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Jordi Savall - Cristobal De Morales (ca.1500-1553) - Officium Defunctorum & Missa Pro Defunctis (1992) {Astree-Naive ES 9926}

Posted By: ruskaval
Jordi Savall - Cristobal De Morales (ca.1500-1553) - Officium Defunctorum & Missa Pro Defunctis (1992) {Astree-Naive ES 9926}

Jordi Savall - Cristóbal De Morales (ca.1500-1553) - Officium Defunctorum & Missa Pro Defunctis (1992) {Astrée-Naïve ES 9926 rel 1999}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 299 Mb | MP3 @320 -> 171 Mb
Full Artwork @ 300 dpi (jpg) -> 38 Mb | 5% repair rar
© 1992, 1999 Auvidis / Astrée / Naïve | ES 9935
Classical / Renaissance / Sacred

Morales's five-part setting of the Requiem is one of the masterpieces of the 16th century and was actually published twice during his lifetime. The 'Missa pro defunctis' follows the customary pattern of the time. Each section begins with a unison Gregorian intonation, which then continues as a cantus firmus in the upper part as the other voices spin a polyphonic texture underneath. The work avoids obvious madrigalisms, but maintains an austere, meditative texture, which is both spiritual and moving.

Michel Corboz, Ensemble Vocal De Lausanne - Alessandro Scarlatti: Missa ad Usum Cappellae Pontificiae, 6 Motets (2006)

Posted By: ArlegZ
Michel Corboz, Ensemble Vocal De Lausanne - Alessandro Scarlatti: Missa ad Usum Cappellae Pontificiae, 6 Motets (2006)

Michel Corboz, Ensemble Vocal De Lausanne - Alessandro Scarlatti: Missa ad Usum Cappellae Pontificiae, 6 Motets (2006)
EAC | FLAC | Image (Cue & Log) ~ 215 Mb | Total time: 51:20 | Scans included
Classical | Label: Apex | # 2564 60522-2 | Recorded: 1965

There are some real injustices in the business of recorded music and this disc brings one of them very much to light. The opening lines of the liner notes say, "Until relatively recently, the reputation of Alessandro Scarlatti – the son, brother, father and uncle of other illustrious musicians – was overshadowed by that of his son Domenico." It is not stated on this disc whether the notes were written to go with this Apex re-issue or whether they date from the same period as the recording, but Alessandro’s reputation, if he has one, is still very much under his wonderful son’s shadow. It is an indication of a massive injustice, that this re-issue goes some small way to correcting.

Robert King, The King's Consort - Luigi Boccherini, Emanuele d'Astorga: Stabat Mater (1999)

Posted By: ArlegZ
Robert King, The King's Consort - Luigi Boccherini, Emanuele d'Astorga: Stabat Mater (1999)

Robert King, The King's Consort - Luigi Boccherini, Emanuele d'Astorga: Stabat Mater (1999)
EAC | FLAC | Image (Cue & Log) ~ 274 Mb | Total time: 73:20 | Scans included
Classical | Label: Hyperion | # SACDA67108 | Recorded: 1999

Boccherini wrote very little vocal music; however he left two settings of the Stabat mater. It was first set in 1781 for solo soprano and strings and then in 1800 for two sopranos and tenor, obviously influenced by the hugely-popular Pergolesi Stabat mater of 1736. There are many similarities in the notation and harmony—even the same key of F minor is used. The writing is of extraordinary individuality and seems to come straight from the heart. This unjustly neglected piece is surely one of the most remarkable sacred compostions of the era.
Emanuele d'Astorga was one of the most colourful figures in early eighteenth-century music and his life has often been the subject of legend rather than fact (brief details of which can be discovered in Robert King's illuminating booklet notes). During his life, Astorga was best known for his well-written and tuneful chamber cantatas (of which more than 150 survive) and his opera Dafni (only Act 1 now survives). But by far his most enduring work has proved to be this setting of the Stabat mater, his only surviving sacred composition. Throughout it we hear Astorga's gift for writing warm melodies, typical of the Neapolitan style of the time, and how he captures the melancholy of this most desolate of sacred texts.

Christopher Monks, Armonico Consort, Emma Kirkby - Franceso Scarlatti: Dixit Dominus (2004)

Posted By: ArlegZ
Christopher Monks, Armonico Consort, Emma Kirkby - Franceso Scarlatti: Dixit Dominus (2004)

Christopher Monks, Armonico Consort, Emma Kirkby - Franceso Scarlatti: Dixit Dominus (2004)
EAC | FLAC | Image (Cue & Log) ~ 321 Mb | Total time: 73:44 | Scans included
Classical | Label: Deux-Elles | # DXL 1096 | Recorded: 2003

A note of caution first to the unobservant purchaser who picks up this CD, believing, in glee, that he has stumbled across a premiere recording of Alessandro Scarlatti's Dixit Dominus, newly come to light - or, if not, possibly by his son, Domenico, usually better known for his keyboard music. These works, indeed premiere recordings, are in fact by Domenico's uncle and Alessandro's younger brother, Francesco.

