The Best Choral Album in the World…Ever!

~ Release by Various Artists (see all versions of this release, 3 available)

Tracklist

1▶CD
2▼CD
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1Cantata no. 140: Zion hört die Wächter
choir vocals:
South German Madrigal Choir
tenor vocals:
Theo Altmeyer (German tenor) (in 1967)
orchestra:
Consortium Musicum (from 1967-07-15 until 1967-07-20)
conductor:
Wolfgang Gönnenwein (conductor) (from 1967-07-15 until 1967-07-20)
phonographic copyright (℗) by:
EMI Electrola GmbH (not for release label use! DE subsidiary of EMI Records from 1972–2002) (in 1967)
recorded at:
Marbach Stadthalle in Marbach am Neckar, Baden-Württemberg, Germany (from 1967-07-15 until 1967-07-20)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: IV. Choral (Tenor) “Zion hört die Wächter singen” (in 1967-07)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
Johann Sebastian Bach4:49
2Te Deum in D: Pleni sunt coeli et terra
alto vocals:
Charles Brett (English counter-tenor active in late 20th century) (in 1977-03)
bass vocals:
Stephen Roberts (UK bass-baritone) (in 1977-03)
choir vocals:
Choir of King’s College, Cambridge (in 1977-03)
soprano vocals:
Dame Felicity Lott (soprano) (in 1977-03) and Eiddwen Harrhy (soprano) (in 1977-03)
tenor vocals:
Ian Partridge (tenor) (in 1977-03)
orchestra:
Academy of St Martin in the Fields (in 1977-03)
conductor:
Philip Ledger (in 1977-03)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1978)
recorded at:
King’s College Cambridge in Cambridge, Cambridgeshire, England, United Kingdom (in 1977-03)
recording of:
Te Deum, H. 146: Pleni sunt coeli et terra (in 1977-03)
composer:
Marc‐Antoine Charpentier (composer)
part of:
Te Deum, H. 146
Marc‐Antoine Charpentier2:26
3Messiah: Hallelujah Chorus
producer:
Christopher Bishop (conductor/producer)
choir vocals:
Ambrosian Singers (aka Ambrosian Opera Chorus / Ambrosian Chorus / Ambrosian Choir) (from 1966-06-29 until 1966-08-09)
solo vocals:
Dame Janet Baker (mezzo‐soprano and alto), Paul Esswood (countertenor), Elizabeth Harwood (soprano), Raimund Herincx (bass-baritone) and Robert Tear (tenor)
soprano vocals:
Elizabeth Harwood (soprano)
orchestra:
English Chamber Orchestra (from 1966-06-29 until 1966-08-09)
conductor:
Sir Charles Mackerras (Australian conductor) (from 1966-06-29 until 1966-08-09)
arranger:
Basil Lam (English producer, harpsichordist)
balance engineer:
Neville Boyling (engineer) (from 1966-06-29 until 1966-08-09)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1967)
recorded at:
Kingsway Hall in London (Greater London), England, United Kingdom (from 1966-06-29 until 1966-08-09)
recording of:
Messiah, HWV 56: Part II, no. 44. Chorus “Hallelujah” (from 1966-06-29 until 1966-08-09)
composer:
George Frideric Handel (German‐British baroque composer) (in 1741)
librettist:
Charles Jennens
part of:
Messiah, HWV 56: Part II
George Frideric Handel4:04
4Funeral Music for Queen Mary: Thou Knowest, Lord
brass:
Philip Jones Brass Ensemble
instruments and orchestra:
Philip Jones Brass Ensemble
choir vocals:
Choir of King’s College, Cambridge
conductor:
Philip Ledger
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1977)
recording of:
Funeral Music on the Death of Queen Mary: VI. Anthem, Z. 58b "Thou knowest, Lord"
composer:
Henry Purcell (Baroque composer)
part of:
Henry Purcell: An Analytical Catalogue of His Music (number: Z. 58b)
part of:
Music for the Funeral of Queen Mary, Z. 860
recording of:
Funeral Music on the Death of Queen Mary: VI. Anthem, Z. 58c "Thou knowest, Lord" (2nd setting for 4 trumpets)
composer:
Henry Purcell (Baroque composer) (in 1687)
part of:
Music for the Funeral of Queen Mary, Z. 860
Henry Purcell2:24
5Sequence (mode 1): Veni sancte spiritus
sound engineer:
Angel Barco
producer:
Maria Francisca Bonmati
choir vocals:
Coro de monjes del Monasterio Benedictino de Santo Domingo de Silos (The Benedictine Monks of Santo Domingo de Silos) (in 1980-03)
chorus master:
Francisco Lara (Gregorian chant specialist, musicologist, professor of history and music sciences) (in 1980-03)
phonographic copyright (℗) by:
Hispavox, S.A. (not for release label use! Spanish record company) (in 1980)
recorded at:
