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Karl Richter, Munchener Bach-Orchester - Bach: Brandenburgische Konzerte (2006/1970)

Posted By: Vilboa
Karl Richter, Munchener Bach-Orchester - Bach: Brandenburgische Konzerte (2006/1970)

Karl Richter, Münchener Bach-Orchester - Bach: Brandenburgische Konzerte (2006/1970)
NTSC 4:3 (720x480) | (LinearPCM, 2 ch) | (DTS, 6 ch) | 7.82 Gb (DVD9) | 99 min
Classical | Deutsche Grammophon

From the euphoric first to the solemn sixth, the Brandenburg Concertos feature some of Bach's fenrst and most popular orchestral music, interpreted here by legendary Bach specialist Karl Richter and his Münchener Bach-Orchester - for the first time on DVD.

Trevor Pinnock - J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 (2020)

Posted By: delpotro
Trevor Pinnock - J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 (2020)

Trevor Pinnock - J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 (2020)
WEB FLAC (tracks) - 714 Mb | MP3 CBR 320 kbps - 271 Mb | 01:57:55
Classical | Label: Deutsche Grammophon

Trevor Pinnock is a true pioneer of the early music movement. As founder and former leader of The English Concert he enjoys a longstanding relationship with Archiv Produktion and Deutsche Grammophon. Among his celebrated recordings are Bach’s Brandenburg Concertos, Handel’s Messiah and Concerti Grossi, Vivaldi’s Four Seasons The Harmonious Blacksmith, Bach’s Goldberg Variations and Partitas. Throughout his interpretations Pinnock remains true to his core principles favouring musicality and inspiration above musical orthodoxy. Achieving an exceptional reputation as a conductor, chamber musician and harpsichordist he has received enthusiastic critical acclaim.

Philippe Pierlot, Ricercar Consort - Johann Sebastian Bach: Johannes-Passion (2011)

Posted By: ArlegZ
Philippe Pierlot, Ricercar Consort - Johann Sebastian Bach: Johannes-Passion (2011)

Philippe Pierlot, Ricercar Consort - Johann Sebastian Bach: Johannes-Passion (2011)
EAC | FLAC | Image (Cue & Log) ~ 539 Mb | Total time: 113:32 | Scans included
Classical | Label: Mirare | MIR136 | Recorded: 2010

Bach wrote his passion-oratorio during the first year of his assumption of duties in Leipzig. The city fathers were rather strict in their Lutheranism, and forbade anything that remotely smacked of the newly-found opera craze that was infecting the country at the time, and seeped into the passion music of such luminaries like Telemann. As a result Bach was constrained, if such a word can be used, to employing the gospel only as the source of his libretto. Because of this the St. John Passion has perhaps the greatest text of any passion ever written, and Bach was determined to make the piece worthy of the scriptures he was setting.

René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Johann Sebastian Bach: Johannes-Passion (2016)

Posted By: ArlegZ
René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Johann Sebastian Bach: Johannes-Passion (2016)

René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Johann Sebastian Bach: Johannes-Passion (2016)
EAC | FLAC | Image (Cue & Log) ~ 1,29 Gb | Total time: 135:20 | Scans included
Classical | Label: Harmonia Mundi | HMC 802236.37 | Recorded: 2015

Bach revised his Johannes-Passion regularly: he returned to it over a period of twenty-six years, from 1724 to his death. It is the version hallowed by tradition, established by the Kantor a year before his death, that is presented on these CDs. But the 1725 version, equally outstanding musically, has also been recorded complete and can be downloaded as a bonus in high-resolution sound. Comparison of the two versions reveals the underlying meaning of this matchless Passion.

Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthaus Passion (2018)

Posted By: ArlegZ
Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthaus Passion (2018)

Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthaus Passion (2018)
EAC | FLAC | Image (Cue & Log) ~ 300 Mb | Total time: 65:38 | Scans included
Classical | Label: CPO | 555 204-2 | Recorded: 2017

Johann Sebastiani's name no doubt will be familiar only to a few certified music experts. Born in Weimar in 1622, Sebastiani spent a good many years of his life in Konigsberg, where he arrived around 1650 and later was appointed court chapel master. He composed countless occasional works as well as a St. Matthew Passion (1672) – a welcome addition to CPO's picture of Lutheran church music and a work closing a gap in the history of Passion settings between Heinrich Schutz and Johann Sebastian Bach. Stephen Stubbs, Paul O'Dette, and their Boston Early Music Festival Chamber & Vocal Ensemble have fond memories of Bremen, where they have recorded in the radio broadcast hall on various occasions and produced Marc-Antoine Charpentier's Baroque opera La Descente d'Orphee aux Enfers, for which they won a Grammy Award in 2015. Their current release featuring Johann Sebastiani's St. Matthew Passion pays tribute to Konigsberg's music culture and to the composer who was one of its central representatives.

