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The Hanover Band & Chorus, Nicholas McGegan - Handel: Serse (1998)

Posted By: tirexiss
The Hanover Band & Chorus, Nicholas McGegan - Handel: Serse (1998)

The Hanover Band & Chorus, Nicholas McGegan - Handel: Serse (1998)
EAC | FLAC (image+.cue, log) | Covers Included | 02:56:12 | 880 MB
Genre: Classical, Opera | Label: Conifer Classics | Catalog: 75605 51312 2

Nicholas McGegan has done more for the early music movement in America than nearly anyone else, and his tireless explorations of the byways of Baroque opera have put many fascinating works into the concert hall and onto recordings. He studied piano at London's Trinity College of Music and learned to play the flute while he was there, but entertained no special desire to study historical performance.

La Petite Bande, Sigiswald Kuijken - Handel: Alessandro (2011)

Posted By: tirexiss
La Petite Bande, Sigiswald Kuijken - Handel: Alessandro (2011)

La Petite Bande, Sigiswald Kuijken - Handel: Alessandro (2011)
EAC | FLAC (image+.cue, log) | Covers Included | 03:27:03 | 991 MB
Genre: Classical, Opera | Label: Deutsche Harmonia Mundi | Catalog: 88697856552

The opera Alessandro by Georg Friedrich Händel (1685-1759) has some of the best arias composed by this german composer. Alessandro is sung by the great countertenor René Jacobs. This role has eight arias: three airas in the first act, two in the second one and three in the third one. These arias are all wonderful. For me, the best aria of Alessandro is "Risolvo abbandonar la bella che mi sprezza", very enjoyable.

Ensemble Turicum - Pergolesi: Messa a 5 voci; Leo: Sinfonia "Il Demetrio"; Gallassi: Te Deum; Perez: Trio (2004)

Posted By: ArlegZ
Ensemble Turicum - Pergolesi: Messa a 5 voci; Leo: Sinfonia "Il Demetrio"; Gallassi: Te Deum; Perez: Trio (2004)

Ensemble Turicum - Pergolesi: Messa a 5 voci; Leo: Sinfonia "Il Demetrio"; Gallassi: Te Deum; Perez: Trio (2004)
EAC | FLAC | Image (Cue & Log) ~ 273 Mb | Total time: 57:44 | Scans included
Classical | Label: K617 | # K617159 | Recorded: 2003

The world has not yet fully discovered the riches of the impressive music libraries and archives of Portugal. They testify to the often complex trajectories followed all over Europe by a repertoire of splendid pieces, many of them showing the extent to which the Italian style had taken root in eighteenth-century Portugal. The superb mass by Pergolesi recorded here is a highly characteristic example. But the ensemble Turicum wanted to go even further in their exploration of this repertoire, accompanying the mass with performances of works by composers now totally (and unjustly) unknown, such as Antonio Gallassi and David Perez, not to mention Leonardo leo, acknowledged in his own time as a supreme master of sacred music.

L'Yriade, Cyril Auvity - Giovanni Bononcini: Barbara ninfa ingrata - Cantatas (2010)

Posted By: ArlegZ
L'Yriade, Cyril Auvity - Giovanni Bononcini: Barbara ninfa ingrata - Cantatas (2010)

L'Yriade, Cyril Auvity - Giovanni Bononcini: Barbara ninfa ingrata - Cantatas (2010)
EAC | FLAC | Image (Cue & Log) ~ 314 Mb | Total time: 64:55 | Scans included
Classical | Label: Ramée | # RAM 1006 | Recorded: 2009

Amongst several contemporaries of Scarlatti who devoted themselves to the solo cantata, one of the most prolific was influential globetrotter Giovanni Bononcini, who wrote up to 283. During the first quarter of the 18th century, Bononcini's cantatas represented the principal trend of this genre. In these works, a fluent and effective technique is combined with a real gift for the composition of melodies. These lamenti are the central element of Bononcini's dramatic works; his genius is perfectly adapted to tender and pathetic emotions. Another important aspect of his music is the magnificent use of the text. In 1789, Charles Burney called Bononcini "the most prolific cantatas composer" and claimed that Bononcini's recitatives were universally perceived as the best of their time. Now, Cyril Auvity and his ensemble L'Yriade offer an enthusiastic and totally committed interpretation of some of Bononcini's cantatas, revealing the extreme force of those magical works.

