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Jordi Savall, Le Concert des Nations, La Capella Reial de Catalunya - Biber: Battalia a 10; Requiem a 15 in Concerto (2002)

Posted By: ArlegZ
Jordi Savall, Le Concert des Nations, La Capella Reial de Catalunya - Biber: Battalia a 10; Requiem a 15 in Concerto (2002)

Jordi Savall, Le Concert des Nations, La Capella Reial de Catalunya - Biber: Battalia à 10; Requiem à 15 in Concerto (2002)
EAC | FLAC | Image (Cue & Log) ~ 282 Mb | Total time: 57:23 | Scans included
Classical | Label: AliaVox | # AV 9825 | Recorded: 1999

Biber's grand Requiem in A Major was probably written for the funeral of his employer, Archbishop Maximilian of Salzburg. It is a celebratory piece, with trumpets (and timpani added by Savall) and rich orchestration, quite suitable for a heavenbound soul. The quieter moments ("Sanctus") are just as effective as the big ones ("Dies irae"). The CD's opener, a 13-minute "Battalia" for instruments only, is amazingly colorful and contains some weird, entertaining dissonances. The performances by La Capella Reial de Catalunya and Le Concert des Nations are ideal. Biber seems to be coming into his own lately, and the recent CDs devoted to his work are very exciting. He was apparently a virtuoso who enjoyed making big statements; they deserve to be heard. Lovers of "high Baroque" music will be moved and delighted.
–Robert Levine

Latvian Radio Choir, Sigvards Klava, Kaspars Putnins - Peteris Vasks: Mate Saule (2001)

Posted By: Designol
Latvian Radio Choir, Sigvards Klava, Kaspars Putnins - Peteris Vasks: Mate Saule (2001)

Pēteris Vasks: Māte Saule (2001)
Latvian Radio Choir; Sigvards Kļava & Kaspars Putniņš, conductors

EAC | FLAC | Image (Cue&Log) ~ 222 Mb | Mp3 (CBR320) ~ 162 Mb | Scans included
Classical, Choral | Label: BIS | # BIS-CD-1145 | Time: 01:06:11

Mate saule is Mother Sun – and Peteris Vasks worships her. Any meeting or interview with the Latvian composer is likely to end up with a tramp through the forests or a swim in the Baltic. And much of Vasks’s music is a meditation on the eternal attributes of Nature, in a continuum of life which stretches beyond the fever and the fret of his own fast-changing world. Mate saule is an early choral work, its voices oscillating like the shimmer of a sun slowly rising from the horizon, and lit by flares and fragments of chant. Vasks’s choral music has tended to be instrumental in texture, focusing on the overall mood rather than the specific verbal activity of any text he is setting. The ‘white diatonicism’ of Mate saule gives way to more disturbed, aleatoric harmonies and more disruptive textures as political change and human turmoil take centre stage in the late Eighties in Zemgale, a song about the anguished dilemmas of exile. This is a subject at the very core of the work of the Polish-Lithuanian writer Czeslaw Milosz (now resident in the USA); and the three poems set by Vasks in 1994 receive their world premiere recording. They were originally written for the Hilliard Ensemble: here the excellent Latvian Radio Choir works with concentrated focus on the spare harmonies and elusive metres which recreate the wonder of three transient moments out of time.

Wolfgang Riedelbauch, La Banda, Festivalchor Musica Franconia - Martini: Requiem pour Louis XVI et Marie Antoinette (2017)

Posted By: ArlegZ
Wolfgang Riedelbauch, La Banda, Festivalchor Musica Franconia - Martini: Requiem pour Louis XVI et Marie Antoinette (2017)

Wolfgang Riedelbauch, La Banda, Festivalchor Musica Franconia - Martini: Requiem pour Louis XVI et Marie Antoinette; Gluck: De profundis (2017)
EAC | FLAC | Image (Cue & Log) ~ 330 Mb | Total time: 73:46 | Scans included
Classical | Label: Christophorus | # CHR77413 | Recorded: 2016

Louis XVI was the last king of France (1774-92) in the line of Bourbon monarchs preceding the French Revolution of 1789. Louis and his queen consort, Marie-Antoinette, were guillotined in 1793 on charges of counter-revolution.
Following the abdication of Napoleon Bonaparte in 1814, the Bourbons returned to power in France and restored the system of monarchy under Louis XVIII. During this process, they also introduced a number of highly symbolic cultural acts as a public representation of the Bourbon dynasty. In 1815, the new king Louis XVIII had the mortal remains of Louis XVI and his wife Marie Antoinette removed from the Cimetière de la Madeleine in a solemn ceremony, taken to Saint Denis and placed in separate graves in the crypt.

