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Johannes Strobl, Les Cornets Noirs, Capella Murensis - Polychoral Splendour: Giovanni Gabrieli, Heinrich Schütz (2012)

Posted By: ArlegZ
Johannes Strobl, Les Cornets Noirs, Capella Murensis - Polychoral Splendour: Giovanni Gabrieli, Heinrich Schütz (2012)

Johannes Strobl, Les Cornets Noirs, Capella Murensis - Polychoral Splendour: Giovanni Gabrieli, Heinrich Schütz (2012)
EAC | FLAC | Image (Cue & Log) ~ 363 Mb | Total time: 73:07 | Scans included
Classical | Label: Audite | 92.652 | Recorded: 2011

To visit the great Venetian cathedrals in the 17th century was to bow deeply to the polychoral or “cori spezzati” style that reigned there, pioneered by Giovanni Gabrieli. The young Heinrich Schutz was no exception. Unable to resist the sparkling sounds arising from polychoral writing and antiphonal placement, Schutz carried the style back to his native Germany. Capella Murensis and Les Cornets Noirs here present with absolute fidelity works by Schutz and Gabrieli that epitomize the high Ventian style.

Capriola di Gioia, Amaryllis Dieltiens, Bart Naessens & Clint van der Linden - Pergolesi: Stabat Mater, P. 77 (2020)

Posted By: delpotro
Capriola di Gioia, Amaryllis Dieltiens, Bart Naessens & Clint van der Linden - Pergolesi: Stabat Mater, P. 77 (2020)

Capriola di Gioia, Amaryllis Dieltiens, Bart Naessens & Clint van der Linden - Giovanni Battista Pergolesi: Stabat Mater, P. 77 (2020)
WEB FLAC (tracks) - 269 Mb | MP3 CBR 320 kbps - 131 Mb | 00:56:48
Classical, Sacred, Vocal | Label: Evil Penguin Classic

On this recording of Boccherini’s Arie da Concerto, the Belgian ensemble Capriola di Gioia defies the stubborn stereotyping of Boccherini as the gallant master of unsurpassable but insignificant melodies. Close listening to this marvellous music reveals a genius with a profound understanding of human psychology, and a rich harmonic palette to paint the smallest affective nuances. In these arias, Boccherini is rehabilitated as a true heir of Händel, a worthy contemporary to Haydn, and an early precursor of the belcanto of Bellini.

Jos Van Veldhoven, Netherlands Bach Society - Johann Sebastian Bach: Johannes-Passion / St. John Passion (2004)

Posted By: ArlegZ
Jos Van Veldhoven, Netherlands Bach Society - Johann Sebastian Bach: Johannes-Passion / St. John Passion (2004)

Jos Van Veldhoven, Netherlands Bach Society - Johann Sebastian Bach: Johannes-Passion / St. John Passion (2004)
EAC | FLAC | Image (Cue & Log) ~ 593 Mb | Total time: 111:28 | Scans included
Classical | Label: Channel Classics | 31309 | Recorded: 2004

This issue of the St. John Passion is also a special event in the world of music, because a choice has been made for Bachs very earliest version of this work (1724) in a reconstruction by musicologist Dr. Pieter Dirksen. The Netherlands Bach Society performs the work in a small-scale scoring with ten singers and eleven instrumentalists, no distinction being made between choristers and soloists. According to the most recent research, this scoring constitutes a very close approximation of the ensemble with which Bach gave the first performance of the St. John Passion. Bachs St. John Passion is less well known to some than his St. Matthew Passion: unjustly so, in many peoples opinion. Judge for yourself, as you treat both your ears and eyes to this performance of the Netherlands Bach Society…

Jos Van Veldhoven, Netherlands Bach Society - Johann Sebastian Bach: Matthäus-Passion / St. Matthew Passion (2011)

Posted By: ArlegZ
Jos Van Veldhoven, Netherlands Bach Society - Johann Sebastian Bach: Matthäus-Passion / St. Matthew Passion (2011)

Jos Van Veldhoven, Netherlands Bach Society - Johann Sebastian Bach: Matthäus-Passion / St. Matthew Passion (2011)
EAC | FLAC | Image (Cue & Log) ~ 721 Mb | Total time: 165:14 | Scans included
Classical | Label: Channel Classics | 32511 | Recorded: 2010

Bach's St Matthew Passion is almost always described as a double-choir composition for two choirs and two orchestras. Two large ensembles play in dialogue, and the score presents a symmetrical structure. The scoring of the two groups of singers and players is identical, and each ensemble has four soloists for the arias. On the stage one often sees two equal groups of singers, and an orchestra likewise divided exactly into two. The Evangelist and Jesus are often the only exceptions to this impressive symmetry.

Karl Richter, Munchener Bach-Orchester - Bach: Brandenburgische Konzerte (2006/1970)

Posted By: Vilboa
Karl Richter, Munchener Bach-Orchester - Bach: Brandenburgische Konzerte (2006/1970)

Karl Richter, Münchener Bach-Orchester - Bach: Brandenburgische Konzerte (2006/1970)
NTSC 4:3 (720x480) | (LinearPCM, 2 ch) | (DTS, 6 ch) | 7.82 Gb (DVD9) | 99 min
Classical | Deutsche Grammophon

From the euphoric first to the solemn sixth, the Brandenburg Concertos feature some of Bach's fenrst and most popular orchestral music, interpreted here by legendary Bach specialist Karl Richter and his Münchener Bach-Orchester - for the first time on DVD.

