaden | ||
| 76. | Ave verum, motet for chorus, Op. 2/1 2:35 | |
| Composed by Edward Elgar | ||
| Performed by Harry Bramma and Winchester Cathedral Choir | ||
| Conducted by Christopher Robinson | ||
| 77. | Nun danket alle Gott, marche triomphale (chorale improvisation) for organ (& brass ad lib), Op. 65/59 3:36 | |
| Composed by Sigfrid Karg-Elert | ||
| Performed by Philip Ledger | ||
| 78. | Ave Maria (II), motet for chorus in F major, WAB 6 3:11 | |
| Composed by Anton Bruckner | ||
| Performed by Philharmonia Chorus | ||
| Conducted by Wilhelm Pitz | ||
| 79. | Evening Hymn for chorus & organ 6:06 | |
| Composed by Henry Balfour Gardiner | ||
| Performed by City of Birmingham Symphony Orchestra Chorus and Thomas Trotter | ||
| Conducted by Simon Halsey | ||
| 80. | Requiem Mass, for soloists, chorus & orchestra (Manzoni Requiem): Recordare 4:21 | |
| Composed by Giuseppe Verdi | ||
| Conducted by Carlo Maria Giulini | ||
| Performed by Nicolai Ghiaurov, Nicolai Gedda, Christa Ludwig, New Philharmonia Orchestra of London and Elisabeth Schwarzkopf | ||
| 81. | Requiem Mass, for soloists, chorus & orchestra (Manzoni Requiem): Ingemisco 3:47 | |
| Composed by Giuseppe Verdi | ||
| Conducted by Carlo Maria Giulini | ||
| Performed by Nicolai Ghiaurov, Nicolai Gedda, Christa Ludwig, New Philharmonia Orchestra of London and Elisabeth Schwarzkopf | ||
| 82. | Requiem Mass, for soloists, chorus & orchestra (Manzoni Requiem): Lux aeterna 6:52 | |
| Composed by Giuseppe Verdi | ||
| Conducted by Carlo Maria Giulini | ||
| Performed by Nicolai Ghiaurov, Nicolai Gedda, Christa Ludwig, New Philharmonia Orchestra of London and Elisabeth Schwarzkopf | ||
| 83. | Ein deutsches Requiem (German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Wie lieblich 6:10 | |
| Composed by Johannes Brahms | ||
| Performed by BBC Symphony Chorus, London Philharmonic Chorus and London Philharmonic Orchestra | ||
| Conducted by Klaus Tennstedt | ||
| 84. | Mass for tenor, baritone, bass, chorus & orchestra in A flat major ("Messa di gloria"): Gloria in excelsis Deo - In terra pax - Laudamus t 4:36 | |
| Composed by Giacomo Puccini | ||
| Performed by London Symphony Chorus and London Symphony Orchestra | ||
| Conducted by Antonio Pappano | ||
| 85. | I Was Glad (Psalm 122), anthem for chorus & organ (or orchestra) 6:47 | |
| Composed by Hubert Parry | ||
| Performed by Royal Military School of Music Band, Choir of King's College, Cambridge, New Philharmonia Orchestra of London and Cambridge University Musical Society Chorus | ||
| Conducted by Philip Ledger | ||
| 86. | The Armed Man: A Mass For Peace, for soloists, chorus & orchestra: Agnus Dei 3:40 | |
| Composed by Karl Jenkins | ||
| Performed by Paul Beniston, London Philharmonic Orchestra and National Youth Choir of Great Britain | ||
| Conducted by Karl Jenkins | ||
| 87. | Ave Maria, for chorus a cappella (after Bogoroditse D'vo) 1:58 | |
| Composed by Igor Stravinsky | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Stephen Cleobury | ||
| 88. | Chichester Psalms, for boy soloist, chorus & orchestra: 1. Maestoso ma energico - Allegro molto 3:50 | |
| Composed by Leonard Bernstein | ||
| Performed by Peter Barley, John Bowley, Choir of King's College, Cambridge, David Corkhill, Rachel Masters, Michael Pearce, Daniel Sladden and Peter Winn | ||
| Conducted by Stephen Cleobury | ||
| 89. | Requiem for soloists, chorus & orchestra: Pie Jesu 2:51 | |
| Composed by Andrew Lloyd Webber | ||
| Performed by Slovak Radio Symphony Orchestra (Bratislava), Simon Gibson, Jane Gilchrist and Fergus Thirlwell | ||
| Conducted by Kirk Trevor | ||
| 90. | Voca Me 4:50 | |
| Composed by Robert Prizeman | ||
| Performed by Christopher Robson, Anthony Chadney and Joseph Platt | ||
| 91. | Ave Maria 4:11 | |
| Composed by Tolga Kashif | ||
| Performed by Lesley Garrett, Julian Leang and Clare Singers | ||
| Conducted by Philip Ellis | ||