Florian Heyerick, Ex Tempore - Alessandro, Francesco e Domenico: Polyphonic Music of the Scarlatti Family (2005)

Posted By: ArlegZ
Florian Heyerick, Ex Tempore - Alessandro, Francesco e Domenico: Polyphonic Music of the Scarlatti Family (2005)

Florian Heyerick, Ex Tempore - Alessandro, Francesco e Domenico: Polyphonic Music of the Scarlatti Family (2005)
EAC | FLAC | Image (Cue & Log) ~ 308 Mb | Total time: 70:44 | Scans included
Classical | Label: Et'cetera | # KTC 1298 | Recorded: 2005

The Scarlatti family is one of many musical dynasties in music history. Only two of its number are still well-known today: Alessandro and his son Domenico. Alessandro was born in Palermo as the second son of Pietro Scarlata - the family name in its original form - who was active as a tenor. During his career Alessandro lived and worked in several cities: Rome, Naples and Venice. At a young age he was already a famous and much sought-after composer. His younger brother Francesco – almost forgotten today - was less lucky. He was appointed as violinist at the royal court in Naples in 1684, but returned to Palermo in 1691, and stayed there for about 24 years. He tried to find appointments at the courts of Vienna and Naples, but failed. In 1719 he travelled to London, where he participated in public concerts. In 1733 he went to Dublin, where he seems to have died in 1741 or soon after. Domenico suffered tribulations too. It was only after the death of his father that he felt completely free to follow his own path, although he had left Italy five years earlier, in 1720.

Herbert von Karajan - The Christmas Album (2014)

Posted By: SERTiL
Herbert von Karajan - The Christmas Album (2014)

Herbert von Karajan - The Christmas Album (2014)
Classical, Vocal | WEB FLAC (tracks) & front cover | 328 MB
Label: Deutsche Grammophon | Tracks: 20 | Time: 69:31 min

This compilation draws Christmas music from several recordings conducted by the late Herbert von Karajan, but emphasizes two of them, both from the 1960s: a collection of Baroque Christmas pieces in a mostly pastoral vein, and an LP on which he and the Vienna Philharmonic backed the great African American soprano Leontyne Price. Neither of these recordings is easy to obtain these days, and Karajan aficionados may well be pleased to have them in a single package. Beyond that, the Price pieces, from her heyday, are gorgeous.

Matthias Jung, Batzdorfer Hofkapelle, Sachsiches Vocalensemble - Francesco Feo: Missa, Confitebor a 5 (2009)

Posted By: ArlegZ
Matthias Jung, Batzdorfer Hofkapelle, Sachsiches Vocalensemble - Francesco Feo: Missa, Confitebor a 5 (2009)

Matthias Jung, Batzdorfer Hofkapelle, Sächsiches Vocalensemble - Francesco Feo: Missa, Confitebor a 5 (2009)
EAC | FLAC | Image (Cue & Log) ~ 304 Mb | Total time: 58:04 | Scans included
Classical | Label: CPO | # 777 333-2 | Recorded: 2007

Francesco Feo was one of the greatest Neapolitan composers of the first half of the 18th century. During a career extending from 1713 through 1760, the year before his death, he remained in Naples, where he composed operas, oratorios, cantatas, masses, passions, psalms, and canticles, among other works. His setting of Metastasio’s first opera libretto, Siface, led to commissions from Rome and Turin. His growing fame resulted in commissions from Madrid and Prague; Hasse, resident in Dresden, where Feo’s works were also performed, wanted to entrust Feo with leading the premiere of a serenata he wrote for Naples. The music historian Charles Burney praised his works for their “fire, invention, and force in the melody and expression in the words.”

Kantorei & Joel Rinsema - Kim André Arnesen: Infinity (2018)

Posted By: Pisulik
Kantorei & Joel Rinsema - Kim André Arnesen: Infinity (2018)

Kantorei & Joel Rinsema - Kim André Arnesen: Infinity (2018)
Classical | MP3 CBR 320 kbps | 01:06:27 | 155 MB
Label: Naxos

Kim Andre Arnesen is one of Norway’s most frequently performed contemporary composers. International recognition of his music includes a performance of the beautifully evocative Cradle Hymn at the White House for Barack Obama in 2016. Arnesen’s association with Denver’s Kantorei resulted in their commissioning the warmly expressive ‘The gift I’ll leave you’ and the eloquent ‘Making or Breaking.’ ‘Even when He Is Silent’ sets a text written by a prisoner on a concentration camp wall, and Arnesen’s own summing-up of ‘Flight Song’ is that “music making is the song of new life, fragile as the fall of a feather.”