Max Emanuel Cencic, George Petrou, Armonia Atenea - Rokoko: Hasse Opera Arias (2014)

Posted By: ArlegZ
Max Emanuel Cencic, George Petrou, Armonia Atenea - Rokoko: Hasse Opera Arias (2014)

Max Emanuel Cencic, George Petrou, Armonia Atenea - Rokoko: Hasse Opera Arias (2014)
EAC | FLAC | Image (Cue & Log) ~ 357 Mb | Total time: 64:25 | Scans included
Classical | Label: Decca | # 478 6418 | Recorded: 2013

Rokoko is Croatian counter tenor Max Emanuel Cencic's 2014 release on Decca, in which he explores the elaborate and emotionally stirring arias of Johann Adolf Hasse, one of the neglected masters of 18th century opera. These 11 vocal selections reflect the popular taste of the period, oriented as it was to the extraordinary abilities of the great castrati. Supported by George Petrou and the period instruments group Armonia Atenea, which plays with authentic rococo sonorities, rhythmic vigor, and precision, Cencic displays astonishing virtuosity and power in the arias taken from Hasse's long forgotten operas, Arminio, Il Siroe, Tito Vespasiano, L'Olimpiade, Ipermestra, Il Trionfo di Clelia, La Spartana Generosa, and Tigrane, as well as an aria from the oratorio, Il Cantico de’ Tre Fanciulli.

James Bowman, Michael Chance, Robert King, The King's Consort - Countertenor duets by Purcell and Blow (1988)

Posted By: ArlegZ
James Bowman, Michael Chance, Robert King, The King's Consort - Countertenor duets by Purcell and Blow (1988)

James Bowman, Michael Chance, Robert King, The King's Consort - Countertenor duets by Purcell and Blow (1988)
EAC | FLAC | Image (Cue & Log) ~ 296 Mb | Total time: 71:02 | Scans included
Classical | Label: Hyperion | CDA 66253 | Recorded: 1987

This recording of duets by the great composers of the Restoration is one of the gems of Hyperion’s catalogue. It features the celebrated countertenors James Bowman and Michael Chance at the peak of their powers, and the combination of their two voices with the sympathetic accompaniment of The King’s Consort creates something uniquely glorious. Purcell was a countertenor himself and in his writing for the voice produced some of his most felicitous music. John Blow, Purcell’s predecessor and successor as organist of Westminster Abbey, reached his compositional zenith with the extended duet (almost a small cantata) on the subjects of Purcell’s tragic early death and inextinguishable influence.

Edward Higginbottom, Oxford Baroque, Choir of New College Oxford - Charpentier: Musique sacrée (2013)

Posted By: ArlegZ
Edward Higginbottom, Oxford Baroque, Choir of New College Oxford - Charpentier: Musique sacrée (2013)

Edward Higginbottom, Oxford Baroque, Choir of New College Oxford - Charpentier: Musique sacrée (2013)
EAC | FLAC | Image (Cue & Log) ~ 341 Mb | Total time: 72:30 | Scans included
Classical | Label: Novum | NCR1387 | Recorded: 2012, 2013

The small string ensemble of Oxford Baroque plays the Praeludium with a juxtaposition of sensuousness and decorum…The choir's interjections are fantastically articulate - with gentle use of inégales, gorgeously shaped ornamental cadences and sincere delivery of the texts.

Rinaldo Alessandrini, Concerto Italiano - Banchieri: Il Festino del Giovedì Grasso; Striggio: La Caccia (2000)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Banchieri: Il Festino del Giovedì Grasso; Striggio: La Caccia (2000)

Rinaldo Alessandrini, Concerto Italiano - Adriano Banchieri: Il Festino del Giovedì Grasso; Alessandro Striggio: La Caccia (2000)
EAC | FLAC | Image (Cue & Log) ~ 278 Mb | Total time: 60:23 | Scans included
Classical | Label: Opus 111 | OP30137 | Recorded: 1995

This talented Italian vocal ensemble, under the direction of Rinaldo Alessandrini, has already proved its excellence in previous discs of Monteverdi madrigals. In this engaging new release the artists turn their attention to ‘madrigal comedies’ by 16th-century Alessandro Striggio and his younger contemporary, Adriano Banchieri. These are highly entertaining, often witty pieces, with a strong onomatopoeic element and a profusion of vividly depictive images running through them.

Heinrich Schiff - Johann Sebastian Bach: Cello Suites (2005) 2CDs

Posted By: Designol
Heinrich Schiff - Johann Sebastian Bach: Cello Suites (2005) 2CDs

Heinrich Schiff - Johann Sebastian Bach: Cello Suites (2005) 2CDs
EAC | FLAC | Tracks (Cue&Log) ~ 571 Mb | Mp3 (CBR320) ~ 333 Mb | Scans included
Genre: Classical | Label: EMI Classics | # 7243 5 86534 2 7 | Time: 02:04:56

In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.

