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Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Theodora (2000)

Posted By: ArlegZ
Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Theodora (2000)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Theodora (2000)
EAC | FLAC | Image (Cue & Log) ~ 675 Mb | Total time: 63:35+51:40+40:51 | Scans included
Classical | Label: MDG | # 332 1019-2 | Recorded: 2000

Written in the summer of 1749, Theodora was premiered in London at Covent Garden Theatre on 16 March 1750. This work, which Handel considered his finest oratorio, was a failure at first - Handel said bitterly that the hall was so empty that "there was room enough to dance there." Part of this failure could be explained by the earthquake that hit London in February of the same year and caused the upper classes to flee the city, but another possibility is that the subject matter of the oratorio - the rebellion of a woman against the power of the state - was a bit ahead of its time.

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 3: Te Deum; Motet "Diligam te, Domine" (1990)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 3: Te Deum; Motet "Diligam te, Domine" (1990)

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 3: Te Deum; Motet "Diligam Te, Domine" (1990)
EAC | FLAC | Image (Cue & Log) ~ 283 Mb | Total time: 56:05 | Scans included
Classical | Label: Adda | # 581221 | Recorded: 1990

After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of Andre Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently from 1728-1771 at the Concert Spirituel.

Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - George Frideric Handel: Susanna (1999)

Posted By: ArlegZ
Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - George Frideric Handel: Susanna (1999)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Susanna (1999)
EAC | FLAC | Image (Cue & Log) ~ 680 Mb | Total time: 60:06+51:39+46:03 | Scans included
Classical | Label: MDG | # 332 0945-2 | Recorded: 1999

The story of the innocent Susanna–whose nude bathing in a stream so excited two elders in her community that they charged her with all sorts of dirty things–is from the Apocrypha. Near the story's close, the young Israelite Daniel, clearly a budding lawyer, disproves the elders' claims by having each explain certain details without the other in the room. (In the Carlisle Floyd version, there's a twist, and the ending is horrifyingly different.) The story, as Handel and his unknown librettist tell it, takes more than two and a half hours. What we get in place of nail-biting drama is a marvelous portrait of the chaste Susanna, her trusting husband, Joacim, and the lascivious elders. There's also a great concentration on the plot's rural setting. Arias are filled with nature–Handel offers us a lovely pastoral setting, with a could-be-tragic story at its core; but neither Nature nor Susanna's good nature wind up sullied.

Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - George Frideric Handel: Athalia (2004)

Posted By: ArlegZ
Peter Neumann, Collegium Cartusianum, Kolner Kammerchor - George Frideric Handel: Athalia (2004)

Peter Neumann, Collegium Cartusianum, Kölner Kammerchor - George Frideric Handel: Athalia (2004)
EAC | FLAC | Image (Cue & Log) ~ 567 Mb | Total time: 56:49+65:55 | Scans included
Classical | Label: MDG | # 332 1276-2 | Recorded: 2003

This is the third English Oratorio by Handel, composed in 1733 for the graduation ceremony at Oxford. It is in 3 acts to a libretto by Samuel Humphreys after the stage drama Athalie by Jean Racine. Incidentally, this was Racine's last tragedy penned in 1691. This biblical account taken from Kings 2, centres on the theme of the triumph of God through the revenge performed by his followers on those who blaspheme and oppose him.

Wieland Kuijken, Les Agrémens, Chœur de Chambre de Namur - Antonio Caldara: Stabat Mater, Magnificat, Missa Dolorosa (2000)

Posted By: ArlegZ
Wieland Kuijken, Les Agrémens, Chœur de Chambre de Namur - Antonio Caldara: Stabat Mater, Magnificat, Missa Dolorosa (2000)

Wieland Kuijken, Les Agrémens, Chœur de Chambre de Namur - Antonio Caldara: Stabat Mater, Magnificat, Missa Dolorosa (2000)
dBpoweramp | FLAC | Tracks (Cue & Log) ~ 274 Mb | Total time: 55:34 | Scans included
Classical | Label: Arsis Classics | # AS-00-A-64002-C | Recorded: 2000

Today Antonio Caldara is not a name many would recognise let alone regard as one of the 'great' composers of the Baroque, yet during his own lifetime and long after his death he was held in high esteem by composers and theoreticians alike. Johann Sebastian Bach, for example is known to have made a copy of a Magnificat by Caldara to which he added a two-violin accompaniment to the "Suscepit Israel" section. According to Mattheson, Georg Philipp Telemann in his early years took Caldara as a model for his church and instrumental music. Franz Joseph Haydn, who was taken to Vienna by Georg Reutter, one of Caldara's pupils, sang many of his sacred works when he was a choirboy at St. Stephens and possessed copies of two of Caldara's Masses.

