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Norrington conducts Sacred Music: Beethoven, Berlioz, Brahms | SWR Classic SWR19532CD

Norrington conducts Sacred Music: Beethoven, Berlioz, Brahms

£20.88

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Label: SWR Classic

Cat No: SWR19532CD

Barcode: 0747313953288

Format: CD

Number of Discs: 4

Genre: Vocal/Choral

Release Date: 16th June 2023

Contents

Artists

Amanda Halgrimson (soprano)
Christina Landshamer (soprano)
Cornelia Kallisch (mezzo-soprano)
John Aler (tenor)
Toby Spence (tenor)
Florian Boesch (bass-baritone)
Alastair Miles (bass)
Hans Kalafusz (violin)
MDR Rundfunkchor Leipzig
NDR-Chor
SWR Vokalensemble
Radio-Sinfonieorchester Stuttgart des SWR

Conductor

Roger Norrington

Works

Beethoven, Ludwig van

Missa solemnis in D major, op.123

Berlioz, Hector

Grande Messe des Morts (Requiem), op.5

Brahms, Johannes

Ein deutsches Requiem (A German Requiem), op.45

Artists

Amanda Halgrimson (soprano)
Christina Landshamer (soprano)
Cornelia Kallisch (mezzo-soprano)
John Aler (tenor)
Toby Spence (tenor)
Florian Boesch (bass-baritone)
Alastair Miles (bass)
Hans Kalafusz (violin)
MDR Rundfunkchor Leipzig
NDR-Chor
SWR Vokalensemble
Radio-Sinfonieorchester Stuttgart des SWR

Conductor

Roger Norrington

About

After the successful reissue of Beethoven (Complete Symphonies), Mozart (Essential Symphonies) and Haydn (London Symphonies), here comes the next instalment with symphonic (and choral) repertoire performed by Sir Roger Norrington, former chief conductor of the Radio Symphonic Orchestra of the SWR. Three of the most important and popular sacred music works from the 19th century, presented together in a boxed set.

Sir Roger Norrington was chief conductor of the former Stuttgart Radio Symphony Orchestra (today the SWR Symphonieorchester) for 13 years. During this time he has caused a stir internationally with what has come to be termed ‘The Stuttgart Sound’: a synthesis of historically-informed performance practice with the technical capabilities of a modern orchestra. Whether in Mozart, Haydn, Bruckner or Brahms, Norrington has sought to capture the performance experience of the time, adjusting the orchestra’s size and seating plan to create an authentic sound without vibrato. His artistic credo was to keep as close as possible to the composer’s expectations.

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