René Jacobs, Rias Kammerchor And Freiburger Barockorchester - Mozart: Requiem (2017)

Posted By: SERTiL
René Jacobs, Rias Kammerchor And Freiburger Barockorchester - Mozart: Requiem (2017)

René Jacobs, Rias Kammerchor And Freiburger Barockorchester - Mozart: Requiem, K. 626 (Süssmayr - Dutron 2016 Completion) (2017)
EAC Rip | FLAC (tracks)+cue, log, m3u, d. booklet | 220 MB
Label: Harmonia Mundi – 902291 | Tracks: 15 | Time: 45:55 min
Classical, Choral, Vocal

1791: a busy year for Mozart who, when he received a commission for a Requiem, was already working on Die Zauberflöte and had a deadline to deliver La clemenza di Tito. Everyone knows what happened next: the commission postponed, exhaustion and death, a work left unfinished and which, after several composers were approached, was finally completed by Süssmayr. This version gradually became established as the closest to Mozart’s intentions, but is not free of faulty part-writing and orchestration. In 2016 a young French composer, Pierre-Henri Dutron, persuaded René Jacobs to perform his own revision of the Requiem completed by Süssmayr. This new version was created with great success in a series of five concerts around Europe in November 2016. We now present its first studio recording, released exclusively on harmonia mundi.

Philippe Jaroussky, Ensemble Artaserse - Vivaldi "Pieta": sacred works for alto (2014)

Posted By: ArlegZ
Philippe Jaroussky, Ensemble Artaserse - Vivaldi "Pieta": sacred works for alto (2014)

Philippe Jaroussky, Ensemble Artaserse - Vivaldi "Pietà": sacred works for alto (2014)
EAC | FLAC | Image (Cue & Log) ~ 358 Mb | Total time: 78:30 | Scans included
Classical | Label: Erato | # 0825646257508 | Recorded: 2014

French countertenor Philippe Jaroussky, whose honey-sweet voice perhaps remains the best introduction to the countertenor voice for the skeptical, attempts something new with the collection of gorgeous and generally underrated Vivaldi works. It might, therefore, not be perfectly appropriate as an introduction to Jaroussky, but it's a daring and altogether engrossing project. The collection is accurately billed as a group of sacred works for alto, which makes it a surprising attempt for : his voice corresponds most closely to a mezzo-soprano range, and he has in the past taken on full-scale operatic arias where his voice blooms into a colorful and attractive top. Here he deliberately forbids himself that part of his vocal repertoire, even in faster, more athletic pieces that would seem to permit it. Everything is kept at a very low temperature. It's a risky course, but several things come together to make it work, and work in a big way. One is the presence of Jaroussky's handpicked Ensemble Artaserse, which responds to the subtlety of his approach with a sensitivity that would be worth the price of admission in itself.

Jordi Savall & Le Concert des Nations - Haydn - Les sept dernieres paroles de notre Redempteur sur la Croix (1991) {ES 9935}

Posted By: ruskaval
Jordi Savall & Le Concert des Nations - Haydn - Les sept dernieres paroles de notre Redempteur sur la Croix (1991) {ES 9935}

Jordi Savall & Le Concert des Nations - Haydn - Les sept dernières paroles de notre Rédempteur sur la Croix (1991) {Astrée ES 9935 rel 1999}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 306 Mb | MP3 @320 -> 168 Mb
Full Artwork @ 300 dpi (png) -> 132 Mb | 5% repair rar
© 1991, 1999 Astrée / Naïve | ES 9935
Classical / Viennese School / Sacred

In the semi-darkness within a grotto beneath the church of Santo Rosario in Cadiz, the bishop pronounced one of the seven Last Words of Christ, then, during the ensuing silence, the orchestra played… Commissioned from Haydn in 1786, these seven mystical sonatas, with their sombre melody, take their inspiration from the rhythm of each of the seven Words. Preceded by a noble Prelude and followed by an impressive Terremoto (Earthquake), there have been various versions (piano, string quartet, vocal), but here they are presented in the original version and with all the glowing colours of the Concert des Nations.

The Clerks' Group - Ockeghem: Requiem, Missa Fors Seulement (1997)

Posted By: tirexiss
The Clerks' Group - Ockeghem: Requiem, Missa Fors Seulement (1997)

The Clerks' Group - Ockeghem: Requiem, Missa Fors Seulement (1997)
EAC | FLAC (image+.cue, log) | Covers Included | 71:11 | 335 MB
Genre: Classical, Sacred | Label: ASV Digital | Catalog: CD GAU 168

The Clerks' Group is a popular a cappella singing ensemble devoted largely to Medieval and Renaissance-era vocal works. It consists of eight singers, but early on performed with as few as six. The range of most of the compositions the group performs spans from the eleventh century to the end of sixteenth century, though there are a small number of contemporary pieces that were commissioned for concert use. At the heart of the repertory are sacred works by Ockeghem, Josquin Desprez, Obrecht, Machaut, Dufay, Dunstable, and other composers of that era.

