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Johann Sebastian Bach - Gustav Leonhardt - Weltliche Kantaten BWV 205, 214 (1992)

Posted By: luckburz

Date: 20 Jul 2014 07:41:43

Johann Sebastian Bach - Gustav Leonhardt - Weltliche Kantaten BWV 205, 214 (1992)

Johann Sebastian Bach - Weltliche Kantaten BWV 205, 214
René Jacobs, Christoph Prégardien / Orchestra and Choir of the Age of Enlightenment - Gustav Leonhardt
EAC+LOG+CUE | FLAC: 332 MB | Artwork | 5% Recovery Info
Label/Cat#: Philips # 432 161-2 | Country/Year: Germany 1992
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, 14:19

Johann Sebastian Bach / Weltliche Kantaten BWV 205 & 214

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Filename E:\CDImage.wav

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Track 2 accurately ripped (confidence 8) [4F624B50]
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Dynamic

foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2014-04-21 13:59:36

––––––––––––––––––––––––––––––––––––––––
Analyzed: Johann Sebastian Bach / Weltliche Kantaten BWV 205 & 214
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR14 -0.20 dB -18.74 dB 6:19 01-BWV 205 - Coro: Zerreißet, zersprenget, zertrümmert die Gruft
DR13 -4.39 dB -21.53 dB 1:33 02-BWV 205 - Recitativo (B): Ja! Ja! Die Stunden sind nunmehro nah
DR13 -5.41 dB -22.68 dB 3:39 03-BWV 205 - Aria (B): Wie will ich lustig lachen
DR12 -13.44 dB -34.29 dB 0:38 04-BWV 205 - Recitativo (T): Gefürcht'ter Aeolus
DR15 -10.53 dB -30.22 dB 4:04 05-BWV 205 - Aria (T): Frische Schatten, meine Freude
DR13 -12.22 dB -31.76 dB 0:29 06-BWV 205 - Recitativo (B): Beinahe wirst du mich bewegen
DR14 -7.82 dB -26.41 dB 3:34 07-BWV 205 - Aria (A): Können nicht die roten Wangen
DR12 -9.79 dB -26.90 dB 0:45 08-BWV 205 - Recitativo (A S): So willst du, grimm'ger Aeolus
DR14 -5.50 dB -25.07 dB 4:20 09-BWV 205 - Aria (S): Angenehmer Zephyrus
DR14 -6.98 dB -26.01 dB 2:15 10-BWV 205 - Recitativo (S B): Mein Aeolus
DR13 -3.45 dB -20.86 dB 3:46 11-BWV 205 - Aria (B): Zurücke, zurücke, geflügelten Winde
DR13 -6.66 dB -26.08 dB 1:34 12-BWV 205 - Recitativo (S A T): Was Lust! Was Freude! Welch Vergnügen!
DR13 -8.51 dB -26.58 dB 3:18 13-BWV 205 - Aria Duetto (A T): Zweig' und Äste
DR12 -7.11 dB -24.88 dB 0:42 14-BWV 205 - Recitativo (S): Ja, ja! Ich lad euch selbst zu dieser Feier ein
DR15 -0.40 dB -19.79 dB 3:31 15-BWV 205 - Coro: Vivat August, August vivat
DR14 -0.31 dB -18.94 dB 7:41 16-BWV 214 - Coro: Tönet, ihr Pauken! Erschallet, Trompeten!
DR14 -12.62 dB -31.11 dB 0:56 17-BWV 214 - Recitativo (T): Heut ist der Tag
DR14 -7.00 dB -27.96 dB 3:48 18-BWV 214 - Aria (S): Blast die wohlgegriffnen Flöten
DR13 -7.12 dB -25.53 dB 0:44 19-BWV 214 - Recitativo (S): Mein knallendes Metall
DR15 -10.06 dB -29.23 dB 3:33 20-BWV 214 - Aria (A): Fromme Musen! Meine Glieder!
DR14 -11.59 dB -29.66 dB 0:59 21-BWV 214 - Recitativo (A): Unsre Königin im Lande
DR14 -4.84 dB -23.26 dB 5:09 22-BWV 214 - Aria (B): Kron und Preis gekrönter Damen
DR14 -7.34 dB -26.98 dB 1:13 23-BWV 214 - Recitativo (B): So dringe in das weite Erdenrund
DR13 -3.03 dB -20.47 dB 2:06 24-BWV 214 - Coro: Blühet, ihr Linden in Sachsen, wie Zedern!
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 24
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 649 kbps
Codec: FLAC
================================================================================

CD Info:
Johann Sebastian Bach - Weltliche Kantaten BWV 205, 214

Mieke van der Sluis, René Jacobs, Christoph Prégardien, David Thomas / Orchestra and Choir of the Age of Enlightenment - Gustav Leonhardt

Label: Philips
Catalog#: 432 161-2
Format: CD, Album
Country: Germany
Released: 1992
Genre: Classical
Style: Baroque, Vocal, Secular

Tracklist:

Zerreisset, zersprenget, zertrümmert die Gruft BWV 205
(Der zufriedengestellte Äolus)
Dramma per musica · Text: Henrici
1. Coro: Zerreisset, zersprenget, zertrümmert die Gruft
2. Recitativo: Ja! Ja! Die Stunden sind nunmehro nah
(Basso)
3. Aria: Wie will ich lustig lachen
(Basso)
4. Recitativo: Gefürch’ter Äolus
(Tenore)
5. Aria: Frische Schatten, meine Freude
(Tenore)
6. Recitativo: Beinahe wirst du mich bewegen
(Basso)
7. Aria: Können nicht die roten Wangen
(Alto)
8. Recitativo: So willst du, grimm’ger Äolus
(Alto, Soprano)
9. Aria: Angenehmer Zephyrus
(Soprano)
10. Recitativo: Mein Äolus
(Soprano, Basso)
11. Aria: Zurücke, zurücke, geflügelten Winde
(Basso)
12. Recitativo: Was Lust! Was Freude! Welch Vergnügen!
(Soprano, Alto, Tenore)
13. Aria (Duetto): Zweig’ und Äste
(Alto, Tenore)
14. Recitativo: Ja, ja! Ich lad euch selbst zu dieser Feier ein
(Soprano)
15. Coro: Vivat August, August vivat
Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214
Dramma per musica · Text: Anonymous
1. Coro: Tönet, ihr Pauken! Erschallet, Trompeten!
2. Recitativo: Heut ist der Tag
(Tenore)
3. Aria: Blast die wohlgegriffnen Flöten
(Soprano)
4. Recitativo: Mein knallendes Metall
(Soprano)
5. Aria: Fromme Musen! Meine Glieder!
(Alto)
6. Recitativo: Unsre Königin im Lande
(Alto)
7. Aria: Krön und Preis gekrönter Damen
(Basso)
8. Recitativo: So dringe in das weite Erdenrund
(Basso)
9. Coro: Blühet, ihr Linden in Sachsen, wie Zedern!

Recorded: 12/1990

Mieke van der Sluis, Soprano
René Jacobs, Alto
Christoph Prégardien, Tenore
David Thomas, 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

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