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Ludger Remy, Weimarer Barock-Ensemble, ensenble inCanto weimar - Georg Gebel d.J.: Johannes Passion (2003)

Posted By: ArlegZ
Ludger Remy, Weimarer Barock-Ensemble, ensenble inCanto weimar - Georg Gebel d.J.: Johannes Passion (2003)

Ludger Rémy, Weimarer Barock-Ensemble, ensenble inCanto weimar - Georg Gebel d.J.: Johannes Passion (2003)
EAC | FLAC | Image (Cue & Log) ~ 471 Mb | Total time: 41:23+61:25 | Scans included
Classical | Label: CPO | # 999 894-2 | Recorded: 2002

Gebel, who isn’t mentioned in any of the current music encyclopedias, clearly proves–on evidence of this very fine Passion–that he was worthy of acclaim (confirmed by various contemporaty sources) and was capable of original ideas and possessed the creative resources to write music of sustained drama and interest. While this passion setting is nowhere near as powerfully affecting in either the spiritual or theatrical sense as those of Bach, it does offer consistently appealing and emotionally meaningful musical realizations, spread among numerous arias, choral movements, and chorales. Gebel also was quite adept at colorful scoring, exemplified in his fascinating combinations of instruments such as horns, oboe, bassoon, violins (often pizzicato), and theorbo (highlighted in a solo during one of the arias late in the work).

Martin Haselbock, Wiener Akademie - Leopold I: Sacred Works (1998)

Posted By: ArlegZ
Martin Haselbock, Wiener Akademie - Leopold I: Sacred Works (1998)

Martin Haselböck, Wiener Akademie - Leopold I: Sacred Works (1998)
EAC | FLAC | Image (Cue & Log) ~ 287 Mb | Total time: 68:11 | Scans included
Classical | Label: CPO | # 999 567-2 | Recorded: 1997

Unsere Edition mit kirchenmusikalischen Schätzen aus der Wiener Hofkapelle mit der Wiener Akademie unter der Leitung von Marin Haselböck trägt den Titel MUSiCA IMPERIALIS. Dass man diesen Titel ganz wörtlich verstehen darf, macht unsere 2. CD in dieser Reihe deutlich: Sie enthält drei große Trauerkompositionen von Kaiser Leopold l. (1640-1705). Leopold regierte von 1658 bis zu seinem Tod als umstrittener, weil unentschlossener und weniger der Politik als der Musik und der Religion zugetaner Herrscher. Die Liebe zur und Begabung für die Musik hatte er von seinem Vater, Ferdinand lll., geerbt und von seinen zahlreichen Kompositionen sind 69 erhalten, die in den letzten Jahren immer mehr Beachtung gefunden hoben, zeigen sie doch eigenes Profil und eine ganz melancholische Vorliebe für traurige Stimmungen, wie schon ein zeitgenössischer Diplomat berichtete. Insofern beansprucht unsere Auswahl durchaus Repräsentanz für sein Schaffen.

Ulrich Stotzel, Barock-Orchester "La Stravaganza Koln" - Telemann: Matthaus Passion 1746 (2003)

Posted By: ArlegZ
Ulrich Stotzel, Barock-Orchester "La Stravaganza Koln" - Telemann: Matthaus Passion 1746 (2003)

Ulrich Stötzel, Barock-Orchester "La Stravaganza Köln", Collegium Vocale des Bach-Chores Siegen - Telemann: Matthäus Passion 1746 (2003)
EAC | FLAC | Image (Cue & Log) ~ 325 Mb | Total time: 38:29+40:19 | Scans included
Classical | Label: Stemra | # 99227 | Recorded: 1994

Georg Philipp Telemann's St. Matthew Passion was composed for Holy Week in 1746 and was probably performed at least ten times in the five main churches in Hamburg, as well as in other neighbouring churches.
Telemann sets the Passion story to music in the French style. As a whole, there is a French-orientation of the recitative, and Italian melodiousness of the arias, and also influences of German oratorio tradition. All the result of Telemann's uninterrupted search for a 'true' and 'genuine' church music.
In contrast to Bach's St. Matthew Passion, Telemann's version ends with the death of Jesus.

