Arvo Pärt: Stabat Mater

Gloriæ Dei Cantores, Richard K. Pugsley

(4 press reviews)
Original Recording Format: DSD 64
Learn about choosing Quality and Channels

Arvo Part’s Music is Deeply Rooted in His Profound Faith and Aims to Touch The Soul. This recording offers a unique cross-section of Pärt’s choral works, revealing the heart, soul, and mind of a true master of his language in both text and music.

Modest about his achievements yet authentically convinced about the role of his music in today’s world, Arvo Pärt is today’s most performed classical composer. For the past forty years, Pärt’s compositions have shown and spoken the influence of multiple layers and global influences – the music of the Orthodox Church, bells, Gregorian chant, Renaissance polyphony, a compositional technique he developed called “tintinnabuli”, and…silence.

The expressive beauty and clarity of his music shines through the joyful dance-like rhythms of Peace Upon You, Jerusalem, and the glorious setting of Mary’s own words in the Magnificat. Pärt’s masterful setting of L’abbé Agathon sets the scene of an ancient 4th century story of the chance (or was it?) meeting of the hermit Agathon and a leper. After several testings of the hermit’s patience and his generosity, the leper reveals himself to be an angel, and blesses the hermit Agathon, and goes on his way.

The final work – one of Arvo Pärt’s largest choral works – is Stabat Mater, written to express the passion, agony, and love of Mary at the foot of the cross of her son.

Gloriae Dei Cantores
Richard K. Pugsley, Conductor


Please note that the below previews are loaded as 44.1 kHz / 16 bit.
Peace Upon You, Jerusalem
L'abbe Agathon
Salve Regina
Nunc dimittis
Stabat Mater

Total time: 01:08:58

Additional information





, , , , , ,


, ,







NativeDSD selectively creates higher DSD bitrates of label's releases using two methods (Merging Technologies Album Publishing and Singnalyst HQPlayer Pro), depending on the original edited master source. In order to understand the processes, a bit of background is appropriate.   NativeDSD sells only recordings that were originally recorded in DSD or DXD (352.8KHz PCM). The overwhelming majority of these recordings were edited and post processed in DXD, then converted (modulated) into DSD deliverable bit rates. NativeDSD acquires the label's original DXD edited master, and using Merging Technologies Album Publishing, creates a first generation DSD64, DSD128, and DSD256, as well as a DXD FLAC deliverable.  Additionally, on selected recordings, a 32bit PCM WAV file is extracted (the DXD PCM FLAC is 24 bits by format definition), and uses it to modulate a DSD512 using HQPlayer Pro. The exception to the above are the few label recordings (Yarlung, Eudora, Just Listen etc.) that record in DSD, and do no PCM post processing mixing, level balancing, EQ etc. That's doable by restricting post processing to just editing, where only the edit transition interval (typically 100ms or less) is PCM converted, leaving the DSD music content unaltered when rendered. For those recordings, the DSD edited master (the actual recording master with edits) is used with HQPlayer Pro to re-modulate the missing DSD bitrates. Why do any of this? It's to provide a DSD bitrate deliverable choice, allowing a customer to purchase the highest DSD bitrate their DAC will support. It's correct that there's no additional music content information contained in the higher DSD bit rate from the original DSD bitrate. What's different is the uncorrelated modulation noise content placement in the frequency spectrum. When a DSD original file is converted to DXD (PCM), the inherent DSD modulation noise is removed through the decimation filtering, and re-inserted when modulated back to DSD. The modulation noise (again, uncorrelated) is the carrier part of the DSD bitstream modulation, and an inherent part of the DSD bit stream.


While the spectorial shape is the same regardless of the DSD bitrate, it's effective start and end points move an octave higher for every doubling of the DSD bitrate. For DSD64, the uncorrelated modulation noise is about -110dB at 20KHz, rising to about -50dB at 100KHz. For DSD512, the modulation noise is about -110dB at 160KHz, and -50dB at 800KHz. What this allows is for the customer's DAC to use gentler, more Gaussian shaped reconstruction filters, with far improved phase response.





Original Recording Format


Richard K. Pugsley, Paul Tingley (Co-Producer)

Recording Engineer

Brad Michel, Dan Pfeiffer

Recording Location

Church of the Transfiguration in Orleans, MA in September 2018, May 2019 & September 2019

Recording Software

Pyramix. Merging Technologies

Release DateApril 10, 2020

Press reviews

Classics Today 5 out of 5

“… a recording of deeply felt performances that are always mindful of allowing the unadorned simplicity, the stark beauty and unpretentiousness of Pärt’s music to flower.”

Superb…Superlative…Intimate and spacious at the same time, with all nuances of voice and instrument flawlessly presented to the listener.

Gloriae Dei Cantores…under the direction of Richard K. Pugsley, interprets these works with great technical mastery (homogenity, attention to dynamics, phrasing)… creating pure atmospheres of enchantment, which truly touch the heart and soul of the listener, transporting them to a high and profound spiritual dimension.

Fanfare 5 out of 5

An exquisite album of choral music composed by Arvo Pärt and performed by Gloriae Dei Cantores. 


There are no reviews yet.

Only logged in customers who have purchased this product may leave a review.

More from this label