By reblogging this post, you are signing a petition to make “Flesh-Winds” the new official term for vocalists.

Example 1: The composer’s greatest work combined the use of Woodwinds, Brass-winds, and Fleshwinds in the final movement.

Example 2: The fleshwind ensemble performed works by P. D. Q. Bach and Derick Blackacre.


The Misty Mountain (men’s choir, a capella) (by Cody Curtis)


All-Night Vigil, Op. 37, 'Vespers' - 2. Blagoslovi, Dushe Moya
  • All-Night Vigil, Op. 37, 'Vespers' - 2. Blagoslovi, Dushe Moya
  • Matthew Best, Corydon Singers
  • Vespers

Sergei Vasilievich Rachmaninov (1873-1943).

The All-Night Vigil (Всенощное бдение) is an a cappella choral composition written and premiered in 1915. The piece consists of settings of texts taken from the Russian Orthodox All-night vigil ceremony. 

Composed in less than two weeks in January and February 1915, Rachmaninov’s work is a culmination of the preceding two decades of interest in Russian sacred music, as initiated by Tchaikovsky’s setting of the all-night vigil.

It has been praised as Rachmaninoff’s finest achievement and “the greatest musical achievement of the Russian Orthodox Church”; the composer requested that one of its movements (the fifth) be sung at his funeral.


Ola Gjeilo
O magnum mysterium

Phoenix Chorale

Watch on

Vaughan Williams
Symphony Nº. 1, A Sea Symphony (1903-1909)
on texts by Walt Whitman

I. A Song for All Seas, All Ships
II. On the Beach at Night, Alone
III. Scherzo: The Waves
IV. Finale: The Explorers

Felicity Lott, Jonathan Summers
London Philharmonic Orchestra & Chorus
Bernard Haitink

“He is the only one of my students who does not try to write like me.”
- Maurice Ravel

“He was aware of the common aspirations of generations of ordinary men and women with whom he felt a deep, contemplative sympathy. And so there is in his work a fundamental tension between traditional concepts of belief and morality and a modern spiritual anguish which is also visionary.”
- Ursula Vaughan Williams


Entire Mozart Requiem, GO!


J. S. Bach
Matthäus-PassionBWV 244

I. Kommt, ihr Töchter, helft mir klagen /
O Lamm Gottes unschuldig

Wiener Singverein
Berliner Philharmoniker
Herbert von Karajan

“The composer’s concern for the for the most appropriate graphic presentation of the music even led him to write the manuscript in two different colours of ink, the customary of blackish brown for most of the work, and a striking deep red for the chorale melody appearing in the opening movement and for all the Gospel words except for those sung by the chorus. Dürr sums up some of the other characteristics of the score as follows:

The barlines are drawn… very straight, at difficult places (e.g., “Sind Blitze, sind Donner” [No. 33]) with the help of the ruler. The staves, drawn with a staff-liner, are always counted out exactly – there is never an excess at the lower margin, and a somewhat greater expanse is left between systems, so that the eye can readily orient itself to the beginning of a new line. The movement headings and the indications of instrumentation are entered more carefully than usual in Bach’s scores; Part II receives a new title page, and the opening title even gives both the real name and the pseudonym of the librettist.”

- Joshua Rifkin