[TR24][OF] Prayer: Voice & Organ - Magdalena Kožená (Kozena), Christian Schmitt - 2014 (Classical, Vocal)

01. Totengräbers Heimweh, D 842 (5:42)
Johann Sebastian Bach (1685-1750)
02. Komm, süßer Tod, komm, sel'ge Ruh!, BWV 478 (3:16)
Hugo Wolf (1860-1903)
03. Karwoche (3:54)
Maurice Ravel (1875-1937)
04. Kaddisch (4:34)
Georges Bizet (1838-1875)
05. Agnus Dei (3:08)
Franz Schubert (1797-1828)
06. Ellens Gesang III (Hymne an die Jungfrau), D 839 (5:44)
Hugo Wolf (1860-1903)
07. Mühvoll komm ich und beladen (4:42)
Henry Purcell (1659–1695)
08. Tell Me, Some Pitying Angel (The Blessed Virgin's Expostulation), Z 196 (7:15)
Antonín Dvořák (1841-1904)
09. Ave Maria, Op.19b (3:01)
Johann Sebastian Bach (1685-1750)
10. So gibst du nun, mein Jesu, gute Nacht!, BWV 501 (2:10)
Franz Schubert (1797-1828)
11. Himmelsfunken, D 651 (2:54)
Hugo Wolf (1860-1903)
12. Zum neuen Jahr (1:43)
Johann Sebastian Bach (1685-1750)
13. Die güldne Sonne, BWV 451 (1:13)
Franz Schubert (1797-1828)
14. Vom Mitleiden Mariä, D 632 (3:46)
Hugo Wolf (1860-1903)
15. Schlafendes Jesukind (3:11)
Franz Schubert (1797-1828)
16. Litanei auf das Fest Allerseelen, D 343 (4:41)
Giuseppe Verdi (1813–1901)
17. Ave Maria (5:03)
Hugo Wolf (1860-1903)
18. Gebet (2:02)
Franz Schubert (1797-1828)
19. Der Leidende, D 432 (1:52)
Johann Sebastian Bach (1685-1750)
20. Mein Jesu, was für Seelenweh, BWV 487 (2:32)
Maurice Duruflé (1902-1986)
21. Notre Père, Op.14 (1:25)
Johann Sebastian Bach (1685-1750)
22. Kommt, Seelen, dieser Tag, BWV 479 (1:06)
Petr Eben (1929-2007)
23. Die Hochzeit zu Kana (6:54)
Leoš Janáček (1854-1928)
24. Glagolitic Mass: 7. Varhany Solo (2:53)

. . . Magdalena Kozená takes a broad, dramatic approach to devotional music . . . If this is unlikely material for a singer whose bright timbre and temperament seem to predestine her for lyric, mischievous operatic roles, especially Dorabella, that challenge adds zest to the recital. --David J. Baker, Opera News
Kozená is a sensitive interpreter who avoids religious kitsch in the individual songs, and the sheer variety of the program also works in her favor: she brings together music from Purcell to Maurice Duruflé, and most of it is so sharply recontextualized by hearing it on the organ that it holds your attention. Further, she shifts effectively among the song types on display, deploying her characteristic alto-like tone in the likes of Verdi's little-heard solo setting of the Ave Maria . . . and in the several Hugo Wolf pieces included, but cultivating a lighter and more radiant tone in the earlier art songs and the Baroque pieces . . . The sound environment of the "Hochschule für Katholische Kirchenmusik" auditorium in Regensburg is most congenial to the project. Recommended . . . --James Manheim, Allmusic.com
Mezzo-soprano Magdalena Kozená believes it is "impossible to draw a line between the religious and the personal". It's a philosophy shared by composers throughout the 19th century, whose music moved freely from church to home and concert hall. Kozená's is a broad musical church, but vocally (and with the aid of organist Christian Schmitt's elegant transcriptions) she makes it work . . . Her Wolf is is particularly luscious -- never overworked but always emotionally direct, establishing the same flexible intimacy with the organ that we'd expect with a piano. Her covered middle and lower registers dissolve delicately into cloudy organ registrations, a musical "coup de théâtre" . . . Kozená sings superbly here, proving herself as flexible stylistically as vocally. --Alexandra Coghlan, Gramophone
The combination of Magdalena Kozena's rich voice with the organ is something not to be missed . . . [a] brilliant program . . . Kozena performs each piece exquisitely. She rips through the coloratura in "The Blessed Virgin's Expostulation" with lightning speed and absolute clarity. Schubert's "Litanei" is gentle and contemplative, and Wolf's "Zum Neuen Jahr" is full of joy and hope. Christian Schmitt takes full advantage of all the colors available to him at the organ . . . An all-around spectacular recording. --Erin Heisel, American Record Guide