Vincenzo di Betta, Cappella Musicale di Santa Maria in Campitelli - Orazio Benevoli: Missa 'In angustia pestilentiae' (2018)

Posted By: ArlegZ
Vincenzo di Betta, Cappella Musicale di Santa Maria in Campitelli - Orazio Benevoli: Missa 'In angustia pestilentiae' (2018)

Vincenzo di Betta, Cappella Musicale di Santa Maria in Campitelli - Orazio Benevoli: Missa "In angvstia pestilentiæ" 1656 (2018)
EAC | FLAC | Image (Cue & Log) ~ 249 Mb | Total time: 56:21 | Digital booklet
Classical | Label: Tactus | # TC600201 | Recorded: 2016

Orazio Benevoli was one of the most important Roman Baroque composers. Born in Rome in 1605, as a twelve-year-old he joined the pueri cantores (choirboys) of the Church of San Luigi dei Francesi, where he remained until 1623. The following year he assumed the post of maestro di cappella at Santa Maria in Trastevere; then at Santo Spirito in Saxia and later on at San Luigi dei Francesi. In 1644 he moved to Vienna to serve at the court of Archduke Leopold Wilhelm of Hapsburg. Upon his return to Rome he briefly served as maestro di cappella at Santa Maria Maggiore before becoming the choirmaster of the Cappella Giulia at the Vatican on November 7, 1646, where he remained for over 25 years until his death on June 17, 1672.

Jordi Savall, Hesperion XXI, La Capella Reial de Catalunya - Bailar Cantando: Fiesta Mestiza en el Peru (2018)

Posted By: ArlegZ
Jordi Savall, Hesperion XXI, La Capella Reial de Catalunya - Bailar Cantando: Fiesta Mestiza en el Peru (2018)

Jordi Savall, Hespèrion XXI, La Capella Reial de Catalunya, Tembembe Ensamble Continuo - Bailar Cantando: Fiesta Mestiza en el Perú (2018)
EAC | FLAC | Image (Cue & Log) ~ 462 Mb | Total time: 70:03 | Digital booklet
Classical | Label: AliaVox | # AVSA9927 | Recorded: 2017

The twenty pieces comprising the musical collection in the Codex Trujillo del Perú are an exceptional case in the history of the indigenous music of the New World. This collection of tonadas, cachuas, tonadillas, bayles, cachuytas and lanchas offers a glimpse of the repertory native to the traditions of the country, as indicated by the text of one of the cachuas sung “al uso de nuestra tierra” (“according to the customs of our land”) and in particular the songs and dances favoured by the popular classes who lived in the “Viceroyalty of Peru” at the end of the 18th century.

Joshard Daus, Zelter-Ensemble der Sing-Akademie zu Berlin - C.P.E. Bach: Matthaus-Passion 1785 (2005)

Posted By: ArlegZ
Joshard Daus, Zelter-Ensemble der Sing-Akademie zu Berlin - C.P.E. Bach: Matthaus-Passion 1785 (2005)

Joshard Daus, Zelter-Ensemble der Sing-Akademie zu Berlin - C.P.E. Bach: Matthäus-Passion 1785 (2005)
EAC | FLAC | Image (Cue & Log) ~ 285 Mb | Total time: 55:01 | Scans included
Classical | Label: Capriccio | # 60 113 | Recorded: 2004

Have you ever wondered what or who is the missing link between the Passions of J.S. Bach and the more ‘enlightened’ oratorios of Josef Haydn and his contemporaries? For that matter how did things come to change so quickly? I have recently reviewed some cantatas by Gottfried Homilius (1714-1785) on Carus 83.183 and he is certainly a link. But really it is C.P.E. Bach, that great reactionary and under-estimated genius, who is ‘yer man’.
This recording is a result of several years of reconstruction work and then a full performance which took place on Palm Sunday in 2003 after about 220 years of neglect.

Joshard Daus, Capriccio Basel, Zelter-Ensemble der Sing-Akademie zu Berlin - C.P.E. Bach: Johannes-Passion (2004)

Posted By: ArlegZ
Joshard Daus, Capriccio Basel, Zelter-Ensemble der Sing-Akademie zu Berlin - C.P.E. Bach: Johannes-Passion (2004)

Joshard Daus, Barockorchester Capriccio Basel, Zelter-Ensemble der Sing-Akademie zu Berlin - Carl Philipp Emmanuel Bach: Johannes-Passion (2004)
EAC | FLAC | Image (Cue & Log) ~ 455 Mb | Total time: 39:29+47:29 | Scans included
Classical | Label: Capriccio | # C60103 | Recorded: 2003

This is an important document, not least because what is actually captured on these discs is the first performance of this work since 1772. The score is presently housed in the archive of the Berlin Sing-Akademie after its discovery in the Ukraine. C.P.E.’s version of the Christ story is a dynamic one, with plenty of drama and much interaction between the various soloists and the chorus - a chorus that represents the Jews as well as performing the chorales.

