Two of the world’s most amazing voices and a fabulous song.
broken video? – try this
The Red Army. The choir was formed as an antidote to depression, which sounds good to me.
After being introduced to this, I spent some time looking through the videos on their youtube channel. I found their joie-de-vive – whatever that is in Russian – infectious.
A beautiful short choir piece.
Vocaal Ensemble PANiek
March 14th 2010 at Antonius Abtkerk, Nijmegen, The Netherlands.
Motettorum Liber Quartus Quinque Vocibus ex Canticus Canticorum
(Composed in Venice, 1584) by Giovanni Pierluigi da Palestrina (1524?-1594).
Performed here by the Hilliard Ensemble, with a light touch.
These are short pieces which can be used to listen, relax and meditate.
I was asked to choose a performance of the opening of the Jewish Yom Kippur/ Day of Atonement evening service. Probably the most awe-inspiring Jewish prayer to hear, it isn’t actually a prayer at all, being best described as a legal statement of intent.
Apart from the quality, this version stands out because of the absence of musical instruments, microphones, and women’s voices, all of which would play no part in the set piece in an orthodox service. Sung in the white robes of the Yom Kippur service by Avraham Feintuch.
Choir conducted by Naftali Herstik. Ieshurun sinagogue, Jerusalem city.
“All vows, and prohibitions, and oaths, and consecrations, and konams and konasi and any synonymous terms, that we may vow, or swear, or consecrate, or prohibit upon ourselves, •from the previous Day of Atonement until this Day of Atonement and …• ♦from this Day of Atonement until the [next] Day of Atonement that will come for our benefit.♦ Regarding all of them, we repudiate them. All of them are undone, abandoned, cancelled, null and void, not in force, and not in effect. Our vows are no longer vows, and our prohibitions are no longer prohibitions, and our oaths are no longer oaths.” Wikipedia
It is worth a thought that this is repeated three times back to back in the synagogue service. Aerist believes that a hidden trap on the spiritual path is the vows that we have made to self and others, which include our conditioning and baggage (from now on I will behave like this), if you will. This all becomes part of our false identity and we stop seeing it clearly. They need to be recognized, rooted out, and left behind, in order to move forward. As a famous Master once said “I die daily.”
From the Last Night of the Proms, 2012. Extraordinary scenes.
March No. 1 was composed in 1901 by Edward Elgar and “Dedicated to my friend Alfred E. Rodewald and the members of the Liverpool Orchestral Society”. (Not just the Beatles, then)
Miserere, (full title: Miserere mei, Deus, Latin for “Have mercy on me, O God”) by Italian composer Gregorio Allegri, is a setting of Psalm 51 (50) composed during the reign of Pope Urban VIII, probably during the 1630s, for use in the Sistine Chapel during matins, as part of the exclusive Tenebrae service on Holy Wednesday and Good Friday of Holy Week. (source: Wikipedia).
This haunting performance is by the Choir of New College, Oxford.
Please help the New College Choir fund future recordings, performances and tours by buying the album directly from their website.
This version was chosen because it is crisp and clear, although just orchestral.
The Boston Pops orchestra, with the great showman and musician Arthur Fiedler conducting. “Aida” was an Egyptian commission, first performed in 1871, composed by Giuseppi Verdi.
For those after a big choral sound, then this alternative might suit.