The Rundfunkchor Berlin’s latest album presents two liturgical works, whose musical treatments are very different. Indeed, if the genre of the mass has been exploited since the Middle Ages, it has not ceased to be revisited by composers until today. On this recording we find a mass by Anton Bruckner composed in 1866, as well as another by Stravinsky, completed between 1944 and 1948. Both are made up of the traditional movements of the ordinary mass – kyrie, gloria, credo, sanctus and agnus dei, with the addition of a benedictus by Bruckner. The two works allow us to appreciate two distinct types of writing. Bruckner’s mass for mixed choir of eight voices and wind instruments is written in a post-romantic style, while Stravinsky’s work for mixed choir and two wind quintets is in a much more modern style, featuring one of the composer’s favourite parameters: rhythm. This last mass destabilizes the basic idea of this musical genre, its more austere moments alternating with the colourful interventions of the wind instruments, whose use of the high register prevents a sinking into monotony. Bruckner, for his part, once again demonstrates his ability to make the brass instruments shine. The strength of this album undoubtedly lies in breaking the stereotypes surrounding the mass genre, while presenting two lesser-known works by renowned composers.
Latest 360 Content
Album review Electronic/Classical/classique/Musiques du Monde 2026
Kaoru Watanabe – The Arch
By Frédéric Cardin
Concert review Classical/classique
Molinari-Mondrian: an excellent meeting of eyes, ears, Quebec, and the Netherlands
By Frédéric Cardin
Interview expérimental / contemporain/Classical/classique
Judith Fliedl, invited by Le Vivier: I love producing sounds that are not “normal.”
By Frédéric Cardin
Interview classique/Moyen-Orient / Levant / Maghreb
FMA 2026 | Amin Reihani: Making Music a Language of Peace
By Sandra Gasana
Album review Classical/classique 2026
Susan Fancher/Ināra Zandmane – Strange Lights
By Frédéric Cardin
Interview Classical/classique
Guillaume Côté’s A Midsummer Night’s Dreams: the choreographer talks about his intimate relationship with music
By Frédéric Cardin
Concert review classique/Classical
SQMC/Chapelle Historique du Bon Pasteur: Discovering Quebec’s contemporary music
By Pietro Freiburger
Interview
Akousma| Felix Deufel introduces us to the uncharted sonic richness of the Arctic
By Michel Rondeau
Interview Classical/classique/Electronic
Akousma | Les Artefacts sonores de Roxanne Turcotte
By Alexandre Villemaire
Interview Electronic/expérimental / contemporain
Akousma | The Audréanne Filion and Myriam Bleau Duo: Where Reality and the Virtual Merge
By Michel Rondeau
Interview Electronic/expérimental / contemporain
Akousma | Exzald S, la violence du calme
By Alain Brunet
Concert review Caribbean
Mois du Créole 2026 | Richy Jay: Keeping Konpa and Zouk Alive in Montreal
By Juliana Cortes
Interview arts numériques/Classical/classique/Électronique
Akousma | Melanie Zhou: Shaping Sound, Expressing Emotion
By Alexandre Villemaire
Interview arts numériques/Classical/classique/Électronique
Akousma | Alex Brisson et l’exploration musicale du feedback
By Alexandre Villemaire
Concert review Classical/classique
Caprice at the 9th Floor: a pleasant meeting between Baroque and Carnatic music
By Frédéric Cardin
Concert review Classical/classique























