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Akademie für Alte Musik Berlin, Cappella vocale Leverkusen - Gottfried August Homilius: Matthäuspassion (1993)

Posted By: ArlegZ
Akademie für Alte Musik Berlin, Cappella vocale Leverkusen - Gottfried August Homilius: Matthäuspassion (1993)

Akademie für Alte Musik Berlin, Cappella vocale Leverkusen - Gottfried August Homilius: Matthäuspassion (1993)
EAC | FLAC | Image (Cue & Log) ~ 634 Mb | Total time: 74:23+56:41 | Scans included
Classical | Label: Berlin Classics | # BC 1046-2 | Recorded: 1992

Gottfried August Homilius, now considered the greatest cantor of Dresden's Kreuzchor, was, for a while a student of Johann Sebastian Bach. A composer of music for the church, and a great organist, he was described, in 1790, as 'one of the greatest and worthiest organists alive.' While Homilius's name is found on only one score for this passion, stylistic criteria make it almost certain that he wrote this music. This St. Matthew Passion closely resembles Bach's passions - it contains choral movements, recitatives and arias with orchestral accompaniment, and tells the story of the Passion in the same way as was done in churches all over Germany in the 18th century. However, Homilius uses many more short sections with recitative (a total of 89 pieces altogether - most less than one minute long), but his arias are generally much longer than those in Bach's passions and cantatas.

Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Christoph Friedrich Bach: Miserere mei (2017)

Posted By: ArlegZ
Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Christoph Friedrich Bach: Miserere mei (2017)

Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Christoph Friedrich Bach: Miserere mei; Wachet auf, ruft uns die Stimme (2017)
EAC | FLAC | Image (Cue & Log) ~ 324 Mb | Total time: 57:58 | Scans included
Classical | Label: MDG | MDG 602 1994-2 | Recorded: 1988, 1994

Johann Christoph Friedrich Bach was a child of his times, which were characterised by new beginnings and profound changes in the political and cultural arena as well as in the societal and philosophical spheres. The “Miserere” and the motet “Wachet auf, ruft uns die Stimme” on this recording beautifully document these transformations. MDG is now presenting an archive production that has achieved historic status. Hermann Max, a pioneer in the field of historically informed performance practice, performs with the Rheinische Kantorei and his “Das Kleine Konzert” ensemble in a production for the Western German Radio (WDR).

Ludger Rémy, Telemann-Kammerorchester Michaelstein - Telemann: Der Messias; Concerti (2003)

Posted By: ArlegZ
Ludger Rémy, Telemann-Kammerorchester Michaelstein - Telemann: Der Messias; Concerti (2003)

Ludger Rémy, Telemann-Kammerorchester Michaelstein - Telemann: Der Messias; Concerti (2003)
EAC | FLAC | Image (Cue & Log) ~ 271 Mb | Total time: 57:36 | Scans included
Classical | Label: SPO | # 999 847-2 | Recorded: 2001, 2002

Georg Philipp Telemann based his compositions on several texts by Friedrich Gottlieb Klopstock. Most well-known (at least theoretically) are his settings of parts of the first and the tenth song of the Messiah, which were created in the 1750s and were presented in 1759 in the Hamburg Drillhaus a larger public. Telemann was thus the first to validly transform parts of this famous epic into a musical form. It is quite likely that Telemann and Klopstock met in person, especially since Telemann showed great interest in the latest literary trends up to the very last age. For Telemann, it would have been a challenge to try a poetry written in strict hexameters, which was so completely different from the usual cantata texts.

Ludger Rémy, Telemann Kammerorchester Michaelstein - Telemann: Der Tod Jesu (2000)

Posted By: ArlegZ
Ludger Rémy, Telemann Kammerorchester Michaelstein - Telemann: Der Tod Jesu (2000)

Ludger Rémy, Telemann Kammerorchester Michaelstein - Telemann: Der Tod Jesu (2000)
EAC | FLAC | Image (Cue & Log) ~ 336 Mb | Total time: 76:12 | Scans included
Classical | Label: CPO | # 999 720-2 | Recorded: 1999

There's nothing meek or morbid about Telemann's 'Jesu' in this passion oratorio. This is a confident muscular Jesu, closer to the Saxon Heliand than to the Man of Sorrows depicted on the CD cover; the first aria proclaims Him a hero: "Du Held… du kannst und willst mein Schutzgott sein." (You Hero… you can and will be my Protector-God.) Before that, the Siegfriedesque cantabile for horn that opens the composition sounds not so much like a lament as a call to don one's spiritual armor, and throughout the whole text Jesu is portrayed as indomitable amid the torment and agony of his followers. Specifically, He is the Lion of Judah, the model of Christian fortitude against all enemies.

