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Domkantorei St. Pölten & Otto Kargl - J.S. Bach: Choral Sacred Works (Live) (2017)

Posted By: SERTiL
Domkantorei St. Pölten & Otto Kargl - J.S. Bach: Choral Sacred Works (Live) (2017)

Domkantorei St. Pölten & Otto Kargl - J.S. Bach: Choral Sacred Works (Live)
Classical, Choral | WEB FLAC (tracks) & d. booklet | 67:30 min | 321 MB
Label: Fra Bernardo | Tracks: 16 | Rls.date: 2017

The Domkantorei St. Pölten, under the direction of Otto Kargl, is one of the most profound amateur choirs in Austria. The group was founded in 1992 by Kappelmeister Otto Kargle. It is an exquisite special ensemble with only about 20 members and the group is mainly concerned with music written prior to the year 1800 as well as contemporary choral literature. In addition to the liturgical service at the cathedral church in St. Polten, the ensemble regularly performs at the Carinthian Summer, the Brucknerhaus Linz, the Musica Sacra Festival, and the Festspielhaus St. Polten.

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.

Wolgang Gonnenwein, Orchester Der Ludwigsburger Festspiele, Suddeutsches Madrigalchor - Haydn: Die Schopfung (2006)

Posted By: ArlegZ
Wolgang Gonnenwein, Orchester Der Ludwigsburger Festspiele, Suddeutsches Madrigalchor - Haydn: Die Schopfung (2006)

Wolgang Gönnenwein, Orchester Der Ludwigsburger Festspiele, Süddeutsches Madrigalchor - Haydn: Die Schöpfung (2006)
EAC | FLAC | Image (Cue & Log) ~ 461 Mb | Total time: 57:20+49:09 | Scans included
Classical | Label: Membran Music | # 231558 | Recorded: 1975

The oratorio "The Creation" is one of the highlights of Joseph Haydn's late oeuvre. The work, first performed in 1798, is considered the most successful work by the great composer and, at the same time, a prime example of the classical oratorio. The present recording of the creation dates from 1975. In the leading roles will sing the award-winning American soprano Helen Donath, the German tenor Adalbert Kraus and the Swiss bass baritone Kurt Widmer. They will be accompanied by the alto Vera Scherr as well as the Süddeutsche Madrigalchor and the Festival Orchestra Ludwigsburg, under the direction of Wolfgang Gönnenwein, the longtime artistic director of the festival (1972 to 2004).

Schola Cantorum Budapestiensis - Codex Sanblasinus: Medieval Mass for the Feast of the Annuntiation (2004)

Posted By: tirexiss
Schola Cantorum Budapestiensis - Codex Sanblasinus: Medieval Mass for the Feast of the Annuntiation (2004)

Schola Cantorum Budapestiensis - Codex Sanblasinus: Medieval Mass for the Feast of the Annuntiation (2004)
EAC | FLAC (tracks+.cue, log) | Covers + Digital Booklet | 55:03 | 261 MB
Genre: Classical, Sacred | Label: Hungaroton | Catalog: HCD 32200

Hungaraton's Codex Sanblasianus: Medieval Mass for the Feast of the Annunciation is a rather mysterious entry for a number of reasons. One will look in vain for the title "Codex Sanblasianus" anywhere outside the context of this disc, and that raises a red flag as to exactly what manuscript János Mezei and the Schola Cantorum Budapestiensis is referring. It is British Museum Add. 27630, a South German manuscript from the second half of the fourteenth century.

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.

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.

Jan Lehtola, Klemetti Institute Chamber Choir; Heikki Liimola - Joonas Kokkonen: Requiem; Complete Works for Organ (2017)

Posted By: Designol
Jan Lehtola, Klemetti Institute Chamber Choir; Heikki Liimola - Joonas Kokkonen: Requiem; Complete Works for Organ (2017)

Joonas Kokkonen - Requiem; Complete Works for Organ (2017)
Jan Lehtola (organ); Suvi Väyrynen (soprano); Joose Vähäsöyrinki (baritone)
Klemetti Institute Chamber Choir; Heikki Liimola, conductor

EAC | FLAC | Image (Cue&Log) ~ 195 Mb | Mp3 (CBR320) ~ 130 Mb | Artwork included
Genre: Classical | Label: Toccata Classics | # TOCC0434 | Time: 00:55:33

The music of Joonas Kokkonen (1921–96), one of the most important Finnish composers after Sibelius, radiates warmth and light. His limited output is largely introvert in character but also contains moments of grandeur and rhythmic energy. Kokkonen’s Requiem (1980–81), written in memory of his first wife, is both a powerful choral symphony and a tender, moving embodiment of consolation. Originally scored for large orchestra, the Requiem is heard here in a new version for organ intended to bring the work within the reach of smaller forces. This first recording is complemented by the first complete recording of Kokkonen’s four works for solo organ.

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)

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.