Hildegard von Bingen - Celestial Stairs - Ensemble für frühe Musik Augsburg (1997) {Christophorus CHR77205}

Posted By: ruskaval
Hildegard von Bingen - Celestial Stairs - Ensemble für frühe Musik Augsburg (1997) {Christophorus CHR77205}

Hildegard von Bingen - Celestial Stairs - Ensemble für frühe Musik Augsburg (1997) {Christophorus CHR77205}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 227 Mb | MP3 @320 -> 131 Mb
Full Artwork @ 600 dpi (jpg) -> 155 Mb | 5% repair rar
© 1997 Christophorus | CHR 7720
Classical / Medieval

I have a lot of Hildegard in my collection this cd would have to be the most satisfying offering on the market. It combines a mixture of female and male voices and instrumentals, all executed with artistic ingenuity and subtlety. Forget Sequentia, Synfonie, Oxford Camerata….the Ensemble fur fruhe musick augsburg knows how to interpret Hildegard the best. Their earlier foray "Hildegard und Ihre Zeit" was only a taste of what was to come. You can't go wrong in buying this cd.' Highly recommended.

Rene Clemencic, Clemencic Consort - Johann Joseph Fux: Requiem “Missa Pro Defunctis” (2001)

Posted By: ArlegZ
Rene Clemencic, Clemencic Consort - Johann Joseph Fux: Requiem “Missa Pro Defunctis” (2001)

Rene Clemencic, Clemencic Consort - Johann Joseph Fux: Requiem “Missa Pro Defunctis” (2001)
EAC | FLAC | Image (Cue & Log) ~ 258 Mb | Total time: 54:20 | Scans included
Classical | Label: Arte Nova | # 74321 27777 2 | Recorded: 2000

Fux was born to a peasant family in Hirtenfeld in Styria. Relatively little is known about his early life, but likely he went to nearby Graz for music lessons. In 1680 he was accepted at the Jesuit university there, where his musical talent became apparent. From 1685 until 1688 he served as organist at St. Moritz in Ingolstadt. Sometime during this period he must have made a trip to Italy, as evidenced by the strong influence of Corelli and Bolognese composers on his work of the time.

Rheinische Kantorei; Das Kleine Konzert; Hermann Max - Franz Tunder: Concerti (2004)

Posted By: Designol
Rheinische Kantorei; Das Kleine Konzert; Hermann Max - Franz Tunder: Concerti (2004)

Franz Tunder: Concerti (2004)
Rheinische Kantorei; Das Kleine Konzert; Hermann Max, conductor

EAC | FLAC | Image (Cue&Log) ~ 299 Mb | Mp3 (CBR320) ~ 167 Mb | Scans included
Classical, Baroque | Label: CPO | # cpo999943-2 | Time: 01:08:32

Although his name might not rate very highly on the recognition meter even of classical music buffs, Franz Tunder was a consequential entity in the early history of the German Baroque. Tunder served as organist at the Marienkirche in Lübeck from 1641 to his death in 1667, and during that time instituted the Abendmusiken, the first series of public concerts to take place in Germany. Seventeen vocal "concertos" exist from Tunder's pen and they were created for these special events; little more than half of them appear on this generous and well-performed CPO disc, Franz Tunder: Concerti. Conductor Hermann Max leads Das Kleine Konzert and the singing group Rheinische Kantorei in 10 concerti, which uses a variety of singers in frontline combinations. Tunder must have had some good basses in his chorus, as they have most of the hardest music in the Concerti, and five of these ten works are sung by bass or basses alone. Both men used here, Ekkehard Abele and Yoshitaka Ogasawara, do an excellent job. The string parts are crisp and do not dawdle, and Max never allows the music to get too grandiose, wisely keeping it within the boundaries of the chamber idiom to which it belongs. The music is never ornately busy and has a relaxed, soothing effect.

Capilla Penaflorida, Ministriles de Marsias, Josep Cabre - Juan Garcia de Salazar: Complete Vespers of Our Lady (2004)

Posted By: Designol
Capilla Penaflorida, Ministriles de Marsias, Josep Cabre - Juan Garcia de Salazar: Complete Vespers of Our Lady (2004)

Juan García de Salazar: Complete Vespers of Our Lady (2004)
Capilla Peñaflorida, Ministriles de Marsias, Josep Cabré

EAC | FLAC | Image (Cue&Log) ~ 300 Mb | Mp3 (CBR320) ~ 161 Mb | Artwork included
Classical, Baroque, Choral | Label: Naxos | # 8.555907 | Time: 01:09:14