Klaus Mertens, Ludger Rémy - Telemann: Oden 1741 (2003)

Posted By: ArlegZ
Klaus Mertens, Ludger Rémy - Telemann: Oden 1741 (2003)

Klaus Mertens, Ludger Rémy - Telemann: Oden 1741 (2003)
XLD | FLAC | Image (Cue & Log) ~ 362 Mb | Total time: 69:08 | Scans included
Classical | Label: CPO | # 999 816-2 | Recorded: 2001

Mit seinen Vier und zwanzig theils ernsthaften, theils scherzenden Oden reagierte Telemann 1741 auf die ein Jahr zuvor erschienene Sammlung des Bach-Schülers Lorenz Christoph Mizler, die einige Satzfehler aufwiesen und auch sonst nicht alle Kriterien, an denen man Odenvertonungen messen sollte, erfüllen konnten. Wie schwierig es ist, einfach, aber gehaltvoll zu komponieren, musste allerdings auch Telemann erfahren, der in seiner Vorrede bekennt, dass er die Arbeit nur „mit sehr viel Schweisse“ zuwege gebracht habe. Erhöht wurde die Schwierigkeit durch die Aufgabe, daß die Melodie zu allen Strophen passen soll.

Pál Németh, Capella Savaria - Carl Heinrich Graun: Der Tod Jesu (1992)

Posted By: ArlegZ
Pál Németh, Capella Savaria - Carl Heinrich Graun: Der Tod Jesu (1992)

Pál Németh, Capella Savaria - Carl Heinrich Graun: Der Tod Jesu (1992)
EAC | FLAC | Image (Cue & Log) ~ 312 Mb | Total time: 78:32 | Scans included
Classical | Label: Harmonia Mundi | QUI 903061 | Recorded: 1991

Der Tod Jesu of Carl Heinrich Graun (1704–59), completed in 1755, was for decades the musical mainstay of Passiontide services (a position now held by Bach’s and St. John Passions), being performed by the Berlin Singakademie virtually every Good Friday until 1884. Unlike the passions of Bach, Schütz, and other predecessors, Graun’s work does not set any texts of Scripture. Instead, in line with burgeoning Enlightenment sensibilities, the entire libretto by Carl Wilhelm Ramler (1725–98) is written in the exalted style of impassioned poetic declamation common to opera libretti of the era, in supposed imitation of Greek tragedy. At less than half the length of the Bach passions, and musically far less complex, with dignified and attractive arias composed in a style somewhat akin to those of Handel’s Messiah , it remains winsome even today, and its enduring popularity is readily comprehended.

Hermann Max, Rheinische Kantorei, Das Kleine Konzert - Johann Friedrich Fasch: Cantatas; Carl Fasch: Psalm 119 (2002)

Posted By: ArlegZ
Hermann Max, Rheinische Kantorei,  Das Kleine Konzert - Johann Friedrich Fasch: Cantatas; Carl Fasch: Psalm 119 (2002)

Hermann Max, Rheinische Kantorei, Das Kleine Konzert - Johann Friedrich Fasch: Cantatas; Carl Fasch: Psalm 119 (2002)
EAC | FLAC | Image (Cue & Log) ~ 399 Mb | Total time: 79:09 | Scans included
Classical | Label: CPO | # 999 594-2 | Recorded: 1995, 1996, 2001

Wie weit komponierende Söhne und Väter stilistisch auseinander liegen können, wird oft an dem Vergleich Johann Sebastians und Johann Christian Bachs demonstriert. Nun, es gibt einen ähnlich gelagerten Fall: Johann Friedrich Fasch (1688–1758) und sein Sohn Carl (1736–1800).

Georg Christoph Biller, Gewandhausorchester Leipzig, Thomanerchor Leipzig - Bach: Matthaus-Passion (2012) [Blu-Ray]

Posted By: Vilboa
Georg Christoph Biller, Gewandhausorchester Leipzig, Thomanerchor Leipzig - Bach: Matthaus-Passion (2012) [Blu-Ray]

