Peter Dijkstra

Review: Perhaps it's an example of a characteristically Dutch sense of humor to have a group called the Gents performing music by the Gentlemen of the Chapel Royal, the court composers of sixteenth century England. But when the group gets down to the music, it's all business. The Gents are not an English but a Dutch ensemble, formed of veterans of one of Holland's top boys' choirs. They have put together an exceptionally fine program that gets into the meat of the English tradition without giving it the layers of reverence that the music can take on when done by English cathedral choirs who have been at it for centuries. As would a day of music heard by Henry VIII or Elizabeth I, the program mixes sacred polyphony with a few madrigals, organ pieces, and viol works -- and in so doing illuminates the ways in which these traditions shaped each other. The inclusion of a work like Robert White's comparatively little-heard Christe, qui lux es et dies, a version for viols of an originally vocal sacred piece, shows how the viol consort tradition was rooted in sacred polyphonic art. But the real beauties of the album reside in the vocal performances themselves. The Gents have a sound both precise and lush. Just 16 strong, they deliver plenty of power in the two big works by Alfonso Ferrabosco I (tracks 12 and 15), an Italian transplant who worked in an imposing style of Catholic music that was, over time, replaced under Anglican influence by simpler textures. More transparent music, in English, is done equally well; sample the psalm settings by Thomas Weelkes, tracks 2 and 4, for examples. The only source of complaint here is the skimpy booklet, which skims over the material and provides no texts at all -- but despite their non-English origins, the Gents articulate the words of the English-language pieces well enough that most listeners will understand them. This is an excellent introduction to English sacred music of the sixteenth century, covering a broad chronological sweep

Songlist: Eliza, her name gives honour, Ave verum Corpus, My Ladye Nevells Booke: A Fancie in C major, Ave Maria, Mater Dei, Incipit Lamentatio Jeremiae Prophetae I, Incipit Lamentatio Jeremiae Prophetae II, In depth no man remembreth Thee, Paradizo, The Sighes, The Honie-suckle, Eliza is the fairest Queen, Ave Maria for 5 voices, Credo quod Redemptor, Salvator mundi, Miserere nostri, Remember me, O Lord, Lord, to Thee I make my moan, Deliver us, O Lord

Review: After their first CD for Channel Classics: The Gentlemen of the Chapel Royal, with English Polyphony of the Renaissance, now present themselves in a completely different guise: on this Christmas CD they give you a glimpse of their taste for the lighter styles. You will hear a wide selection of the personal favourites of their singers, such as Follow that star, A Wonderful Christmastime, and Jingle Bell Rock. In addition to other popular Christmas Ballads from the American Songbook, such as Have yourself a Merry Little Christmas and White Christmas, they have put a new spin on a couple of traditional carols, like Silent Night and Es ist ein Ros entsprungen. Most of the arrangements were written especially for The Gents.

Songlist: Follow That Star, Gaudete Christus Est Natus, Es Ist Ein Ros Entsprungen, Have Yourself a Merry Little Christmas, White Christmas, Walking in the Air, Wonderful Christmastime, Hijo de la Luna, Santa Claus Is Coming to Town, Just Another Star, Jingle Bell Rock, Let It Snow, The Christmas Song, Sleighride, Winter Wonderland, Silent Night

Review: The first half of the sixteenth century followed a very turbulent course in all of Europe, and England, as well, went through troubled times. Henry VIII succeeded to the throne in 1509, and reigned for 38 years. In 1533 he founded the Anglican church, he married six times, waged wars, and even found a little time to do some composing. After his death in 1547, he was succeeded by Edward VI, who was followed in 1555, after the death of Mary, by Elizabeth I, Henry VIII's younger daughter. Elizabeth had the task of bringing peace and stability to the country, and during her long reign, English music flourished as never before.

Songlist: Ave Maria for 5 voices, Lord, to thee I make my moan, O Lord, God of Israel, Deliver us, O Lord, Ave Maria Mater Dei, Christe, qui lux es et dies, Paradizo (pavan), The Sighes, The Honie-Suckle, almain, Eliza, her name gives honour, Incipit Lamentatio Jeremiae Prophetae I, In depth no man remembreth The, Remember me, O Lord (Psalm 106:4), Incipit Lamentatio Jeremiae Prophetae II, My Lady Nevell's Ground, Salvator mundi, Credo quod Redemptor, Miserere nostri