William Christie, Les Arts Florissants - Lully: Armide (2011) [Blu-Ray]

Posted By: Vilboa
William Christie,  Les Arts Florissants - Lully: Armide (2011) [Blu-Ray]

William Christie, Les Arts Florissants - Lully: Armide (2011) [Blu-Ray]
BluRay | BDMV | MPEG-4 AVC Video / 24995 kbps / 1080i / 29,970 fps | 168 min | 42,3 Gb
Audio1: French / LPCM Audio / 2.0 / 16-bit | Audio2: DTS-HD Master Audio / 5.1 / 48 kHz / 2504 kbps / 16-bit

BluRay-rip | AVC | MKV 1920x1080 / 6215 kbps / 29,97 fps | 168 min | 9,10 Gb
Audio: French / DTS / 6ch / 48.0 KHz / 16 bits
Classical | Fra Musica | Sub: French, English, German, Spanish, Italian

For any enthusiast of Baroque music, the production of Lully's Armide at the Theatre des Champs Elysées, directed by William Christie and staged by Robert Carsen, was an exceptional event. The last and most successful collaboration between Lully and his librettist Quinault, Armide is the ideal of the genre as desired by Louis XIV: a tragic opera that achieves the perfect fusion of music, song and dance. William Christie leads the orchestra and chorus of Les Arts Florissants and a dazzling cast. Stephanie D’Oustrac is the imperious sorceress Armida, overcome by the violence of a forbidden passion.

Christophe Coin, Les Chantres de la Chapelle, Ensemble Baroque de Limoges - Mondonville: Grand Motets (1997)

Posted By: tirexiss
Christophe Coin, Les Chantres de la Chapelle, Ensemble Baroque de Limoges - Mondonville: Grand Motets (1997)

Christophe Coin, Les Chantres de la Chapelle, Ensemble Baroque de Limoges - Mondonville: Grand Motets (1997)
EAC | APE (image+.cue, log) | Covers Included | 59:09 | 288 MB
Genre: Classical, Sacred | Label: Auvidis Astree | Catalog: E8614

Perhaps the leading post-Harnoncourt cellist in the early music movement, Christophe Coin has developed a particular interest in music of late eighteenth century Vienna. He began studying the cello as a child in Caen, then enrolled in the Paris Conservatory, where his principal teacher was André Navarra. After taking first prize in a conservatory competition, Coin moved to Vienna where, at the Academy for Music, he became a disciple of Nikolaus Harnoncourt and performed in the latter's Concentus Musicus.

Marc Minkowski, Les Musiciens du Louvre - Mondonville: 6 Sonates Op. 3 (1998)

Posted By: tirexiss
Marc Minkowski, Les Musiciens du Louvre - Mondonville: 6 Sonates Op. 3 (1998)

Marc Minkowski, Les Musiciens du Louvre - Mondonville: 6 Sonates Op. 3 (1998)
EAC | FLAC (image+.cue, log) | Covers Included | 57:52 | 296 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 457 600-2AH

Jean-Joseph Cassanéa de Mondonville, violinist of the royal chapel and just a bit younger than Rameau, is one of those French composers of the late Baroque generally relegated to the summary paragraph in historical surveys. His music is not terribly common on recordings, and the Brilliant label's resurrection of this late-'90s recording on Archiv, despite dreadful sound, is welcome.

La Nuova Musica; David Bates, Lucy Crowe, Tim Mead - Pergolesi: Stabat Mater; J.S. Bach: Cantatas BWV 54 & 170 (2017)

Posted By: Designol
La Nuova Musica; David Bates, Lucy Crowe, Tim Mead - Pergolesi: Stabat Mater; J.S. Bach: Cantatas BWV 54 & 170 (2017)

Giovanni Pergolesi: Stabat Mater; Johann Sebastian Bach: Cantatas BWV 54 & 170 (2017)
Lucy Crowe, soprano; Tim Mead, countertenor; La Nuova Musica; David Bates, conductor

EAC | FLAC | Image (Cue&Log) ~ 283 Mb | Mp3 (CBR320) ~ 147 Mb | Artwork included
Classical, Sacred, Vocal | Label: Harmonia Mundi | # HMM907589 | Time: 01:04:14

Two of Bach’s finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here coupled with the delicious agony of grief that is Pergolesi’s 'Stabat mater', an acknowledged masterpiece by one of the 18th century’s most influential composers. Bach so admired the composition of his Neapolitan colleague that he made his own ‘parody’ of it to a German text. On this recording, La Nuova Musica, in its 10th anniversary year, and its two eminent soloists display equal mastery of both idioms.

