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Available: 1/JUL/2022
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Revoiced
premiere recordings
HEINRICH SCHÜTZ
1.
Ich weiß, daß mein Erlöser lebt, SWV 393
2:36
Motet for SSA ATBB and basso continuo
from Musicalia ad chorum sacrum, das ist: Geistliche Chor-Music...
erster Theil, Op.11 (Dresden, 1648)
Aranged 2021 by Freddie Crowley
for SATB and saxophone quartet
ANDREA GABRIELI
2.
O salutaris hostia
2:53
Motet for eight voices
from Concerti di Andrea et di Giovanni Gabrieli (Venice, 1587)
Arranged 2021 by Freddie Crowley
for SATB and saxophone quartet
JOHANN SEBASTIAN BACH
3.
Zion hört die Wächter singen
4:11
Chorale for T, two violins, viola, and basso continuo
from Wachet auf, ruft uns die Stimme, BWV 140 (1731)
Arranged 2021 by Freddie Crowley
for T, alto saxophone, tenor saxophone, and baritone saxophone
OWAIN PARK
4.
Miserere after Allegri
7:59
for SSATB and saxophone quartet
For Corvus Consort and Ferio Sax Quartet
Andante comodo
GIOVANNI GABRIELI
5.
O magnum mysterium, C 3
3:25
from Concerti di Andrea et di Giovanni Gabrieli (Venice, 1587)
Transcribed 2021 by Freddie Crowley
for SATB and saxophone quartet
JOHANN MICHAEL BACH
6.
Herr, ich warte auf dein Heil
4:35
Arranged 2021 by Freddie Crowley
for SATB and saxophone quartet
7.
Ich weiß, daß mein Erlöser lebt
2:06
Geistliches Konzert for SATTB and basso continuo
Aranged 2021 by Freddie Crowley
for ATB, soprano saxophone, alto saxophone, and baritone saxophone
JAMES MACMILLAN
8.
Christus vincit
6:08
Anthem for SSAATTBB (1994)
Arranged 2021 by Freddie Crowley
for SATB and saxophone quartet
HEINRICH SCHÜTZ
9.
Das Wort ward Fleisch und wohnet unter uns, SWV 385
3:26
Motet for SSATTB and basso continuo
from Musicalia ad chorum sacrum, das ist: Geistliche Chor-Music...
erster Theil, Op.11 (Dresden, 1648)
Arranged 2021 by Freddie Crowley
for SATB and saxophone quartet
JOHANN SEBASTIAN BACH
10.
Weil du mein Gott und Vater bist
1:49
Chorale for SATB, four-part choir, two oboes d'amore, two violins, viola,
and basso continuo
from Warum betrübst du dich, mein Herz?, BWV 138 (1723)
Arranged 2021 by Freddie Crowley
for SATB and saxophone quartet
HEINRICH SCHÜTZ
11.
Selig sind die Toten, SWV 391
4:04
Funeral motet for SSATTB and basso continuo
from Musicalia ad chorum sacrum, das ist: Geistliche Chor-Music...
erster Theil, Op.11 (Dresden, 1648)
Arranged 2021 by Freddie Crowley
for SATB and saxophone quartet
RODERICK WILLIAMS
12.
Ave verum corpus re-imagined
5:09
after William Byrd
for Three SATB Choris (2015)
In memoriam David Trendell
For Suzi Digby and the singers of ORA
Version 2021 by the composer with Saxophone Quartet
minim = 48
JOHANN SEBASTIAN BACH
13.
Nun ich weiß, du wirst mir stillen
1:31
Chorae for SATB, four-part choir, horn, two oboes, two violins, viola and
basso continuo
from herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 (1723)
Trasncribed 2021 by Freddie Crowley
for SATB and saxophone quartet
HEINRICH SCHÜTZ
14.
Was mein Gott will, das g'scheh' allzeit, SWV 392
3:51
Motet for AT, four instruments, and basso continuo
from Musicalia ad chorum sacrum, das ist: Geistliche Chor-Music...
erster Theil, Op.11 (Dresden, 1648)
Trasncribed 2021 by Freddie Crowley
for AT and saxophone quartet
ORLANDE DE LASSUS
15.
Aurora lucis rutilat
4:11
Motet for SSATTTTTBB
from Magnum opus musicum... complectens omnes cantiones (Munich, 1604)
Arranged 2021 by Freddie Crowley
for SMATBarB and saxophone quartet
SARAH RIMKUS
16.
Mater Dei
5:51
for SSATB Choir (2016)
For Owain Park and the Cambridge Chorale
Version 2021 by the composer with Saxophone Quartet
Anthony Brown tenor saxophone/soprano saxophone (track 10)
Shevaughan Beere baritone saxophone
Notes
Following its previous album Evoke, with the pianist Timothy End, the Ferio Saxophone Quartet returns with this exciting and innovative programme of works for saxophone quartet and voices. Founded and directed by Freddie Crowley, the Corvus Consort is a vocal ensemble based in the UK, which draws its members from a pool of young singers in the early stages of their professional careers. The project was inspired by the Quartet’s 2018 recording, Revive, an album of baroque transcriptions. Freddie Crowley writes: ‘Heinrich Schütz in the preface to his Geistliche Chor-Music, of 1648 (from which four of the items on this album are drawn) wrote: “You can perform some of these pieces [...] with an organ or instruments on the choral parts along with a full choir.” The instruments he had in mind were not saxophones, of course, which would not be invented for another 200 years, but I suspect that he might have found them an excellent choice! Schütz intended his collection to be a demonstration of good composition without basso continuo, focussing on counterpoint as the foundation of compositional technique. It is these contrapuntal properties that make his and other baroque and Renaissance music so infinitely adaptable into new forms – transitioning effortlessly onto the saxophone, for example – and the same properties that underpin the four contemporary works on our album, all inspired in their own different ways by music of the Renaissance.’
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