Uh-oh, it looks like your Internet Explorer is out of date.

For a better shopping experience, please upgrade now.



5.0 1
by Calmus Ensemble

Product Details

Release Date:


Album Credits

Performance Credits

Calmus Ensemble   Primary Artist,Vocal Ensemble

Technical Credits

Adriano Banchieri   Composer
Clément Janequin   Composer
Claudio Monteverdi   Composer
Henry Purcell   Composer
Heinrich Schütz   Composer
Leonard Cohen   Composer,Text
Michael Jackson   Composer,Text
Elton John   Composer,Text
Freddie Mercury   Composer,Text
Sting   Composer,Text
Bill Withers   Composer,Text
Bernard Belle   Text
John Deacon   Text
Eric Idle   Composer,Text
Dominic Miller   Text
Bernie Taupin   Text
Tolga Kashif   Text
Calmus Ensemble   Liner Notes
Barbara Großmann   Text Translation
Christine Haustein   Text Translation
Mia Makaroff   Arranger
Marco Borggreve   Cover Photo
Anonymous   Composer
Ludwig Böhme   Arranger
Thomas Ratzak   Recording Producer
Sebastian Krause   Arranger
Matthias Becker   Arranger
Regina Kunze   Text Translation
Markus Goecke   Text Translation
Edward T. Riley   Text
Christof Graf   Text Translation

Customer Reviews

Average Review:

Post to your social network


Most Helpful Customer Reviews

See all customer reviews

Touched 5 out of 5 based on 0 ratings. 1 reviews.
JimD More than 1 year ago
Enjoyably split personality Like the better-known Kings Singers, Calmus Ensemble was founded by former members of a famous choir school (in Leipzig) and, like the British group, sings unaccompanied classical pieces and pop arrangements, one voice to a part. (The highest voice here is a woman rather than a sopranist, although each group uses male altos.) Rather than focus on one genre or the other on their newest album, Calmus alternates both, with wordless “interludes” to keep them separated. The madrigals and part-songs are done as originally written, while the pop and jazz numbers get fresh arrangements, some by members of the group. (Freddie Mercury’s rather mawkish ballad “Love of my life” becomes a whole new piece!) The split works pretty well, the only mild misfire being a song from one of the Monty Python movies, which isn’t so funny without the context and the visuals--and doesn’t fit the “touched” theme very well, either. The singers’ English is excellent, and virtually accent-free; they make a clean sound, with little vibrato. Texts are provided, but only in the original language and German.