Iglesia del Monasterio Benedictino de Santo Domingo de Silos in Santo Domingo de Silos, Burgos (Province of Burgos), Castilla y León (Castile and León), Spain (in 1980-03)
[anonymous]2:51
6The Creation: Awake the Harp
producer:
David R. Murray
choir vocals:
CBSO Chorus
orchestra:
City of Birmingham Symphony Orchestra (from 1990-03-24 until 1990-04-29)
conductor:
Simon Rattle (conductor) (from 1990-03-24 until 1990-04-29)
balance engineer:
Mike Clements (sound engineer for classical recordings, AKA "Mr. Bear" in his early work) (from 1990-03-24 until 1990-04-29) and Michael Sheady (engineer) (from 1990-03-24 until 1990-04-29)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1991)
recorded at:
Warwick Arts Centre in Coventry, West Midlands, England, United Kingdom (from 1990-03-24 until 1990-04-29)
recording of:
Die Schöpfung, Hob XXI:2: Part I: XI. Chor: Stimmt an die Saiten (from 1990-03-24 until 1990-04-29)
composer:
Joseph Haydn (composer)
part of:
Die Schöpfung, Hob. XXI:2: Part I (The Creation, Hob. XXI:2: Part I)
Joseph Haydn2:14
7Elijah: And then Shall Your Light Break Forth
choir vocals:
New Philharmonia Chorus (London choir aka New Philharmonia Chorus from 1964–1977)
orchestra:
New Philharmonia Orchestra (Philharmonia Orchestra, London orchestra, known as New Philharmonia Orchestra from 1964–1976)
conductor:
Rafael Frühbeck de Burgos (conductor)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1968)
recording of:
Elijah, op. 70: Chorus - "And then shall your light break forth"
composer:
Felix Mendelssohn (composer)
librettist:
Julius Schubring
translator:
William Bartholomew
part of:
Elijah, op. 70, Part II (with English libretto by William Bartholomew)
Felix Mendelssohn3:21
8L’Enfance du Christ: L’Adieu des bergers (Shepherd’s Farewell)
producer:
René Challan (French composer)
choir vocals:
Chœurs René Duclos (from 1965-09 until 1965-10)
orchestra:
Orchestre du Conservatoire de Paris and Paris Conservatoire Orchestra (from 1965-09 until 1965-10)
conductor:
André Cluytens (Belgian-born French conductor) (from 1965-09 until 1965-10)
chorus master:
Jean Laforge (choral conductor)
balance engineer:
Paul Vavasseur (engineer)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1975)
recorded at:
Salle Wagram in Paris, Île-de-France, France (from 1965-09 until 1965-10)
recording of:
L'Enfance du Christ, op. 25 : Deuxième partie no. 8. Adieu des bergers à la sainte famille « Il s'en va loin de la terre » (Les bergers) (“The Shepherds' Farewell”) (from 1965-09 until 1965-10)
lyricist and composer:
Hector Berlioz (French composer)
part of:
L'Enfance du Christ : Deuxième partie « La Fuite en Égypte »
Hector Berlioz3:53
9Requiem, op. 9: Agnus Dei (reduced orchestration version)
organ:
Peter Barley
choir vocals:
Choir of King’s College, Cambridge
orchestra:
English Chamber Orchestra
conductor:
Stephen Cleobury (organist, conductor)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1989)
recording of:
Requiem, op. 9: VI. Agnus Dei (for choir, organ and reduced orchestra (1961))
composer:
Maurice Duruflé (French composer & organist, 1902–1986) (in 1947)
arranger:
Maurice Duruflé (French composer & organist, 1902–1986) (in 1961)
part of:
Requiem, op. 9 (for choir, organ and reduced orchestra (1961))
Maurice Duruflé3:44
10Cantique de Jean Racine
choir vocals:
The Monks and Choirboys of Downside Abbey
phonographic copyright (℗) by:
Virgin Records Ltd. (not for release label use! for company relationships only) (in 1997)
recording of:
Cantique de Jean Racine, op. 11 (for choir and piano or organ)
lyricist:
Jean Racine (French dramatist)
composer:
Gabriel Fauré (French composer) (in 1865)
dedicated to:
César Franck (Belgian‐born French composer)
part of:
Works of Gabriel Fauré by opus number (number: op. 11)
Gabriel Fauré5:15
11Ave verum corpus, K. 618
choir vocals:
Schutz Choir and The Schütz Choir of London (in 1991-09)
orchestra:
London Classical Players (in 1991-09)
conductor:
Roger Norrington (conductor) (in 1991-09)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1992)
recorded at:
St. Augustine’s Church (Kilburn, London) in London (Greater London), England, United Kingdom (in 1991-09)
recording of:
Ave verum corpus, K. 618 (for chorus, string and organ) (in 1991-09)
