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Hyperion Records

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Tyrolean Girl Contemplating a Crucifix (detail) (1865) by Rudolph Friedrich Wasmann (1805-1886)
Hamburger Kunsthalle, Germany / Bridgeman Art Library, London
Track(s) taken from CDA67558
Recording details: July 2005
St John's College Chapel, Cambridge, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: May 2006
Total duration: 2 minutes 41 seconds

'Outgoing, excitingly resonant, spirited singing' (Gramophone)

'I doubt that you would find a better performance of Mendelssohn's sacred choral music than this. Finely executed with immaculate phrasing sensitively performed, it is clear that David Hill is leading the choir of St John's to even greater heights while it maintains its own highly individual sound. The whole production is worthy of the highest praise' (Choir & Organ)

'This is one special record' (American Record Guide)

'Some lovely—indeed memorable—performances here; including a gorgeous account of Mendelssohn's richly opulent Ave Maria, Op 23 No 2 (Allan Clayton the wonderfully yearning tenor soloist) and a gloriously magisterial Warum toben die Heiden? from Op 78 … Quentin Beer is an impressively clear and pure-voiced treble in that most famous of all treble solos—O, for the wings of a dove … the recording is a triumph. Hyperion has come up with a far more rewarding sound than either Decca or Naxos was ever able to achieve at St John's' (International Record Review)

'The Choir of St John's College, Cambridge, under David Hill, simply outsings all the current competition in sacred music by Mendelssohn' (Fanfare, USA)

Zum Abendsegen, Op posth.
First line:
Herr, sei gnädig unserm Flehn
composer
author of text

Introduction  EnglishFrançaisDeutsch
Zum Abendsegen (‘To the Evening Service’) is a moving, contrapuntal miniature in A minor, one of the most ‘ancient’ in feel of all Mendelssohn’s choral works, which possesses a poignant intensity arising out of his subtle (and supple) handling of contrapuntally overlapping textures. Mendelssohn’s mastery of temporal pacing ensures that although the work builds towards and relaxes away from a central climax in little more than two-and-a-half minutes, nothing feels remotely forced.

from notes by Julian Haylock © 2006

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