Guy Janssens, Laudantes Consort - Andre Campra, Michael Haydn: Requiem (2007)

Posted By: ArlegZ
Guy Janssens, Laudantes Consort - Andre Campra, Michael Haydn: Requiem (2007)

Guy Janssens, Laudantes Consort - André Campra, Michael Haydn: Requiem (2007)
EAC | FLAC | Image (Cue & Log) ~ 405 Mb | Total time: 76:53 | Scans included
Classical | Label: CYPRES | # 0640-2 | Recorded: 2005

“A history of the Requiem” takes the music-lover on a journey through the very varied history of the requiem. Presenting one work per century seemed to be just right for illustrating the evolution of this, one of the most significant musical forms in the history of music. The first part of the series, devoted to Ockeghem and Lassus, was awarded a ‘5’ by the prestigious magazine Goldberg, and here now is the second part, presenting the requiems of André Campra and Michael Haydn, recorded on period instruments. A worthy successor to Lully and an admitted model for Rameau, Campra gives us with his Requiem, an ideal gateway for entering into a musical world of unquestioned emotional depth. Michael Haydn, the brother of Joseph, is one of the most remarkable composers of sacred music from the classical period.

Bavarian Radio Symphony Orchestra & Choir, Mariss Jansons - Antonin Dvorak: Stabat Mater (2015)

Posted By: Designol
Bavarian Radio Symphony Orchestra & Choir, Mariss Jansons - Antonin Dvorak: Stabat Mater (2015)

Antonín Dvořák - Stabat Mater (2015)
Erin Wall, soprano; Mihoko Fujimura, mezzo; Christian Elsner, tenor; Liang Li, bass
Chor und Symphonieorchester des Bayerischen Rundfunks; Mariss Jansons, conductor

EAC | FLAC | Image (Cue&Log) ~ 315 Mb | Mp3 (CBR320) ~ 181 Mb | Scans included
Genre: Classical, Choral | Label: BR Klassik | # 900142 | 01:17:55

Antonín Dvorák's Stabat Mater, Op. 58, written in the aftermath of the deaths of three of his children, is a sober and powerful work, inexplicably neglected and unlike any other work of choral music from the 19th century. Perhaps most performances don't capture its full weight, but this live recording from the Bavarian Radio Symphony Orchestra under Mariss Jansons, does so. There are many deep pleasures here. The orchestra's choir is extraordinary: rich yet without a hint of wobble and utterly clear in its sense of the text. Jansons keeps things at a deliberate pace that lets the music breathe and the currents of personal experience rise to the surface. The soloists, none terribly well known, are fine in their individual numbers, but absolutely transcendent in ensembles, nowhere more so that in the sublime "Quando corpus morietur" finale (track 10); there are a couple of other strong recordings of this work, but it seems likely that no one has ever matched this conclusion. The live recording from the Herkulessaal in Munich is impressively transparent and faithful to the spontaneity of the event. A superb Dvorák release.

Michel Corboz, Ensemble Vocal de Lausanne - Alessandro Scarlatti: Missa ad Usum Cappellae Pontificiae, 6 Motets (2006)

Posted By: ArlegZ
Michel Corboz, Ensemble Vocal de Lausanne - Alessandro Scarlatti: Missa ad Usum Cappellae Pontificiae, 6 Motets (2006)

Michel Corboz, Ensemble Vocal de Lausanne - Alessandro Scarlatti: Missa ad Usum Cappellae Pontificiae, 6 Motets (2006)
EAC | FLAC | Image (Cue & Log) ~ 217 Mb | Total time: 51:20 | Scans included
Classical | Label: Apex | # 2564 60522-2 | Recorded: 1965

There are some real injustices in the business of recorded music and this disc brings one of them very much to light. The opening lines of the liner notes say, "Until relatively recently, the reputation of Alessandro Scarlatti – the son, brother, father and uncle of other illustrious musicians – was overshadowed by that of his son Domenico." It is not stated on this disc whether the notes were written to go with this Apex re-issue or whether they date from the same period as the recording, but Alessandro’s reputation, if he has one, is still very much under his wonderful son’s shadow. It is an indication of a massive injustice, that this re-issue goes some small way to correcting.

Ryland Angel, Les Folies Françoises - Totus Amore: Alessandro Scarlatti, Corelli, Bassani, Stradella (2006)

Posted By: ArlegZ
Ryland Angel, Les Folies Françoises - Totus Amore: Alessandro Scarlatti, Corelli, Bassani, Stradella (2006)

Ryland Angel, Les Folies Françoises - Totus Amore: Alessandro Scarlatti, Corelli, Bassani, Stradella (2006)
EAC | FLAC | Image (Cue & Log) ~ 348 Mb | Total time: 65:58 | Scans included
Classical | Label: Deux-Elles | # DXL1054 | Recorded: 2005

…Fine motets by Stradella and Bassani make this disc worth investigation. …violinist Patrick Cohën-Akenine with his excellent bad Les Folies Françoises play with resonant warmth, particularly in two dynamically charged Corelli sonatas.