composer:
Wolfgang Amadeus Mozart (classical composer) (until 1791-06-18)
part of:
Köchelverzeichnis (Köchel catalogue, first edition, 1862, K¹) (number: K. 618), Köchelverzeichnis (Köchel catalogue, third edition, 1937, K³) (number: K. 618), Köchelverzeichnis (Köchel catalogue, ninth edition, 2024, K⁹) (number: K. 618), Köchelverzeichnis (Köchel catalogue, original numbering) (number: 618) and Köchelverzeichnis (Köchel catalogue, sixth edition, 1964, K⁶) (number: K. 618)
Wolfgang Amadeus Mozart2:44
12Tannhäuser: Beglückt darf nun dich, o Heimat (Pilgrim’s Chorus)
choir vocals:
Bavarian State Opera Chrous (Chorus of the Bavarian State Opera)
orchestra:
Bayerisches Staatsorchester (Bavarian State Orchestra, orchestra of the Bavarian State Opera in Munich, Germany)
conductor:
Robert Heger (conductor)
phonographic copyright (℗) by:
EMI Electrola GmbH (not for release label use! DE subsidiary of EMI Records from 1972–2002) (in 1963)
recording of:
Tannhäuser und der Sängerkrieg auf Wartburg, WWV 70: Aufzug III, Scene I. “Wohl wusst’ ich hier sie im Gebet zu finden”
composer:
Richard Wagner (composer) (from 1843 until 1845-04-13)
librettist:
Richard Wagner (composer) (from 1842-06 until 1843-04)
part of:
Tannhäuser und der Sängerkrieg auf Wartburg, WWV 70: Aufzug III
Richard Wagner4:28
13Il trovatore: Vedi! le fosche notturne spoglie (Anvil Chorus)
producer:
John Fraser (UK producer)
choir vocals:
Chorus of the Royal Opera House, Covent Garden
orchestra:
Orchestra of the Royal Opera House, Covent Garden
conductor:
Bernard Haitink (conductor)
chorus master:
Robin Stapleton (conductor)
balance engineer:
Michael Sheady (engineer)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1989)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom
recording of:
Il trovatore: Atto II, scena 1. “Vedi! Le fosche notturne” (zingari) (“Anvil Chorus”)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Salvadore Cammarano (Italian librettist)
part of:
Il trovatore: Atto II. La gitana
Giuseppe Verdi2:52
14Gloria: Laudamus te
choir vocals:
Radio France Chorus
soprano vocals:
Barbara Hendricks (soprano)
orchestra:
Orchestre national de France (National Orchestra of France, RTF / ORTF / Radio France)
conductor:
Georges Prêtre (French conductor)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1989)
recording of:
Gloria, for Soprano, Chorus and Orchestra, FP 177: II. Laudamus te
composer:
Francis Poulenc (French composer and pianist) (from 1959 until 1960)
part of:
Gloria, for Soprano, Chorus and Orchestra, FP 177
Francis Poulenc3:02
15Chichester Psalms: I. Maestoso ma energico—Allegro molto (reduced scoring with organ, harp and percussion)
harp:
Rachel Masters (harp player)
organ:
Peter Barley
percussion:
David Corkhill (percussion)
alto vocals:
Peter Winn (treble)
bass vocals:
Daniel Sladden (bass singer)
choir vocals:
Choir of King’s College, Cambridge
tenor vocals:
John Bowley (tenor)
treble vocals:
Michael Pearce (Recording/Mix Engineer)
conductor:
Stephen Cleobury (organist, conductor)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1991)
recording of:
Chichester Psalms: I. Psalm 108 verse 2, Psalm 100. Maestoso ma energico – Allegro molto
composer:
Leonard Bernstein (American conductor, composer, pianist) (in 1965)
part of:
Chichester Psalms
Leonard Bernstein3:56
16The Lamb
producer:
John West (classical engineer/producer)
choir vocals:
Vasari Singers (UK chamber choir) (from 1995-02-03 until 1995-02-05)
conductor:
Jeremy Backhouse (choral conductor) (from 1995-02-03 until 1995-02-05)
chorus master:
Jeremy Backhouse (choral conductor)
balance engineer:
Mike Clements (sound engineer for classical recordings, AKA "Mr. Bear" in his early work) (from 1995-02-03 until 1995-02-05)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1996)
recorded at:
St. Giles’ without Cripplegate in City of London, London (Greater London), England, United Kingdom (from 1995-02-03 until 1995-02-05)
recording of:
The Lamb (from 1995-02-03 until 1995-02-05)
lyricist:
William Blake (English poet, painter, and printmaker) (in 1789)
composer:
John Tavener (20th century composer) (in 1982)
publisher:
Chester Music Ltd., Edition Wilhelm Hansen London Ltd. and J. & W. Chester, Ltd.