Juan García de Salazar was a Spanish Baroque composer from the Basque country who spent most of his career working at Zamora Cathedral; he is so obscure the entry for him in the New Grove doesn't even include a list of his works. Musicologist Manuel Sagastume Arregi has pulled together a number of Salazar's extant movements related to the Vespers service with additional material to create Juan García de Salazar: Complete Vespers of Our Lady in Naxos' Spanish Classics series. It is performed by the Basque ensemble Capilla Peñaflorida and features the period wind group Ministriles de Marsias and the fine baritone of Josep Cabré. There are no stars here, though – everything on Juan García de Salazar: Complete Vespers of Our Lady is done to the service of the music, which is outstanding. Sagastume Arregi's realization of García de Salazar's Vespers service incorporates appropriate plainchant sections taken from a Basque hymnal dated 1692, organ music by García de Salazar's contemporaries José Ximenez and Martín Garcia de Olagüe, instrumental arrangements of García de Salazar's motets, and an arrangement of Tomás Luis de Victoria's Vidi speciosam probably made by García de Salazar himself.

Maria Zadori, Pal Nemeth, Capella Savaria - Handel: Latin Motets (1997)

Posted By: ArlegZ
Maria Zadori, Pal Nemeth, Capella Savaria - Handel: Latin Motets (1997)

Mária Zádori, Pál Németh, Capella Savaria - Handel: Latin Motets (1997)
EAC | FLAC | Image (Cue & Log) ~ 330 Mb | Total time: 68:49 | Scans included
Classical | Label: Hungaroton | # HCD 31649 | Recorded: 1996

Motety religijne Händla, choć oparte zostały na bogobojnych tekstach łacińskich, mają w istocie charakter solowych kantat o skocznych tempach i pogodnym, wesołym, nastroju. Głos Marii Zadori - jasny, lekki, niewinny, dziecinny - idealnie pasuje do atmosfery tych utworów. Barwą i giętkością przypomina trochę Emmę Kirkby. Bez najmniejszych problem?w węgierska śpiewaczka radzi sobie z bogatą ornamentyką, z koloraturą i z fragmentami lirycznymi (początek motetu "Silete venti"). Nie szarżuje, nie przeciąga najwyższych dźwięków. Biegłość techniczna i nienaganna intonacja pozwalają jej skupić się na interpretacji, co najpiękniejszy efekt daje w motecie "Coelestis dum spirat aura".

Reinhard Kammler, Collegium Aureum, Augsburger Domsingknaben - Mozart: Missae breves (2011)

Posted By: ArlegZ
Reinhard Kammler, Collegium Aureum, Augsburger Domsingknaben - Mozart: Missae breves (2011)

Reinhard Kammler, Collegium Aureum, Augsburger Domsingknaben - Mozart: Missae breves (2011)
EAC | FLAC | Image (Cue & Log) ~ 568 Mb | Total time: 62:10+62:43 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # RD77090 | Recorded: 1991

The words in Latin "Lord have mercy, Christ have mercy, Lord have mercy" might be affecting to someone with more belief than I have, and I confess are even touching to me who have nearly none, but I have at one time had many recordings of this little mass and they all have some opera lady singing the solo part in the Kyrie which was written for a little boy to sing - and they are stilted, poised and SUCK. But this recording has all the melancholy of adolescence with its thesis of sexual discovery and antithesis of gerontion or whatever. Anyway the boy in question, and this may be a little homo-erotic, but only subconsciously if at all, sounds like he is an aging chorister and his voice is about to change, and he sounds like he's in a bit of a pout (nasty priests can't keep their mits to themselves) and he starts off all alone singing, like a low growl kyrie almost baritone and then the clouds burst open in sunshine and the sweetest ANGEL alto honey spray ELEISON. God, it is the most beautiful thing in the world.

Sachsisches Vokalensemble, Matthias Jung - Petr Eben - Salve Regina: Sacred Choral Works (2013)

Posted By: Designol
Sachsisches Vokalensemble, Matthias Jung - Petr Eben - Salve Regina: Sacred Choral Works (2013)

Petr Eben - Salve Regina: Sacred Choral Works (2013)
Sächsisches Vokalensemble; Matthias Jung, conductor

EAC | FLAC | Image (Cue&Log) ~ 257 Mb | Mp3 (CBR320) ~ 153 Mb | Scans included
Classical, Choral, Sacred | Label: cpo | # cpo777627-2 | Time: 00:59:48

Petr Eben drew upon the Old Testament and sacred texts from early church fathers for his powerful sacred vocal works. Latin was his preferred language for these settings, and he favoured Gregorian chant which he used as inspiration for his weaving polyphonic lines, complex rhythms and irregular patterning. This body of work, written in the teeth of party opposition in Czechoslovakia – born a Jew, Eben became a practising Catholic – is one of the most important by a Czech composer in the twentieth-century.