Joshard Daus, Mendelssohn Symphonia, EuropaChorAkademie - Carl Philipp Emanuel Bach: Markus-Passion (2007)

Posted By: ArlegZ
Joshard Daus, Mendelssohn Symphonia, EuropaChorAkademie - Carl Philipp Emanuel Bach: Markus-Passion (2007)

Joshard Daus, Mendelssohn Symphonia, EuropaChorAkademie - Carl Philipp Emanuel Bach: Markus-Passion (2007)
EAC | FLAC | Image (Cue & Log) ~ 288 Mb | Total time: 54:33 | Scans included
Classical | Label: Capriccio | # 60 132 | Recorded: 2006

C.P.E Bach moved to Hamburg in 1768 and was asked to perform the prevailingly popular “Old School” passions in the city’s churches. Bach himself hadn’t been sure whether Hamburg preferred passions “in the historical and old fashion with the Evangelist” as he wrote in an anxious letter to Georg Michael Telemann “or in the fashion of an oratorio.” The answer was the former; the latter, the more modern way, involved contemporary texts.

Ton Koopman, The Amsterdam Baroque Orchestra & Choir - Bach: Easter Oratorio, Magnificat (1998)

Posted By: ArlegZ
Ton Koopman, The Amsterdam Baroque Orchestra & Choir - Bach: Easter Oratorio, Magnificat (1998)

Ton Koopman, The Amsterdam Baroque Orchestra & Choir - Bach: Easter Oratorio, Magnificat (1998)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 66:20 | Scans included
Classical | Label: Erato | # 3984-23416-2 | Recorded: 1998

Bach's celebration of Easter is a mostly joyous one, opening with a three-movement sinfonia, richly orchestrated, and complete with trumpets and drums: the third movement includes the chorus inviting listeners to rejoice and hasten to the tomb of Jesus, "For our Savior has awakened." There follow recitatives and arias for Mary Magdalen, Mary, the mother of James, Peter, and John. Each character goes through grief to love and gratefulness, and Bach's endlessly inventive scoring, melodic lines, and changing orchestral textures take us on a rich, 40-minute musical journey to peace. Only a too-long soprano aria tends to wear.

Paul McCreesh, Gabrieli Consort and Players - Bach: Easter Oratorio, Magnificat (2001)

Posted By: ArlegZ
Paul McCreesh, Gabrieli Consort and Players - Bach: Easter Oratorio, Magnificat (2001)

Paul McCreesh, Gabrieli Consort and Players - Bach: Easter Oratorio, Magnificat (2001)
EAC | FLAC | Image (Cue & Log) ~ 321 Mb | Total time: 65:16 | Scans included
Classical | Label: ARCHIV Produktion | # 469 531-2 | Recorded: 2000

There's a long-standing debate over the issue of OVPP (one voice per part) in performing Bach's choral works. On this disc, it works better in some choruses than others–for example, it lacks the majesty that a choir can bring to the start of the Magnificat's Gloria. As to the individual voices, in the oratorio's two big arias, soprano Kimberly McCord sings with beguiling poise, though some may find her vibrato a touch fidgety; while Paul Agnew's moving singing of the heavenly tenor aria reflecting on Christ's grave-clothes has bags of intensity, though line and focus occasionally suffer. Neal Davies's forthright bass makes the best impression.

Peter Dijkstra, Chor des Bayerischen Rundfunks - Bach: Soli Deo Gloria [9CDs] (2016)

Posted By: ArlegZ
Peter Dijkstra, Chor des Bayerischen Rundfunks - Bach: Soli Deo Gloria [9CDs] (2016)

Peter Dijkstra, Chor des Bayerischen Rundfunks - Bach: Soli Deo Gloria - Johannes-Passion; Matthäus-Passion; Messe in h-Moll; Weihnachtsoratorium [9CDs] (2016)
EAC | FLAC | Image (Cue & Log) ~ 2,43 Gb | Total time: 08:32:13 | Scans included
Classical | Label: BR Klassik | # 900513 | Recorded: 2010, 2013, 2015, 2016

Das im Jahr 2010 begonnene Bach-Projekt mit dem Chor des Bayerischen Rundfunks unter Leitung von Peter Dijkstra findet seinen Abschluss mit der Gesamtaufnahme der Messe h-moll, die im April 2016 im Herkulessaal der Münchner Residenz aufgenommen wurde. Damit umfasst es nun die vier Gipfelwerke Bachs – die drei »protestantischen Oratorien« sowie die »große katholische Messe« – in einer herausragenden künstlerischen Qualität, mit renommierten Vokalsolisten und begleitet von hochkarätigen Ensembles der historischen Aufführungspraxis: drei Werke entstanden in Zusammenarbeit mit Concerto Köln, ein weiteres mit der Akademie für Alte Musik Berlin.