Nicholas Ward, Northern Chamber Orchestra - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)

Posted By: ArlegZ
Nicholas Ward, Northern Chamber Orchestra - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)

Nicholas Ward, Northern Chamber Orchestra, Jeremy Summerly, Schola Cantorum of Oxford - Bach: Magnificat BWV 243; Cantata 'Ich habe genug' BWV 82 (1995)
EAC | FLAC | Image (Cue & Log) ~ 215 Mb | Total time: 53:14 | Scans included
Classical | Label: Naxos | # 8.550763 | Recorded: 1993, 1994

These works both received their first performances in Leipzig - the Magnificat in 1723 and Cantata 82 in 1727. It was in 1723 that Bach had taken up thepost of Kantor at the Thomaskirche in Leipzig, having previously been Kapellmeisterto Prince Leopold in Cothen. The Magnificat was originally heard ina version in E flat major at Christmas Vespers when movements with seasonaltexts were inserted; the version included on this disc was rendered by Bach someyears later, returning to the ordinary Magnificat text in order to makethe work performable all year round. Bach's approach to the evening canticle ischaracteristically large-scale. There is no use of recitative, owing perhaps tothe poetic nature of the text: the verses have little natural hierarchy and itis appropriate that they should all be afforded extended settings. The scoringis unusually rich and includes three trumpets, two flutes, two oboes, strings,continuo, and timpani - one of the largest ensembles to be assembled at theThomaskirche in Bach's time. Bach takes a literal view of the text in which, forinstance, the full five-part choir is used to demonstrate Omnes generationes ("All generations") with soloists used for the more reflective movements. Ina typically Bachian gesture the opening material returns for Sicut erat inprincipio ("As it was in the beginning").

Wladimir Matesic, Rita Susovsky & Gruppo Incontro - Cantos Dei Gloriae (2018)

Posted By: SERTiL
Wladimir Matesic, Rita Susovsky & Gruppo Incontro - Cantos Dei Gloriae (2018)

Wladimir Matesic, Rita Susovsky & Gruppo Incontro - Cantos Dei Gloriae (2018)
Classical, Choral | WEB FLAC (tracks) & d. booklet | 249 MB
Label: Tactus | Tracks: 17 | Time: 67:28 min

By means of this recording, the vocal and instrumental group from Trieste 'Gruppo Incontro' wants to offer us an overview on some sacred music. The common denominator of this music are three composers who followed one another as Kapellmeisters at the Cathedral of San Giusto in Trieste since the mid-twentieth century until today. This collection encompasses three different generations and shows that today it is still possible to write liturgical music remaining loyal to the religious texts and respecting the importance of those old traditional rituals that have been transmitted for two thousand years.

Czech Philharmonic; Prague Philharmonic Choir; Jiri Belohlavek - Antonin Dvorak: Stabat Mater, Op.58 (2017) 2CDs

Posted By: Designol
Czech Philharmonic; Prague Philharmonic Choir; Jiri Belohlavek - Antonin Dvorak: Stabat Mater, Op.58 (2017) 2CDs

Antonín Dvořák: Stabat Mater, Op.58 (2017) 2CDs
Eri Nakamura, soprano; Elisabeth Kulman, mezzo; Michael Spyres, tenor; Jongmin Park, bass
Czech Philharmonic; Prague Philharmonic Choir; Jiří Bělohlávek, conductor

EAC | FLAC | Image (Cue&Log) ~ 328 Mb | Artwork included
Classical, Choral | Label: Decca | # 483 1510 DH | 01:23:02

Antonín Dvorák's Stabat Mater, Op. 58, truly merits the adjective "tragic"; it was written after the deaths of two of the composer's children in succession, and his grief rolled out in great, Verdian waves. There are several strong recordings on the market, including an earlier one by conductor Jiří Bělohlávek himself, but for the combination of deep feeling, technical mastery from musicians and singers who have spent their lives getting to know the score, and soloists who not only sound beautiful but are seamlessly integrated into the flow, this Decca release may be the king of them all. To what extent was the strength of the performance motivated by Bělohlávek's likely fatal illness (he died days after the album entered the top levels of classical charts in the spring of 2017)? It's hard to say, although he also delivered top-notch performances of Dvorák's Requiem in his last days. The members of the Prague Philharmonic Choir sing their hearts out in the gigantic, shattering opening chorus, which has rarely if ever had such a mixture of the impassioned and the perfectly controlled. Sample the chorus "Virgo virginium praeclara" to hear the magically suspended quality Bělohlávek brings out of the singers in lightly accompanied passages.