Boys Air Choir

Mieczyslaw Weinberg - Symphony No. 6, Rhapsody on Moldavian Themes (Glinka Boys' Choir, Petersburg State Symphony, Lande)

Mieczyslaw Weinberg - Symphony No. 6, Rhapsody on Moldavian Themes (Glinka Boys' Choir, Petersburg State Symphony, Lande)
Classical | EAC: FLAC+Cue+Log | 1 Cd, Cover+Booklet | 278 Mb
Label: Naxos - Date: 2012

Weinberg is increasingly recognised as one of the outstanding composers of the second half of the twentieth century. His Rhapsody on Moldavian Themes is a concise medley of tunes that embrace folk influence, both melancholic and high spirited. Scored for a very large orchestra and a children’s choir, Symphony No 6 is a work of huge expression, anguished and dynamic, encompassing lament, circus gallops, burlesque, and a cataclysmic and heartrending slow movement.

St Philip's Boys' Choir (Libera) - Angel Voices 2 (1996)  Music

Posted by jkiht9 at Dec. 19, 2010
St Philip's Boys' Choir (Libera) - Angel Voices 2 (1996)

St Philips Boy's Choir - Angel Voices 2 (1996)
Choral | EAC | FLAC+log+cue | full scans | MCCD 259 | 1CD | 315 MB

Such was the popular reception accorded to their debut album with MCI that we have returned to their songbook for this second wonderful collection, including favourite songs most of us have ourselves tried our best to sing on so many occasions, be it at Sunday School, at school assemblies, or in our own churches. – Roger St. Pierre

St Philip's Boys' Choir (Libera) - Angel Voices 3 (1997)  Music

Posted by jkiht9 at Dec. 18, 2010
St Philip's Boys' Choir (Libera) - Angel Voices 3 (1997)

St Philips Boy's Choir - Angel Voices 3 (1997)
Christmas/Choral | EAC | FLAC+log+cue | full scans | MCCDX019 | 1CD | 320 MB

It is said that human voices are better music compared to any musical instruments, and this CD is the definite proof. With their heavenly voices, the St.Phillips Choir boys brings you to the land of serenity and offers you the peace of mind. This CD features 20 Christmas carols, some very popular, like White Christmas and The First Noel, but some seldom heard, like Saviour's Day and When a Child is Born. New song or not, the choir boys have added an innocent ambience to each song that absolutely touches the listener's heart. – Arie

St Philip's Boys' Choir (Libera) - Angel Voices 1 (1993)  Music

Posted by jkiht9 at Oct. 28, 2010
St Philip's Boys' Choir (Libera) - Angel Voices 1 (1993)

St Philip's Boys' Choir - Angel Voices 1 (1993)
362 MB | FLAC+LOG | lossless | full scans | Music Collection Int. MCCDX 001
Note: This CD is a re-release of original 1992 Angel Voices CD (QTV CD 018)

St Philip's Boys' Choir (Libera) - Libera Remixes (1995)  Music

Posted by jkiht9 at Oct. 30, 2010
St Philip's Boys' Choir (Libera) - Libera Remixes (1995)

St Philip's Boys' Choir - Libera Remixes (1995)
94 MB | MP3 | 320 kbps | full scans | Mercury MERCD427

St Philip's Boys' Choir (Libera) - New Day (1990)  Music

Posted by jkiht9 at Oct. 24, 2010
St Philip's Boys' Choir (Libera) - New Day (1990)

St Philip's Boys' Choir - New Day (1990)
83 MB | MP3 | 256 kbps | full scans | BMG Records (UK) 261 280

St Philip's Boys' Choir (Libera) - Sing For Ever (1988)  Music

Posted by jkiht9 at Oct. 24, 2010
St Philip's Boys' Choir (Libera) - Sing For Ever (1988)

St Philip's Boys' Choir - Sing For Ever (1988)
90 MB | MP3 | 256 kbps | full scans | BBC CD 692
London Symphony Orchestra & Wandsworth School Boys Choir & Helen Watts - Mahler: Symphonies Nos. 1 & 3 (2017)

London Symphony Orchestra & Wandsworth School Boys Choir & Helen Watts - Mahler: Symphonies Nos. 1 & 3 (2017)
Classical | MP3 CBR 320 kbps | 02:28:04 | 339 MB
Label: Decca

For years, admitted Sir Georg Solti to High Fidelity magazine in January 1967, ‘Mahler bored me. He came to me, or I came to him, eight or nine years ago. Up to then his symphonies were all pieces and bits. Now I see their form. I love them. It is not enough to like music. You must love. And love means change.’ By the time he was to record the First Symphony, with the London Symphony Orchestra, by modern standards he did so at a comparatively ripe age of 52. But the critics were immediately struck by the youthful dynamism of Solti’s conception, which was entirely apt to a work conceived by a composer in his early twenties. When High Fidelity came to survey all the Mahler symphony recordings on record in September 1967, this version of the First was declared ‘probably the best both in interpretation and in recording’, even up against stiff competition from more experienced Mahlerians such as Jascha Horenstein and Rafael Kubelík.
Orfeo Orchestra, Purcell Choir, Gyorgy Vashegyi - Mondonville: Isbe (2017)

Orfeo Orchestra, Purcell Choir, Gyorgy Vashegyi - Mondonville: Isbe (2017)
EAC | FLAC (image+.cue, log) | Covers Included | 02:53:14 | 932 MB
Genre: Classical, Opera | Label: Glossa | Catalog: GCD924001

With Isbé, a pastorale héroïque by Jean-Joseph Cassanéa de Mondonville, György Vashegyi has revived another overlooked dramatic work from the French Baroque – much as he did with Rameau’s Les Fêtes de Polymnie – for another release on the Glossa label. In his native Budapest, Vashegyi has been developing his interpretations of Baroque music with his Orfeo Orchestra and Purcell Choir for nearly three decades now, and for this recording he has assembled a magnificent team of vocal soloists, well-versed in the idiom of eighteenth- century French opera: Thomas Dolié assumes the important role of Adamas, the Chief Druid, who is besotted by Isbé, and yet is also provided with modern Enlightenment thinking (the opera was premièred in 1742).
Flemish Radio Choir, Munchner Rundfunkorchester, Ulf Schirmer - Saint-Saëns: Proserpine (2017)

Flemish Radio Choir, Munchner Rundfunkorchester, Ulf Schirmer - Saint-Saëns: Proserpine
Classical, Opera | WEB FLAC (tracks) & d. booklet | 94:32 min | 417 MB
Label: Ediciones Singulares | Tracks: 29 | Rls.date: 2017

The protagonist of Saint-Saëns’ Proserpine, premiered at the Opéra-Comique on 14 March 1887, is no reincarnation of the ancient goddess, but a Renaissance courtesan well versed in culpable amours. According to the composer, she is ‘a damned soul for whom true love is a forbidden fruit; as soon as she approaches it, she experiences torture’. Yet for all the innocence of her rival Angiola, the unexpected happens: ‘It is the bloodthirsty beast that is admirable; the sweet creature is no more than pretty and likeable.’ Visibly enraptured by this delight in horror, Saint-Saëns indulges in unprecedented orchestral modernity, piling on the dissonances beneath his characters’ cries of rage or despair. He concluded thus: ‘Proserpine is, of all my stage works, the most advanced in the Wagnerian system.’ The least-known, too, and one which it was high time to reveal to the public, in its second version, revised in 1899.