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Boston Baroque and Martin Pearlman - Lost Music of Early America: Music of the Moravians (2021)

Boston Baroque and Martin Pearlman - Lost Music of Early America: Music of the Moravians (2021)
  • Title: Lost Music of Early America: Music of the Moravians
  • Year Of Release: 1998 / 2021
  • Label: Telarc
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 1:26:26
  • Total Size: 354 MB
  • WebSite:
Tracklist:

01. Anonymous: Freuen wir uns
02. Peter: Der Herr ist mein Theil
03. Meine Seele erhebet den Herrn
04. Peter: Es ist ein köstlich Ding
05. Anonymous: Join We All with One Accord
06. Hail Infant Newborn
07. Antes: Loveliest Immanuel
08. Ich will euch wie ein Thau seyn
09. Schulz: Thou Child Divine
10. Anonymous: Zeige mir dein Angesicht
11. Anonymous: Heiliger Herre Gott
12. Ach Schönster unter allen (Arr. C. Gregor)
13. Suchet sein Antlitz
14. Die mit Thränen säen
15. Anonymous: Lob Gott getrost mit Singen
16. O lieblicher Heiland, du mein Versöhner
17. Gesegnet bist du, sein Volk
18. Ich gehe einher in der Kraft des Herrn
19. Anonymous: Herz und Herz vereint zusammen
20. Anonymous: Kommt, danket dem Helden
21. Das ist ein Tag
22. Peter: Ich will immer harren
23. Peter: Ich danke dir ewiglich
24. Die Frucht des Geistes ist Liebe
25. O Sing, All Ye Redeemed
26. Mein Herz dichtet ein feines Lied
27. Siehe meine Knechte
28. Peter: Ich will dir ein Freudenopfer thun
29. Sing Hallelujah
30. Anonymous: Herr und Ältster deiner Kreuzgemeinde
31. Anonymous: Jesus Makes My Heart Rejoice
32. Rondo for Piano
33. Martin Pearlman Discusses Music of the Moravians

As they become acquainted with the musical history of early America, listeners seem to gravitate toward works that diverge from European models. William Billings showed up on Mormon Tabernacle Choir albums, and choirs of all kinds sing his music enthusiastically, while Alexander Reinagle is dutifully mentioned in textbooks but otherwise pretty much forgotten, even though no less a figure than George Washington championed him. The music of the Moravians, a German religious group that flourished (and continues to flourish, also known as the Unity of the Brethren) in an inland Eastern zone running from North Carolina northward, has likewise been neglected, even though Benjamin Franklin, who was in a position to know, characterized it as the most accomplished in all the colonies. Some of it is in German, but not all, so the language barrier can be only a partial explanation. The corpus of Moravian music in the U.S. is large, numbering some 10,000 compositions, but only a handful have ever been published.

This 1995 recording from the Boston Baroque choir and orchestra, therefore, covered music unfamiliar to most listeners, and its reissue is welcome. The music is organized into three seasonal "Lovefeasts" (the German word is Liebesmahl), but few stylistic distinctions emerge according either to season or to composer. Choral hymns, accompanied by a small orchestra, alternate with slightly longer anthem-like works on biblical texts, sung by a chorus or soprano soloist. It is these pieces that are most surprising: at a time when Billings was adapting archaic traditions of small-town English choral composition, the Moravian composers represented here seem to have been fully up on the latest sounds coming from the old country. A few of the larger pieces (none is more than four minutes long) sound as though they could have come out of a lesser-known work by Michael Haydn; the orchestral accompaniment isn't exactly striking, but it doesn't just double the voices either. The sunny simplicity of the music is intriguing. Few pieces have the sound of the old chorale treatments, and text like "für uns zum Opfer gemacht" (made a sacrifice for us) flounces by in major-key triplets. The music is full of pleasant tunes, and in all it sounds very much of its Classical period. Especially interesting are two works for trombone choir; there is also one short piano work. The classic New England choral sound of the Boston Baroque singers is ideally suited to this music. Full texts are given in German and English, but the words are clearly audible, in both languages, without referring to them. Somewhat less successful are sopranos Sharon Baker and especially Cyndia Sieden, whose fluttery vibrato is distracting; a soberer voice was called for. Still, Telarc did top-notch engineering work on this "Lost Music of Early America," and the recording is strong enough that the music may perhaps not qualify as lost for much longer. ~ James Manheim


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