Trevor Pinnock - J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 (2020)

Posted By: delpotro
Trevor Pinnock - J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 (2020)

Trevor Pinnock - J.S. Bach: The Well-Tempered Clavier, Book 1, BWV 846-869 (2020)
WEB FLAC (tracks) - 714 Mb | MP3 CBR 320 kbps - 271 Mb | 01:57:55
Classical | Label: Deutsche Grammophon

Trevor Pinnock is a true pioneer of the early music movement. As founder and former leader of The English Concert he enjoys a longstanding relationship with Archiv Produktion and Deutsche Grammophon. Among his celebrated recordings are Bach’s Brandenburg Concertos, Handel’s Messiah and Concerti Grossi, Vivaldi’s Four Seasons The Harmonious Blacksmith, Bach’s Goldberg Variations and Partitas. Throughout his interpretations Pinnock remains true to his core principles favouring musicality and inspiration above musical orthodoxy. Achieving an exceptional reputation as a conductor, chamber musician and harpsichordist he has received enthusiastic critical acclaim.

Philippe Pierlot, Ricercar Consort - Johann Sebastian Bach: Johannes-Passion (2011)

Posted By: ArlegZ
Philippe Pierlot, Ricercar Consort - Johann Sebastian Bach: Johannes-Passion (2011)

Philippe Pierlot, Ricercar Consort - Johann Sebastian Bach: Johannes-Passion (2011)
EAC | FLAC | Image (Cue & Log) ~ 539 Mb | Total time: 113:32 | Scans included
Classical | Label: Mirare | MIR136 | Recorded: 2010

Bach wrote his passion-oratorio during the first year of his assumption of duties in Leipzig. The city fathers were rather strict in their Lutheranism, and forbade anything that remotely smacked of the newly-found opera craze that was infecting the country at the time, and seeped into the passion music of such luminaries like Telemann. As a result Bach was constrained, if such a word can be used, to employing the gospel only as the source of his libretto. Because of this the St. John Passion has perhaps the greatest text of any passion ever written, and Bach was determined to make the piece worthy of the scriptures he was setting.

René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Johann Sebastian Bach: Johannes-Passion (2016)

Posted By: ArlegZ
René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Johann Sebastian Bach: Johannes-Passion (2016)

René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Johann Sebastian Bach: Johannes-Passion (2016)
EAC | FLAC | Image (Cue & Log) ~ 1,29 Gb | Total time: 135:20 | Scans included
Classical | Label: Harmonia Mundi | HMC 802236.37 | Recorded: 2015

Bach revised his Johannes-Passion regularly: he returned to it over a period of twenty-six years, from 1724 to his death. It is the version hallowed by tradition, established by the Kantor a year before his death, that is presented on these CDs. But the 1725 version, equally outstanding musically, has also been recorded complete and can be downloaded as a bonus in high-resolution sound. Comparison of the two versions reveals the underlying meaning of this matchless Passion.

Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthaus Passion (2018)

Posted By: ArlegZ
Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthaus Passion (2018)

Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthaus Passion (2018)
EAC | FLAC | Image (Cue & Log) ~ 300 Mb | Total time: 65:38 | Scans included
Classical | Label: CPO | 555 204-2 | Recorded: 2017

Johann Sebastiani's name no doubt will be familiar only to a few certified music experts. Born in Weimar in 1622, Sebastiani spent a good many years of his life in Konigsberg, where he arrived around 1650 and later was appointed court chapel master. He composed countless occasional works as well as a St. Matthew Passion (1672) – a welcome addition to CPO's picture of Lutheran church music and a work closing a gap in the history of Passion settings between Heinrich Schutz and Johann Sebastian Bach. Stephen Stubbs, Paul O'Dette, and their Boston Early Music Festival Chamber & Vocal Ensemble have fond memories of Bremen, where they have recorded in the radio broadcast hall on various occasions and produced Marc-Antoine Charpentier's Baroque opera La Descente d'Orphee aux Enfers, for which they won a Grammy Award in 2015. Their current release featuring Johann Sebastiani's St. Matthew Passion pays tribute to Konigsberg's music culture and to the composer who was one of its central representatives.