Georg Christoph Biller, Gewandhausorchester Leipzig, Thomanerchor Leipzig - Bach: Matthäus-Passion (2012) [Blu-Ray]
BluRay | BDMV | MPEG-4 AVC Video / 25939 kbps / 1080i / 29,970 fps | 164 min | 41,3 Gb
Audio1: Deutsch / LPCM Audio / 2.0 / 24-bit | Audio2: DTS-HD Master Audio / 5.1 / 48 kHz / 3752 kbps / 24-bit
––––––
BluRay-rip | AVC | MKV 1920x1080 / 6215 kbps / 29,970 fps | 164 min | 11,5 Gb
Audio: Deutsch / PCM / 2ch / 48.0 KHz / 24 bits | DTS / 6ch / 48.0 KHz / 24 bits
Classical | Accentus Music | Sub: German, English, French, Korean

The renowned St. Thomas Boys Choir of Leipzig, which boasts J. S. Bach as a former cantor, celebrates its 800th anniversary with an extraordinary interpretation of the St. Matthew Passion. The Guardian praised how the harmonic lines interwove with a transcendence that can only be achieved through living, eating and working together. This Accentus Music production is the only audio-visual release of Bachs St. Matthew Passion, performed by the choir for which it was written, in St. Thomas Church, Leipzig, where the composer worked and is buried.

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.

Klaus Mertens, Shalev Ad-El, Accademia Daniel - Telemann: Passion Cantatas (2009)

Posted By: ArlegZ
Klaus Mertens, Shalev Ad-El, Accademia Daniel - Telemann: Passion Cantatas (2009)

Klaus Mertens, Shalev Ad-El, Accademia Daniel - Telemann: Ich will den Kreuzweg gerne gehen; Passion Cantatas (2009)
EAC | FLAC | Image (Cue & Log) ~ 328 Mb | Total time: 69:53 | Scans included
Classical | Label: CPO | 777 299-2 | Recorded: 2006-2007

The five cantatas presented on this disc share several elements. They are all for solo bass and orchestra, and Der am Ölberg zagende Jesus deals with Christ’s agonies in the garden of Gethsemane, with three recitatives setting the scene surrounding two arias for Jesus, ending with an aria by the narrator inviting all to contemplate Christ’s sacrifice. Jesus liegt in letzten Zügen is a meditation on the moment of Christ’s death. Ich will den Kreuzweg gerne gehen expresses the narrator’s desire to follow the way of the cross in Christ’s footsteps. The other two cantatas are more tangentially connected to the events of the passion, although they mention the passion as motivation for the sinner to prepare for eventual union with his Savior.

Barbara Schlick, Klaus Mertens, Bob van Asperen, Wouter Möller - Bach: Schemellis Gesangbuch BWV 439-507 (1998)

Posted By: ArlegZ
Barbara Schlick, Klaus Mertens, Bob van Asperen, Wouter Möller - Bach: Schemellis Gesangbuch BWV 439-507 (1998)

Barbara Schlick, Klaus Mertens, Bob van Asperen, Wouter Möller - Bach: Schemellis Gesangbuch BWV 439-507 (1998)
EAC | FLAC | Image (Cue & Log) ~ 656 Mb | Total time: 153:20 | Scans included
Classical | Label: CPO ‎| 999 407-2 | Recorded: 1995

Wo wir schon bei Liedern sind: 1736 wurde im Katalog zur Frankfurter und Leipziger Ostermesse folgende Neuheit angezeigt: »Musicalisches Gesangbuch von 950 auserlesenen geistl. Liedern und Arien. Die unbekandten Melodien sind von Herrn Capellmeister Bach entweder neu verfertigt, oder nach Befinden verbessert und so dann sauber in Kupffer gestochen worden.«

Ton Koopman, The Amsterdam Baroque Orchestra & Choir - Bach: Matthaus-Passion (2006)

Posted By: Vilboa
Ton Koopman, The Amsterdam Baroque Orchestra & Choir - Bach: Matthaus-Passion (2006)

Ton Koopman, The Amsterdam Baroque Orchestra & Choir - Bach: Matthäus-Passion (2006)
NTSC 16:9 (720x480) VBR | Deutsch (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | 3.90 Gb+6.23 Gb (DVD5+DVD9) | 163 min
Classical | Challenge Classics | Sub: English, Deutsch, Francais, Nederlands, Japanese, Italiano, Espanol

Koopman's Second Passion of St. Matthew: Passion plays became the musical high points of the church year in Leipzig under Bach. That fact that the Passion of St. Matthew can still overwhelm audiences today is without a doubt. Ton Koopman decided - after the first recording at ERATO more than 10 years ago - to record this masterpiece once again and consequently to put his experience with intensive involvement with the complete cantata by Bach into it. The result could not be more convincing in picture and sound, not the least thanks to the excellent soloists, who are much more well-balanced than the first time.