David Willcocks, Philip Ledger, Soloists - Antonio Vivaldi: Gloria, Magnificat; Giovanni Battista Pergolesi: Magnificat (1990)

Posted By: Designol
David Willcocks, Philip Ledger, Soloists - Antonio Vivaldi: Gloria, Magnificat; Giovanni Battista Pergolesi: Magnificat (1990)

Antonio Vivaldi: Gloria, Magnificat; Giovanni Battista Pergolesi: Magnificat (1990)
Elizabeth Vaughan, soprano; Janet Baker, contralto; Ian Partridge, tenor; Christopher Keyte, bass
Cambridge King's College Choir; Academy of St. Martin in the Fields; Neville Marriner, leader
conductors: Sir David Willcocks, Sir Philip Ledger

EAC | FLAC | Image (Cue&Log) ~ 301 Mb | Mp3 (CBR320) ~ 150 Mb | Scans included
Genre: Classical, Choral, Sacred | Label: Decca | # 425 724-2 | Time: 00:55:41

When these recordings first came out, far in advance of the period instrument revolution, they were revelations. Though modern instruments were used, there was an effort to get performance practices right… And there was the incredibly powerful, absolutely heavenly sound of that chorus of men and boys, as well as the lifelike recordings that perfectly captured the vast space of the Chapel of King's College. Since that time there have been other performances that depict the letter of each work to a greater degree than these, but many listeners will argue that there are none that have better encapsulated the spirit of this music… These are star-studded "great singing" recordings in which the artists will be remembered as much as the music itself.

Ludger Remy, Telemann-Kammerorchester Michaelstein - Gottfried Heinrich Stolzel: Brockes-Passion (1998)

Posted By: ArlegZ
Ludger Remy, Telemann-Kammerorchester Michaelstein - Gottfried Heinrich Stolzel: Brockes-Passion (1998)

Ludger Rémy, Telemann-Kammerorchester Michaelstein, Kammerchor Michaelstein - Gottfried Heinrich Stölzel: Brockes-Passion (1998)
EAC | FLAC | Image (Cue & Log) ~ 566 Mb | Total time: 49:29+77:06 | Scans included
Classical | Label: CPO | # 999 560-2 | Recorded: 1997

There is hidden treasure here. Gottfried Heinrich Stölzel (1690-1749) has long lain in the shadow of Bach and Telemann, but if there is any justice this recording of his setting of one of the popular passion texts of the early 18th century will go far toward effecting long overdue recognition. Composed in 1725, it follows in the wake of a number of other versions of the poetry of Barthold Heinrich Brockes, most notably that of Handel, whose comparitively second-rate work pales into near insignificance when set beside the power and vivid immediacy of Stölzel's great drama.

Florian Heyerick, Baroque Orchestra Le Mercure, Vocal Ensemble Ex Tempore - Handel: Johannespassion (1997)

Posted By: ArlegZ
Florian Heyerick, Baroque Orchestra Le Mercure, Vocal Ensemble Ex Tempore - Handel: Johannespassion (1997)

Florian Heyerick, Baroque Orchestra Le Mercure, Vocal Ensemble Ex Tempore - Handel: Johannespassion (1997)
EAC | FLAC | Image (Cue & Log) ~ 295 Mb | Total time: 66:05 | Scans included
Classical | Label: Vox Temporis | # VTP CD 92 036 | Recorded: 1996

This Passion text is short, beginning abruptly with Pilate's scourging of Jesus. It continues in a strikingly short-winded way — fragments of recitative lasting a few seconds, brief ariosos, choruses, including one on a single word, 'Crucify!'. It lacks chorales: Heyerick has borrowed some from Handel's later Brockes Passion. The music is a jewel-box of small-scale gems, further polished by the quality of the performers - six finely focused solo voices, a transparent choir of 18, and delicate, one-to-a-part strings with pairs of recorders and oboes, a bassoon and continuo organ.

August Wenzinger, Schola Cantorum Basiliensis, Regensburger Domchor - Handel: Brockes-Passion (2001)

Posted By: ArlegZ
August Wenzinger, Schola Cantorum Basiliensis, Regensburger Domchor - Handel: Brockes-Passion (2001)

August Wenzinger, Schola Cantorum Basiliensis, Regensburger Domchor - Handel: Brockes-Passion (2001)
EAC | FLAC | Image (Cue & Log) ~ 965 Mb | Total time: 62:28+61:54+58:01 | Scans included
Classical | Label: Archiv Produktion | # 463 664-2 | Recorded: 1967

..The least familiar work in this issue is the “Brookes“ Passion (the second of two by Handel in that form), so-called because one Barthold Heinrich Brockes, a Hamburg dignitary, supplied the text: a dramatic poem entitled “Der für die Sünde der Welt gemarterte und sterbende Jesus.“ I can claim no fluency whatever in German, but respected critics have deplored its hyperbolic verses. Nevertheless, it was quite popular in its day. Public and private readings were common, and it was set to music not only by Keiser, Mattheson, and Telemann (even Bach set parts of it) but by a number of lesser-known composers as well.