| 92. | Mass for soloists & chorus in G minor: Kyrie 3:58 | |
| Composed by Ralph Vaughan Williams | ||
| Conducted by David Willcocks | ||
| Performed by Choir of King's College, Cambridge | ||
| 93. | Totus Tuus, for chorus, Op. 60 8:56 | |
| Composed by Henryk Mikolaj Górecki | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Stephen Cleobury | ||
| 94. | Magnificat, for chorus 6:22 | |
| Composed by Arvo Pärt | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Stephen Cleobury | ||
| 95. | Vespers (All-Night Vigil), for alto, tenor & chorus, Op. 37: Ave Maria 2:59 | |
| Composed by Sergey Rachmaninov | ||
| Performed by Choir of King's College, Cambridge | ||
| Conducted by Stephen Cleobury | ||
| 96. | Song for Athene, for chorus 6:12 | |
| Composed by John Tavener | ||
| Performed by Winchester Cathedral Choir | ||
| Conducted by David Hill | ||
| 97. | Nunc dimittis for voice, trumpet & strings 2:44 | |
| Composed by Geoffrey Burgon | ||
| Performed by Paul Miles-Kingston, Martin Neary and Crispian Steele-Perkins | ||
| 98. | Requiem for chorus & orchestra: Requiem aeternam 5:39 | |
| Composed by John Rutter | ||
| Performed by Choir of King's College, Cambridge and City of London Sinfonia | ||
| Conducted by Stephen Cleobury | ||
| 99. | Agnus Dei, for chorus & organ/piano (arr. from 2nd mvt. of String Quartet), Op. 11 7:45 | |
| Composed by Samuel Barber | ||
| Performed by Winchester Cathedral Choir | ||
| Conducted by David Hill | ||
| 100. | The Armed Man: A Mass For Peace, for soloists, chorus & orchestra: Benedictus 7:37 | |
| Composed by Karl Jenkins | ||
| Conducted by Karl Jenkins | ||
| Performed by London Philharmonic Orchestra, National Youth Choir of Great Britain and Guy Johnson | ||
Any recording that proclaims its contents as the 100 best sacred works is going to attract potshots, but the fact is that this six-disc set might be a useful thing for churches and the like to have on hand. The set takes on the ambitious task of assembling pieces from the era of plainchant up to the present day; the most recent pieces come from the widely performed "The Armed Man: A Mass for Piece," composed by Britain's Karl Jenkins and based on the Renaissance tradition of masses based on the song "L'homme armé" (The Armed Man). There are several things buyers should know. Especially considering the British origins of the set, the Renaissance and Medieval eras are underrepresented, and the Romantics overrepresented with two full discs, one devoted to French music and the other to "Romantic Sacred Masterpieces." The perorations of Elgar and Karg-Elert notwithstanding, the nineteenth century was not a high-water mark for sacred music. The "Modern Sacred Favorites" on disc 6 are conservative in orientation, with Barber, Rutter, Lloyd Webber, Vaughan Williams, Tavener, Pärt, and Górecki represented along with Jenkins; the progressives, who are none too progressive, are Stravinsky and Leonard Bernstein. Non-Christian forms of spirituality are not included at all. The selection of pieces is intelligent, resisting the temptation to squeeze in every hit and instead programming lesser-known works from time to time if they fit the sequence of events. Best of all are the performances, which draw from various segments of the EMI catalog. They come from between the early '60s and the 2000s, with most from the 1970s and 1980s, and the remastering of such a variety of sound sources is reasonable. The listener receives not only a collection of attitudes toward sacred music but also a group of diverse performer approaches to the problem of performing sacred music. Disc 1, for example, is neatly divided between the stark sounds of the Hilliard Ensemble and the quiet, tradition-encrusted performances of English church choirs. Whatever debates it may start, this is an undeniably useful box set. James Manheim
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