Max Emanuel Cencic, George Petrou, Armonia Atenea - Rokoko: Hasse Opera Arias (2014)

Posted By: ArlegZ
Max Emanuel Cencic, George Petrou, Armonia Atenea - Rokoko: Hasse Opera Arias (2014)

Max Emanuel Cencic, George Petrou, Armonia Atenea - Rokoko: Hasse Opera Arias (2014)
EAC | FLAC | Image (Cue & Log) ~ 357 Mb | Total time: 64:25 | Scans included
Classical | Label: Decca | # 478 6418 | Recorded: 2013

Rokoko is Croatian counter tenor Max Emanuel Cencic's 2014 release on Decca, in which he explores the elaborate and emotionally stirring arias of Johann Adolf Hasse, one of the neglected masters of 18th century opera. These 11 vocal selections reflect the popular taste of the period, oriented as it was to the extraordinary abilities of the great castrati. Supported by George Petrou and the period instruments group Armonia Atenea, which plays with authentic rococo sonorities, rhythmic vigor, and precision, Cencic displays astonishing virtuosity and power in the arias taken from Hasse's long forgotten operas, Arminio, Il Siroe, Tito Vespasiano, L'Olimpiade, Ipermestra, Il Trionfo di Clelia, La Spartana Generosa, and Tigrane, as well as an aria from the oratorio, Il Cantico de’ Tre Fanciulli.

James Bowman, Michael Chance, Robert King, The King's Consort - Countertenor duets by Purcell and Blow (1988)

Posted By: ArlegZ
James Bowman, Michael Chance, Robert King, The King's Consort - Countertenor duets by Purcell and Blow (1988)

James Bowman, Michael Chance, Robert King, The King's Consort - Countertenor duets by Purcell and Blow (1988)
EAC | FLAC | Image (Cue & Log) ~ 296 Mb | Total time: 71:02 | Scans included
Classical | Label: Hyperion | CDA 66253 | Recorded: 1987

This recording of duets by the great composers of the Restoration is one of the gems of Hyperion’s catalogue. It features the celebrated countertenors James Bowman and Michael Chance at the peak of their powers, and the combination of their two voices with the sympathetic accompaniment of The King’s Consort creates something uniquely glorious. Purcell was a countertenor himself and in his writing for the voice produced some of his most felicitous music. John Blow, Purcell’s predecessor and successor as organist of Westminster Abbey, reached his compositional zenith with the extended duet (almost a small cantata) on the subjects of Purcell’s tragic early death and inextinguishable influence.

Edward Higginbottom, Oxford Baroque, Choir of New College Oxford - Charpentier: Musique sacrée (2013)

Posted By: ArlegZ
Edward Higginbottom, Oxford Baroque, Choir of New College Oxford - Charpentier: Musique sacrée (2013)

Edward Higginbottom, Oxford Baroque, Choir of New College Oxford - Charpentier: Musique sacrée (2013)
EAC | FLAC | Image (Cue & Log) ~ 341 Mb | Total time: 72:30 | Scans included
Classical | Label: Novum | NCR1387 | Recorded: 2012, 2013

The small string ensemble of Oxford Baroque plays the Praeludium with a juxtaposition of sensuousness and decorum…The choir's interjections are fantastically articulate - with gentle use of inégales, gorgeously shaped ornamental cadences and sincere delivery of the texts.

Rinaldo Alessandrini, Concerto Italiano - Banchieri: Il Festino del Giovedì Grasso; Striggio: La Caccia (2000)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Banchieri: Il Festino del Giovedì Grasso; Striggio: La Caccia (2000)

Rinaldo Alessandrini, Concerto Italiano - Adriano Banchieri: Il Festino del Giovedì Grasso; Alessandro Striggio: La Caccia (2000)
EAC | FLAC | Image (Cue & Log) ~ 278 Mb | Total time: 60:23 | Scans included
Classical | Label: Opus 111 | OP30137 | Recorded: 1995

This talented Italian vocal ensemble, under the direction of Rinaldo Alessandrini, has already proved its excellence in previous discs of Monteverdi madrigals. In this engaging new release the artists turn their attention to ‘madrigal comedies’ by 16th-century Alessandro Striggio and his younger contemporary, Adriano Banchieri. These are highly entertaining, often witty pieces, with a strong onomatopoeic element and a profusion of vividly depictive images running through them.

Heinrich Schiff - Johann Sebastian Bach: Cello Suites (2005) 2CDs

Posted By: Designol
Heinrich Schiff - Johann Sebastian Bach: Cello Suites (2005) 2CDs

Heinrich Schiff - Johann Sebastian Bach: Cello Suites (2005) 2CDs
EAC | FLAC | Tracks (Cue&Log) ~ 571 Mb | Mp3 (CBR320) ~ 333 Mb | Scans included
Genre: Classical | Label: EMI Classics | # 7243 5 86534 2 7 | Time: 02:04:56

In the '80s there were those listeners who thought that Heinrich Schiff might redeem cello performance practice from fatal beauty and lethal elegance. Aside from the burly and brawny Rostropovich, more and more cellists were advocating a performance style whose ideals were perfect intonation and graceful phrasing. In some repertoire, say, Fauré, these are perfectly legitimate goals. In other repertoire, Beethoven and Brahms, say, it is a terrible mistake. In Bach's Cello Suites, as the fay and fragile Yo-Yo Ma recordings make clear, it was a terminal mistake. Not so in Schiff's magnificently muscular 1984 recordings of the suites: Schiff's rhythms, his tempos, his tone, his intonation, and especially his interpretations were anything but fay or fragile. In Schiff's performance, Bach's Cello Suites are not the neurasthenic music of a composer supine with dread and despair in the dark midnight of the soul, but the forceful music of a mature composer in full control of himself and his music.

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.