Review: The nineteenth century was a golden age for choral singing in Germany and Austria. Beginning in 1810, singing clubs, and later on, choral societies, shot up all over this part of the world like mushrooms. You could join a Liedertafel, Liederkranz, or Mannersangverein. Carl Friedrich Zelter, Mendelssohn's teacher and the leader of the Berliner Singverein, was the first person to use the term "Liedertafel" in 1808. The term was used to indicate an informal meeting of poets, composers, and singers who came together to sing German partsongs.In a letter addressed to Goethe, Zelter explained that the 25 members of his Liedertafel were accustomed to sit down at a well-furnished table for a sumptuous dinner followed by an evening of singing. Zelter's group preferred original works, so freshly composed that the ink was still wet. The goal was stimulation and promotion of German poetry and music.The Gents is unique All-male Dutch vocal ensemble that obtained in a very short period a prominent place within the international music world. The group of young singers is praised because of their special sound, the large degree of flexibility and the unequalled interpretation of the very divergent vocal repertoire. Whether it concerns religious music from the Renaissance, romantic English music, arrangements of contemporary jazz and pop songs or especially composed works for the ensemble, the concerts of The Gents are always an extraordinary experience. The concerts can count therefore on enthusiastic public and positive criticisms in the press.

Songlist: Sehnsucht (Nur wer die Sehnsucht kennt), Die Nacht, Standchen, Grab und Mond, Der Entfernten, Nachtviolen, Nachtstuck, Abendstern, An Sylvia, Die Lotosblume, Die Rose stand im Tau, Der traumende See, Vor den Turen, Traumlicht, Sechs Geistliche Lieder

Review: Dijkstra: it gives me great pleasure to present this CD, which appears in response to repeated requests. At last we have taken the opportunity to record this repertoire. How often we have had to disappoint members of the audience when we tell them that, unfortunately, there are no recordings available for the arrangements of Billy Joels Lullabye or Toni Wines Groovy Kind of Love. Here they are at last! Also included are three beautiful songs from the popular Dutch group BLF. The goal of this CD is to evoke the simple joy of singing. In my opinion, it is this quality which, in addition to or even in spite of our attempts at perfection and flexibility, is the most important to convey to an audience, and it is a quality which The Gents always try to express.

Songlist: Michelle, Lullabye, Blackbird, And So It Goes, With A Little Help From My Friends, Misschien niet d e Eeuwigheid, Omarm, Dansen aan zee, Londonderry Air, The Oak and the Ash, Molly Malone, Ca' the Yowes, The Turtle Dove, Hey Jude, If I Fell, A Groovy Kind of Love, And I Love Her

Review: For the conductor Peter Dijkstra, "these works are among Bach's greatest compositions for vocal ensemble. The rhetorical power of Komm, Jesu, komm, the thrilling double-choir passages in Singet dem Herrn ein Neues Lied, the musical signature B-A-C-H at the end of Furchte dich nicht, every one of these demonstrates Bach's mastery and his ability to bring a text to vivid life." This analysis of the relationship between text and music is of great importance to Dijkstra, who leads The Netherlands Chamber Choir in thrilling new performances of the six Motets

Songlist: Komm, Jesu, Komm BWV 229(1730), Der Geist Hilft Unser Schwachheit auf BWV 226 (1729), Lobet Den Herrn, Alle Heiden BWV 230, Jesu, Meine Freude BWV 227 (1723): Jesu, Mein Freude, Jesu, Meine Freude BWV 227 (1723): Unter Deinem Schirmen, Jesu, Meine Freude BWV 227 (1723): Trotz Dem Alten Drachen, Jesu, Meine Freude BWV 227 (1723): Weg Mit Allen Schatzen, Jesu, Meine Freude BWV 227 (1723): Gute Nacht, Jesu, Meine Freude BWV 227 (1723): Weicht, Ihr Trauer Geister, Furchte Dich Nicht BWV 228 (1726), Singet Dem Herrn Ein Neus Lied BWV 225 (1727): Singet Dem Herrn Ein Neus Lied, Singet Dem Herrn Ein Neus Lied BWV 225 (1727): Wie Sich ein Vater Erbarmet, Singet Dem Herrn Ein Neus Lied BWV 225 (1727): Lobet Den Hernn

Review: When composing for choir, Sven-David Sandstrom (1942 ) does not hold back in terms of expression or technical demands. This contributes toward a powerfully emotional tonal language, to which the Nordic sound of the Swedish Radio Choir is perfectly suited. Composer and choir have worked together for years and their close relationship is evident in the excellent performances heard here. Channel s usual superb multi-channel recording provides the perfect ambience to allow the music to speak.

Songlist: Lobet den Herrn, Ave Maria, Hear my prayer, O Lord, Est ist genug, A new song of love, Laudamus Te, Agnus Dei, Singet dem Herrn: I, Singet dem Herrn: II, Singet dem Herrn: III