Marcus Creed, Akademie fur Alte Musik Berlin - Handel: Ode for the Birthday of Queen Anne, Dixit Dominus (2009)

Posted By: ArlegZ
Marcus Creed, Akademie fur Alte Musik Berlin - Handel: Ode for the Birthday of Queen Anne, Dixit Dominus (2009)

Marcus Creed, Akademie für Alte Musik Berlin - Handel: Ode for the Birthday of Queen Anne, Dixit Dominus (2009)
EAC | FLAC | Image (Cue & Log) ~ 300 Mb | Total time: 56:24 | Scans included
Classical | Label: Harmonia Mundi | # HMC 902041 | Recorded: 2008

Marcus Creed amply proves in this recording of the Ode for the Birthday of Queen Anne and the Dixit Dominus that he has what it takes to conduct George Frederick Handel. He's got the big beat down, plus the muscular rhythms, vigorous tempos, and vivid textures, as well as the tight ensembles and the unstoppable drive so essential in making Handel come alive. And that's just in the fast choral movements. In the solos and duets, Creed creates poised, alert, and wholly sympathetic accompaniments that help shape the singers' performances as part of the total work. And what singers! Both sopranos are superlative, especially Sophie Kussmann, and countertenor Andreas Scholl is, as always, strong, yet supple and sensitive. With the expert period instrument skills of the Akademie für Alte Musik, Berlin, and the agile but robust singing of the Vocalconsort Berlin, Creed has delivered one of the great Handel discs.
(James Leonard)

Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Athalia (2004)

Posted By: ArlegZ
Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Athalia (2004)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - Handel: Athalia (2004)
EAC | FLAC | Image (Cue & Log) ~ 556 Mb | Total time: 56:49+65:55 | Scans included
Classical | Label: MDG | # 332 1276-2 | Recorded: 2003

This is the third English Oratorio by Handel, composed in 1733 for the graduation ceremony at Oxford. It is in 3 acts to a libretto by Samuel Humphreys after the stage drama Athalie by Jean Racine. Incidentally, this was Racine's last tragedy penned in 1691. This biblical account taken from Kings 2, centres on the theme of the triumph of God through the revenge performed by his followers on those who blaspheme and oppose him.

Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Theodora (2000)

Posted By: ArlegZ
Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Theodora (2000)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - Handel: Theodora (2000)
EAC | FLAC | Image (Cue & Log) ~ 664 Mb | Total time: 63:35+51:40+40:51 | Scans included
Classical | Label: MDG | # 332 1019-2 | Recorded: 2000

Written in the summer of 1749, Theodora was premiered in London at Covent Garden Theatre on 16 March 1750. This work, which Handel considered his finest oratorio, was a failure at first - Handel said bitterly that the hall was so empty that "there was room enough to dance there." Part of this failure could be explained by the earthquake that hit London in February of the same year and caused the upper classes to flee the city, but another possibility is that the subject matter of the oratorio - the rebellion of a woman against the power of the state - was a bit ahead of its time.

Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Susanna (1999)

Posted By: ArlegZ
Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - Handel: Susanna (1999)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - Handel: Susanna (1999)
EAC | FLAC | Image (Cue & Log) ~ 677 Mb | Total time: 60:06+51:39+46:03 | Scans included
Classical | Label: MDG | # 332 0945-2 | Recorded: 1999

The story of the innocent Susanna–whose nude bathing in a stream so excited two elders in her community that they charged her with all sorts of dirty things–is from the Apocrypha. Near the story's close, the young Israelite Daniel, clearly a budding lawyer, disproves the elders' claims by having each explain certain details without the other in the room. (In the Carlisle Floyd version, there's a twist, and the ending is horrifyingly different.) The story, as Handel and his unknown librettist tell it, takes more than two and a half hours. What we get in place of nail-biting drama is a marvelous portrait of the chaste Susanna, her trusting husband, Joacim, and the lascivious elders. There's also a great concentration on the plot's rural setting. Arias are filled with nature–Handel offers us a lovely pastoral setting, with a could-be-tragic story at its core; but neither Nature nor Susanna's good nature wind up sullied. This is a beautiful performance of the work, led by Peter Neumann with tenderness and, when required, with great verve. Neumann makes only a few cuts, equaling about 10 minutes and approved by Handel for the work's 1759 revival.
(Robert Levine)

Hans-Christoph Rademann, Dresdner Barockorchester, Dresdner Kammerchor - Johann Adolf Hasse: Requiem, Miserere (2005)

Posted By: ArlegZ
Hans-Christoph Rademann, Dresdner Barockorchester, Dresdner Kammerchor - Johann Adolf Hasse: Requiem, Miserere (2005)

Hans-Christoph Rademann, Dresdner Barockorchester, Dresdner Kammerchor - Johann Adolf Hasse: Requiem, Miserere (2005)
EAC | FLAC | Image (Cue & Log) ~ 318 Mb | Total time: 65:04 | Scans included
Classical | Label: Carus | # 83.175 | Recorded: 2005

The two Johann Adolf Hasse compositions recorded here are proof of the both high quality of his music and the broad range of styles which he had at his disposal. Once again Hans-Christoph Rademann offers an exemplary interpretation of music from the Court of Dresden, to which he has often dedicated his musical efforts.
“Under the direction of Hans-Christoph Rademann the Dresdner Barockorchester and the superb Chamber Choir bring a homogeneous, lean performance which follows integrally the gesture of the text and provides many moving moments. Thus with its penetrating tone language this live recording brings to life two unjustly forgotten masterworks of the 18th century.”