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Johann Sebastian Bach - Gustav Leonhardt - Weltliche Kantaten BWV 208, 215 (1998)

Posted By: luckburz

Date: 21 Jul 2014 06:07:14

Johann Sebastian Bach - Gustav Leonhardt - Weltliche Kantaten BWV 208, 215 (1998)

Johann Sebastian Bach - Weltliche Kantaten BWV 208, 215
Monika Frimmer, Lynne Dawson / Orchestra and Choir of the Age of Enlightenment - Gustav Leonhardt
EAC+LOG+CUE | FLAC: 330 MB | Artwork | 5% Recovery Info
Label/Cat#: Philips # 454 467-2 | Country/Year: Germany 1998
Genre: Classical | Style: Baroque, Vocal, Secular

MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

my rip [] not my rip [X]

EAC

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

EAC extraction logfile from 19. January 2012, 16:10

Johann Sebastian Bach / Weltliche Kantaten BWV 208 & 215

Used drive : Optiarc DVD RW AD-7243S Adapter: 6 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
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Used output format : User Defined Encoder
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TOC of the extracted CD

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1 | 0:00.32 | 8:05.15 | 32 | 36421
2 | 8:05.47 | 1:12.08 | 36422 | 41829
3 | 9:17.55 | 7:59.15 | 41830 | 77769
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14 | 42:03.70 | 2:23.22 | 189295 | 200041
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24 | 63:35.22 | 3:52.10 | 286147 | 303556

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Filename E:\CDImage.wav

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Dynamic

foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2014-04-21 14:18:06

––––––––––––––––––––––––––––––––––––––––
Analyzed: Johann Sebastian Bach / Weltliche Kantaten BWV 208 & 215
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR14 0.00 dB -19.17 dB 8:05 01-BWV 215 - Coro: Preise dein Glücke, gesegnetes Sachsen
DR14 -2.01 dB -23.56 dB 1:12 02-BWV 215 - Recitativo (T): Wie können wir, großmächtigster August
DR16 -0.76 dB -21.27 dB 7:59 03-BWV 215 - Aria (T): Freilich trotzt Augustus' Name
DR15 -4.28 dB -24.40 dB 1:36 04-BWV 215 - Recitativo (B): Was hat dich sonst, Sarmatien, bewogen
DR15 -1.34 dB -18.97 dB 3:52 05-BWV 215 - Aria (B): Rase nur, verwegner Schwarm
DR13 -2.38 dB -20.71 dB 1:16 06-BWV 215 - Recitativo (S): Ja, ja! Gott ist uns noch mit seiner Hülfe nah
DR14 0.00 dB -21.79 dB 4:15 07-BWV 215 - Aria (S): Durch die von Eifer entflammeten Waffen
DR14 0.00 dB -20.14 dB 2:32 08-BWV 215 - Recitativo (S T B): Laß doch, o teurer Landesvater, zu
DR14 0.00 dB -16.66 dB 3:01 09-BWV 215 - Coro: Stifter der Reiche, Beherrscher der Kronen
DR14 -3.84 dB -22.79 dB 0:43 10-BWV 208 - Recitativo (Diana): Was mir behagt, ist nur die muntre Jagd!
DR14 -0.63 dB -18.81 dB 2:03 11-BWV 208 - Aria (Diana): Jagen ist die Lust der Götter
DR14 -5.49 dB -26.51 dB 1:07 12-BWV 208 - Recitativo (Endymion): Wie? Schönste Göttin? Wie?
DR17 -2.25 dB -25.92 dB 4:23 13-BWV 208 - Aria (Endymion): Willst du dich nicht mehr ergötzen
DR14 -3.13 dB -23.38 dB 2:23 14-BWV 208 - Recitativo (Diana, Endymion): Ich liebe dich zwar noch
DR15 -7.29 dB -25.73 dB 0:31 15-BWV 208 - Recitativo (Pan): Ich, der ich sonst ein Gott
DR14 -5.89 dB -23.69 dB 3:15 16-BWV 208 - Aria (Pan): Ein Fürst ist seines Landes Pan
DR11 -3.45 dB -21.82 dB 0:38 17-BWV 208 - Recitativo (Paies): Soll denn der Paies Opfer hier das letzte sein?
DR13 -1.35 dB -19.80 dB 4:01 18-BWV 208 - Aria (Paies): Schafe können sicher weiden
DR14 -11.18 dB -26.40 dB 0:11 19-BWV 208 - Recitativo (Diana): So stimmt mit ein
DR14 0.00 dB -19.65 dB 3:03 20-BWV 208 - Coro: Lebe, Sonne dieser Erden
DR14 -0.89 dB -20.71 dB 2:04 21-BWV 208 - Aria Duetto (Diana, Endymion): Entzücket uns beide
DR14 -1.47 dB -20.66 dB 2:52 22-BWV 208 - Aria (Paies): Weil die wollenreichen Herden
DR16 -4.58 dB -24.70 dB 2:33 23-BWV 208 - Aria (Pan): Ihr Felder und Auen
DR13 0.00 dB -17.89 dB 3:52 24-BWV 208 - Coro: Ihr lieblichste Blicke, ihr freudige Stunden
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 24
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 668 kbps
Codec: FLAC
================================================================================

CD Info:

Johann Sebastian Bach - Weltliche Kantaten BWV 208, 215

Monika Frimmer, Lynne Dawson, John Elwes, David Wilson-Johnson / Orchestra and Choir of the Age of Enlightenment - Gustav Leonhardt

Label: Philips
Catalog#: 454 467-2
Format: CD, Album, Reissue
Country: Germany
Released: 1998
Genre: Classical, Secular
Style: Baroque, Vocal

Tracklist:

Preise dein Glücke, gesegnetes Sachsen BWV 215
Dramma per musica
zum Jahrestag der Wahl Augusts III. zum polnischen König am 5. Oktober 1734
Text: Johann Christoph Clauder 1734
1. Coro: Preise dein Glücke, gesegnetes Sachsen
2. Recitativo (T): Wie können wir, großmächtigster August
3. Aria (T): Freilich trotzt Augustus' Name
4. Recitativo (B): Was hat dich sonst, Sarmatien, bewogen
5. Aria (B): Rase nur, verwegner Schwarm
6. Recitativo (S): Ja, ja! Gott ist uns noch mit seiner Hülfe nah
7. Aria (S): Durch die von Eifer entflammeten Waffen
8. Recitativo (S T B): Laß doch, o teurer Landesvater, zu
9. Coro: Stifter der Reiche, Beherrscher der Kronen
Was mir behagt, ist nur die muntre Jagd! BWV 208
Jagd-Kantate
zum Geburtstag von Fürst Christian von Sachsen-Weißenfels
1. Recitativo (Diana): Was mir behagt, ist nur die muntre Jagd!
2. Aria (Diana): Jagen ist die Lust der Götter
3 Recitativo (Endymion): Wie? Schönste Göttin? Wie?
4. Aria (Endymion): Willst du dich nicht mehr ergötzen
5. Recitativo (Diana, Endymion): Ich liebe dich zwar noch
6. Recitativo (Pan): Ich, der ich sonst ein Gott
7. Aria (Pan): Ein Fürst ist seines Landes Pan
8. Recitativo (Paies): Soll denn der Paies Opfer hier das letzte sein?
9. Aria (Paies): Schafe können sicher weiden
10 Recitativo (Diana): So stimmt mit ein
11. Coro: Lebe, Sonne dieser Erden
12. Aria Duetto (Diana, Endymion): Entzücket uns beide
13. Aria (Paies): Weil die wollenreichen Herden
14. Aria (Pan): Ihr Felder und Auen
15. Coro: Ihr lieblichste Blicke, ihr freudige Stunden

Recording:

11/1996

Monika Frimmer Soprano I
Lynne Dawson Soprano II (BWV 208)
John Elwes Tenore
David Wilson-Johnson Basso
Orchestra and Choir of the Age of Enlightenment

Gustav Leonhardt

Artist Biography by Jeremy Grimshaw

Though participants in the "authentic performance practice" movement might insist otherwise, the search for the old is really a search for the new. This statement certainly captures the spirit that Dutch keyboardist Gustav Leonhardt brought to his early music performances in the 1950s. His style was characterized not by a rigorous observance of rules, but by the intuitive, almost spiritual connection it tried to establish with the music – a kind of authenticity that sought validation not so much from a rigorously academic accuracy (though Leonhardt is by no means historically careless) as from its having an "authentic" effect on the listener.

Born in Amsterdam in 1928, Leonhardt learned cello and piano before entering the Schola Cantorum in Basel to study organ and harpsichord with Eduard Müller. After graduating in 1950, he undertook a year of musicological studies before accepting a position at the Vienna Academy. Shortly thereafter, he returned to his home town, where he assumed a position at the Amsterdam Conservatory that he would keep for decades thereafter.

His first public performance took place in 1950, when he performed J.S. Bach's The Art of the Fugue for a Viennese audience. This marked the beginning of a legendary and influential career that would take him to performance venues all over the world, setting stylistic and interpretive standards for keyboard music dating from the early 1500s to the late 1700s. His treatment of the works of Couperin, Froberger, and Frescobaldi were pivotal in affecting a shift in Baroque performance practice from the motoric to the malleable.

Beginning in the 1950s, he also established the Leonhardt Consort, a group applying his same performance ideals to chamber works; during his career he also demonstrated great skill in conducting early choral and operatic works. Along the way, he tutored an entire generation of the most vibrant and stylistically varied early music figures, including Christopher Hogwood, Pierre Hantaï, and Ton Koopman.

When Leonhardt spoke of "correct" style, certain parameters were clear, while others left much to be read between the lines. The use of the proper instrument, for example, was crucial to Leonhardt: one should not play a piece from a particular country and a particular time on an instrument from a different region and century (and of course it goes without saying what problems he might have had with playing 18th century music on a 20th century Steinway). His discussion of style, however, was quite flexible – or at least elusive: "I cannot say it's a secret, but it's almost impossible to describe in words….Essentially, it must be based on a dynamic wish." Though he did consult primary sources to justify his sound, which fell somewhere between the rubato sound of Landowska and the robotic sound of her immediate successors, he insisted that the truest "rules" about the music he played were to be discovered through the playing itself. allmusicguide

Thanks to aqr!

More Johann Sebastian Bach played by Gustav Leonhardt:

Clavierübung I: Sechs Partiten BWV 825-830
Cantatas: Oster-Oratorium BWV 249, Himmelfahrts-Oratorium BWV 11
Weltliche Kantaten BWV 205, 214

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