Wolfgang Gonnenwein, Consortium musicum, Suddeutscher Madrigalchor - Bach: Johannes-Passion (1989)

Posted By: ArlegZ
Wolfgang Gonnenwein, Consortium musicum, Suddeutscher Madrigalchor - Bach: Johannes-Passion (1989)

Wolfgang Gönnenwein, Consortium musicum, Süddeutscher Madrigalchor - Bach: Johannes-Passion (1989)
EAC | FLAC | Image (Cue & Log) ~ 615 Mb | Total time: 64:04+65:44 | Scans included
Classical | Label: EMI | # CZS 7 62592 2 | Recorded: 1969

J.S. Bach's Johannes-Passion, or St. John Passion, BWV 245 – one of just two surviving Bach Passion works out of an original four or five – is, simply put, a headache for editors and performers wishing to recreate the authentic, stamped-and-approved original work. There is no such beast: the work was performed at least four times during Bach's lifetime, and for each new presentation he overhauled the music, adding numbers, deleting numbers, changing numbers, so that today we really have four different St. John Passions through which to pick and choose our way. Happily enough, however, Bach misses the mark in not a single one of those numbers, and the director can hardly go wrong selecting from such a wealth of fine material. The St. John Passion was first heard on April 7, 1724 (Good Friday), and then reproduced for Leipzig churchgoers in 1725, sometime in the early 1730s (perhaps 1732), and then again in 1749. Perhaps in part because of its sometimes bewildering compositional history and the fact that its texts were not really conceived as a single entity (Bach seems to have arranged the texts himself from a number of disparate sources, and sometimes his efforts – which seem to have been hasty ones – are not altogether graceful), the St. John Passion has never been a sweepingly popular work like the St. Matthew Passion, BWV 244. But it is a monumental work that must have made quite an impression indeed at its first performance, early on in Bach's tenure as Cantor of Leipzig.

Wolfgang Gonnenwein, Consortium musicum, Suddeutscher Madrigalchor - Bach: Matthaus-Passion (1989)

Posted By: ArlegZ
Wolfgang Gonnenwein, Consortium musicum, Suddeutscher Madrigalchor - Bach: Matthaus-Passion (1989)

Wolfgang Gönnenwein, Consortium musicum, Süddeutscher Madrigalchor - Bach: Matthäus-Passion (1989)
EAC | FLAC | Image (Cue & Log) ~ 912 Mb | Total time: 74:10+73:47+48:36 | Scans included
Classical | Label: EMI | # CZS 7 62588 2 | Recorded: 1968

Among traditional modern-instrument versions of Bach’s St. Matthew Passion, Wolfgang Gönnenwein’s 1968 recording has a lot to offer. Not least is the excellent choral singing from top to bottom. The texts are always clear, and the pacing for the chorales is governed by the story’s dramatic unfolding. You can’t help but be hooked by Evangelist Theo Altmeyer’s warm tone and vivid portrayal, complemented by Franz Crass’ sonorous, touching Jesus. What a joy it is to hear Teresa Zylis-Gara, Julia Hamari, and Hermann Prey at the peak of their respective powers. Tenor Nicolai Gedda is heard to better advantage with Gönnenwein than in Otto Klemperer’s recording, where he struggled with that conductor’s craggy tempos. The orchestra plays beautifully, and the engineering does full justice to Bach’s antiphonal interplay. All the recitatives are accompanied by rather dutiful chordal backing from the organ and cello (Bach adds a “halo” of strings, of course, whenever Jesus opens his mouth). A harpsichordist with a bent for improvisation would have spruced up the texture. Lovers of great Bach singing, however, will treasure this release.
(Jed Distler)

Jurgen Banholzer, La Gioia Armonica - Antonio Caldara: Cantate, Sonate ed Arie (2005)

Posted By: ArlegZ
Jurgen Banholzer, La Gioia Armonica - Antonio Caldara: Cantate, Sonate ed Arie (2005)

Jürgen Banholzer, La Gioia Armonica - Antonio Caldara: Cantate, Sonate ed Arie (2005)
EAC | FLAC | Image (Cue & Log) ~ 342 Mb | Total time: 65:57 | Scans included
Classical | Label: Ramée | # RAM 0405 | Recorded: 2004

The ensemble LA GIOIA ARMONICA was founded by Austrian dulcimer-player Margit Übellacker and German organist and singer Jürgen Banholzer. One of the ensemble's objectives is to explore the baroque repertoire for dulcimer, in particular in connection with the legendary pantaleon. The size of the group varies from dulcimer-organ duet to large chamber-music settings. Th e musicians are all specialised in historically-informed performance practices, and combine broad experience drawn from their involvement in various international ensembles. La Gioia Armonica's debut CD – Cantate, Sonate ed Arie, dedicated to music of Antonio Caldara – was also released by Ramée, and gained various awards, among which the Pizzicato Supersonic Award, Goldberg 5 Stars, and the Prelude Classical Award 2006 for best debut CD. Since then, the ensemble has been invited to perform in Germany and abroad, including at the Halle Händelfestspiele, the Dordrecht Bach Festival, the Middle-Germany Heinrich Schütz Days, the Bottrop Organ Plus Festival, and the Bad Homburg Fugato organ festival.

