Project Harmonia Mundi - Part 37

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Project Harmonia Mundi - Part 37

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Credits to Zoeb for ripping and sharing this album.

Beethoven: String Quartets opp. 74 & 95 [HMU807460] Tokyo String Quartet
Classical | Exact Audio Copy (ape+cue+no log)+scans | 1CD/228MB | RS.com

The Tokyo String Quartet continues its complete Beethoven cycle with this third volume. Both the graceful op.74 (nicknamed ‘Harp’ for its use of pizzicato) and op.95, with its quest for the essential, testify to the new maturity achieved by the composer around 1810.

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Project Harmonia Mundi - Part 37

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Dvorák wrote no fewer than ninety-three songs for solo voice and piano, not counting the solo pieces for voice and organ and the numerous duets. In his songs he carried on the tradition of Schubert and Schumann, but – as the composer’s biographer Kurt Honolka has put it – with the essential addition of the vitamins of Czech folk music.

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More than forty years elapsed between the composition of Gabriel Fauré's first Violin Sonata and that of the Second. 'Over all of this hovers a charm that bathes the whole work, and makes the mass of ordinary listeners accept the most extreme strokes of daring as if they were perfectly natural.' (Camille Saint-Saëns)

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Project Harmonia Mundi - Part 37

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Project Harmonia Mundi - Part 37

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Paul Hillier leads the Estonian Philharmonic Chamber Choir in Volume 1 of Baltic Voices — a three-year project to explore the choral riches of the Baltic Sea countries. With a special attention to the choir’s native Estonia, these recordings will highlight the mainstream tradition of the past hundred years, complemented with music of earlier periods and commissions from younger composers. Volume 1 features secular and sacred works by 20th-century composers from Sweden, Finland, Latvia, and Estonia.“pure and impassioned, astounding choral artists.” (The Wall Street Journal)

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Paul Hillier leads the Estonian Philharmonic Chamber Choir in Volume 2 of Baltic Voices - a pioneering project to explore the choral riches of the Baltic Sea countries, with special attention to the choir's native Estonia. This program features sacred music from all 3 branches of Christianity which are practiced in the Baltic region: Orthodox (Schnittke, Grigorjeva), Catholic (Sisask, Tulev), and Protestant (Nørgard).A "luminous and powerful ensemble" - The New Yorker

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The Estonian Philharmonic Chamber Choir continues its exploration of the choral riches of the Baltic region with Vol. 3 of the series, featuring music of established figures (BERGMAN, GÓRECKI, GUDMUNDSEN-HOLMGREEN) and recent works by the younger generation (SAARIAHO, TÜÜR)."Luminous voices and impeccable tuning." - Classic FM

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Magdalene at the foot of the Cross.The theme of the deploration represents one of the keystones of the Italian baroque revolution in the first half of the 17th century. These lamenti constituted the ideal framework for putting into practice the latest discoveries in expressive solo singing. Freed from the subtleties of counterpoint, it was now able to communicate the emotion expressed in the words directly to the listener. In this respect sacred music was not far behind and it is easy to understand why the plaints of Mary Magdalene at the foot of the Cross were so abundant, especially in Rome where religious music had always occupied a more important position than elsewhere. The solo motets of Rossi, Agneletti, Mazzocchi and Frescobaldi bear dazzling witness to this
specifically Roman musical activity.

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Raoul-Auger Feuillet's Choregraphie (Paris, 1700) changed ballet history forever with its pioneering use of dance notation. Virtuoso harpist Andrew Lawrence-King performs music by Lully and Campra in solo settings by d'Anglebert, chosen by Feuillet to represent the noble style of French dance at the court of the 'Sun King'.

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Project Harmonia Mundi - Part 37

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