John Tavener3:17
17Agnus Dei (Adagio for Strings)
choir vocals:
Winchester Cathedral Choir
conductor:
David Hill (British organist and conductor)
phonographic copyright (℗) by:
Virgin Classics Ltd. (not for release label use! for copyrights use) (in 1998)
recording of:
Agnus Dei (arr. Samuel Barber for chorus)
lyricist:
[anonymous] (special purpose artist)
composer:
Samuel Barber (American composer) (in 1936)
arranger:
Samuel Barber (American composer) (in 1967)
part of:
Works of Samuel Barber by opus number (number: op. 11)
arrangement of:
Adagio for Strings
Samuel Barber7:51
18Requiem: Requiem aeternam
producer:
Simon Woods (producer)
choir vocals:
Choir of King’s College, Cambridge (from 1997-07-15 until 1997-07-18)
orchestra:
City of London Sinfonia (chamber orchestra) (from 1997-07-15 until 1997-07-18)
conductor:
Stephen Cleobury (organist, conductor) (from 1997-07-15 until 1997-07-18)
chorus master:
Stephen Cleobury (organist, conductor)
balance engineer:
Simon Rhodes (senior recording engineer at Abbey Road Studios) (from 1997-07-15 until 1997-07-18)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1998)
recorded at:
King’s College Chapel in Cambridge, Cambridgeshire, England, United Kingdom (from 1997-07-15 until 1997-07-18)
recording of:
Requiem: I. Requiem æternam (from 1997-07-15 until 1997-07-18)
composer:
John Rutter (English choral music composer, conductor, arranger and producer, born 1945) (in 1985)
publisher:
Oxford University Press
part of:
Requiem
John Rutter5:43
19Messa da Requiem: Dies irae (opening)
choir vocals:
Philharmonia Chorus (London choir aka New Philharmonia Chorus from 1964–1977)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976)
conductor:
Carlo Maria Giulini (conductor)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1964)
recording of:
Messa da requiem: IIa. Dies irae: Dies irae (coro)
composer:
Giuseppe Verdi (Italian opera composer) (in 1874)
part of:
Messa da requiem: II. Dies irae (quartetto solista, coro) (full sequenza)
Giuseppe Verdi2:23
20Carmina Burana: O Fortuna
producer:
John Fraser (UK producer)
editor:
Matthew Cocker (editor)
choir vocals:
London Philharmonic Chorus (in 1989-11)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1989-11)
conductor:
Franz Welser‐Möst (conductor) (in 1989-11)
chorus master:
Richard Cooke (chorus master/conductor) (in 1989-11)
balance engineer:
John Kurlander (engineer)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1990)
recorded at:
No. 1 Studio, Abbey Road in St John's Wood, Westminster, London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Carmina Burana: Fortuna imperatrix mundi: I. O Fortuna (in 1989-11)
composer:
Carl Orff (composer) (in 1936)
publisher:
B. Schott’s Söhne (publisher; do not use as label)
version of:
O Fortuna (Poem, CB 17)
part of:
Carmina Burana: Fortuna Imperatrix Mundi
Carl Orff2:32
21Land of Hope and Glory (conclusion)
choir vocals:
Royal Choral Society (The Royal Choral Society)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra)
conductor:
Sir Andrew Davis (conductor, keyboardist, composer, arranger)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1972)
partial recording of:
Pomp and Circumstance Military Marches, op. 39: March no. 1 in D major
premiered in:
Liverpool, Merseyside, England, United Kingdom (on 1901-10-19)
publisher:
Sir Edward Elgar (dec’d) (Edward Elgar, composer)
composer:
Edward Elgar (composer) (in 1901)
publisher:
Boosey & Co. Ltd. (music publisher founded in the 1760s, forebear of Boosey & Hawkes)
part of:
Pomp and Circumstance Military Marches, op. 39
Edward Elgar2:43

Credits

Release

printed in:the EU (Europe)
liner notes:Tony Locantro (in 1998)
copyrighted (©) by:Circa Records Ltd. (not an imprint; for ©/℗ rights use only) (in 1999)
Virgin Records Ltd. (not for release label use! for company relationships only) (in 1999)
phonographic copyright (℗) by:Circa Records Ltd. (not an imprint; for ©/℗ rights use only) (in 1999)
glass mastered by:EMI Swindon
Discogs:https://www.discogs.com/release/16235233 [info]
ASIN:UK: B000026MG0 [info]