Hélène Grimaud - Bach: Transcribed (2008) (Repost)

Posted By: tirexiss
Hélène Grimaud - Bach: Transcribed (2008) (Repost)

Hélène Grimaud - Bach: Transcribed (2008)
EAC | FLAC (tracks+.cue, log) | Covers Included | 01:16:02 | 355 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 1426

Fitting her reputation for interpreting the keyboard repertoire in a big way, Hélène Grimaud presents her first recording of J.S. Bach's works with transcriptions by Ferruccio Busoni, Franz Liszt, and Sergei Rachmaninov, which were all intended to update the music for the modern grand piano. Because Grimaud's style is direct and robust, reminiscent of Martha Argerich, and the transcriptions are dramatically more pianistic than the originals, Bach purists should look elsewhere for more meticulous and historically informed performances of these Baroque pieces, perhaps on fortepiano or harpsichord.

Ivan Fischer, Royal Concertgebouw Orchestra Amsterdam, Netherlands Radio Choir - Bach: Matthaus-Passion (2013)

Posted By: Vilboa
Ivan Fischer, Royal Concertgebouw Orchestra Amsterdam, Netherlands Radio Choir - Bach: Matthaus-Passion (2013)

Iván Fischer, Royal Concertgebouw Orchestra Amsterdam, Netherlands Radio Choir - Bach: Matthäus-Passion (2013)
BluRay | BDMV | MPEG-4 AVC Video / 23967 kbps / 1080i / 29,970 fps | 172 min | 36,5 GB
Audio1: German / LPCM Audio / 2.0 / 16-bit | Audio2: DTS-HD Master Audio / 5.0 / 48 kHz / 2044 kbps / 24-bit

BluRay-rip | AVC | MKV 1920x1080 / 6215 kbps / 29,970 fps | 172 min | 9,33 Gb
Audio: German / DTS / 5ch / 48.0 KHz / 24 bits
Classical | Arthaus Musik | Sub: German, English, French, Spanish, Japanese

This 2012 recording of the most influential and wide spread oratorio by Johann Sebastian Bach features the Hungarian conductor Iván Fischer, a visionary in his field, with the Royal Concertgebouw Orchestra in Amsterdam. The double choir is the essential musical aspect on which Iván Fischer’s interpretation of Bach’s St. Matthew Passion is based. Only by consistently seizing on that duality will all the complementary layers stand out as they should. He describes this essential fundamental aspect as follows: “You can’t do the St. Matthew in an unreligious way. The only approach is from a deep, universally religious feeling.

Gunar Letzbor, Ars Antiqua Austria - Antonio Caldara: XII Sinfonie a Quattro (2005)

Posted By: ArlegZ
Gunar Letzbor, Ars Antiqua Austria - Antonio Caldara: XII Sinfonie a Quattro (2005)

Gunar Letzbor, Ars Antiqua Austria - Antonio Caldara: XII Sinfonie a Quattro (2005)
EAC | FLAC | Image (Cue & Log) ~ 306 Mb | Total time: 73:10 | Scans included
Classical | Label: Arcana | # A 324 | Recorded: 2003

The historical-instrument ensemble Ars Antiqua Austria under violinist/conductor Gunar Letzbor has specialized in neglected repertory of the eighteenth century, and few composers fit their aims better than Antonio Caldara, a Venetian trained in the grand tradition at St. Mark's cathedral. He had a distinguished career that took him to Mantua, (perhaps) to the then-Austrian court at Barcelona, to Rome, and finally to Vienna itself, where he became vice-kapellmeister under emperor Charles VI. As with other composers in this milieu, most of his production was vocal. The 12 Sinfonie a quattro recorded here are very brief specimens of the kind of sinfonia that served as a curtain raiser for an opera or oratorio, the genre from which the independent symphony ultimately evolved. In this case the sinfonias are taken from oratorios, named in the subtitles of each work. They consist of three or four movements, many of them extremely short but not excluding counterpoint and even little fugal finales. The tone is restrained, in keeping with the religious subject matter, and the texture is pretty constant aside from a few violin solos. Combine that with the technically smooth but rather deadpan readings from Letzbor, a disciple of Reinhard Goebel and Nikolaus Harnoncourt, the result, at least for the general listener, is a very subdued hour of music in a program that would unlikely have been performed in its own time.
(James Manheim)

Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon - Locatelli: L'arte del Violino (2002)

Posted By: tirexiss
Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon - Locatelli: L'arte del Violino (2002)

Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon - Locatelli: L'arte del Violino (2002)
EAC | FLAC (image+.cue, log) | Covers Included | 76:37 | 368 MB
Genre: Classical | Label: Sony Classical | Catalog: SK 89729

When considering the first set of compositions designed to truly extend and test the technical limits of the violin, most would first consider the 24 Caprices of Paganini. However, more than a century before Paganini was even thought of, Italian composer Pietro Locatelli was pushing the violin to its limits with his four concertos of Opus 3, subtitled the "Art of the Violin."