Ton Koopman, The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Matthäus-Passion (1993

Posted By: ArlegZ
Ton Koopman, The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Matthäus-Passion (1993

Ton Koopman, The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Matthäus-Passion (1993)
EAC | FLAC | Image (Cue & Log) ~ 647 Mb | Total time: 144:36 | Scans included
Classical | Label: Erato | 2292-45814-2 | Recorded: 1992

This is vintage, classic Koopman: Tempi that never linger, orchestral textures that accord privilege to clarity and insight over effect and superb, beautifully articulated, solo vocal lines. Koopman's lucidity might appear a little too detached or cool for some listeners who are used to responding to the emotional charge of Bach's Passions. One of Koopman's greatest strengths is his grasp of architecture: of the unfolding of the passion events; of the relative roles and interactions of the soloists and 'crowds'; of the inevitability of events in a musical - as opposed to a Biblical - sense.
A logical consequence of this is a performance that's neither perfunctory nor devoid of emotion. It knows where it's going. It bases one event on foreknowledge of what happens next. As a result there is a certain businesslike feel though it’s never perfunctory.

Jean Guillou - Johann Sebastian Bach: The Goldberg Variations (1988)

Posted By: ArlegZ
Jean Guillou - Johann Sebastian Bach: The Goldberg Variations (1988)

Jean Guillou - Johann Sebastian Bach: The Goldberg Variations (1988)
EAC | FLAC | Image (Cue & Log) ~ 261 Mb | Total time: 53:56 | Scans included
Classical | Label: Dorian Recordings | DOR-90110 | Recorded: 1987

"Clavier-Übung (keyboard exercise) consisting of an Aria with diverse variations for 2-manual harpsichord, dedicated to music-lovers to gladden their hearts, by J. S. Bach, composer to the Elector of Saxony and King of Poland, Kapellmeister and Civic Director of Music for Leipzig. Edited by Balthasar Schmid at Nuremberg.” So runs the very modest title for a piece of harpsichord literature that can be described only as a work of towering complexity and of the most profound expressive grandeur. Its richness derives on the one hand from its great number of rhythmic figures (only, perhaps with Stravinsky does such profusion again occur), and on the other hand from a composing style that makes use of almost all the possible canonic intervals and inversions.

Kurt Redel - Telemann: Matthäus-Passion; Magnificat (1992)

Posted By: ArlegZ
Kurt Redel - Telemann: Matthäus-Passion; Magnificat (1992)

Kurt Redel - Telemann: Matthäus-Passion; Magnificat (1992)
EAC | FLAC | Image (Cue & Log) ~ 674 Mb | Total time: 130:37 | Scans included
Classical | Label: Philips | 432 500-2 | Recorded: 1964, 1965

Kurt Redel conducts unaffectedly but with passion and is beautifully supported in this with an excellent orchestra and beautifully balanced choir of faultless intonation. The story moves at a good pace as the the tragedy unfolds and is interspersed with some stunning arias, many of them affording moments of still reflection as is befitting for a passion. The singers are faultless and often superb with Sena Jurinac at the height of her artistry, Theo Altmeyer a fine evangelist who knows how to tell a story. Franz Crass always was a lovely, musical singer with a well-rounded, rich voice.

Felix Koch, Neumeyer Consort, Gutenberg-Kammerchor - Johann Sebastian Bach: Markus-Passion, Fassung von 1744 (2018)

Posted By: ArlegZ
Felix Koch, Neumeyer Consort, Gutenberg-Kammerchor - Johann Sebastian Bach: Markus-Passion, Fassung von 1744 (2018)

Felix Koch, Neumeyer Consort, Gutenberg-Kammerchor - Johann Sebastian Bach: Markus-Passion, Fassung von 1744 (2018)
EAC | FLAC | Image (Cue & Log) ~ 381 Mb | Total time: 87:04 | Scans included
Classical | Label: Christophorus | CHR77423 | Recorded: 2017

Bach’s lost St Mark Passion was first performed in Leipzig on Good Friday 1731 and a second time in 1744 in a revised version. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed. Unlike Bach's earlier existing passions (St John Passion and St Matthew Passion), the Markus-Passion is probably a parody – it recycles previous works. Which of his own works Bach may have taken for his St Mark Passion led to numerous speculations. Differently from further reconstructions the Frankfurt musicologist Prof. Karl Böhmer used the revised Picander text from 1744 which schedules one Aria and a chorale more than the 1731 version. Other parts have been revised and complemented.

Kenneth Gilbert - Johann Sebastian Bach: Partiten / Partitas - Clavierübung I (1985)

Posted By: ArlegZ
Kenneth Gilbert - Johann Sebastian Bach: Partiten / Partitas - Clavierübung I (1985)

Kenneth Gilbert - Johann Sebastian Bach: Partiten / Partitas - Clavierübung I (1985)
EAC | FLAC | Image (Cue & Log) ~ 978 Mb | Total time: 71:57+72:52 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901144.45 | Recorded: 1984, 1985

The publication of the Partitas led to some ferment among music lovers in Germany. Some praised the works, others criticised them, but always in terms which suggest that they represented a turning point in harpsichord composition. Following the lead of the theoretician Johann Mattheson, the critics' principal complaint was the extreme technical demands, and the complexity of writing. In his biography of Bach, Johann Nikolaus Forkel writes of the Partitas: »One has hitherto seldom seen or heard harpsichord compositions of such excellence. He who learned to play some of these pieces well, was able to do well with them in the world; and even in our time a young artist can gain honour with them - brilliant, pleasing, expressive, and constantly fresh as they are.«