Schola Hungarica & Matthias Ank - Das Gänsebuch: German Medieval Chant (2005) {Naxos 8.557412}

Posted By: ruskaval
Schola Hungarica & Matthias Ank - Das Gänsebuch: German Medieval Chant (2005) {Naxos 8.557412}

Schola Hungarica & Matthias Ank - Das Gänsebuch: German Medieval Chant (2005) {Naxos 8.557412}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 309 Mb | MP3 @320 -> 171 Mb
Full Artwork @ 600 dpi (jpg) -> 47 Mb | 5% repair rar
© 2005 Naxos | 8.557412
Classical / Medieval / Renaissance / Organ / Sacred / Vocals

I admit it was the cover that got my attention–first, the title, referring to an 1120-page manuscript collection containing the only existing original copies of pre-Reformation liturgical music from Nuremburg; second, the illustration, an illumination from the collection that depicts a wolf directing a choir of geese singing from a large music book, a hungry-looking fox sitting on hind-quarters just behind the choir. Upon listening to the music, I was reassured that there was more to appreciate here than the intriguing, colorful illustration and charming title.

Philippe Herreweghe, Orchestre des Champs-Elysees - Mozart: Requiem K.626, Kyrie K.341 (1997)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Elysees - Mozart: Requiem K.626, Kyrie K.341 (1997)

Philippe Herreweghe, Orchestre des Champs-Élysées - Mozart: Requiem K.626, Kyrie K.341 (1997)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 53:57 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901620 | Recorded: 1996

December 1791, the final Requiem. Tired by his many voyages around Europe ever since he had been rejected in Vienna, Mozart could not find the strength to honour his promise to compose a Requiem in record time for the person who had commissioned it… He was in fact to be struck down by illness during its composition and it was his pupil Süssmayr who finished the work according to his instructions. This version remains the most convincing, for the presence and grandeur of Mozart are present everywhere - in the baroque imagination and the classical style, in the universal unrest and the sheer terror of a man alone in the face of Death.

Jamie Savan, The Gonzaga Band - Amadio Freddi: Vespers (1616) (2019)

Posted By: ArlegZ
Jamie Savan, The Gonzaga Band - Amadio Freddi: Vespers (1616) (2019)

Jamie Savan, The Gonzaga Band - Amadio Freddi: Vespers (1616) (2019)
EAC | FLAC | Image (Cue & Log) ~ 257 Mb | Total time: 58:10 | Digital booklet
Classical | Label: Resonus | # RES10245 | Recorded: 2019

Following the international success of their first album on Resonus, Venice 1629, Jamie Savan with his acclaimed period group The Gonzaga Band continue their exploration of lesser-known music in the Baroque Venetian orbit. Here they uncover the Vespers (1616), a forgotten masterpiece by Amadio Freddi, maestro di cappella of Treviso Cathedral during Monteverdi’s tenure at St Mark’s in Venice.

Carlo Maria Giulini, The Philharmonia Chorus & Orchestra - Mozart: Requiem (2010)

Posted By: ArlegZ
Carlo Maria Giulini, The Philharmonia Chorus & Orchestra - Mozart: Requiem (2010)

Carlo Maria Giulini, The Philharmonia Chorus & Orchestra, Kathleen Battle, Robert Sadin, The American Boychoir, André Previn, Orchestra of St. Luke’s - Mozart: Requiem; Laudate Dominum; Exsultate, jubilate: Alleluia (2010)
EAC | FLAC | Image (Cue & Log) ~ 276 Mb | Total time: 66:02 | Scans included
Classical | Label: Sony | # 88697721022 | Recorded: 1989

One old-school Mozart maestro who would have nothing to do with modern notions of Classical ''authenticity'' is Carlo Maria Giulini, a great conductor who has made a specialty of Mozart`s music throughout his long career, which spanned some 23 seasons in Chicago. Giulini`s second recording of the unfinished Requiem Mass-his second with the Philharmonia Orchestra and Chorus, even more attentive to his musical desires this time around-must be the slowest ever recorded. As such it is characteristic of the late Giulini manner: The reading is suffused by an ultra-serene religiosity that obeys no rules of performance style other than its own.

Miguel Castellarin Jazz Quintet - Cita en el Seddon (2019)

Posted By: Fizzpop
Miguel Castellarin Jazz Quintet - Cita en el Seddon (2019)

Miguel Castellarin Jazz Quintet - Cita en el Seddon (2019)
WEB FLAC (Tracks) 223 MB | Cover | 39:03 | MP3 CBR 320 kbps | 89 MB
Latin, Bossa Nova, MPB, Jazz | Label: Miguel Castellarin Jazz Quintet

Este disco es un homenaje al Bar Seddon del Barrio de San Telmo de Buenos Aires - Capital Federal.