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 2: Requiem; Motet "Beatus quem elegisti" (1989)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 2: Requiem; Motet "Beatus quem elegisti" (1989)

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 2: Requiem; Motet "Beatus quem elegisti" (1989)
EAC | FLAC | Image (Cue & Log) ~ 303 Mb | Total time: 64:38 | Scans included
Classical | Label: Adda | # 581175 | Recorded: 1989

After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of Andre Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently from 1728-1771 at the Concert Spirituel.

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 1: Motet à St Jean Baptiste; Trois Lamentations (1989)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 1: Motet à St Jean Baptiste; Trois Lamentations (1989)

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 1: Motet à St Jean Baptiste; Trois Lamentations (1989)
EAC | FLAC | Image (Cue & Log) ~ 253 Mb | Total time: 58:04 | Scans included
Classical | Label: Adda | # 581119 | Recorded: 1988

After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of Andre Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently from 1728-1771 at the Concert Spirituel.

Eduardo Paniagua - Ave Maris Stella, Himno Litúrgico a Santa María Virgen, Siglos X - XV (2022)

Posted By: ciklon5
Eduardo Paniagua - Ave Maris Stella, Himno Litúrgico a Santa María Virgen, Siglos X - XV (2022)

Eduardo Paniagua - Ave Maris Stella, Himno Litúrgico a Santa María Virgen, Siglos X - XV (2022)
FLAC (tracks), Lossless | 2:51:25 | 684 Mb
Genre: Classical / Label: Pneuma

Eduardo Paniagua is among the more interesting musicians to have led dual careers: as a conductor, wind player, and percussionist he has received enthusiastic praise for his concerts and numerous recordings of music of Medieval Spain, but he is also quite an accomplished architect. One might further add businessman to his résumé, since he is the founder of the Spanish record label Pneuma. Paniagua was born in Madrid, Spain, in 1952. He came from a musical family and as a child displayed unusual musical talent.

Bo Holten, Ars Nova - Portuguese Polyphony (1995)

Posted By: ArlegZ
Bo Holten, Ars Nova - Portuguese Polyphony (1995)

Bo Holten, Ars Nova - Portuguese Polyphony (1995)
EAC | FLAC | Image (Cue & Log) ~ 246 Mb | Total time: 63:20 | Scans included
Classical | Label: Naxos | # 8.553310 | Recorded: 1992

This is a gorgeous collection of unaccompanied sacred pieces from the masterly Ars Nova, under the inspired direction of Bo Holten. The honeyed tones of the choir infuse this music with such glory, in all its forms, that even a heart of stone might feel the divine reaching out, reflecting the pain, suffering, but also the absolute sense of compassion to all who hear it. Wonderfully warm and comforting (healing?) music, superbly sung. This cd comes with full text for the pieces, production is excellent, and you get access to all these riches for a trifle.

Philippe Herreweghe, La Chapelle Royale - Jean Gilles: Requiem & Diligam te, Domine (1990)

Posted By: ArlegZ
Philippe Herreweghe, La Chapelle Royale - Jean Gilles: Requiem & Diligam te, Domine (1990)

Philippe Herreweghe, La Chapelle Royale - Jean Gilles: Requiem & Diligam te, Domine (1990)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 67:47 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901341 | Recorded: 1990

Herreweghe's 1990 performance was the first modern reading of Gilles' celebrated Requiem from manuscript, shorn of Andre Campra's beefed up orchestration, and very fine it is. In the style of the French Grand Motet, much of the singing is given to soloists and quite florid - as is the choral work.

Jeremy Summerly, Oxford Camerata - Guillaume de Machaut: La Messe de Nostre Dame, Songs from Le Voir Dit (1996)

Posted By: ArlegZ
Jeremy Summerly, Oxford Camerata - Guillaume de Machaut: La Messe de Nostre Dame, Songs from Le Voir Dit (1996)

Jeremy Summerly, Oxford Camerata - Guillaume de Machaut: La Messe de Nostre Dame, Songs from Le Voir Dit (1996)
EAC | FLAC | Image (Cue & Log) ~ 284 Mb | Total time: 77:50 | Scans included
Classical | Label: Naxos | # 8.553833 | Recorded: 1996

The Mass by Machaut is the earliest complete setting of the Mass text that we have. It was composed for performance in a specific church (in which this recording is made) for a specific occasion and has performance connections to the composer and his family. The performance is excellent and the recording quite clear, especially the mass, using the acoustic of a large stone church.